A written sheet including a brief of the basic design requirements including function, occupation, construction, and location. The most important design criterion is: "the building must blend in with the surrounding landscape as camouflage".

A variety of artworks, including landscape drawings, designs and life sketches, unique paintings made of pressed seaweed, and one printed work. A few items have annotations, such as related locations to the works or some letters. None of them are dated, except for one piece of the seaweed work.

A tracing paper consisting of the east and west elevations. The drawing is in 1:50 scale and showing the finishing materials and colours.

A tracing paper showing the first floor plan of the design of the building. The drawing is in 1:50 scale and including the spaces and rooms and details of the walls and windows, steps, staircase, and furniture.

A tracing paper consisting of the north and south elevations. The drawing is in 1:50 scale and showing the finishing materials and colours.

A tracing paper showing the second floor plan of the design of the building. The drawing is in 1:50 scale and including the spaces and rooms and details of the walls and windows, steps, staircase, and furniture.

A tracing paper including section AA crossing the dining and living room facing the north elevation. The drawing is in 1:50 scale and showing the details of the construction materials and the windmill at the roof with a description of how to use wind to produce electricity and stored in batteries where it is fed through the building.

A tracing paper including section BB crossing the dining room, greenhouse and entrance facing the west elevation. The drawing is in 1:50 scale and shows the details of the construction materials and the windmill at the roof with a description of solar panels on the roof of the greenhouse.

A tracing paper showing the site plan of Alisa Craig where the design will be built. The drawing is in 1:100 scale.

A tracing paper showing the third floor plan of the design of the building. The drawing is in 1:50 scale and including the main space of the observatory and darkroom with the details of the walls and windows, staircase, and furniture.

A free hand drawings consisting of some details of Camellia house and grounds: Culzean.

A free hand drawing consisting of some details of Park Centre: Culzean, showing some details of window, door, main gate, and chair.

Another design verso.

Scottish. Very fine lawn with flower and leaf design at each corner and initial 'A' in pink in one corner. Very fine drawn fillings and drawn hem.

Correspondence relating to the project.

Job files relating to the project (no images or drawings/plans).

Symbolic Masonic apron.

Variety of works created by Dorothy Doddrell relating to the Rolls of Honour of The Glasgow School of Art, Busby Parish Church, and Stevenson Memorial Church.

Drawings related to the project.

A number of sketches and photographs of works by William Meldrum. This collection includes figure and illustrative drawings, unique pieces made of seaweed, and a series of monochrome photographs featuring landscape paintings. Most of the items are undated however the dates of creation are presumed to fall between the 1880s and 1920s. A set of typewritten paper by an unknown author dated after 1966, features a brief biography of Meldrum and descriptions of two drawings along with their custodial histories.

William Meldrum tended to work on depicting city views of Glasgow in the early 20th century and landscapes of diverse areas in Scotland. He created multiple pieces of black-and-white photographs on which his paintings have been printed; some of the photographs have identical versions.

The papers listed here are the records of three private commissions undertaken by James Fulton between 1909 and 1912, while he was resident in London. The papers include correspondence with the clients, builders and tradesmen. There are rough plans only for the house for F. Hall Gibson, who appears to have been a friend of Fulton's family.

These images show Charles Rennie Mackintosh and fellow Glasgow School of Art Students, Herbert MacNair, Frances Macdonald, Margaret Macdonald, Agnes Raeburn, Janet Aitken, Katherine Cameron and Jessie Keppie. Jessie Keppie's brother, John Keppie also appears in the photographs. John Keppie was a partner in Honeyman and Keppie, the architectural firm at which Mackintosh and Herbert McNair worked.

This work is presumed from the same series as "Pressed seaweed art (DC 120/1/1)," but not dated. Two pieces of kelp and red dulse seaweed are attached to the paper.

A drawing made of dried kelp and red dulse seaweed from the sea near Millport in Ayr, Scotland. Annotated "Millport. ap 3. 36." presumed to be the creation date. The pieces of seaweed adhere to the paper, maintaining their natural shapes.

Black ink wash drawing of a leafless tree. The work is titled, signed and dated.

Archibald Haswell Miller's sketchbook, dated 1919-23-31. On the front it lists three places; St Ives, Dunure, and Hailes. The sketchbook contains various drawings, including builds and designs of coats of arms.

Correspondence relating to the project.

Correspondence, invoices, accounts, planning permission document, report on tenders and other papers relating to the project; includes one document dated 1937 (measurement of plumber work).

Material related to final project which was to design a bird watching station including tracing papers showing the drawings of the site plan, floor plans, sections, and elevations all in details. The material in this series was originally stapled together. Staples have been removed.