Design for Glasgow School of Art: plan of ground floor - East wing
- MC/G/94
- Item
- c1899
This sketch shows how accommodation was arranged in the East wing ground floor before the GSA was completed in 1906-09.
Mackintosh, Charles Rennie
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Design for Glasgow School of Art: plan of ground floor - East wing
This sketch shows how accommodation was arranged in the East wing ground floor before the GSA was completed in 1906-09.
Mackintosh, Charles Rennie
Glasgow School of Art Club Invitation card
Folded card invitation. Programme details listed inside.
Mackintosh, Charles Rennie
Bound in volume, The Magazine, November, 1894.
Mackintosh, Charles Rennie
Roof of Napton Church, Norfolk
Sketch of three angels playing musical instruments.
Mackintosh, Charles Rennie
Meister Der Innen-Kunst - Title Page from Portfolio of Prints
An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.
Mackintosh, Charles Rennie
Plate 1 Ground & First Floor Plans from Portfolio of Prints
An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.The central feature of the house is the large hall - two storeys high - communicating directly with the dining room, reception and music room, which can be adapted to provide a stage. On the South side a terrace room runs outside the reception and music room. On the North side are the entrance, the hall and dining room, which are separated by a moveable partition. On the upper floor, the principal bedroom suite is partitioned off in the South-East corner; numerous guest rooms are provided and a playroom is in the attic above the childrens' bedrooms. The kitchen and servants' rooms are in the basement.
Mackintosh, Charles Rennie
Plate 2 East & West Elevations from Portfolio of Prints
An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.Muthesius in his introduction to the 'Meister der Innen Kunst' portfolio, stresses the impact and novelty of Mackintosh's design. 'The exterior architecture of the building... exhibits an absolutely original character, unlike anything else known... The mass of the building consists of a large plain black, without any breaking up of the walls, the effect being sought for in unbroken uniform surfaces... the windows have the appearance of accidental openings deeply recessed in the walls... Ornament, save in two or three places, is conspicuously absent, all allurements being sternly repressed in order that the desired effect of plainness reticence and therewithal of mystery and height, might be revealed as strongly as possible.
Mackintosh, Charles Rennie
Plate 3 North Elevation from Portfolio of Prints
An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.Muthesius in his introduction to the 'Meister der Innen Kunst' portfolio, stresses the impact and novelty of Mackintosh's design. 'The exterior architecture of the building... exhibits an absolutely original character, unlike anything else known... The mass of the building consists of a large plain black, without any breaking up of the walls, the effect being sought for in unbroken uniform surfaces... the windows have the appearance of accidental openings deeply recessed in the walls... Ornament, save in two or three places, is conspicuously absent, all allurements being sternly repressed in order that the desired effect of plainness reticence and therewithal of mystery and height, might be revealed as strongly as possible.
Mackintosh, Charles Rennie
Plate 10 The Nursery from Portfolio of Prints
An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection. One of the three perspectives submitted by Mackintosh after the competition had been judged. The fitted furniture, benches and table are all loosely based on those designed for William Davidson's house Windyhill. Interesting features are the lighting standards with their tree like arrangement of lamps and the gesso panel over the fireplace, possibly depicting an episode from the Sleeping Beauty Story, credited to Margaret Macdonald. (Roger Billcliffe).
Mackintosh, Charles Rennie
Plate 11 The Bedroom from Portfolio of Prints
An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection. The only design for the bedroom, this elevation shows the furniture arranged along one wall, a pair of fixed wardrobes, a fireplace and a washstand in a recess. The uncompromising plainness of the furniture is relieved by stencilled panels. The deadline of 25 March 1901 for the competition suggests that this design is earlier than that for the main bedroom at Windyhill, where the same features were used, with minor differences in the stencilling.
Mackintosh, Charles Rennie
Plate 12 The Hall from Portfolio of Prints
An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.This drawing shows the construction of the gallery which connects the East and West portions of the house, resting on wooden cased pillars. In the upper portion of the pillars the dark woodwork is relieved by silver decorative panels, a painted frieze running between them. Similarly the double doors are relieved by panels of coloured glass, and coloured panels are inset above the fireplace. Through the doors one entered the reception/music rooms, their white walls and elegant decoration forming a brilliant contrast to the dark hall. Two features are reminiscent of earlier projects: the balcony with the pendant panels echoes the gallery at Queen's Cross Church, and the silver panels in the supporting posts recall those used beside the large gesso panels at Ingram St in 1900.
Mackintosh, Charles Rennie
Plate 14 The Dining Room from Portfolio of Prints
An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection. Like the hall, this room is wood panelled. The sombreness of the dark panelling is relieved by a frieze of coloured panels using the standard Mackintosh theme of a stylised female figure, and the coloured lights handing from the barrel vaulted ceiling. As in the reception room, Mackintosh makes use of furniture designs he has already used elsewhere, the stone surround of the fireplace is based on that in the original Board Room in the GSA, the table (the flat, plank like surfaces echoing the construction of the sideboard) on the dining table designed for Windyhill, and the chairs recall the oval backrail armchairs used in the Mains Street dining room. The central feature of the room is the fireplace, set in a deep recess decorated with fanciful female figures, details picked out in rose against a strong blue ground which dominates the otherwise severe room. The colours are echoes in the wall panels, the decorative insets on the sideboard, the china and even the table runner and roses on the table.
Mackintosh, Charles Rennie
Design for the Grand Hall, Glasgow International Exhibition, 1901
The competition, held in 1898, was won by the Glasgow architect James Miller with a considerably more ornate design for a 'bit of Spanish baroque confectionery' (McLaren Young). Like Miller's, Mackintosh's design derives from James Sellars' for the 1888 Glasgow exhibition, but simplified. 'The dome, perhaps a prerequisite for Glasgow exhibitions, remained, but it was presented with severe geometricality, with an Art Nouveau lantern surmounted by a Chinese coolie hat.'
Mackintosh, Charles Rennie
Design for Liverpool Cathedral: preliminary sketch
Preliminary sketch of building. The competition for the Liverpool Anglican Cathedral was won by Giles Gilbert Scott. Mackintosh's design was unpremeditated, although it drew comment.
Mackintosh, Charles Rennie
Design for fireplace, Morning Room, Prospecthill House
Design for Miss Rowat. The job books indicate that this commission was carried out, but no photographs exist to indicate how closely the executed work followed this design. A completely new motif is introduced with the wavy apron below the top shelf which provides relief to an otherwise rigidly geometrical design.
Mackintosh, Charles Rennie
Design for a Memorial Fireplace, The Dug-Out, Willow Tea Rooms, Glasgow
Inscribed: This room was opened by Miss Cranston in the year 1917 during the Great European War between the Allied Nations and the Central Powers.The Dug-Out, which Miss Cranston created in the basement of the Willow Tea Rooms was Mackintosh's last work in Glasgow (designed while he was living in London) and develops his new style seen in 78 Derngate. A dramatic interior was created with black ceilings and dark walls highlighted by strong colours in the decorations. The centrepiece was the Memorial Fireplace, decorated with inlaid glass and paintings of the flags of the opposing nations; above the commemorative plaque was a panel of stencilled decoration in chequers, diamonds and triangles, all in the bright colours used in the Derngate frieze. Two interior elevations indicate Mackintosh's schemes for decoration and furniture, some of which survives.
Mackintosh, Charles Rennie
Design for Conversazione Programme
Designed for the Glasgow Architectural Association.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of basement floor
Architectural drawing showing basement floor plan.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: elevation to Renfrew Street
Architectural drawing showing north elevation. The main difference between the completed North elevation and that shown in the 1896-97 design is the addition of an attic storey, but by setting back the upper row of windows Mackintosh made them quite invisible from Renfrew Street.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of first floor
Architectural drawing showing first floor plan.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of first floor
Architectural drawing showing first floor plan.
Mackintosh, Charles Rennie
Glasgow School of Art Club invitation card (Version 2)
Mackintosh, Charles Rennie
Design for Glasgow School of Art: additions to South-East wing - lower centre
Architectural drawing showing various additions to building. The handwriting suggests that this sketch plan was not drawn by Mackintosh himself, but probably by a draughtsman in his office.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: additions to South-East wing - lower left
Architectural drawing showing various additions to building. The handwriting suggests that this sketch plan was not drawn by Mackintosh himself, but probably by a draughtsman in his office.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: platform in Animal Room
Architectural drawing of room in basement of Mackintosh Building. Signed: Artot (t.r.).
Mackintosh, Charles Rennie
Mackintosh Building, The Glasgow School of Art
Line drawing showing the elevated rear (south) facade.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing the elevated section of the east half of the building (viewed from the South-west).
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing an elevated, central section of the building, viewed from the South-east.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing the central section of the building, viewed from the south, and highlighting the entrance hall.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing section through the west half of the building including individual floor plans.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing a section through the first floor corridor, west.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing section through east staircase at second floor level.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing boiler room insulation and foul air exhaust.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing the elevated front facade and roof (central and east sections). Companion drawing NMC/1660B.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing the elevated front facade and roof (west section). Companion drawing NMC/1660A.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing the elevated back and east elevations.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing an elevated, central section (including the Museum) with cut-away floors and roof.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing a section through the centre of the building, viewed from the south, and highlighting the Coil Room.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing section through east staircase at first floor level.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing fresh air induction, heating and circulation.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing the elevated section through the east half of the building including cut-away floors and roof.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing elevated section through east half of the building including cut-away floors and roof.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing elevated section through west half of the building, viewed from the South-east.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing a section through the west staircase at second floor level.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing a section through the west half of the building (including staircase) with cut-away floors and roof.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing a section though the west half of the building, with cut-away floors of the library wing.
Cairns, George
Mackintosh Building, The Glasgow School of Art
Line drawing showing proposed reinstatement of warm air heating system.
Cairns, George
Design for Glasgow School of Art: plans for fire exit - East wing
Architectural detail of Mackintosh Building.
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 2)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 3)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie