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'Obstruct': 1 of a set of 5 ceramic pots, wheel thrown with hand-built adjustments.

Artist statement: "Hostile architecture is a phenomenon with rase rise significantly throughout urban design this century. A widely recognised example of this type of design is the 'uncomfortable bench'. Interventions of this kind are now familiar, and can even be a cause of comfort to privileged audiences, but it is important to consider their sociological effects. We have replaced human interaction, nuance and empathy with hard, physical and non-negotiable solutions. Identifying five core aspects of hostile urban design - limit, control, obstruct, impede and deter - I have developed a series of ceramic cups which each embody one of these qualities."

Source: https://drive.google.com/file/d/1Pe53s2N6laNXHxxQ-RrjA5cjvuFNeUPC/view

To mark the centenary of the First World War, GSA’s Archives & Collections and Exhibitions worked with Louise Welsh, Professor of Creative Writing at the University of Glasgow and Edwin Pickstone, GSA Lecturer, to create a memorial to GSA students, staff and governors who undertook work on the home front.

Consisting of three panels with text written by Louise and letterpress prints created by Edwin, the memorial was informed by archival research. The frame was designed and made by Steven Higgins with lettering from Erin Bradley-Scott.

This memorial is a partnership piece to GSA’s WWI Roll of Honour, created in 1925 by Dorothy Doddrell to commemorate students, staff and governors who had served in the armed forces.

The project was generously funded by Mr James McBroom whose father, James Nicol McBroom, was a prize-winning student at the School and who undertook munitions work during the war.

'Stroll', a paper based game

'The Storage Theatre' portfolio from the artist's degree show project in interior design.

"The Storage Theatre explores the ways both artists and archaeologists understand the world through the material traces of the past."

Source: https://picbabun.com/lucykerr_design

'Control': 1 of a set of 5 ceramic pots, wheel thrown with hand-built adjustments.

Artist statement: "Hostile architecture is a phenomenon with rase rise significantly throughout urban design this century. A widely recognised example of this type of design is the 'uncomfortable bench'. Interventions of this kind are now familiar, and can even be a cause of comfort to privileged audiences, but it is important to consider their sociological effects. We have replaced human interaction, nuance and empathy with hard, physical and non-negotiable solutions. Identifying five core aspects of hostile urban design - limit, control, obstruct, impede and deter - I have developed a series of ceramic cups which each embody one of these qualities."

Source: https://drive.google.com/file/d/1Pe53s2N6laNXHxxQ-RrjA5cjvuFNeUPC/view

'Impede': 1 of a set of 5 ceramic pots, wheel thrown with hand-built adjustments.

Artist statement: "Hostile architecture is a phenomenon with rase rise significantly throughout urban design this century. A widely recognised example of this type of design is the 'uncomfortable bench'. Interventions of this kind are now familiar, and can even be a cause of comfort to privileged audiences, but it is important to consider their sociological effects. We have replaced human interaction, nuance and empathy with hard, physical and non-negotiable solutions. Identifying five core aspects of hostile urban design - limit, control, obstruct, impede and deter - I have developed a series of ceramic cups which each embody one of these qualities."

Source: https://drive.google.com/file/d/1Pe53s2N6laNXHxxQ-RrjA5cjvuFNeUPC/view

Elliptical necklace with two drug capsules

'The Storage Theatre': Plaster cast made from exterior of the B listed art deco building at 140 Salkeld Street, Glasgow. One of a set of three.

"The Storage Theatre explores the ways both artists and archaeologists understand the world through the material traces of the past."

Source: https://picbabun.com/lucykerr_design

'Limit': 1 of a set of 5 ceramic pots, wheel thrown with hand-built adjustments.

Artist statement: "Hostile architecture is a phenomenon with rase rise significantly throughout urban design this century. A widely recognised example of this type of design is the 'uncomfortable bench'. Interventions of this kind are now familiar, and can even be a cause of comfort to privileged audiences, but it is important to consider their sociological effects. We have replaced human interaction, nuance and empathy with hard, physical and non-negotiable solutions. Identifying five core aspects of hostile urban design - limit, control, obstruct, impede and deter - I have developed a series of ceramic cups which each embody one of these qualities."

Source: https://drive.google.com/file/d/1Pe53s2N6laNXHxxQ-RrjA5cjvuFNeUPC/view

Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. The library was destroyed by the fire, though many metal fragments from the lights were salvaged, allowing twenty eight to be reconstructed from the original metal pieces, eleven to be made from a mix of original and new pieces (composites) and fifteen new lamps created. All the restoration work and shades was undertaken by Rodney French of Lonsdale & Dutch of Edinburgh.

Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. The library was destroyed by the fire, though many metal fragments from the lights were salvaged, allowing twenty eight to be reconstructed from the original metal pieces, eleven to be made from a mix of original and new pieces (composites) and fifteen new lamps created. All the restoration work and shades was undertaken by Rodney French of Lonsdale & Dutch of Edinburgh.

Print from 'The Misinformation Ecosystem'. Annotated in pencil 'AP', 'The Misinformation Ecosystem' and signed by the artist.

Textile length, Mercury's profile

Nails and plaster cast pattern on textile. Inspired by the fire at the Mackintosh building in 2014.

Rust-dyed crepe de chine. Inspired by the 2014 fire in the Mackintosh Building. Stored along with nails (NMC/1962B) and textile (NMC/1962D) in presentation box (NMC/1962A).

Three rusty nails from the Mackintosh Building, bound with cotton rust-dyed tape. Inspired by the 2014 fire in the Mackintosh Building. Stored along with textiles (NMC/1962C & D) in presentation box (NMC/1962A).

Presentation box containing bound nails (NMC/1962B) and rust-dyed textiles (NMC/1962C & D) inspired by the 2014 Mackintosh Building fire.

Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. The library was destroyed by the fire, though many metal fragments from the lights were salvaged, allowing twenty eight to be reconstructed from the original metal pieces, eleven to be made from a mix of original and new pieces (composites) and fifteen new lamps created. All the restoration work and shades was undertaken by Rodney French of Lonsdale & Dutch of Edinburgh.

Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. The library was destroyed by the fire, though many metal fragments from the lights were salvaged, allowing twenty eight to be reconstructed from the original metal pieces, eleven to be made from a mix of original and new pieces (composites) and fifteen new lamps created. All the restoration work and shades was undertaken by Rodney French of Lonsdale & Dutch of Edinburgh.

Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. The library was destroyed by the fire, though many metal fragments from the lights were salvaged, allowing twenty eight to be reconstructed from the original metal pieces, eleven to be made from a mix of original and new pieces (composites) and fifteen new lamps created. All the restoration work and shades was undertaken by Rodney French of Lonsdale & Dutch of Edinburgh.

Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. The library was destroyed by the fire, though many metal fragments from the lights were salvaged, allowing twenty eight to be reconstructed from the original metal pieces, eleven to be made from a mix of original and new pieces (composites) and fifteen new lamps created. All the restoration work and shades was undertaken by Rodney French of Lonsdale & Dutch of Edinburgh.

Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. The library was destroyed by the fire, though many metal fragments from the lights were salvaged, allowing twenty eight to be reconstructed from the original metal pieces, eleven to be made from a mix of original and new pieces (composites) and fifteen new lamps created. All the restoration work and shades was undertaken by Rodney French of Lonsdale & Dutch of Edinburgh.

This collection comprises predominantly student work undertaken by Dugald Cameron whilst studying at The Glasgow School of Art between 1957-1963.

In addition it contains the following publications:

• Dugald Cameron Industrial Designer
• No. 602 (City of Glasgow) Squadron Royal Auxiliary Air Force
• From the Karoo to the Kelvin
• Personal Passions (exhibition catalogue)

Please note that this material is not yet fully catalogued and therefore some items may not be accessible to researchers.

'A Periodical', newspaper publication presenting the graphic works of Indre Simkute, exploring the natural cycle of a woman's body.

Collograph used in the making of 'A Periodical', NMC/1933A. Collographs were made, then scanned and colour added in Photoshop.

Reconstructed Medium Pendant

Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. The library was destroyed by the fire, though many metal fragments from the lights were salvaged, allowing twenty eight to be reconstructed from the original metal pieces, eleven to be made from a mix of original and new pieces (composites) and fifteen new lamps created. All the restoration work and shades was undertaken by Rodney French of Lonsdale & Dutch of Edinburgh.

Collograph used in the making of 'A Periodical', NMC/1933A. Collographs were made, then scanned and colour added in Photoshop.

Collograph used in the making of 'A Periodical', NMC/1933A. Collographs were made, then scanned and colour added in Photoshop.

Printed and hand painted textile length. Inspired by the fire at the Mackintosh building in 2014.

Film by Callum and Fraser Rice which accompanies the exhibition by Jimmy Cosgrove ‘Looking for Signs: Ideas and Imagined Circumstances', Studio Pavilion (House for an Art Lover) 28 July - 16 September 2018, co-curated by Alison Harley, Fraser Taylor and Louise Briggs.

The exhibition explored the studio collection of Jimmy Cosgrove, and presented work spanning the early 1970s to new work created for the Studio Pavilion in 2018. Sketchbooks, travelogues, working ideas were included to show the span of work across design and the visual arts, pursued by Jimmy Cosgrove throughout his career at GSA.

Filmed in the context of the exhibition Cosgrove expands upon his ideas, working processes and contribution to design education at GSA, alongside his artistic contribution to the Scottish and Glasgow art scene of the early 1970s and into the mid 1990s, when he retired from GSA to continue working as an exhibiting artist.

A publication with invited contributions by practitioners and academics, accompanied the exhibition.