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Papers of the Board of Governors of the Glasgow School of Art. Includes: GOV/1: Annual reports, 1847-2016 GOV/2: Minutes, 1854-2017 GOV/3: Registers of attendance, 1943-1991 GOV/4: Foundational and Legal Documents, 1842-1999 GOV/5: Property Records, 1845-1949 GOV/6: School Committee and Finance Committee requirements book, 1899-1911 GOV/7: Inventories and Insurances, 1844-1976 GOV/8: Planning Documents, 1988-2001 GOV/9: Reporting Documents, 1893-2000 GOV/10: Correspondence and Working Papers, 1854-1932 GOV/11: Bursaries, Grants and Prize Funds, 1883-1993 GOV/12: Sub-Committees of the Board of Governors, 1987-2017 GOV/13: Other Committees, 1984-2017 GOV/14: Board of Governors Biographies, c2001-2003 GOV/15: Register of Interests, 2006-2009 GOV/16: Register of Directors, 1922-2002 Access Restrictions: Most records which are over 30 years old are available for public consultation. Records which are less than 30 years old can be accessed with the permission of the head of the relevant department of the school. Records containing sensitive information about individuals have been collected into separate folders that will be closed for 75 years, in accordance with the Data Protection Act 1998.

Job files and drawings related to project.

Job files, images and drawings related to project.

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.

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. When the dividing partition between the reception and music rooms was removed, these two elevations would have faced each other. The piano with its fantastic superstructure, is on of Mackintosh's most elaborate inventions, based on the organ at Craigie Hall (Roger Billcliffe). 'This instrument is before everything else a piece of decorative art, and is designed to match the rest of the room... four tall corner posts, crowned with groups of figures and reaching to the ceiling, form a sort of baldachin round it. The front is composed of an oval framework containing a tall thin female figure flanked by roses, with a pair of doves meeting overhead. This fanciful composition is supported artistically by two large decorative panels on the walls on either side of the piano, representing two highly spiritualised Astarte-like figures.' (Muthesius). The large projecting fireplace on the opposite wall is a more elaborate version of that in the Mains Street drawing room. Its decoration consists principally of a pair of tall upright candelabra; the inlaid panels above are by Margaret Macdonald.

Material related to the First Year summer project which involved studying two different buildings in Greenock.

Architectural drawing on tracing paper using Rotring black ink pen representing the final design of the south elevation and the north elevation in scale 1:100. The architect used a technique to render this elevation, mainly walls with horizonal lines leaving the window glasses as plain transparent areas. He also used Zip-A-Tone for window shadings. The same technique has been used to make the trees transparent figures to show the architectural elements behind them. The design of both elevation is based on the idea of solid and transparent between ground floor and upper floor giving the sense of lifting the upper floor by the cylinder columns, while the central glass dome appears to be the focal point.
The long section (scale 1:100) shows the structural system and constructional elements supporting the different indoor spaces and the variety of shapes relating to the functions of those spaces. The architect used figures to show the scale of the school building in relationship to people.

Architectural drawing on tracing paper related to Housing design project 2 representing block 2 corner pub ground floor plan (lower level) in scale 1:200. The block's layout takes a triangle shape. The pub fills one of the triangle corner with different window styles. Flats are located along the block's outer sides surrounding an inner courtyard, with flats indicated: 3P, 2P, 1P, and 5P. There are two main entrances to the courtyard which consists of cars parking, closed gardens for the ground flats, and children's play area.

Architectural drawing on tracing paper related to Housing design/project 2 represents block 2 corner pub interior south elevation and cross section in scale 1:200. The elevation show the building façade elements from the inner courtyard. This drawing gives a clear image of the site typology that affected the continuity of the block's floors plan levels and reflects that on the skyline of the building across the block. There is no indication of the finishing materials nor the height of the buildings.

Architectural drawing on tracing paper related to Housing design/project 2 represents block 2 'corner pub' elevation facing Raeberry St., internal court elevation, and cross section in scale 1:200. The cross section shows the differences in the site's levels and how the ground topography affects the design of the main entrances to the courtyard. This section shows the ratio of the building height to the opened space span. The architect used colour on part of the elevation to give an idea of the final look of the building facades.

Architectural details drawing on tracing paper related to Housing design/project 2 represents Block 4P and its connection with P2 through the third and forth floor plans all in scale 1:50. The third floor has four symmetrical flats. The main entrance to Flat 4P leads to two bedrooms and a staircase to the upper floor which consists an open living room/dining room with an open kitchen and two bathrooms. The cross section shows the main structural elements of the building construction system. On the fourth plan the roof of flat 4P appears with its skylight windows.

Architectural details drawing on tracing paper related to Housing design/project 2 represents Block 4P and 2P elevations in scale 1:50. Both the street and the court elevations are in coloured rendering to identify finishing materials used. The facades are designed to reflect the floor plans and their interior spaces. The elevations are in the same traditional style of most residential buildings in the city.

Architectural drawing on tracing paper showing the first floor plan in scale 1:100, in which all the functional spaces have been identified with coded numbers, then addressed their titles, as below:
1 Wellington church, 2 terrace, 3 chaplaincy entrance, 4 foyer / exhibition, 5 lounge, 6 chaplain's bedroom, 7 counselling, 8 entrance gallery, 9 chaplaincy reading, 10 seminary reading, 11 library, 12 manuscript display, librarian, 14 rector, 15 secretary, 16 dining, 17 servery, 18 kitchen, 19 priest's lounge, 20 priest's living / study, and priest's bedroom.

Architectural drawing on tracing paper showing the south east elevation to Oakfield Avenue in scale 1:100, in which the external columns defining the main entrance and supporting the pitch roofing for both sides. All the architectural details for windows sills, column crowns, and other roof stone details are shown as well. This sheet also includes the long section in scale 1:100. Both drawings are to be completed with the next item. There is an outline plan in scale 1:1000 to identify where the long section has been taken.

Architectural drawing on tracing paper includes a cross section through the courtyard, in scale 1:100, showing the height of the indoor spaces. It also shows the inner façade of the rear side of the new building, which refers to the modern style of the architectural movement at the time of designing this project. There is an outline plan, scale 1:1000, indicating where this cross section has been taken. This cross section comes with coloured finishing.

Architectural drawing on tracing paper includes the north east elevation to Gibson Street, in scale 1:100, showing the the first part of this elevation, which to be attached within the next item from right hand side complete the whole elevation. The design reflects the modern style of the architectural movement at the time of designing this project. This elevation comes with mono-colour (black and white) finishing.

A copy of an architectural drawing on sheet paper related to the thesis project showing a block plan of the Wellington Church. This material is a copy from an official document related to a "Proposed new buildings Hillhead". There is a signature of T L Watson, Thomas Lennox Watson, the architect who designed this church dated Oct. 1882, Glasgow. This material has been used by the architect in the stage of the pre-design analysis study of the thesis project. It originally comes from "Strathclyde Regional Archives" with reference of: H/HIL/1882/152.

A copy of an architectural drawing on sheet paper related to the thesis project showing section on the line of the Wellington Church. This material is a copy from an official document related to a "Proposed new buildings Hillhead". There is a signature of T L Watson, Thomas Lennox Watson, the architect who designed this church dated on Oct. 1882, Glasgow. This material has been used by the architect in the stage of the pre-design analysis study of the thesis project. It originally comes from "Strathclyde Regional Archives" with reference of: H/HIL/1882/152.

A copy of an architectural drawing on sheet paper related to the thesis project showing a section on the line of the Wellington Church. Although this material has no reference, it comes from the same official document that related to a "Proposed new buildings Hillhead" designed by Thomas Lennox Watson. It is in a small size (seems like it has been cut from a large sheet).

A copy of an architectural drawing on sheet paper related to the thesis project showing the south elevation of the Wellington Church. It shows the architectural details of the exterior view of the building. This item has another elevation but without a title, however, they all come from the original document designed by T. L. Watson.

This material is currently uncatalogued and therefore not accessible for researchers. Includes documents relating to the Royal Town Planning Institute visit and course planning.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018.

Original: Also known as the Porte Royale, the West Portal was carved by 1150. The sculptures and reliefs were modelled on those in the triple west portal at St. Denis and at Chartres Cathedral.