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preliminary sketch for oil painting depicting GSA buildings, now demolished, as viewed from the studios of the Mackintosh Building. The painting was part of the degree show of Carol B Gallaher. Object file also includes photographs of the paintings and the artist.

Oil painting depicting GSA buildings, now demolished, as viewed from the studios of the Mackintosh Building. This painting was part of the degree show of Carol B Gallaher. Wooden stretcher inscribed "" on reverse. Label with artist's name and address verso. Object file also includes photographs of the paintings and the artist.

Facade model of final year thesis project entitled "Re-Landfill: Finding sustainability in modern heritage".

About the model:
Description - A section of the proposal's facade exploring the modular reclaimed brick panel facade hung on the exposed existing concrete frame. Scale - 1:20.

Project description:
The “Post-Landfill”: Finding sustainability in problematic mid-20th century heritage.
The thesis explores a renovation strategy of a vacant hospital in Glasgow through testing the limits of reuse practices of reclaimed materials from demolished buildings. Since 1990, 45% of all demolitions in Scotland took place in Glasgow. Its tendency of reinventing itself by constantly demolishing raised interest in what opportunities can be found in this abundance of construction waste. The project addresses issues faced by similar estates around Europe doomed for demolition - the high cost of renovation/maintenance, unpopularity and tainted collective memory, inefficient floor planning, unattractive aesthetics, secluded urban placemaking, poor detailing and energy efficiency. Reuse methods of the reclaimed materials are utilized to inform the building’s programme and architecture by proposing a 20th-century heritage reuse institute, public workshops, affordable rent studios, commercial spaces, and an innovation centre. Imperfect materials are embraced over immaculate surfaces challenging the public’s view of decay as a sign of sustainability through longevity.

Large format painted portrait of Malcolm Thwaite, who was a Lecturer in Liberal Studies at The Glasgow School of Art in the 1980s.

Flyer advertising the department.

Bronze portrait bust. On plinth: "Patrick Smith Dunn C.B.E/ Governor of the Glasgow School of Art 1893-1930/ Chairman 1914-1930". Dunn was a Glasgow shipping agent.

Includes various teaching materials, including notes and assignment instructions.

A design for a rectangular window, affixed from behind to a piece of grey card with the window shape cut out. The window has an abstract geometric design in shades of red and blue with some ink shading and hatching. Annotated 'Suggested Design for East Window at St. Stephens RC Church Sighthill. Avella' with a contact number listed.

The collection consists of printed textiles, garments and papers relating to Fraser Taylor's time as an undergraduate student at GSA (1978-1981), a postgraduate student at RCA (1983), and items relating to other professional activities. It also includes examples of textiles and associated ephemera for design collective The Cloth (1983-1987).

Abstract forms are painted onto a pink ink painted surface. A fibrous semi-transparent material is stitched onto the surface of the paper outlining the forms in purple thread. Some pieces of the tracing paper and material have been deducted in the shape of the figures to reveal the painted background. Similar in material, style and medium to DC 089/1/2/4/45

Some of this material was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Paper conservation took place in 2018. Textile conservation was completed in 2019.

Abstract forms are painted onto a sheet of tracing paper and adhered to a pink ink painted surface. A fibrous semi-transparent material is stitched onto the surface of the paper outlining the forms in blue thread. Some pieces of the tracing paper and material have been deducted in the shape of the figures to reveal the painted ground.

Some of this material was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Paper conservation took place in 2018. Textile conservation was completed in 2019.

An abstract composition with outline of two figures. Small pieces of paper collaged to surface and shaded in a cream coloured gouache, and black crayon. Pale blue paint in background.

Some of this material was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Paper conservation took place in 2018. Textile conservation was completed in 2019.

A composition of 4 figures in various poses. Outline of figures drawn in hot glue and painted Black. Small pieces of paper collaged to surface and painted in a cream coloured gouache. Flecks of pink and blue paint in background.

Some of this material was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Paper conservation took place in 2018. Textile conservation was completed in 2019.

Silicone moulds used in the prototyping process of mycelium tiles for use in the domestic interior. Created during Stage 3 of Master of Design in Interior Design. from Stage 3 of Master of Design in Interior Design project titled "Digital Design Craft Fabrication".

Project Synopsis: Recognising the increasing uptake of domestic craft activities seen during the COVID pandemic lockdowns, and the need driven by climate change to reconsider the materials we use and our relationships to the objects we surround ourselves with, this project proposes a series of interior objects to be crafted in and for the domestic environment, using waste material and other environmentally responsible materials.

Craft within two contrasting areas of Scotland (Glasgow and Argyll) formed the basis for the project research, with interviews and observation of craft practitioners working in these areas conducted. Both analogue and digital methods were employed to process, manipulate and experiment with the data collected, and through this, new interior objects of domestic craft have been proposed. The forms of the proposed objects speak directly of the processes through which they have developed, highlighting the wider environmental connections of the objects.

Hand crafting objects for your own domestic environment results in objects valued on many levels. From valuing simply for the enjoyment of making or the ability to create something useful, to valuing these crafted objects’ ability to store memories or to express self-identity through their creation and display. In creating interior objects which are highly valued, their future responsible use is secured.

Artefact description: Silicon moulds taken from 3D Printed ‘tile’ which is an example of forms created through extraction and manipulation of data from a soundscape of furniture designer/maker Martin Campbell working in his workshop in the Southside of Glasgow. Scripts written within the visual scripting language Grasshopper were used with a 2D visual representation (spectral frequency image) of the furniture making soundscape as an input to the scripts. This input data was then used to drive the creation of 3D forms which were 3D printed.

The 3D prints are fixed to a plywood, pine and cement base (a leftover material exploration from a previous project) to allow silicone moulds to be taken from the 3D prints. The moulds were used during the project to create a mycelium tile grown on waste wood shavings taken from Martin Campbell’s workshop. This prototype is recorded within the digital project journal, but unfortunately decayed quickly. A jesmonite tile taken from one of the moulds is included as a physical artefact (NMC/2000C).

The mycelium tile was proposed for use as an internal window shuttering system. Mycelium, which is the root system of fungus, is currently a popular bio-material being explored within the design and construction industries as an environmentally responsible alternative to many existing materials such as leather. The mycelium can be grown on waste materials such as wood shavings, or as was also suggested in this project, domestic food waste such as coffee grounds or vegetable peelings. The mycelium can be grown in moulds, with the material baked once removed from the mould to stop further growth.

3D Prints on plywood, pine and cement base made during the prototyping process of mycelium tiles for use in the domestic interior. Created during Stage 3 of Master of Design in Interior Design. from Stage 3 of Master of Design in Interior Design project titled "Digital Design Craft Fabrication".

Project Synopsis: Recognising the increasing uptake of domestic craft activities seen during the COVID pandemic lockdowns, and the need driven by climate change to reconsider the materials we use and our relationships to the objects we surround ourselves with, this project proposes a series of interior objects to be crafted in and for the domestic environment, using waste material and other environmentally responsible materials.

Craft within two contrasting areas of Scotland (Glasgow and Argyll) formed the basis for the project research, with interviews and observation of craft practitioners working in these areas conducted. Both analogue and digital methods were employed to process, manipulate and experiment with the data collected, and through this, new interior objects of domestic craft have been proposed. The forms of the proposed objects speak directly of the processes through which they have developed, highlighting the wider environmental connections of the objects.

Hand crafting objects for your own domestic environment results in objects valued on many levels. From valuing simply for the enjoyment of making or the ability to create something useful, to valuing these crafted objects’ ability to store memories or to express self-identity through their creation and display. In creating interior objects which are highly valued, their future responsible use is secured.

Artefact description: 3D Prints which are examples of forms created through extraction and manipulation of data from a soundscape of furniture designer/maker Martin Campbell working in his workshop in the Southside of Glasgow. Scripts written within the visual scripting language Grasshopper were used with a 2D visual representation (spectral frequency image) of the furniture making soundscape as an input to the scripts. This input data was then used to drive the creation of 3D forms which were 3D printed.

The 3D prints are fixed to a plywood, pine and cement base (a leftover material exploration from a previous project) to allow silicone moulds to be taken from the 3D prints. The moulds were used during the project to create a mycelium tile grown on waste wood shavings taken from Martin Campbell’s workshop. This prototype is recorded within the digital project journal, but unfortunately decayed quickly. A jesmonite 3D Printed 'tile' has been created in its place (NMC/2000D).

The mycelium tile was proposed for use as an internal window shuttering system. Mycelium, which is the root system of fungus, is currently a popular bio-material being explored within the design and construction industries as an environmentally responsible alternative to many existing materials such as leather. The mycelium can be grown on waste materials such as wood shavings, or as was also suggested in this project, domestic food waste such as coffee grounds or vegetable peelings. The mycelium can be grown in moulds, with the material baked once removed from the mould to stop further growth.

3D Printed ‘tile' made during the prototyping process of mycelium tiles for use in the domestic interior. Created during Stage 3 of Master of Design in Interior Design. from Stage 3 of Master of Design in Interior Design project titled "Digital Design Craft Fabrication".

Project Synopsis: Recognising the increasing uptake of domestic craft activities seen during the COVID pandemic lockdowns, and the need driven by climate change to reconsider the materials we use and our relationships to the objects we surround ourselves with, this project proposes a series of interior objects to be crafted in and for the domestic environment, using waste material and other environmentally responsible materials.

Craft within two contrasting areas of Scotland (Glasgow and Argyll) formed the basis for the project research, with interviews and observation of craft practitioners working in these areas conducted. Both analogue and digital methods were employed to process, manipulate and experiment with the data collected, and through this, new interior objects of domestic craft have been proposed. The forms of the proposed objects speak directly of the processes through which they have developed, highlighting the wider environmental connections of the objects.

Hand crafting objects for your own domestic environment results in objects valued on many levels. From valuing simply for the enjoyment of making or the ability to create something useful, to valuing these crafted objects’ ability to store memories or to express self-identity through their creation and display. In creating interior objects which are highly valued, their future responsible use is secured.

Artefact description: 3D Printed ‘tile’ which is an example of forms created through extraction and manipulation of data from a soundscape of furniture designer/maker Martin Campbell working in his workshop in the Southside of Glasgow. Scripts written within the visual scripting language Grasshopper were used with a 2D visual representation (spectral frequency image) of the furniture making soundscape as an input to the scripts. This input data was then used to drive the creation of 3D forms which were 3D printed.

The 3D prints are fixed to a plywood, pine and cement base (a leftover material exploration from a previous project) to allow silicone moulds to be taken from the 3D prints. The moulds were used during the project to create a mycelium tile grown on waste wood shavings taken from Martin Campbell’s workshop. This prototype is recorded within the digital project journal, but unfortunately decayed quickly.

The mycelium tile was proposed for use as an internal window shuttering system. Mycelium, which is the root system of fungus, is currently a popular bio-material being explored within the design and construction industries as an environmentally responsible alternative to many existing materials such as leather. The mycelium can be grown on waste materials such as wood shavings, or as was also suggested in this project, domestic food waste such as coffee grounds or vegetable peelings. The mycelium can be grown in moulds, with the material baked once removed from the mould to stop further growth.

Documents and objects related to Alfredo Avella's teaching career at GSA and work as an artist. Includes sketches and finished artworks, correspondence, photographs, two- and three-dimensional designs, printed ephemera, etc.

Black and white photograph of a sculptural figure made up of worked strips of metal, at the centre of an abstract metal installation. The figure is dressed in long flowing garments with a halo and their hands crossed on their chest. Installation is mounted on a wall with floral wallpaper. Annotation on reverse reads "unknown? Possible St Margaret".

Card sheet with long rectangular segment cut out, evidence of reverse of adhesives formerly used to attach the item to something else. Typed label reads "Edinburgh College of Domestic Science at Clermiston. Suggested Design for Stained Glass Window. Scale approx. 1/2" = 1', MODEL TO BE VIEWED IN FRONT OF LIGHT SOURCE.".

Correspondence related to commissions for Edinburgh College of Domestic Science, the Church of Christ the King in King's Park, the Scottish Police Federation, Drumchapel Old Parish Church, St Mungo's Academy F.P. Centenary Club, Motherwell and Wishaw Civic Centre, Buchanan Parish Church, Denny Civic Theatre and Denny Westpark Church.
Original folder was labelled "Avella Commissions".

Maquette of 'Joy of Life' by Alfredo Avella, designed for the Edinburgh College of Domestic Science.

Paper folder containing:
Design sketches, including sketches relating to 'Homage to Braque', the pool window designs and the Glasgow Police Federation crest window
Teaching notes
A document relating to the Scottish National Community and Public Arts Conference, 1979
Correspondence with Donald Downie, dated November 1979, relating to a stained glass commission

Digital journal (digital file - PDF) plus 5 MP3s and 6 MP4s from Stage 3 of Master of Design in Interior Design project titled "Digital Design Craft Fabrication".

Project Synopsis: Recognising the increasing uptake of domestic craft activities seen during the COVID pandemic lockdowns, and the need driven by climate change to reconsider the materials we use and our relationships to the objects we surround ourselves with, this project proposes a series of interior objects to be crafted in and for the domestic environment, using waste material and other environmentally responsible materials.

Craft within two contrasting areas of Scotland (Glasgow and Argyll) formed the basis for the project research, with interviews and observation of craft practitioners working in these areas conducted. Both analogue and digital methods were employed to process, manipulate and experiment with the data collected, and through this, new interior objects of domestic craft have been proposed. The forms of the proposed objects speak directly of the processes through which they have developed, highlighting the wider environmental connections of the objects.

Hand crafting objects for your own domestic environment results in objects valued on many levels. From valuing simply for the enjoyment of making or the ability to create something useful, to valuing these crafted objects’ ability to store memories or to express self-identity through their creation and display. In creating interior objects which are highly valued, their future responsible use is secured.

Oil painting on canvas, framed, featuring winged figures of Night and Day. Night wears a crown of stars and is cloaked in black. Day is nude. The reverse of the canvas is also painted with a scene of women bathing in a landscape. A label on the reverse reads: "MAY REID 4 The Oriels, 31 Mt Stuart St, Shawlands, Glasgow".

Sketch of Crouching Discobolos plaster cast. Signed "Geo. Foley Oct' 26".

Signed "Geo. Foley Nov'26". Annotated verso "4 5/8" deep", "Fig 16 Page 24", "289", "Fig 16".

Life drawing male figure. Features small sketch in top right corner annoated "not this", as well as other annotations such as "Figure 4 7/8 deep - page 52", "27.8", "15", "G. C. Foley 746".

Material related to designing a board game to be used as a teaching tool for students of architecture and construction courses. Created by both Chris Platt and another student, David Smith, as they decided to design this game instead of writing a 10,000 word essay. Features two items: the commission report, and the game equipment in a wooden box. This special subject output was submitted in October 1980.

Course Handbooks that record information about the courses on offer at the Glasgow School of Art. The Course Handbooks are also sometimes referred to as 'Course Documents' and a few are labelled as 'Course Regulations'. These documents include information about aims and objectives, admission, progression, course rationale, structure, assessment, external examiners, reading lists, the final examination procedure, and course evaluation. Handbooks as follows:

AC/4/2/1: Regulations for the BA/BA (Hons) Course in Design, Nov 1985 (1 document)

AC/4/2/2: Regulations for the BA/BA (Hons) Course in Fine Art, May 1986 (1 document)

AC/4/2/3: Regulations, BA/BA (Hons) Fine Art, Jun 1988 (1 document)

AC/4/2/4: MA Design, Course Document, Sep 1988 (1 document)

AC/4/2/5: School of Design & Craft, BA (Honours) Design Handbook, c1989 (1 document)

AC/4/2/6: BA (Hons) Fine Art, Definitive Course Document, 1990 (1 document)

AC/4/2/7: BA (Hons) Fine Art, Course Document, 1990 (1 document)

AC/4/2/8: MA Fine Art Course Document, c1991-1992 (1 document)

AC/4/2/9: MA Design Course Document, c1991-1992 (1 document)

AC/4/2/10: BA (Hons) Design Course Document, draft/working copy that has sections cut out from some pages, c1992 (1 document)

AC/4/2/11: BA (Hons) Design Course Document, master copies for reprinting, 1992 (1 folder)

AC/4/2/12: School of Fine Art, MFA Course Handbook, 1993-1994 (1 document)

AC/4/2/13: Master of Design Course Document, photocopy, Jan 1994 (1 document)

AC/4/2/14: BA (Hons) Design, Course Document, loose original, 1994 (1 folder)

AC/4/2/15: School of Fine Art, BA (Hons) Fine Art Course Document, 1994 (1 document)

AC/4/2/16: Master of Philosophy (MPhil) in Art and Design in Organisational Contexts Course Document, Jun 1995 (1 document)

AC/4/2/17: Course Document BA (Hons) Design, c1996 (1 document)

AC/4/2/18: Master of Design Course Handbook, session 1998-1999 (1 document)

AC/4/2/19: Master of Design Course Document, Feb 2000 (1 document with 4 enclosures at the back)

AC/4/2/20: Master of Design revised Course Document, photocopy, c2000 (1 document)

Double-sided box of slides for use as teaching aids. Contains three pages of numbered notes relating to the slides and their contents, a page of condensed bullet-points of teaching notes and a list of slide notes with instructions on how to use the slides. Also contains two template slide lists which are blank.

Set of drawings, notes and sketches for stained glass installations, including church windows and the workers' entrance mural at Jack's, East Kilbride. Several have been annotated with the name Miss Westwood, Newton Terrace. One sketch is drawn on the back of an advertising letter from John Smith & Son stationers dated October 1971. Original folder was titled 'Working Sketches'.

Abstract painting with thick black framing line. Features tightly packed geometric forms in green, blue, pink, white and peach, composition is dominated by squares and rectangles. Painting is affixed to larger backing sheet on which an annotation in bottom right corner reads 'Sanded, Antique, Cemented'.

Paper folder containing:
Design for rectangular structure
Sketches, some on the back of a document relating to art for sale by John Kent, Ian Ledward and Richard Noyce
Annotated design for an installation featuring a crest with a crown, possibly the Bishopbriggs coat of arms

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

Maquette of mural with nine vertical square columns. Abstract patterns have been cut out and backed with red, green, blue and yellow coloured plastic, creating a stained glass effect. Central design is circular with a green surround. The wood on the front of the maquette has been painted grey. Avella's name and phone number are written in pencil on the back. "Romolus II" is written in marker ink on the underside of the base.

Copy of Glasgow Chamber of Commerce Journal, September 1964, which features a photo of the knight sculpture from the Scottish Industries Exhibition 1964's Hall of Heritage on the cover.

Booklet titled "Welcome to New Members", issued by Drumchapel Old Parish Church, containing the history of the parish and church information.

Order of services for the unveiling of the McTaggart Memorial Windows at Westpark Church on Easter Sunday 1972.

Print of the front cover of Scottish Field, August 1964, featuring a painting by Alfredo Avella. Painting, signed "Avella" in the bottom right corner, depicts a violinist on a cool-toned abstract background, with the words "Edinburgh Festival 1964" painted around the figure. There is a wide margin around the cover.

Auction information for Alfredo Avella's 'Homage to Braque' and 'Homage to Picasso'.

A series of notes separated by lines. Notes read: "Joints 18'' centre approx. 10' 9 1/2'' from", "Templates for back of fires", "Joints direction, Grate if possible, -", "underneath flat (possible bearing wall) " "side wall bearing wall, [illegible] later in plaster". Originally found with designs and artworks but unclear which design it may refer to.

A booklet with brown card cover and textured beige pages, titled 'Ludwig Schaffrath' in white letters. The interior pages contain photographs of artwork by Schaffrath and typewritten information about his work. Estimated to date from c1974, based on the presence of a document in this collection relating to a Schaffrath exhibition in 1974.

Order of services for the dedication of the East Window, Drumchapel Old Parish Church, dated 31 May 1970.