'Homage to the Studio': Presentation box
- NMC/1962A
- Item
- 2018
Presentation box containing bound nails (NMC/1962B) and rust-dyed textiles (NMC/1962C & D) inspired by the 2014 Mackintosh Building fire.
McQuarrie, Erin
1771 results with digital objects Show results with digital objects
'Homage to the Studio': Presentation box
Presentation box containing bound nails (NMC/1962B) and rust-dyed textiles (NMC/1962C & D) inspired by the 2014 Mackintosh Building fire.
McQuarrie, Erin
'Homage to the Studio': Nails from Mackintosh Building, bound with tape
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).
McQuarrie, Erin
'Homage to the Studio': Rust-dyed crepe de chine
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).
McQuarrie, Erin
'Homage to the Studio': Rust-dyed and heat-manipulated crepe satin
Rust-dyed and heat-manipulated crepe satin. Inspired by the 2014 fire in the Mackintosh Building. Stored along with nails (NMC/1962B) and textile (NMC/1962C) in presentation box (NMC/1962A).
McQuarrie, Erin
'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
Gray, Arvinda
'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
Gray, Arvinda
'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
Gray, Arvinda
'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
Gray, Arvinda
'Deter': 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
Gray, Arvinda
One sheet from a folder of six sheets of furniture designs,and designs for a fireplace, including one with a GSoA label recording session 1903-1904, James Porteous' student registration number 237, and Mr Taylor as his tutor. This sheet shows a design for a fireplace with integral mantle clock.
Porteous, James Henry
One sheet from a folder of six sheets of furniture designs, and designs for a fireplace, including one with a GSoA label recording session 1903-1904, James Porteous' student registration number 237, and Mr Taylor as his tutor. This sheet shows two views of a double wardrobe.
Porteous, James Henry
One sheet from a folder of six sheets of furniture designs, and designs for a fireplace, including one with a GSoA label recording session 1903-1904, James Porteous' student registration number 237, and Mr Taylor as his tutor. This sheet shows designs for a single wardrobe, dressing table, side view of dressing table, chair and wash stand.
Porteous, James Henry
One sheet from a folder of six sheets of furniture designs, and designs for a fireplace, including one with a GSoA label recording session 1903-1904, James Porteous' student registration number 237, and Mr Taylor as his tutor. This sheet shows front elevations of a chair, a dressing table and a cabinet.
Porteous, James Henry
One sheet from a folder of six sheets of furniture designs, and designs for a fireplace. This one with a GSoA label recording session 1903-1904, James Porteous' student registration number 237, and Mr Taylor as his tutor.
Porteous, James Henry
One sheet from folder of six sheets of furniture designs, and designs for a fireplace. Includes one with a GSoA label recording session 1903-1904, James Porteous' student registration number 237, and Mr Taylor as his tutor. Large sheet with double wardrobe, dressing table, cabinet and details.
Porteous, James Henry
Printed length for degree show
This length was created (as part of NMC/1579-1581) by Isobel Stirling for her Diploma Show in 1948 and produced under the supervision of Gladys Harrison. The design was based on an exercise using cut out paper, particularly the discarded pieces of paper rather than the shapes cut out.
Smyth, Isobel
Polychrome abstract design on purple background. Signed 'Stewart 1966' on right edge.
Stewart, Robert
'Wendy House' animation digital file
Johansen, Marc
Textile design
Hill, Linda
Textile design
Hill, Linda
'Ox-eye Daisy' textile design
Hill, Linda
Embroidered collage of Eaglesham
The piece is a depiction of Eaglesham with trees in the foreground and houses in the background.
Whyte, Helen Kathleen R
Architectural drawing: Design for Oriel Window
Framed architectural drawing of design for an oriel window. Annotated with 'Design for Oriel Window', artist's name and 'No. 1'.
Biggar, Hugh
Typeset poster, lettering reads, 'Communication can be well mannnered, academic.....'
*Not available / given
Flat brass light shade from Mackintosh Building
One of a set of 2 flat brass coolie style metal light shades with cut out motifs from the Mackintosh Building.
Flat brass light shade from Mackintosh Building
One of a set of 2 flat brass coolie style metal light shades with cut out motifs from the Mackintosh Building.
Glasgow School of Architecture medal
Silver medal, blank on reverse.
*Not available / given
Glasgow School of Architecture medal
Medal awarded to Robert Elder for excellence.
*Not available / given
Glasgow School of Architecture medal
Medal awarded to Robert Elder for excellence.
*Not available / given
Montage of costume designs for the Masque of the City Arms.
Smyth, Dorothy Carleton
Design for wall decoration - mermaids. On mount: Design for wall decoration/ Violet McGlashan/76/Owen Jones competition.
McGlashan, Violet Meikle
Smith, Harry
The Glasgow School of Art Home Front Memorial
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.
Pickstone, Edwin
'The Storage Theatre' plaster cast
'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."
Kerr, Lucy
'The Storage Theatre' plaster cast
'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."
Kerr, Lucy
'The Storage Theatre' plaster cast
'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."
Kerr, Lucy
White plywood triangular table, part of set of two chairs and table. Made by the artist whilst in the Interior Design Department in 1965/66.
Longmuir, James
White plywood chair, part of set of two chairs and table. Made by the artist whilst in the Interior Design Department in 1965/66.
Longmuir, James
White plywood chair, part of set of two chairs and table. Made by the artist whilst in the Interior Design Department in 1965/66.
Longmuir, James
The section title '8 Conclusion' appears in white on black mountboard. The next piece of mountboard is cream with two windows cut into it. The first window contains handwritten text discussing the conclusions the artist has come to in relation to design, based on her study of insects. The second window contains a drawing of a grasshopper in profile and a forward facing shot of its head. The final two pieces of cream mountboard frame detailed drawings of winged insects.
Thomson, Mary Fiona
'Continuous Structures' boards
The section title '6 Continuous Structures' is appears in white on black mountboard. The second sheet of mountboard is cream with two windows cut into it. Within one is handwritten text discussing the adaptability of insects. In the second window is a drawing of an insect (possibly a mantis) drawn from different angles. A third piece of cream mountboard frames two drawings of an insect (possibly a dragonfly), drawn from different angles.
Thomson, Mary Fiona
The section title '2 Basic Structure' appears in white on black mountboard. A second piece of mountboard is cream with two windows cut into it. Within one is handwritten text detailing the basic structure of insects. In the second window is a fine black ink drawing showing an insect from six different angles. The third piece of mountboard is cream and consists of two frames, each containing drawings of a winged insect (possibly a beetle) from different angles.
Thomson, Mary Fiona
'Adaptability and Variety of Forms' boards
The title '7 Adaptability and Variety of Forms' appears in white on black mountboard. The second piece of mountboard is cream with three windows cut into it. Within one is handwritten text discussing the adaptability of insects, particularly referring to the mouth and legs. In the second window is a drawing of multiple insect legs, drawn from different angles. The last window shows the profile of an insect, possibly a grasshopper or cricket.
Thomson, Mary Fiona
The section title '5 Movement' appears in white on black mountboard. The second sheet of mountboard is cream with three windows cut into it. Within one is handwritten relating to movement, especially in relation to flight. The second window shows pencil drawings of a beetle from below, and the third, a winged insect (possibly a grasshopper).
Thomson, Mary Fiona
The section title '4 Material' appears in white on black mountboard. The second piece of mountboard is cream with three windows cut into it. Within one window is handwritten text relating to chitin and the exocuticle of insects. The second window shows sketches/paintings of a hoverfly or wasp from multiple angles, and the third shows multiple butterfly wings.
Thomson, Mary Fiona
'Framework/Articulation' boards
The section title '3 Framework/Articulation' appears in white on black mountboard. A second piece of mountboard is cream with three windows cut into it. Within one is handwritten text detailing the structured framework which insects possess instead of a skeleton. In the second and third windows are watercolours showing two different insects from different angles.
Thomson, Mary Fiona
The section title '1 Form and Function' appears in white on black mountboard. The second piece of mountboard is cream with two windows cut into it. Both contain writing on the organisation, order, form and function of insects.
Thomson, Mary Fiona
Illuminated manuscript documenting the opening of the first stage of GSA, 20 Dec 1899.
Macbeth, Ann
Illuminated manuscript documenting the opening of the second stage of GSA, 15 December 1909.
Andrews, Edith Lovell