Qho Is the Main Architect Glassell School of Art
Charles Rennie Mackintosh won a competition to design the Glasgow School of Fine art, his first commission and most important building. Sited at the edge of a steeply sloping south facing colina, the building, an fine art schoolhouse, stretches along an entire block, facing a major street to the north.
The building has an eclectic unity with influences from Scottish baronial architecture (volumetric masses of heavy masonry), art nouveau motifs (floral and geometric motifs in the iron work, tiles, details) and modern materials and techniques (large, industrial, braced windows).
The building plan is a long "E" with corridors forth the spine which link large art studios along the street side and smaller coincident rooms and offices on the back side. At the east and west ends are larger rooms, virtually significantly the two story library on the w. The entrance is located slightly off the center, up steps from the street and leads to a toplit museum in the back.
The building massing and facades reflect its context richly. The due north side, facing the major street, presents a simple, horizontal rectangular mass with big, industrial windows which light the studios, alternating with masonry piers. This facade is ready behind a stone and iron railing, interrupted at the middle with an art nouveau atomic number 26 arch under which steps atomic number 82 up to the asymmetric limerick of the entrance. In contrast the due east and west facades are narrow, towerlike masonry walls above the steeply sloping streets, into which modest paned metal windows recall Scottish august architecture. From the southward on the dorsum side, the three arms of the "Eastward" are conspicuously revealed, and the masses make a varied assemblage rising higher up the cityscape of roofs beneath information technology. The museum skylight and the "hen run", a glazed gallery connecting fourth floor studios are just ii elements of the lively composition of the stuccoed walls.
The interiors were designed with equal emphasis in collaboration with Margaret Macdonald. Art nouveau floral and geometric motifs bring calibration and colour to the rooms in details of mantlepieces, lighting fixtures, carpets, piece of furniture, and crockery.
The library was redesigned and built after in 1906, a two story volume with a mezzanine overlooking the outset flooring. A darkly finished wood construction supports the mezzanine and ceiling. The pendant light fixtures, drinking glass volume cases, carved balusters, chairs and work tables are all designed with fine art nouveau motifs, polychrome paint and metal details.
— JY
"Mackintosh's firm belief that 'structure should be decorated, and non decoration constructed,' in other words that 'the salient and most requisite features should be selected for ornament', he applied with great rhythm and inventiveness, especially in those projects, such as the Glasgow School of Art and Scotland Street School, where budgets were severely limited."
Barbara Bernard, "Introduction" in Jackie Cooper, ed. Mackintosh Architecture, the Complete Buildings and Selected Projects. New York: Rizzoli Press, 1980, pp. 11-12.
This project was the event of a limited competition between eight, later on twelve, Glasgow architects. Won by the partnership of Honeyman and Keppie, a prominent house where Mackintosh was a young assistant, this relatively pocket-sized and demanding project was entrusted to him despite his lowly status. A major figure in the contest judging was Francis Newberry, a old professor of and standing friend of Mackintosh.
—Darlene Levy. drawn from Robert Macleod. Charles Rennie Mackintosh. p46-47.
"Mackintosh's Schoolhouse of Art, in answer to the Governor's request for a plain building, is an ascetic statement, a bold breakaway from the traditional methods of architectural adornment. Built of masonry and brickwork, information technology occupies a difficult, narrow sloping site. Mackintosh used wrought iron to form structural decorative features, and meticulously detailed every interior and exterior attribute of the building. The asymmetric facades of the four main elevations are each distinctive, while the lofty spaces and excellent lighting of the interior are carefully and most successfully designed.
In 1897 Mackintosh revised his design for the second phase of the building, which includes the famous library. His practice of making design alterations while structure proceeded was consistent with his view that drawings indicated an intentional design framework, and were non final or immutable."
—Jackie Cooper, Mackintosh Compages: The Consummate Buildings and Selected Projects, p20.
The Creator's Words
"The artist may have a very rich psychic organization—an easy grasp and a clear centre for essentials - a great variety of aptitudes—merely that which characterises him higher up all else—and determines his vocation—is the exceptional evolution of the imaginative faculties— peculiarly the imagination that creates—not only the imagination that represents. The power which the artist possesses of representing objects to himself explains the hallucinating character of his work—the verse which pervades them—and their tendency towards symbolism—but the creative imagination is far more than important. The creative person cannot achieve to mastery in his art unless he is endowed in the highest degree with the faculty of invention."
—Charles Rennie Mackintosh. drawn from Robert Macleod, Charles Rennie Mackintosh. p97.
Sources on Glasgow School of Art
Donald Corner and Jenny Immature. Slide from photographer'south collection. PCD.2260.1012.1834.033. PCD.2260.1012.1834.026
Mackintosh Compages: The Consummate Buildings and Selected Projects. Jackie Cooper, ed. New York: Academy Editions, Rizzoli International Publications, 1980. ISBN 0-8478-0330-9. LC 80-51133. NA 997-M3 A4 1980. p20.
Howard Davis. Slide from photographer's collection. PCD.2260.1012.1536.018. PCD.2260.1012.1536.019
Sir Banister Fletcher's A History of Architecture. Sir Banister Fletcher. 18th ed., revised by J.C. Palmes. New York: Charles Scribner's Sons, 1975. ISBN 684-14207-4. NA200.F63. Discussion, p1171. photos, p1170. — The archetype text of architectural history. Expanded 1996 edition bachelor at Amazon.com
Glasgow Schoolhouse of Art : Charles Rennie Mackintosh. James Macaulay. London: Phaidon Printing, 1993. ISBN 0-7148-2778-9.
Charles Rennie Mackintosh. Robert Macleod. Middlesex, England: Country Life Books, The Hamlyn Publishing Group, 1968. NA 997-M3 M3. p46, 47.
Kevin Matthews. The Great Buildings Collection on CD-ROM. Artifice, 2001. ISBN 0-9667098-4-v.— Available at Amazon.com
Loading...
Source: http://www.greatbuildings.com/buildings/glasgow_school_of_art.html
0 Response to "Qho Is the Main Architect Glassell School of Art"
Post a Comment