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Over £600k awarded by AHRC to GSA–led Antimicrobial Resistance research projects

July 13, 2017, 5:04 am
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  • Architecture, design and 3D visualisation/virtual reality expertise at the GSA will partner with interdisciplinary expertise from across the UK to deliver ground-breaking research to help prevent the spread of AMR
  • Partners include microbiologists, medics, bacteriologists and other practitioners including the practice of Channel 4’s “Supervet” (Fitzpatrick Referrals Ltd).
  • A total of £2M was awarded by the AHRC to 11 projects, almost one third of which was allocated to three GSA-led projects



Antimicrobial Resistance (AMR) projects led by architecture and design researchers at The Glasgow School of Art have attracted over £600k of funding from the Arts and Humanities Research Council (AHRC) it was announced today, 13 July 2017. The funding was allocated for projects using an interdisciplinary approach to address one of the greatest problems facing the world today. The GSA has been successful in attracting support for three different £250,000 research projects, more than any other institution in this round of funding. The projects will see the GSA partnering with colleagues in leading Higher Education institutions from across the UK and with other specialists including Fitzpatrick Referrals Ltd, the ground-breaking practice of Noel Fitzpatrick, Channel 4’s “Supervet”. 

“Antimicrobial resistance (AMR), especially resistance to antibiotics, is a growing global problem. We are facing a rise in the number of bacteria becoming resistant to existing antibiotics without an increase in new antibiotics or new treatments. It is clear that an interdisciplinary approach is needed to tackle these challenges and make a step change in addressing antimicrobial resistance.”
Arts and Humanities Research Council


A total of £2M was awarded to 11 projects. The three successful GSA-led projects are:

  • Relationship between ventilation and AMR in homes: a project to investigate how contemporary housing design affects indoor microbes and what the effects of this might be on anti-microbial resistance. It will be led by experts at the GSA’s Mackintosh Environmental Research Unit (MEARU) in partnership with microbiologists in the department of Civil Engineering at the University of Leeds. The project comes out of the AHRC supported HEMAC (Health Effects of Modern Airtight Construction) research. Principal Investigator is Professor Tim Sharpe of MEARU.
  • RIPEN In the first study of its kind, RIPEN will use a mix of design, visualisation and other approaches to explore how nurses understand and respond to the priorities and consequences of AMR. Expertise inhealthcare design from the GSA will partner with expertise in nursing, history, health services research and service design from King’s College London, Glasgow Caledonian University, University of the Arts London and Imperial College London. The project comes out of the AHRC supported HAIVAIRN (Healthcare Associated Infection Visualisation and Ideation Research Network) research. Principal Investigator is Dr Colin MacDuff from the School of Design at the GSA
  • AMRSim: A Microbial Reality Simulator: helping to visualise bacteria to ensure effective infection prevention and control (IPC) in small animal veterinary practices. The research will see experts in design for health & care, spatial design, and virtual reality and 3D programming from the GSA partnering with leading veterinary bacteriology and pathology, and environmental psychology experts from the University of Surrey, together with Fitzpatrick Referrals Ltd, the ground-breaking practice of Noel Fitzpatrick. The project arose from research previously undertaken under the AHRC funded visionOn project. Principal Investigator is Professor Alastair Macdonald from the School of Design at the GSA.

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“The application of design is helping to devise innovative solutions to many issues facing contemporary society,” says Professor Tom Inns, Director of The Glasgow School of Art. “One of the most important challenges is increasing antimicrobial resistance where our experts in environmental research and design in age, health and care have already undertaken ground-breaking projects working with a wide range of interdisciplinary partners.”

 “These AHRC AMR grants will now enable teams of experts led by researchers at the GSA to co-design responses to three key challenges - build up of microbes in new housing, spread of AMR in hospitals and community health, increase of Antimicrobial-resistant bacteria in small animal veterinary practice – and to make real and tangible difference to people’s lives.”


Relationship between ventilation and AMR in homes


The relationship between ventilation and AMR in homes research, which will be led by the experts from the GSA’s Mackintosh Environmental Research Unit (MEARU), will build on MEARU’s earlier work communicating the importance of proper ventilation to residents of new build housing (undertaken in partnership with Hanover Housing Association) in order to help minimise build-up of bacteria.

In the early 19th century, the way that houses were designed led to considerable improvements in public health, largely as a result of improvements in sanitation, but also access to fresh air and sunlight. In recent years however, commercial interests and building legislation have largely dictated design issues. During this time the ways that buildings have been designed and constructed has changed significantly, mainly as a response to issues of climate change.

Improved thermal performance and increasing airtightness has been able to isolate the building from the external environment, which will have benefits in terms of reduced CO2emissions, lower running costs and better comfort. However, it is becoming increasingly clear that levels of ventilation, and consequent standards of indoor air quality (IAQ) are reducing and there is emerging evidence that this might have negative health impacts.

People – especially vulnerable groups such as the old and very young - spend a great deal of time in the home, and so any change to the indoor biome may significantly affect occupants’ health. This study aims to close this gap in knowledge by undertaking an assessment of contemporary housing to determine the ventilation characteristics and related this to the presence and nature of microorganisms in the home, with the specific aim of identifying factors that would impact on the presence and proliferation of anti-microbial resistant microorganisms.

It anticipated that this could lead to change in the way that we design buildings, in particular ventilation provision, and the project will aim to address this through a programme of academic, industry and public dissemination.


RIPEN

RIPEN (Re-envisaging Infection Practice Ecologies in Nursing) builds on visualisation of pathogens work undertaken by the GSA in partnership which Robert Gordon University, NHS Grampian, NHS Lanarkshire and GAMA Healthcare Ltd

Antimicrobial resistance (AMR) and its consequences pose serious threats to health and welfare globally. Across the world nurses constitute the largest professional healthcare workforce and typically nurses have numerous daily interactions with healthy and ill individuals, family members, community groups and other care professionals. As yet, however, the profession has not leveraged its full potential to prevent AMR advancing or to countenance the consequences of failure.

The RIPEN study seeks to address the question: How can relevant arts and humanities approaches help nurses to re-envisage their infection control practice ecologies in response to antimicrobial resistance?

In doing so it will investigate four subsidiary questions:

How do groups of hospital and community based nurses understand and respond to the priorities and consequences of AMR within the context of their everyday working lives?

How can co-design and visualisation based approaches help these nurses to identify and construct sets of meaningful practices that optimise present prevention of AMR?

How can co-design, visualisation, history and other relevant arts and humanities approaches help nurses to re-imagine and re-envisage their infection control practice 
ecologies in a future with minimal or no effective antibiotics?

What priority issues and other questions does this initial enquiry raise, and how can these best inform policy and planning, education and further research?



AMRSim: A Microbial Reality Simulator

AMRSim: A Microbial Reality Simulator will take the work already undertaken by GSA led projects in the area of visualising the spread of human pathogens into the area of small animal veterinary practice. The research sees experts in design for health and care, spatial design, 3D programming and virtual reality from the GSA partnering leading veterinary bacteriology and pathology and environmental psychology experts from the University of Surrey, and Fitzpatrick Referrals Ltd, the ground-breaking practice of Noel Fitzpatrick

Antimicrobial-resistant bacteria are an established and growing issue in small animal veterinary practice in the developed world. Effective infection prevention and control (IPC) is essential for tackling the AMR problem. The uptake of appropriate IPC is heavily influenced by human risk perception and consequent behaviour and the way humans and animals interact with the physical environment of the vet practice.

The problem is, people can’t see the bacteria on themselves, on animals, or on the surfaces and objects they touch. This makes it difficult to prevent and control infection in the most effective manner, as habits and standard practice are hard to change if you don’t know what you are dealing with. While data exist to inform best practise in infection control, they are usually published in academic journals, thus having limited impact on how practitioners understand and practise IPC in their working environment.
Effective communication and teaching tools are therefore necessary to ensure individuals’ understanding and behaviours are in line with scientific recommendations.

Our previous work in the human health environment has shown the power of ‘making the invisible, visible' by simulating infection control on a hospital ward using a visual simulator. We shall build on this experience with a new, multidisciplinary team with expertise in digital design, spatial design, co-design, environmental psychology, veterinary practice, and microbiology.

Using a co-design process, we shall build a dynamic interactive virtual model (AMRSim - A Microbial Reality Simulator) of the vet practice that takes human, animal and microbial data from the real world, and makes them ‘come alive’ in a visual way. Importantly, the model will allow the normally invisible bacteria to be ‘seen’ as they multiply and spread through the indoor environment on people, animals and surfaces.
Actual video footage will be used of the movements of humans and animals within a busy vet practice and the procedures undertaken, including those intended to reduce infection. The bacteria within the simulation will be introduced according to what is known of bacterial infection (types, location, antibiotic resistance) within vet practices from data already available.

By 'seeing' the interactions of animals, humans, and bacteria within space and time it will be possible to improve efforts to prevent bacteria entering and spreading through the physical environment, and improve their removal when they do.

It is our intention that the experience we gain in developing and using AMRSim will be applied more widely, such as for teaching students and to simulate other indoor environments where biosecurity is paramount.

Dr Colin MacDuff from the GSA will also be part of the team working on the “Lifting the Lid on Bacteria” project led by Dr Catherine Stones at the University of Leeds which seeks to design ambient communications to improve hygiene in primary school toilets,

Ends

For further information on the GSA contact
Lesley Booth
0779 941 4474
press@gsa.ac.uk
@GSofAMedia

For further information on the AHRC contact:
Natasha Stanton
Tel: 01793 41 6021
N.Stanton@ahrc.ac.uk

Notes for Editors

The Arts and Humanities Research Council
The Arts and Humanities Research Council funds world-class, independent researchers in a wide range of subjects: history, archaeology, digital content, philosophy, languages, design, heritage, area studies, the creative and performing arts, and much more. This financial year the AHRC will spend approximately £98 million to fund research and postgraduate training in collaboration with a number of partners. The quality and range of research supported by this investment of public funds not only provides social and cultural benefits and contributes to the economic success of the UK but also to the culture and welfare of societies around the globe. You can find out more information via www.ahrc.ac.uk or following us on Twitter at @ahrcpress, on Facebook at Arts and Humanities Research Council, or Instagram at @ahrcpress

The expert teams who will deliver the research projects are:

The relationship between ventilation and AMR in homes
  • Principal Investigator: Professor Tim Sharpe The Glasgow School of Art Mackintosh School of Architecture Environmental Research Unit
  • Co-Investigator: Dr Gráinne McGill The Glasgow School of Art Mackintosh School of Architecture Environmental Research Unit
  • Co-Investigator: Professor Catherine Noakes, University of Leeds, Dept. of CivilEngineering          
  • Co-Investigator: Dr Louise Fletcher University of Leeds, Dept. of Civil Engineering



RIPEN
  • Principal Investigator: Dr Colin MacDuff, The Glasgow School of Art, School of Design
  • Co-Investigator: Professor Anne Marie Rafferty, King's College London, Florence Nightingale School of Nursing and Midwifery
  • Co-Investigator: Dr Alison Prendiville, University of the Arts London, London College of Communication
  • Co-Investigator: Professor Kay Currie, Glasgow Caledonian University, School of Health and Life Sciences
  • Co-Investigator: Dr Enrique Castro- Sánchez, Imperial College London, Dept. of Medicine
  • Co-Investigator: Dr Caroline King, Glasgow Caledonian University, School of Health and Life Sciences
  • Co-Investigator: Dr Sarah Rhodes, University of the Arts London, Central Saint Martin's College 
  • Co-Investigator: Professor Rick Iedema, Centre for Team-based Practice & learning in Health Care, Faculty of Life Sciences and Medicine, King’s College London.


AMRSim: A Microbial Reality Simulator
  • Principal Investigator: Professor Alastair Macdonald, The Glasgow School of Art, School of Design
  • Co-Investigator: Dr Matthieu Poyade The Glasgow School of Art, School of Simulation and Visualisation
  • Co-Investigator: Dr Filbert Musau, The Glasgow School of Art, Mackintosh School of Architecture
  • Co-Investigator: Professor Mark Chambers , University of Surrey , Veterinary Medicine & Science
  • Co-Investigator: Dr Kayleigh Wyles , University of Surrey , Psychology
  • Co-Investigator: Professor Roberto La Ragione , University of Surrey , Veterinary Medicine & Science
  • Fitzpatrick Referrals Ltd.



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Major exchange exhibition between the GSA and Luxon Academy of Fine Art announced as the GSA releases August – October 2017 programme

July 24, 2017, 12:30 am
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  •        Against Landscape (runs until 23 August)
  •        Graduate Degree Show (2 - 8 September) 
  •        Pioneers of Post-War Pattern (15 September – 8 October)
  •        East and West Walk Forward (23 September – 29 October)


A major exhibition of work by staff at the Luxon Academy of Fine Arts (LAFA)will form a centrepiece of the GSA’s forthcoming programme it was announced today (insert date). The first part of an exchange which will see Glasgow School of Art staff showing work in China next year, East and West Walk Forward will feature work by 35 leading artists who also teach at the GSA’s partner institute in China.

“The GSA has been working in partnership with LAFA for the last four years and we are delighted to be able to offer this showcase of work by our colleagues in China,” says Professor Alistair Payne, Head of the School of Fine Art at The Glasgow School of Art. “This is an important exhibition, not only in the context of the relationship between the two institutions, but also as an exhibition in its own right, showcasing some of the most eminent artists practicing in China today.”

Works by Patrick Caulfield and Daniel Sturgis on show in Against Landscape
The current show, Against Landscape, which continues in The Reid Gallery until 23 August, takes a fresh look at Landscape Painting, siting new works by artists including Daniel Sturgis, who has also curated the show, and Lisa Milroy within the context of pieces by leading artists of the last 60 years including Patrick Caulfield, Sean Scully and Eva Rothschild.

Work by Master of Fashion Design student,  Pietro Bontempi,
Against Landscape is followed Graduate Degree Show 2017 (2 – 8 September). The annual showcase for postgraduate work, Graduate Degree Show will once again see students from the School of Fine Art exhibiting work in the Tontine Building. Meanwhile, students from the Mackintosh School of Architecture, the School of Design and the School of Simulation and Visualisation will show work in the Reid Building. The annual MDes Fashion Promenades will be held in the Assembly Hall on the evening of 1 September as part of Graduate Degree Show.

Image: Design for repeat patterns, Dorothy Smith, c. 1940-44

Opening in the Reid Corridor on 15 September is a showcase of new products created by the GSA’s Centre for Advanced Textiles which have been inspired by the work of mid-20th century female designers who are represented in the GSA’s Archives and Collections. Featured designers include Silvia Chalmers, Dorothy Smith and Margaret Stewart. This will be the first time that some of the designs have been created as textiles. Alongside the products will be documentation from the GSA’s rich Archives and Collections, including a work by Lucienne Day, the centenary of whose birth is being marked this year.

East and West Walk Forward will open in the Reid Gallery on 23 September and run through to 29 October. Among the works showcased in the exhibition are pieces by the leading Chinese artists Li Xiangqun (President of LAFA), a renowned sculptor who has shown work across the world including in the historic Forbidden City (Beijing), and painter Yigang Wang (a Professor at LAFA), whose work has been seen in many major exhibitions including a collateral event at the 55th Venice Art Biennale.

Glasgow School of Art Exhibitions are open Monday – Sunday, 10am – 4.30pm. Entry free

Ends

For further information, images and interviews contact:
Lesley Booth
07799414474
press@gsa.ac.uk
@GSofAMedia

Listings


Until 23 August 2017
Reid Gallery, Reid Building, 164 Renfrew Street, Glasgow, G3 6RF
Against Landscape
Taking a fresh look at Landscape Painting the exhibition sites new works by artists including Daniel Sturgis, who has also curated the show, and Lisa Milroy within the context of pieces by leading artists of the last 60 years including Patrick Caulfield, Sean Scully and Eva Rothschild.
Open daily 10am – 4.30pm. Entry free


1 September 2017
The Assembly Hall, The Art School, 20 Scott Street, Glasgow, G3 6PE
MDes Fashion Promenades
The current cohort of Masters of Fashion Design will each present four looks in a series of Promenades.

Times and Ticket information to be released in August 2017



2 – 8 September
Tontine Building, 20 Trongate, Glasgow, G1 5ES
Reid Gallery, Reid Building, 164 Renfrew Street, Glasgow, G3 6RF
Graduate Degree Show 2017
Graduate Degree Show isthe annual showcase for the full range of graduate work undertaken at the GSA. It will feature work by graduating students across a wide variety of disciplines in the Schools of Architecture, Design, Fine art and Simulation and Visualisation.
Open daily 10am – 4.30pm. Entry free


15 September – 8 October
Reid Gallery, Reid Building, 164 Renfrew Street, Glasgow, G3 6RF
Pioneers of Post-War Pattern
A showcase of new products created by the GSA’s Centre for Advanced Textiles inspired by the work of mid-20thcentury female designers who are represented in the GSA’s Archives and Collections including . Silvia Chalmers, Dorothy Smith and Margaret Stewart. Also in the show will be work by Lucienne Day
Open daily 10am – 4.30pm. Entry free


23 September – 29 October
Reid Gallery, Reid Building, 164 Renfrew Street, Glasgow, G3 6RF
East and West Walk Forward
A major exchange exhibition of work by 35 artists who also teach at the GSA’s partner institute in China, the Luxun Academy of Fine Arts (LAFA). Among the featured works are piece by some of China’s leading artists including LI Xiangqun (President of LAFA) and Yigang Wang.
Open daily 10am – 4.30pm. Entry free


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Fulbright exchange students head to Altyre as part of Highlands visit

August 1, 2017, 7:14 am
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The students will visit historic sites as well as learning more about ground-breaking research being led at the GSA's Highlands and Islands campus

The Glasgow School of Art’s Highlands and Islands campus is based in historic buildings
 on the Altyre estate just outside Forres.

Ten undergraduates from the USA are to make a journey of discovery to the Highlands, as part of a prestigious exchange programme it was announced today.

The students are visiting Scotland through the Fulbright-Scotland Summer Institute, an innovative partnership between the University of Strathclyde and The Glasgow School of Art (the GSA) and the US-UK Fulbright Commission with input into the programme from industry, civic and creative partners across Glasgow and Scotland. 

The three-week visit features lectures and tours which are offering an insight into the nation’s culture and creative identity.

The four-day trip to the Highlands, from 3-6 August, will include a tour of the site of the 1746 Battle of Culloden, an exploration of the Findhorn eco-village and a visit to the GSA’s Highlands and Islands campus at Altyre which is a leading centre of design innovation.

The students will take part in seminars at Altyre on key design innovation projects being lead by the GSA’s Innovation School – one on digital health in rural communities and the other on Water and Textile interdependency in the Circular Economy, which promotes a sustainable approach for businesses to their use of materials and energy.

“The Glasgow School of Art is a renowned centre of creativity,” says Shona Paul, Head of Professional and Continuing Education at the GSA. “We are delighted to have this opportunity to share our expertise in this area through the Fulbright-Scotland Summer Institute.”

“Our campus in the Highlands and Islands is in the forefront of design innovation and is making major contributions to the economy not just locally in the Highlands and Islands, but globally. We hope that as well as enjoying the history and spectacular scenery of the Highlands during their visit the Fulbright scholars will be inspired by the ground-breaking research which is being undertaken in the region by the GSA.”

Dr John Young, Senior Lecturer in History at Strathclyde and an Institute organiser, said: “As an international university, Strathclyde places great value on exchanges of ideas and experience between nations. The Fulbright-Scotland Summer Institute is an ideal forum for achieving this and for building on the already strong ties between Scotland and the US.



“The Scottish Highlands are a region rich in history and culture, as well as some of the most extraordinary natural environments to be found anywhere in the world. With our partners at The Glasgow School of Art, we have offered the Fulbright students a taste of Glasgow and Edinburgh – we look forward to giving them the same opportunity in the Highlands.”

The Fulbright Program is the flagship educational and cultural exchange programme of the US Department of State which promotes mutual understanding between the people of the USA and more than 150 countries. 

ENDS  

Further information on Strathclyde University:
Media and Corporate Communications
University of Strathclyde
T: + 44 (0) 141 548 2370
E: corporatecomms@strath.ac.uk 

For further information on The Glasgow School of Art contact:
Lesley Booth
07799414474
press@gsa.ac.uk


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Historic Massachusetts Cotton Mill helps restore one of the world’s most iconic buildings

August 3, 2017, 6:16 am
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Image: the historic Massachusetts Cotton Mills complex (now converted into apartments).
Yellow Pine beams salvaged during its conversion are now being used to restore the Mackintosh Building

A former Cotton Mill in Lowell, Massachusetts has come to the aid of one of the world’s most iconic buildings it was revealed today, 3 August 2017. The celebrated Mackintosh Building at The Glasgow School of Art (affectionately known as “the Mack”) suffered a major fire three years ago, and whilst the majority of the building was saved the famous library and Japanese-inspired Studio 58 above it were lost.

In 2016 a section of The Picker Building, one of the last structures built as part of the historic Massachusetts Cotton Mills complex, was being demolished (as part of the programme to convert the building into affordable residential apartments). High-quality southern yellow pine timber was carefully reclaimed from the building by Cambridge MA based Longleaf Lumber. Meanwhile, in Glasgow the Mackintosh Building restoration team was searching for just such high quality timber to replace the upright columns in the famous Japanese-inspired Studio 58.




          
The historic Picker Building, one of the last structures built as part of the historic
Massachusetts Cotton Mills complex, under part demolition in 2016

“Studio 58 is one of the very special spaces in the Mackintosh Building,” says Liz Davidson, Senior Project Manager for the Mackintosh Restoration. ”We know that Mackintosh was heavily influenced by Japanese design and in Studio 58 this was seen particularly clearly,”


Image: Studio 58 of the Mackintosh Building showing how the fire affected the American yellow pine uprights

“The original wooden uprights had been made out of American yellow pine which we knew had come from Massachusetts. So when our contractor, Kier Construction, began the search for replacement timber they immediately looked into possible sources in the area where the original timber had come from at the turn of the 20th century.”

“We were delighted to discover that not only did Long Leaflumber have the quality yellow pine in the size that we needed, but that the wood had come from a building which had been constructed at the same time as the Mack,” she adds.

“Longleaf Lumberare truly excited and humbled to be part of such a tremendous restoration project,” a spokesperson said. “It is fitting that these beams, cut from the grand longleaf pine forests and originally milled for a factory in the birthplace of the American Industrial Revolution, have been reclaimed and repurposed in a restoration effort that pays homage to an architectural master who was influenced both by nature and the industrial changes of his time.”

Eight 13-1/2 inch x 15-1/2 inch x 23 foot beams were loaded into a shipping container in late 2016 for the trip across the Atlantic and arrived in Scotland at the beginning of this year. After testing and shaping the wood was ready for the final part of its journey from Cotton Mill to Artists studio.


Salvaged yellow pine from Lowell Cotton Mills being shaped in the workshop in Scotland

Four massive replacement uprights were finally craned into the Mackintosh Building and manoeuvred into place in a delicate and complex operation. This landmark day cemented the relationship between Glasgow and Massachusetts which had begun over a century ago at the time when both the Picker Building and the Mackintosh Building were constructed.

One of the four massive yellow pine uprights is craned up to the roof of the Mackintosh Building

   


The upright is slowly lowered through the temporary roof




The massive yellow pine upright is guided into place by walkie talkie communication with the crane driver, careful measurement taken to ensure it is in exactly the right place and precisely placed in studio 58

The restoration of the fire damaged west wing of the Mackintosh Building and simultaneous upgrading of the east wing are part of a major £80m development of the GSA’s Garnethill campus. It also includes the purchase and conversion of the former Stow College building and site. The project will see the Mackintosh Building returning as a home for all first year students, and the Stow Building will bring together all the different specialisms of the School of Fine Art in one building. The project is being supported by the $42M (£32M) Mackintosh Campus Appeal, $23M (£18M) of which has been raised to date. Further details: http://www.gsa.ac.uk/support-gsa/mackintosh-campus-appeal/

Ends

Further press information, interviews and high resolution images of the Mackintosh Building contact 
Lesley Booth, +44 779 941 4474 / press @gsa.ac.uk
Further information on Long Leaf Lumber contact:
Kathy Woodward 617.871.6611 /  kathy@longleaflumber.com

Notes for Editors

Connections between Massachusetts Cotton Mills and Scotland
Research has revealed a connection between Scotland and the Massachusetts Cotton Mills. Founder of the Mills, Francis Cabot Lowell, left on a two-year visit with his family to Scotland and England in June 1810 and it was here that he developed an interest in textiles, especially the spinning and weaving machines, (which were operated by water power or steam power), which he would later put at the heart of his Cotton Mills in Massachusetts.

The Mackintosh Building at The Glasgow School of Art
While the building of The Glasgow School of Art is rightly associated with the innovative work of Charles Rennie Mackintosh during the late 1890s, early 1900s, the origins of the School predate this by some 50 years.

The School was originally founded in January 1845 as Glasgow's Government School of Design. Forty years later in 1885 Francis Newbery became headmaster and under his energetic direction the Glasgow School of Art and Haldane Academy (as it was then known) expanded so considerably that a new larger building was required.

In 1896 an architectural competition took place for the building of a new Glasgow School of Art on a site offered to the School's directors by the Bellahouston trustees. Working to a budget of just £14,000, the Glasgow firm of Honeyman and Keppie submitted a design from the hand of one of their junior draughtsmen, Charles Rennie Mackintosh. Sympathetic to Mackintosh's intentions, the design was praised by Newbery and after being independently assessed by the educational authorities in London, was finally accepted.

It was clear, however, that the funds available were insufficient to complete the building as both Newbery and more importantly as Mackintosh had intended it. Somewhat reluctantly it was decided that work should proceed on the central and eastern half of the building only and that construction of the west wing would be entirely dependent on securing additional funds. Building work commenced in 1897 and by December 1899 the first phase of the School had been completed including the Museum, the Director's Room and Board Room.

It took Newbery and School's Board of Governors a further eight years to secure the financial means to complete Mackintosh's scheme. In the meantime, Mackintosh was invited back by the School to rework his original drawings and a series of alterations and extensions were made including the provision of a new second floor of studios and additional workshops accommodated into a sub-basement floor.

Work started on the second half of the building in 1907 and by December 1909 it had been completed. In total contrast to the earlier austere facades to the south and east, the west wing with its dramatic design and dominating windows heralded the birth of a new style in 20th century European architecture. Internally the most dramatic of interiors was reserved for the Library with its decorated balcony and central cluster of electric lights.

Today the Glasgow School of Art is widely considered to be Mackintosh's Masterwork.
Since completion over 100 years ago, the Mackintosh building at the Glasgow School of Art fulfilled its original purpose as a working art school heart of GSA's campus on Garnethill.


Longleaf Lumber
Longleaf Lumber is New England’s antique and reclaimed lumber company, milling fine reclaimed wood salvaged from historic industrial and agricultural buildings. We produce reclaimed wood flooring, paneling, counter and tabletops, stair treads, resawn beams, mouldings, mantels, and roughsawn lumber. We salvage barn board and hand-hewn beams for commercial and residential applications.


Focused specially on the crafting of reclaimed Heart Pine flooring, our Heart Pine products are meticulously milled in six outstanding grades. Our passion for sawing old growth timber is further applied to reclaimed red and white oak, American chestnut, Pumpkin Pine, maple, hickory, walnut, ash, and every fine hardwood and softwood we carry to our saw sheds.
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American Fulbright students wowed by the GSA’s Highlands and Islands campus

August 9, 2017, 5:01 am
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20-year old Carly McCarthy, a student of Science, Technology and Society at Butler University in Indianapolis, and 19-year old Jacob Easley, a Mechanical Engineering student from Mississippi State University, with the outcome of their design workshop at the GSA's Highlands and Islands campus

 



Ten undergraduates from the US visited Altyre last week to learn more about the cutting edge design research being undertaken at the GSA’s Highlands and Islands campus.

The students took part in special design workshops and learned about key GSA Design Innovation projects: digital health in rural communities and the other on Water and Textile interdependency in the Circular Economy, which promotes a sustainable approach for businesses in their use of materials and energy.

“My experience at the GSA’s Highlands and Islands campus will be one of my most memorable visits during my journey here in Scotland,” says 20 year old Carly McCarthy, a student of Science, Technology and Society at Butler University inIndianapolis.

“When first arriving at GSA’s Highlands and Islands campus I was taken away by the amazingly beautiful location and the architecture and layout of the campus. It is unlike many modern campus’, but I think that this reflects on what takes place there.

“It’s creative layout and design shows that it is not an average classroom that students will be working in; rather, it provides an environment where students are encouraged to expand their creativity into their research,” she adds.

"Going to the Glasgow School of Art's Highlands and Islands campus was an experience I'll never forget,” says 19-year old Jacob Easley, a Mechanical Engineering student from Mississippi State University. “Even during the short time I was there, I was pushed to expand my thinking of what design really is.”

 “Another great thing about this campus is its proximity to some of the most beautiful scenery in all of Scotland. It's only a short bus ride away from the beach where you could simply watch the waves and ponder on the ideas in your head and then easily go back to campus to bring those ideas to life.”

 “Our campus in Altrye is at the forefront of Design Innovation and is making major contributions to the economy not just locally in the Highlands and Islands, but globally,” says Shona Paul, Head of Continuing and Professional Education at the GSA. “We were pleased to have the chance to bring the students to Altyre and delighted that they were inspired by the ground-breaking research which is being undertaken here by the GSA.”

The Fulbright Program is the flagship educational and cultural exchange programme of the US Department of State which promotes mutual understanding between the people of the USA and more than 150 countries. 

The students are visiting Scotland through the renowned Fulbright-Scotland Summer Institute, an innovative partnership between the University of Strathclyde and The Glasgow School of Art (the GSA) and the US-UK Fulbright Commission with input into the programme from industry, civic and creative partners across Glasgow and Scotland. 

ENDS  

For further information contact:
Lesley Booth
07799414474
press@gsa.ac.uk
@GSofAMedia



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Exhibition in Caledonia Road Church ruins among MLitt Curatorial Practice projects to be staged this month

August 10, 2017, 3:53 am
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  • 11 August: Artists’ Cookbook, curated by Rudy Kanhye. Launch with recipes from the book prepared and served.
  • 11-20 August: studio : WORKS, curated by Athena-Isabelle Gerakis, presents work in the three featured artists’ studios
  • 18 – 21 August: Things as they are/as they ought to be, curated by Fiona Allen, will be staged in the ruin of Alexander ‘Greek’ Thomson’s first church
  • 18 – 27 August: I See Doors of Opportunity Where There Are No Doors, curated by Giulia Colletti, Falte Projects, features new and existing work by David Sherry

An exhibition staged in the ruins of Alexander 'Greek' Thomson’s Caledonia Road Church is among projects by students on the MLitt Curatorial Practice programme to be staged this month it was announced today, 10 August 2017.

Curator Fiona Allen has worked with artists Olivia Jones and Alberta Whittle who have created new pieces in media spanning sculpture, film and textiles for the exhibition titled, Things as they are/as they ought to be. It will be staged in the ruins of Alexander 'Greek”' Thomson’s first church from 18 – 21 August. The building’s context and style have acted
 as catalysts for the exhibition.

Also opening on 18 August is I See Doors of Opportunity Where There Are No Doors, a showcase of new and existing work by artist David Sherry. Curated by Giulia Colletti, Falte Projects with support from Patricia Fleming Projects, the exhibition takes as its starting point the pressure to perform in the information age, the contradictions defining success, and the disruptive effect of nonsense humour. It will be presented as part of Civic Room Open.

Tomorrow Rudy Kanhye will launch his Artists’ Cookbook. In an early evening event at the CCA on 11 August the curator will unveil a book that explores the cultural contexts and rituals surrounding cooking and eating. The book focuses on cooking and eating as a cornerstone of communal relations and this is explored through the artist contributions. They reflect upon the unusual forms meals can take and their ability to produce ritual in everyday life.  Contributions have been gathered by from a network of friends and colleagues including Mathieu Arbez, Frida Froberg, Ryan Gander, Leo Jasperd Plomb and Elodie Merland. The book also includes an interview with Adam Sutherland, Director Grizedale Artsm and an introduction by Miranda Vane, artist and food historian. At the launch event artist and cook, Claire Dearnley, will prepare and serve recipes from Artists’ Cookbook.

Meanwhile between 11 and 20 August Athena-Isabelle Gerakis presents studio : WORKS – three opportunities to visit artists studios to see newly commissioned artworks. The project highlights how each individual studio influences varied ways of
art production and thus illustrates differences in creative response. studio : WORKS shows the importance of studio context to an artwork’s production, uniting studio practice with public presentation.

Full information on venues and opening times in Notes for Editors.

These projects will also be showcased alongside work by a further 10 Curatorial Practice students in the GSA’s Graduate Degree Show from 2 – 8 September.

http://www.gsa.ac.uk/life/gsa-events/events/g/graduate-degree-show-2017/?source=future


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For further information contact
Lesley Booth
0779 941 4474
press@gsa.ac.uk
@GSofAMedia

Notes for Editors

MLitt in Curatorial Practice
The MLitt Curatorial Practice (Contemporary Art) course, established in 2014, is a 12-month programme run jointly by The Glasgow School Art and The University of Glasgow. It is embedded within the city of Glasgow, drawing on the community of artists, gallery professionals, institutions and international connections the city affords. Taught by dedicated staff and guest faculty, the programme strikes a balance between discourse and practice.

11 August 2017 from 5.30pm – 8pm
Clubroom
350 Sauchiehall Street
Glasgow
G2 3JD

Rudy Kanhye’s Artists’ Cookbook launch
Artist and cook, Claire Dearnley, will prepare and serve recipes from Artists’ Cookbook
Free, tickets at www.cca-glasgow.com


studio : WORKSCurated by Athena-Isabelle Gerakis
Three opportunities to visit artists studios to see newly commissioned artworks that show how each individual studio influences varied ways of
art production.

11 - 12 August
11am-5pm
The Glasgow School of Art JD Kelly Building 121 Hill St
G3 6TY

Sabe Lewellyn
Free, tickets through Eventbrite

16 - 17 August
11am-5pm
The Pipe Factory
42 Bain St G40 2LA
Simon Weins open studio

19 - 20 August,
11am-5pm
1/1 57 West Graham St
G4 9LJ
Dougie Blane open studio


18 - 21 August
10am - 4pm daily
Caledonia Road Church 1 Caledonia Road Glasgow
G5 0SJ
Things as they are/as they ought to be

An exhibition of work by Olivia Jones, Alberta Whittle, curated by Fiona Allan, which responds to the context and style of Alexander “Greek” Thomson’s first church.


18 - 27 August

12 - 6pm Fridays – Sundays only
Civic Room 215 High Street Glasgow
G1 1QB
I See Doors of Opportunity Where There Are No Doors
An exhibition of new and existing work by David Sherry curated by Giulia Colletti, Falte Projects.
Exhibition supported by Patricia Fleming Projects.




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The GSA announces Mackintosh walks, talks and tours for the 2017 Doors Open Days festival

August 14, 2017, 3:31 am
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Booking for all the events opens at 10am on Wednesday 23 August.

The Glasgow School of Art has announced a programme of walks, talks and tours for this year’s Doors Open Days festival today, 14 August 2017.

Over the weekend of 16-17 September the GSA will run 20 of its popular Mackintosh at the GSAtours (with 20 free places on each tour) as well as two of its Mackintosh's Glasgow Walking Tours(with 20 free places on each tour).  Meanwhile, on the opening day of the festival, 11 September, there will be two events aligned to the restoration of the Mackintosh Building which will give people an insight into the painstaking work being undertaken.

Doors Open Days Programme at the GSA


One of the GSA’s expert tour guides in the furniture gallery

Mackintosh at the GSA tours
Saturday 16th September: 10.30am, 11am, 11.30am, 12pm, 12.30pm, 1pm, 2pm, 2.30pm, 3pm, 3.30pm.
Sunday 17th September: 10.30am, 11am, 11.30am, 12pm, 12.30pm, 1pm, 2pm, 2.30pm, 3pm, 3.30pm.

Led by the GSA’s expert student guides these 45min-long tours investigate the story of the Mackintosh Building together with architect Charles Rennie Mackintosh's journey at The Glasgow School of Art from student to master designer. The tours reveal Mackintosh’s his ideas, influences and relationships and include exclusive access to GSA’s Mackintosh furniture gallery
Book: www.gsa.ac.uk/visit-gsa/doors-open-days

Mackintosh's Glasgow Walking Tours
Saturday 16th September: 1.30pm
Sunday 17th September: 1.30pm
Led by the GSA’s expert student guides these 2 hour 15minute tours enable participants to immerse themselves in the life and times of innovative architect Charles Rennie Mackintosh and discover more about Glasgow’s distinctive architectural styles at the turn of the 20thcentury. The tour takes inMackintosh’s impressive city centre designs, his lesser known architectural gems along with buildings by his contemporaries working in internationally acclaimed ‘Glasgow Style’ Art Nouveau. 
Book: www.gsa.ac.uk/visit-gsa/doors-open-days

Craft: A case study
The Mackintosh Building Restoration Project
Monday 11 September 2017: 4pm – 6pm
Reid Auditorium Reid Building 167 Renfrew Street Glasgow G36RQ


Specialist stonemasons are among the craftspeople working on the Mackintosh Building


Some of the craft men & women working on the restoration of the Mackintosh Building will give talks on the challenges faced to conserve, restore and rebuild “the Mack”. Mackintosh’s relationship with practicing craftsmen underpinned the genius of his design and each talk will reveal the skills and expertise that were originally required to deliver the art school Mackintosh envisaged as well as how the GSA is approaching this in the restoration.

Book https://www.eventbrite.co.uk/e/craft-a-case-study-the-mackintosh-building-restoration-project-tickets-35512678377

Conservation Philosophy: A case study
The Mackintosh Building Restoration Project
Monday 11 September 2017: 5pm – 7pm
Reid Auditorium Reid Building 167 Renfrew Street Glasgow G3 6RQ

The Mackintosh Building which has been inhabited since its construction by The Glasgow School of Art is widely recognised as a work of art in its own right. Through its many years of use the building has developed a unique patina and undergone a number of alterations and additions. The fire and subsequent restoration raises a number of considerations concerning the integrity of the original design, the history of the building and its adaption for future use. This lecture and panel talk is an opportunity to discuss the ever present dichotomy facing the conservation and restoration of buildings in use drawing on the unique and precious Mackintosh Building as a case study. 

Book: https://www.eventbrite.co.uk/e/conservation-philosophy-a-case-study-the-mackintosh-building-restoration-project-tickets-35531668176


On paper design by Dorothy Smith, one of several designs in the GSA’s Archives and Collections 
to be translated into textiles for the Pioneers of Post War Pattern exhibition

Also opening during Doors Open Days (Sat 17thSeptember) will be one of the GSA’s autumn exhibitions, Pioneers of Post War Pattern. The exhibition will showcase three leading GSA alumni - Sylvia Chalmers (c. 1928-2008), Dorothy Smith (c. 1923 - 2002) and Margaret Stewart (fl 1940s-1960s) – designs by all of whom are held in the GSA’s Archives and Collections. For the first time their works on paper will be translated into actual textiles in the GSA’s Centre for Advance Textiles (CAT), and made into interiors products. The newly made products will be displayed alongside archival material – sketch books, works on paper and photographs - and pieces in the Classic Textiles Collection by Lucienne Day, sometime external examiner at the GSA whose centenary is being celebrated this year. The Pioneers of Post War Pattern. products will be available for sale uniquely through the GSA shop

For further information on Doors Open Days 2017 visit:
http://www.glasgowdoorsopendaysfestival.com/


For media further information on the GSA's 2017 Doors Open Days events contact:
Lesley Booth
07799414474
@GSofAMedia


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Seminar on salvage operation in the Mackintosh Building to be held at the Engine Shed

August 18, 2017, 6:51 am
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Some of the original light shades that were salvaged from the Mackintosh Building after the fire 

People across Scotland can learn more about the  meticulous salvage and documentation operation that followed the fire in The Glasgow School of Art’s Mackintosh Building at a one-day seminar at the Engine Shed in Stirling.

On Tuesday 22nd August, delegates will have the chance to hear from those directly involved with the salvage operation and the work that has been carried out to conserve as much of the original material and objects from the building as possible following the fire.

The event, ‘The Glasgow School of Art – Raising from the ashes’, will be held at the Engine Shed, Historic Environment Scotland’s new national building conservation centre at Forthside, Stirling. The learning and visitor resource officially opened in July and is currently hosting a temporary exhibition on the Art School building, the fire, salvage operation and restoration process along with a display of Mackintosh artefacts that were recovered from the fire.

The one-day programme will see experts from Historic Environment Scotland and The Glasgow School of Art discuss topics such as fire in traditional buildings, surveying the fabric of a building and the importance of archives in informing the restoration of some of the collections..

Dorothy Hoskins, Technical Outreach and Education Manager at the Engine Shed, said: “Restoration and conservation is at the heart of what the Engine Shed has to offer. Our current temporary exhibition looks at how experts came together in the immediate aftermath of the fire to salvage and document as much material as possible to help inform the work of restoring the building. This seminar offers the chance to learn more about the skills and techniques brought to this vital work.”

The day will run from 9.30am – 3.30pm on Tuesday 22nd August. Tickets for the day are priced at £32 for Historic Scotland members and £40 for non-members. The Engine Shed runs a series of programmes, exhibitions, tutorials and workshops for visitors to explore Scotland’s traditional buildings and ignite their passion for their built heritage.


For more information visit www.engineshed.org

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The Glasgow School of Art leads unique prosthetic greave project

August 21, 2017, 12:00 am
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Carol Sloan has worked with Karen Collins from Naturally Useful on the co-creation of her greave



Scott Gleed, from Gleed 3D at work on a cold cast greave for Caitlin McMullan



Caitlin and Scott in a co-design workshop 

All Photos Jeroen Blom, The Glasgow School of Art

The Glasgow School of Art has been leading a unique project with artisans and people with lower limb prostheses in the Highlands and Islands it was revealed today, 21 August 2017. Jeroen Blom, a researcher based at the GSA’s Highlands and Islands campus, and an expert in co-design, has brought together three local artisans - Karen Collins, from Naturally Useful in Rafford, Scott Gleed, from Gleed 3D in Relugas and Roger Milton, from Auldearn Antiques in Auldearn - with three people – Carol Sloan, Caitlin McMullan and Chema Perez - who all use a lower limb prosthesis to co-design personalised prosthetic greaves.

The project began when the partners were brought together for workshops on co-design which were led by Jeroen Blom. In collaboration with the artisans, Jeroen then developed template models for them to apply their specialist skills to the challenge of creating the greaves as well as a creative process to arrive a wearable limb design. The artisans then went on to collaborate fully with the amputees on the designing of the greaves, and, in the case of Karin Collins and Carol, in the actual making method of the greave.

“Co-design is an approach that involves the end user fully in the exploration and design of the product or process so as to ensure maximum benefit,” explains Jeroen Blom. “Through this project three lower limb amputees have been able to have a full involvement in the creation of something very personal and unique to them and in so doing had a much greater sense of involvement and ownership.”

“For the artisans meanwhile this has been an opportunity to apply and showcase their skills in a new area and to create very special partnerships with their collaborators in the co-design process. The aesthetics of the resulting greaves reflect the identity of the amputee as well as the artisanal process.”

The project has been a fascinating experience for all the participants, but especially for Carol, Caitlin and Chema.

“We spoke a bit about my experience of being an amputee, and my experience of before my amputation,” says Caitlin. It was good to think about the design of that, and talk about how I think the design is disability-awareness as well”       

“I like having choice, I like changing what my prosthesis would look like. I don’t like to cover it up,” she adds “I don’t really see the point in trying to hide it. That’s what I like about this project. It’s making something really nice out of a prosthesis.”

“We got an understanding of where each other is coming from,” says Carol. “And the same with the empathy about our different things and the respect of nature. It helped, because it was a wee bit of common ground to start with, and that’s important.”           

“The idea Roger had about having a piece of wood which is not really nice and shiny but something that has some marks of imperfection that tells you a story, was something that I was looking for,’ says Chema. “Something that reflects my experience to make it more personal.”

“Like Caitlin I feel that, when wearing a prosthesis people pity you because of your condition or they see you as a super-hero. But what happens in between? I didn’t think about that before. There are a lot of people who do not want to be pitied, don’t feel like going to be a super-hero. So, I feel there are a lot of people who could be perfect for this project in the long term,” he adds.

The greaves will officially be handed over at an event on the evening of 23 August at the GSA’s Highlands and Islands campus on the Altyre Estate. An exhibition about the project will be on show in the Reid Building at The Glasgow School of Art from 14 – 29 October 2017.

Ends

For further information and images contact:
Lesley Booth, 
07799414474
press@gsa.ac.uk
@GSofAMedia


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Blythswood House receives VisitScotland 5-star hostel rating

August 24, 2017, 2:11 am
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VisitScotland Regional Director, Liz Buchanan (right) presents Yield and Marketing Officer, Rebecca Forsyth (left), and Glasgow School of Art Residential Accommodation Manager, Fiona Sloan, with the five-star plaque

The GSA's Blythswood House student accommodation has been awarded VisitScotland’s highest possible quality grading. Scotland’s national tourism agency has awarded Blythswood House a 5-Star Hostel rating, which is only bestowed on businesses offering an outstanding visitor experience and are valuable marketing assets which help recipients promote the excellence of their facilities and services.

VisitScotland Regional Partnerships Director Liz Buchanan MBE said: “The Glasgow School of Art’s Blythswood House is an excellent example of how to go the extra mile and do everything possible to make visitors feel welcomed, and ensure they enjoy a memorable experience."

Fiona Sloan, Residential Accommodation Manager, The Glasgow School of Art, said: “We’re very proud of the great standard of accommodation we have at Blythswood House for our students, and it’s great that we’re able to offer the halls as visitor accommodation over the summer from June to September. 

The 5-Star Hostel grading is fantastic news as it will really help us promote the property to prospective guests; the grading provides them with reassurance that they can expect high standards and won’t be disappointed, so we’re really delighted to have such a prestigious award.”

Full text of VisitScotland press release below

For images of Blythswood House accommodation visit:
https://www.flickr.com/photos/glasgowschoolart/albums/72157658970111672


FULL TEXT OF VISITSCOTLAND PRESS RELEASE

The Glasgow School of Art is no stranger to awards but it now has a top tourism accolade to add to its list of honours. The GSA’s newest halls of residence, Blythswood House - which offers visitors to the city accommodation during the summer months - has scooped VisitScotland’s highest possible quality grading to be named a 5-Star Hostel.

Situated at Blythswood Square, less than 5 minutes’ walk from the main the GSA campus, Blythswood House was specially converted for students of The GSA and opened in September 2015. The halls, which have space for 216 residents across six floors, are bright and airy with a contemporary feel. The property offers a small selection of one or two bedroom suites with private bathroom and kitchen/ lounge area with double rooms, and flats with 6-8 bedrooms all with ensuite bathrooms and large single beds.

The national tourism organisation’s top Quality Assurance Hostel designation, which recognises the excellence of the standards at Blythswood House, was awarded to the halls of residence following its first-ever assessment visit – making the achievement all the more special.

5-Star awards - which are only bestowed on businesses offering an outstanding visitor experience - are valuable marketing assets which help recipients promote the excellence of their facilities and services.

The VisitScotland Quality Assurance scheme, which has been developed and improved over 30 years, provides visitors with an independent, impartial and trusted guide to standards. Delivered by a dedicated team of experts who offer scheme members advice and support on how to not only meet visitor expectations but exceed them, the scheme aims to drive standards and encourage excellence whilst helping businesses reach their full potential and secure their success. That in turn delivers great results for Scotland’s tourism industry and economy.

Fiona Sloan, Residential Accommodation Manager, The Glasgow School of Art, said: “We’re very proud of the great standard of accommodation we have at Blythswood House for our students and it’s great that we’re able to offer the halls as visitor accommodation from over the summer from June to September. The 5-Star Hostel grading is fantastic news as it will really help us promote the property to prospective guests; the grading provides them with reassurance that they can expect high standards and won’t be disappointed so we’re really delighted to have such a prestigious award.”

In addition to ensuring it provides excellent accommodation for visitors, Blythswood House has demonstrated its commitment to ensuring they receive quality information to help them make the most of their visit to Glasgow. The halls of residence recently joined an exclusive network of VisitScotland Information Partners (VIPs) which actively promote their local area and all it offers to see and do. VIP members are provided with official ‘iKnow’ signage and collateral, promotional material and information resources so they can provide added value and enhanced services.

The VIP programme is aligned with VisitScotland’s global Spirit of Scotland campaign which aims to harness the local knowledge, warmth and enthusiasm of people across the country to share information and inspiration with visitors - enabling them to enjoy the best possible experience of Scotland.

Open to all types of quality-assured tourism businesses as well as community interest groups and social enterprises, the VIP programme has gone from strength to strength since its launch in May 2016, with accommodation providers, visitor attractions and groups across the country joining up to do their bit to share information and inspiration with visitors.

VisitScotland Regional Partnerships Director Liz Buchanan MBE said:“The Glasgow School of Art’s Blythswood House is an excellent example of how to go the extra mile and do everything possible to make visitors feel welcomed and ensure they enjoy a memorable experience. In addition to its well-deserved 5-Star grading, it’s great too that the property has taken full advantage of our Welcome Schemes for walkers and cyclists.
“We are delighted that it has now also become a member of our VIP programme in order to help guests make the most of their visit to Glasgow. All of these achievements mean that Blythswood House is a fantastic addition to the city’s accommodation offering and a real asset to our visitor offering.”

For information on Blythswood House visit:
http://www.gsa.ac.uk/life/student-life/accommodation/gsa-student-accommodation/blythswood-house/ 
For more details on VisitScotland’s Quality Assurance scheme, visit www.visitscotland.org/quality_assurance.aspx 

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Most detailed 3D model of ‘flu virus to date unveiled as the GSA opens 2017 Graduate Degree Show


September 1, 2017, 7:44 am
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  • A model created by a Master’s student in 3D visualisation is helping specialist medical researchers to understand more about the structure of a virus which infects all of us, and which can sometimes turn deadly.
  • Graduate Degree Show runs in the Reid, Bourdon and Tontine Buildings from 2 – 7 September 2017





A Master’s student in Medical Visualisation and Human Anatomy at The Glasgow School of Art has created what is probably the most detailed 3D model of the influenza virus to date it was revealed today, 1 September 2017. The first detailed 3D model of the virus was recently created by a team of professional scientific illustrators based in Russia, but Naina Nair, a 32-year old dentist from Bombay who has been studying 3D visualisation at the GSA since 2016, has taken this to the next level by incorporating significantly more data into her model. The model was unveiled at the opening of the GSA’s 2017 Graduate Degree Show. What is perhaps most surprising about the model is that something which can cause so much misery is so very beautiful.

Throughout her project Naina has collaborated with a leading researcher into the ‘flu virus, Dr Ed Hutchinson, a Research Fellow in the MRC-University of Glasgow Centre for Virus Research.

“I was interested in the concept of visualisation and interpretation of scientific data for better understanding of complex biological processes,”explains Naina, “so I met with Dr. Hutchinson to discuss his idea to develop a model representing the most current data available on the structure of the Influenza virus and a way to visualise that data.”

“The influenza virus is a deceptive dangerous pathogen and I am delighted that by developing viral models with the new data I have been able to help the research community with their on-going study of these infectious deadly viruses.”

“Naina has done an impressive job of incorporating data from a variety of cutting-edge experimental approaches to produce something that clarifies our thinking about influenza viruses,” says Dr Hutchinson. “Her 3D model is allowing us to understand the structure of the ‘flu virus at near-atomic resolution and has clarified a number of outstanding questions, including the extent to which an influenza virus can incorporate proteins from our own bodies into its virus particles. The model is also going to be invaluable to us in sharing information about the flu virus especially when talking to non expert audiences.”

“The Glasgow School of Art is renowned for its ground-breaking work in medical design from the definitive 3D human anatomy being created in our School of Simulation and Visualisation to AHRC funded Anti Microbial Resistance research being led by our design and environmental architecture specialists,”says Professor Tom Inns, Director of The Glasgow School of Art. “Naina’s astonishing visualisations of the ‘flu virus are just one example of how our students and researchers, in collaboration with experts across a variety of fields, can help solve issues that have an enormous impact on people’s day to day lives by visualising extremely complex information.”

“The creativity and innovation that underpin all GSA programmes can be seen across 2017 Graduate Degree Show from work by Isabella Zoulinaki, who has just beaten off competition from across the globe to win a prestigious Adobe Design Achievement Award, to LUCID, which has just been shortlisted for a Kickstarter Digital Entrepreneur Award in the 2017 Converge Challenge,” he adds.


Work by students and researchers in the Schools of Design and Simulation and Visualisation 
at 2017 Graduate Degree Show



 



Images: Shona Noble’s Fingal’s cave project and Chao Maina’s Life After the Fire

Other projects from the School of Simulation and Visualisation (SimVis) range from heritage visualisation to serious games and sound for the moving image. Andrew Goodsell, a student of Medical Visualisation and Human Anatomy - a programme which the GSA delivers in partnership with The Laboratory of Human Anatomy at Glasgow University - has created an immersive, virtual reality anatomy education app in which the user enters a VR simulation and uses their hands to pull apart a torso and explore the human anatomy. International Heritage Visualisation student Shona Noble’s project is based on Fingal's Cave, offering a visualisation where you can speak into a microphone and hear yourself as if you were in the cave. Chao Maina, also an International Heritage Visualisation student, has focused on a chair recovered from the Mackintosh library after the fire.

Ryan Murdoch, a student of Serious Games and Virtual Reality shows an approach to incorporating real-time brain-monitoring in educational games.  Murdoch has created LUCID (Learning Using Computer Interface Design) an early start business which has just been shortlisted for a Kickstarter Design Entrepreneur Award in the 2017 Converge Challenge.

Among the Sound for the Moving Image students showing work this year are Richard Anthony and Poli Petrova.Richard’s "Aberdonian Timeslip" is a short film using old video footage from his childhood closely interspersed with new footage of his childhood home. The accompanying music is beautifully composed and produced as would be expected by a key member of "The Phantom Band".  Poli meanwhile has made a 360 film with immersive audio highlighting her passion for rock-climbing.





Images: award-winning graphic design by Isavela Zoulinki,  Poopak Azhand design for mental health and Yara Al Husaini prototype developed with Taigh Chearsabhagh,

Among the students from the School of Design whose work was unveiled in the Reid Building at Graduate Degree Show is Isavela Zoulinki, an International Management and Design Innovation student, who has just scooped a prestigious Adobe Design Achievement Awardfor a design approach to engaging people more with recycling. Fellow students working in the area of design innovation have addressed issues ranging from community interaction with museums to barriers to accessing mental health support.

Transformation Design student, Cong Tan, looked at how traditional craft skills can fit with the modern world. Working with specialist crafts people Cong’s final concept is a smart ring and app.  The smart ring is worn by craftspeople as they make their objects which records the emotional journey experienced in that process. When a consumer purchases the craft object, they receive a link to the app and the data is shared.  In this way, consumers can build an emotional connection with the maker. Interaction Design student, Yara Al Husaini, worked with Taigh Chearsabhagh museum and arts centre in Loch Maddy to help widen community engagement across the Outer Hebrides. She has created an approach to help people interact with art and heritage exhibited at Taigh Chearsabhagh using state of the art RFID technology. Fellow Interaction Design student, Poopak Azhand, has looked at mental health service provision in Moray. Working with veterans and existing health service providers, the project looked at barriers to access and identified challenges and opportunities for creating a stronger support network in the area. A proposed outcome of the research is a ‘know yourself better’ course which could easily connect those seeking help with a relevant range of support providers locally.

Product Design Engineering, a programme jointly delivered by the GSA and Glasgow University, has produced leading international designers including Jonathan Biddle - Industrial Design Senior Manager, Amazon; Amy Corbett, Senor Designer - Lego;  Kate Farrell - Group Leader Functional Design, Cambridge Consultants;Etienne Iliffe-Moon - Director of Industrial Design (San Francisco) for BMW; Scott McGuire - RDD Manager, Dyson; Sam Smith -  Design Lead,  Apple; Gavin Spence - Senior Product Manager Tom Tom and 2012 International Dyson Award winner, Dan Watson, whose award-winning SafetyNet was developed as a final year PDE project at the GSA. PDE graduates have also set up award-winning companies in their own right including 4CDesign, CorePD, Fearsomengine, Meso Design, Red Button Design, Safehinge, Speck Design and wylie3D. A number of these companies were founded on the success of projects that were developed whilst still undergraduates.

Sixteen MSc students are showcasing innovations at 2017 Graduate Degree Show. Sedacael Afework, has looked at museum interpretation for visually impaired visitors whilst John Wise has designed a navigation and travel aid for people who are blind or partially sighted.  Bashar Abou Shakra has developed a training and Injury rehabilitation aid and Fan Yang has designed a Deep Vein Thrombosis electronic therapy device for air travellers. Marco Pupillo has designed a product system to facilitate Rapid Sequence Induction (respiratory intubation) in casuality, and addressing a major issue in Mumbai – sky high levels of asthma and respiratory problems - Karthik Chaganty has developed an Eco-friendly, low powered air purifier to help reduce dust in houses

Twenty one international Fashion Design students unveiled collections in the Assembly Hall of the Vic, the GSA student union, in a series of promenades. Inspirations ranged from Bauhaus textiles and Bridget Riley’s Op Art to armor worn by mediaeval knights, street art and graffiti, crofting and rural life, traditional workwear, moss, Dali’s paintings, Art Deco architectural style and children’s robots.



Work by students and researchers in 
the School of Fine Art
 at 2017 Graduate Degree Show

In the Tontine Building School of Fine Art students are showing work over two floors.  Sixty students on the MLitt in Fine Art Practice and MRes in Creative Practices programmes are showcasing work in a range of materials and disciplines and 12 MLitt in Curatorial Practice are presenting their projects.

   






Images: a Miso infused sculpture by Mingyi Wang and one of Karin Thorsteinsson paintings on silk

Among the 48 MLitt in Fine Art Practice students are Mingyi Wang, who has made artwork infused with foodstuffs including miso and peat from whisky making regions; Catherine Van Olden whose works look at Japanese Knotweed; photographer Anita Rozentale who has made new work using 19th century Cynotype technology, and Karin Thorsteinsson who has painted on silk creating imagery inspired by Scottish mountains. Marinos Houtris shows pieces featuring recent “Kill Plates” from the newspaper print works at Cardonald including ones from the Scottish Daily Mail and Evening Times, and printmaker, Marine Drumelhas looked at the issue of “refugees”. Her installation features everyday objects retrieved from the Jungle (Calais) and prints made using soil collected both in the Jungle and in Glasgow where she has worked with refugee groups.



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Images: Part of Nikki Taylor’s installation looking at fast fashion and a still from Kristin McGuire’s filmwork.


Among work by the 12 MRes in Creative Practices students are a colourful, large-scale installation by Niki Taylor exploring “fast fashion”. Taylor draws on 20 years working in the fashion industry in work that asks how can we create a more sustainable and ethical fashion industry? In her research project Gina Lundy explores women’s involvement in social protest, particularly around the issue of housing such as the New Era housing estate protest in London in 2014. Kristin McGuire’s 20-year career as a performance artist with companies ranging from Cirque du Soleil to the Royal Shakespeare Company is reflected in her haunting new film-work. Mcguire is filmed performing a routine which presents a new concept of pole dancing. Carol Gallagher McCulloch, meanwhile, has created film works based on semi structured walking interviews looking at how walking in the countryside can improve wellbeing.



Image: A commemorative parade in which Anna Tudos marked the 1996 sit in at the Kinning Park Complex. The Joy to the People banner will be on show as part of Graduate Degree Show

The MLitt in Curatorial Practice, a programme jointly delivered by the GSA and Glasgow University, offers the opportunity for the students to work with a variety of artists in a wide range of projects. The outcomes of the engagements have ranged from a commemorative parade in which Anna Tudos marked the 1996 sit in at the Kinning Park Complex, to an exhibition curated by Fiona Allen in the Greek Thomson Caledonia Road church, Rudy Kanhye’sexploration of the rituals around cooking and eating brought together in an Artists’ Cookbook featuring recipes provided by artists from recent GSA graduates to 2013 Turner Prize winner, Laure Prouvost, and an exhibition of new and existing work by David Sherry curated by Giulia Colletti..

Masters students on the Architectural Studies, DipArch and Architecture by conversion programmes showcased their graduate work in the Bourdon Building.




The 2017 Graduate Degree Show runs from 2 – 7 September
Reid Building and Bourdon Building, Renfrew Street, Glasgow G3
Tontine Building, 20 Trongate, G1.
The show is open from 10am – 9pm Monday – Thursday and 10am – 4.30pm Saturday/Sunday. Entry is free

Ends

For further information, images and interviews contact:
Lesley Booth, 0779 941 4474 / Lesley@newcenturypr.com
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International Masters of Fashion Design unveil collections at Graduate Degree Show

September 3, 2017, 2:30 pm
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  • 20 talented designers showcased their collections in the annual MDes Fashion Promenades.
  • Inspirations ranged from Bauhaus textiles and Bridget Riley’s Op Art to armor worn by mediaeval knights, Street art and graffiti, crofting and rural life, traditional work wear, moss, Dali’s paintings, Art Deco Architectural style and children’s robots.
Designs by 23-year old Laura Szulska from Poland were unveiled in the MDes Promenades 
The 2017 cohort of Masters of Fashion Design at The Glasgow School of Art unveiled their collections in a series of Promenades on the evening of 1 September, in the Assembly Hall of the GSA Student Union . The 20 talented designers hail from as far afield as China, Thailand and South Korea as well as from Poland, Spain, Scotland and England.

Inspirations for the collections ranged from Bauhaus textiles and Bridget Riley’s Op Art to armor worn by mediaeval knights, Street art and graffiti, crofting and rural life, traditional work wear, moss, Dali’s paintings, Art Deco Architectural style and children’s robotswith the designers showcasing techniques including print, knit, weave and embroidery.



25-year old Suh Yeon Kim from South Korea started with outfits work by motor mechanics - a guy who works in a car repair shop and is carrying out his task under car lift which is raising a car that is bigger and heavier than him. It seems risky and tough, but he looks like he has enough responsibility to deal with everything around his situation, like supporting car or something. Every piece in the collection is based on practical purpose as workwear such as two-way zips and attachable pocket. Sewing is replaced by using industrial silicon which is flexible and has superior adhesive strength to make clothes.

27-year oldXin Lu from China is fascinated with the bizarre and untouchable world in Shan Hai Jing, a Chinese classic text and a compilation of mythic geography and myth which has also inspired works by Ai Weiwei and Angel Chen. The collection combines the neat silhouettes with different embroidery details to draw the outline of her understanding of the book, but mainly focuses on the textile design. In particular, the combination of machine embroidery and hand embroidery, beads and sequins embellishments and elements recreation will be the feature of mthe work.  In addition, every look has some leather accessories, which is the continuation of a personal characteristic design style.

27 year old Tsung-Yun Hsieh from Tawain is a Womenswear specialist. Tsung-Yun's work strives to communicate beliefs about gender and identity with clothing through the way it is worn. In her collection she draws inspiration from her mixed background in Taiwan, combining western and eastern traditions and ideas. She aims to tell a story about human behavior which is restricted by ideas regarding gender. We can see sleeves and embroidery detailing strategically placed over reproductive body parts to help visually express important contemporary gender issues to the public.

25-year old Xindi Li fromChina has taken the theme of hospital for her womenswear collection. From a very young age, the designer would spend time in hospital with her father, a doctor. The hospital contains many elements, feelings and emotions – it is place that carries many stories and interesting things. The collection uses transparent organza and techniques to create a dreamlike feeling and the atmosphere of hospital.
Kan Chandratip, a 23-year old designer from Bangkok has taken street art and graffiti  as a starting point for his collection. In general people might think they appear uninteresting and meaningless, but for the designer their significant purposes of expression was important and Kan was drawn to the composition and components of the art it self. In this collection, Kan has expressed the essence of street art and combined it with a silhouette referencing hip-hop culture.




27-year old Zhang Huan from China who is a knit specialist has taken inspiration from the armor of medieval Knights armour and female warrior costumes. Huan admirea a strong silhouette that accentuates the female form and that also offers protection. The designer has focused on creating a silhouette that enhances confidence through shaping panels around the body in a considered way. Knit and crochet techniques are combined to create an individual fabric design, using metallic viscose yarn to replicate the reflective quality of armour.


Lui Jia China presents a womenswearcollection which was inspired by ‘Oh Fairest Of The Rural Maids,’ a poem by William Cullen Bryant. The main element of the collection is delicate handcrafted broderie anglaise in pure white cotton fabric. The silhouette focuses on vintage puff sleeves and is accessorised with lace bonnets, aprons and gloves.


30-year old  David Ramsay from Glenrothes, a knit specialist has created a collection of knitwear collection for both women and men which shows a variety of influences including sea shells, knit tradition, Bauhaus textiles and Bridget Riley’s Op Art.  With an emphasis on technical craft, his fabrics explore graphic and tactile qualities across hand- and machine-knit, underscored by subtle colour choices.


24-Year old Ren Ziye from China has created a collection inspired by some board games such as poker, Uno and Chess. Digital printing has been combed with digital embroidery and hand stiches to innovate silk fabric. Elements of playing cards are used in the patterns. For the silhouette, the designer was inspired by the Tangram which is a kind of toy for children. It has 7 pieces which are all a geometrical shape. Each piece of the garment is geometrical such as a triangle ora square, but are formed into a very feminine shape.


30- year old Laura Scott from Manchester, a print specialists, has taken inspiration for the surface of her textiles from varying forms of maps. Looking at the mappings of woodlands and wetlands to the rural architecture of Scotland then jumping to the more relatable form of Ordinance and Survey maps. The theme of the collection is her idea of her muse, a woman who now lives the rural life in the elements, but still preserves the person she was before by combing the practical with the feminine. Laura has combined her research into the Crofters who on worked the land in the 1900s with contemporary waterproof clothing. She has experimented with Harris tweeds, waxed fabrics and coated cottons.



23-year old Laura Szulska from Poland has taken inspiration from photographs of botanicals collected over the past year with an emphasis on floral forms and abstract art. She explored the variation of shapes and colours found in her research through the medium of drawing and collage. This emphasis on a loose approach to the work gave a greater understanding of the theme and allowed it to be translated from flat, paper forms into textiles. By choosing to specialise in mixed media Laura has experimented with embroidery, heat pressing and laser cutting, and created a textile based garment collection that truly reflects her style.

24-year oldPietro Bontempi from Italy is a Menswear/knitwear specialist. The starting point of his project is the idea of coming of age, not in a traditionally positive way, but more as research into new ways of being, different from the society’s standard. The 90’s as whole are hia main aesthetic reference, especially films, photography, fashion and lifestyle. He tried to combine Larry Clark and Calvin Klein. In the garments this is represented by the juxtaposition of rougher denim and soft knitwear, minimalistic details and sportswear inspired garments, volumes and proportions as well are a combination of dropped shoulders and cropped lengths.



24- year old Ziyi Wen from China has taken inspiration from Art Deco and has been influenced by the architectural style of that time. Elements from the architecture have been put in abstract geometric figures and different combinations of colorations, patterns and scales to show the designer’s feelings towards different objects.In the process of the creation, different skills such as collage and Photoshop, were used to present ideas. Finally, the ideas were printed out, using digital printing, on the silk.




24-year old Shinying Mo from China is an embroidery specialist who has been inspired by the Japanese characteristics of the pattern, with tea ceremony, fish, utensils featuring in the design, picking out details using digital embroidery. The combination of complex frilly, ruffles and hit colour interpretation, add a romantic and childlike charm. The material used are mainly wool and silk.


31-year old Alice Hebden from Glasgow is a textile and fashion designer, specialising in printmaking, dyeing and distressing fabrics for womenswear. Her work explores the identity of the artist and their environments.


27-year old Yu Fei from has a specialism in tailoring. His 4-look tailoring collection is inspired by the Great Depression and a series of illustrations by J. C. Leyendecker, one of the preeminent American illustrators of the early 20th century. Exaggerated silhouettes, new structures and surface treatments have been explored to enhance a mixed style.


22-year old Yang Lui from China has created a collection of womenswear inspired by the life of a friend who has lived in an environment of domestic abuse.The designer’s specialism is pattern cutting. In terms of my silhouette, the designer was inspired by emotional changes and family background and pain in childhood making it heavy and hard for the model move. Memory foam is used as the main material. The reason is that pain in one’s heart is unforgettable which is so similar with touching memory foam

In her final collection 27-year old Paula Helmstedt De Merit from Spain Paula’s touches on ideas of health and wellness seen through a fantastical lens. Elements of human anatomy and nature inform one another and become one. The digital prints in this collection combine organs, florals and surgical tools to create an ethereal and bizarre universe. Her silhouettes are influenced by Spanish designers, Balenciaga and Delpozo, both whose architectural sensibility and simplicity of form inspire her.



The menswear collection by 24-year old YAXI Du from China was inspired by tin robots. The designer has been fond of collecting tin toys since a child and thus I chose tin robots as the theme for the collection. A range of tin robots were illustrated with different shapes and colors from the designer’s collection and turned into handmade embroidery patterns


25 year old Yanqi Wang from China has created a collection which combines the design thought of deconstruction fashion with the feature of human figures which in Salvador Dali’s surrealist work.  Combining feminine and masculine elements together is the key in each silhouette, fabric and colour development. Pattern cutting and draping are the designers specialisms and the collection aims to present the topic through silhouette and construction design. using simple, pure colored fabric to emphasize the constructions.

The MDes Fashion Promenades were supported by Buchanan Galleries. Kathy Murdoch, centre manager said: Kathy Murdoch, centre manager at Buchanan Galleries, said: “As one of the go-to stops for fashion in Glasgow, we wanted to support the next generation of fashion talent, especially when it’s right on our doorstep.
"The Glasgow School of Art fashion designers have promising potential for the industry and it’s an honour to work alongside them as they begin their careers.”

Ends

For further information contact:
Lesley Booth
0779 941 4474
press@gsa.ac.uk
@GSofAMedia


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Back to the Future - The Glasgow School of Art unveils full size prototype of a section of the Mackintosh Library returning it to the original 1910 design

September 8, 2017, 5:30 am
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Master craftsmen Angus Johnston and Martins Cirulis of Laurence McIntosh
 in the Mackintosh Library prototype which they have made  

The Glasgow School of Art unveiled the full size prototype of a Mackintosh Library bay today, 8 September 2017, at the workshops of specialist carpenters, Laurence McIntosh. Six months in the making the prototype has been used to test and retest every aspect of the design and manufacture of this centrepiece of the Mackintosh Building restoration.

The process began with detailed research of items retrieved and information gathered in the archaeological survey complemented by detailed consultation of Mackintosh’s original designs, early photography, letters and other documentation. The challenge then was to translate this mainly 2D imagery into the 3D prototype.

“Today marks a hugely significant step in the restoration of the Mackintosh Building,” says Professor Tom Inns, Director of The Glasgow School of Art. “From the outset we said that we would restore the building and restore it well. The creation of this prototype which are unveiling today is underpinned by two years of ground-breaking and hugely detailed research ranging from information discovered in the archaeological survey to Charles Rennie Mackintosh’s original designs and paperwork and meticulous designs of every element, profile and joint to 0.5 millimetre accuracy which were created by our design team and then incorporated into a comprehensive set of drawings for the specialist carpenters to work from.”

“The challenge was then to convert this research into the physical object. Months of testing and retesting of all aspects of the design and manufacture by Laurence McIntosh working in close partnership with our design team lead Page\Park have culminated in this final prototype. The calibre of the craftsmanship in every aspect of the manufacture is of the highest order and is testament to the skill of the specialist carvers and woodworkers here at Laurence McIntosh.


Restoring the Mackintosh Library: Hand carving the pendants from The Glasgow School of Art on Vimeo.


“For those of you who remember the library as it was in 2014 the biggest change you will notice is the colour. This is how we believe is how the library would have looked in 1910.”

“One of the first discoveries after the fire was that much of the library was constructed from American Tulip wood. Samples from the bottom of a Library column and one of the shelves from the Library cabinets which survived the fire gave us the first clue as to both the colour of the library in 1910 and how the colouring has been achieved,” he adds.

“Highly pigmented oil-based paint had been rubbed directly on to the surface of the wood which once dried was polished with beeswax. As with every aspect of the work on the prototype many experiments were made using the closest product to the original oil-based paint – medium-burnt umber and raw umber artist paints.”


Restoring the Mackintosh Library: Scallops, Preparing and Painting from The Glasgow School of Art on Vimeo.

One of the design team who has been most closely involved with the research into the Library is architectural heritage and conservation expert, Natalia Burakowska, of Page \ Page architects. Speaking at the launch Natalia said:

“The GSA’s decision to undertake a detailed archaeological survey of the library was crucial to the process of restoration. We soon realised that precious charred timbers had a considerable amount of information to reveal. We were excited to learn about timber joints, nailing techniques, timber sizes, and clever assembly strategies adopted by craftsmen working on site. We were privileged to look at the Library in a manner that nobody else had had a chance to do before.”

The team gathered information carefully and prepared draft reconstruction drawings using the latest 3d technology together with the production of the 1:10 and 1:1 physical models to test understanding of the construction in reality, and this process was supported by extensive archival research.

Natalia Burakowska of Page \Park architects in the Library prototype
with a surviving spindle from the original. 

Natalia Burakowska of Page \Park architects in the Library prototype with a surviving spindle from the original. Credit McAteer photo
“We poured over the archives sifting through original plans, Records of Building Committee, receipts, financial records and specifications. Photographs taken by Bedford Lemere in 1910 and later images assisted in tracking the changes and amendments to the original design,” adds Natalia

Specialist woodworkers Laurence McIntosh then joined to team.

“This is a wonderful project to work on,”says David Macdonald of Laurence McIntosh. “We are privileged to be working as part of a team of people who are passionately committed to restoring the jewel in the crown of Charles Rennie Mackintosh’s designs.”

“From tulipwood blanks we have seen the prototype emerging slowly through months of careful carving and re-carving, colouring and re-colouring. Fascinatingly, on occasion this has meant not so much a refining of the design so much as making something which was too perfect slightly rougher and more in synergy with the original craftsmen’s’ work.”

“We are now looking forward to taking all that we have learned in the development of the prototype and applying it to the library proper.”

Work on the Mackintosh Building continues apace. Gordon Reid, regional business development manager for Kier Construction Scotland, who are managing the overall construction project said: “The intricate restoration work that we are carrying out at The Mackintosh Building is progressing well - the temporary roof has been removed and the new roof is now complete.  The loggia have been restored and the work to reconstruct the iconic Hen Run is under way. Today marks another milestone in this very special journey. 

“Importantly, we have been able to attract a diverse range of new talent to the construction industry to work at this iconic building.  Working closely with the local supply chain, specialist conservators and other industry training and employment groups, we have already created 60 once-in-a-lifetime training, apprenticeship and employment opportunities.”  
The Tulipwood for the Library is currently being sourced in the USA. It will be manufactured at Laurence McIntosh with installation on site expected to begin in spring 2018.

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For further information, images and interviews contact:
Lesley Booth,
0779 941 4474
press@gsa.ac.uk
@GSofAMedia




Notes for Editors

The restoration of the west wing of the Mackintosh Building and simultaneous upgrading of the east wing are part of a major £80m development of the GSA’s Garnethill campus. It also includes the purchase and conversion of the former Stow College building and site. The project, which will enable the GSA to achieve its ambitions as a world leader in visual and creative education in the 21st century, will see the Mackintosh Building returning as a home for all first year students, and the Stow Building will bring together all the different specialisms of the School of Fine Art in one building. The project is being supported by the £32M Mackintosh Campus Appeal, £20M of which has been raised to date. For further information on the Mackintosh Campus Appeal visit:

www.gsa.ac.uk/support-gsa/mackintosh-campus-appeal


An introduction the research information and meticulous development process
 for the prototype which has been created by 
Page\Park in partnership with Laurence McIntosh


Timber Finish
  • In October 2016 one of Britain leading historic paint and decoration finishes experts Ian and Michael Crick – Smith prepared a report ‘Glasgow School of Art. Notes of historic decoration, restoration and redecoration.’ In which they identified and defined types of finishes in the building together with methods of application and modern alternatives.
  • A sample had been collected from the bottom of the Library column and additionally one of the shelves from the Library cabinets that it is believed were stained in a similar manner. During the process of identifying the library colour, CS carried out extensive colour trials using stains, artist paints etc, using an original library shelf to copy. The closest match was burnt umber artist paint, with the raw umber being the next closest match.
  • Crick – Smith established that timber species and finishes in the Library and Boardroom were the same – highly pigmented oil-based paint and beeswax. Crick – Smith recommended that the closest product to the one used in 1909 is an artist oil paint.
  • Following research Page\Park received three samples of Tulipwood stained with Burnt Umber oil paint and Raw Umber oil paint form Crick - Smith. Two samples were stained with a solid colour without mixing. One sample was stained using 1:1 raw and burned umber ratio
  • Traditionally, the final mixing of paints would be undertaken on site in batches, each batch size being suited to the completion of an area with natural boundaries. The base of the paint mix was called a pigment paste. Paint cannot be mixed by adding dry pigment in with the other materials in a single process.
  • The first stage of paint manufacture is to grind the dry pigment into the oil, usually linseed oil, but sometimes poppy or walnut oil (for finer work). The grinding increases the surface area of the pigment grains and as a consequences increases the intensity of colour. The makes a small amount of pigment go a long way. The modern equivalent of this are artists pigments
  • Between March and June  2017  Laurence McIntosh in close partnership with Page \Park Architects tested a wide range of  rations of the burnt and raw umber and a number of different finishes refining them at each stage.



Spindle Scallops Finish
  • Establishing a right finish for the coloured spindles was challenging and required a few samples to test the application method.
  • Ian and Michael Crick-Smith collected a paint sample from the least charred spindle that had survived the fire to establish what was the original paint type. Unfortunately, the paint was too far gone to assist in identification of the original colour; however, it proved that original paint was lead based.
  • Colour matching was based on the photographic evidence put together by Sarah Gerrish while carrying out conservation work to the Library back in 2008.
  • Page\Park provided a variety of photographs to Ian and Michael Crick - Smith in order to establish appropriate colour.
  • One of the Bedford Lemere photographs of the Library dated 1910 shows spindles to the post. They appear to have a gloss finish however the ‘bumps’ and imperfections are visible.
  • Also, there is an extensive photographic archive that captures some of the spindles in detail. 
  • Initially, lead-based paint was considered, but this option was discarded because it would be difficult to match the colours with lead-based paint  and spindles to the windows are in the reach of users
.
  • Ian and Michael Crick – Smith advised use of standard modern eggshell finish oil however although the colours appeared to be very close to the original the appearance was quite different so Crick - Smith suggested use a modern water-based acrylic paint as after using this product the timber surface should retain the brush marks and imperfections similarly to lead paint.





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GSA unveils exhibition celebrating the work of three talented female designers of the post WWII period

September 15, 2017, 8:00 am
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  • Designs by Dorothy Smith, Sylvia Chalmers and Margaret Stewart have been made into interiors products for the 21st century and are available for purchase
  • Designs by Lucienne Day also on show in the exhibition





Designs by Dorothy Smith, Sylvia Chalmers and Margaret Stewart 
have been made into interiors products for the 21stcentury

“Dorothy Smith was an enthusiastic supporter of students throughout her life.
 She would have been delighted to see her designs now being used to inspire new work at The Glasgow School of Art”
Robert KH Cunningham, Dorothy Smith’snephew.


In the year when we celebrate the centenary of one of the pioneering and most influential 20th century female textile designers, Lucienne Day, the GSA is set to bring designs by three other post war female designers - Dorothy Smith, Sylvia Chalmers and Margaret Stewart - to a whole new generation.

Taking the on-paper designs by Smith and Chalmers and fabric samples by Stewart which are held in The Glasgow School of Art’s Archives and Collections the GSA’s Centre for Advanced Textiles (CAT) has turned them into textiles, many for the first time. Brightly coloured and strikingly patterned, the designs reflect the flourishing of design after the austerity of the WWII, which was encapsulated in the landmark 1951 Festival of Britain that proved a decisive turning point in Lucienne Day’s career.

Dorothy Smith (seated in middle)

Margaret Stewart (standing 5th from left)

 Sylvia Chalmers (seated on table)

 “Dorothy Smith, Sylvia Chalmers and Margaret Stewart were part of generation of pioneering designers who embraced the end of austerity after WWII to create vibrant and innovative designs,” says Susannah Waters, Archives and Collections Manager at the GSA.



“As we celebrate the centenary of the birth of Lucienne Day, one of the most renowned post war textile designers, it seemed an appropriate time to throw the spotlight of some of the talented designers who studied at The Glasgow School of Art, and what better to way to celebrate their contribution to 20th design than to create products which can be enjoyed by a new generation.”

“Having the chance to collaborate with our Archives and Collections to bring this pioneering generation of designers to the attention of a new generation through their adaptation for 21st century use has been particularly exciting,” adds Alan Shaw, Head of the GSA’s Centre for Advances Textiles, which uses state of the art technology to print straight from computer screen to fabric.

QUOTE HERE FROM DOROTHY SMITH’S NEPHEW

Wall hangings, cushions and tea towels created from designs by Dorothy Smith, Sylvia Chalmers and Margaret Stewart are exhibited alongside archival material including photographs and original on-paper works and digitally printed textiles of designs by Lucienne Day. Both Robin and Lucienne Day were associated with the GSA as external examiners and working with The Robin and Lucienne Day Foundation, CAT produce the world’s only licensed digital reprints of Day’s iconic 1950s-60s furnishing fabrics as part of their Classic Textiles range.

Pioneers of Post-War Patternis on show at the GSA from 16 September – 8 October 2017. Exhibition open 10am – 4.30m daily. Entry free.

All the products created from designs by Dorothy Smith, Sylvia Chalmers and Margaret Stewart are available for purchase (Tea-towels £17.50, Cushions £49.50, Wall-Hangings £165). For further details see Notes for Editors.

Ends

For further information, images and interviews contact:
Lesley Booth, 
0779 941 4474
press@gsa.ac.uk
@GSofAMedia

Notes for Editors

Pioneers of Post-War Pattern products from designs by Dorothy Smith, Sylvia Chalmers and Margaret Stewart

Designs and designers

Sylvia Chalmers:
Boats
Birds in a Tree
'Hellzapoppin'
Swings & Hammocks
Florabunda


Dorothy Smith:
Geometry 1
Geometry 2
Borders


Margaret Stewart:
Totem
Twigs
Mermaids
Spaces




Designs are printed onto linen union fabric and are available as cushions and tea towels.

Cushions (45 cm x 45 cm) £49.50
Tea-towels (67 cm x 48 cm) £17.50

Four of the designs: Boats, Geometry 1, Birds in a Tree and Florabunda, are also available as wall hangings:

Wall-Hangings (84 cm x 119 cm) £165



About The Glasgow School of Art’s Archives and Collections

The Glasgow School of Art’s archives and collections are an outstanding resource for the study of art, design, architecture and art education.They comprise of a wide range of material from GSA’s institutional archives to artworks and architectural drawings, textile pieces, plaster casts, photographs and furniture. Our holdings also include a large number of items by Charles Rennie Mackintosh and his contemporaries.
The archives are open to researchers by appointment. Contact details:
w: www.gsa.ac.uk/ archives
archives@gsa.ac.uk  / 0141 566 1418

About The Glasgow School of Art’s Centre for Advanced Textiles

The Centre provides a commercial digital fabric printing and textile design service, consulting to large and small manufacturers as well as to individuals. The speed of this technology enables businesses to respond rapidly to new and changing markets and creates cost efficient opportunities for niche marketing.
Digital textile printing technology allows designs and images to be printed straight from the computer screen onto fabric creating exciting opportunities for customised design and allowing photographic quality reproduction onto natural fibres, such as silk, wool, linen and cotton.
www.catdigital.co.uk/
CAT@GSA.AC.UK / +44 (0)141 353 4742


The Robin and Lucienne Day Foundation

Furniture designer Robin Day (1915 - 2010) and textile designer Lucienne Day (1917 - 2010) hold a unique place in 20th century design history. For nearly seven decades they pursued independent careers alongside each other, both making outstanding contributions to British design.

The Robin and Lucienne Day Foundation's objectives are:
1. To promote knowledge, appreciation and understanding of the nation's design heritage in general, and the work of Robin and Lucienne Day in particular.
2. To encourage provision of public access to the design legacies of Robin and Lucienne Day.
3. To provide opportunities, in a form true to the democratic spirits of Robin and Lucienne Day, which will enable the general public or students of educational establishments to further their study of design in general, and furniture or textile design in particular.

The Foundation is an independent organisation chaired by Paula Day and run by a Board of Trustees, all of whom donate their time and expertise to further the charity's objectives.

The Foundation is the proprietor of all intellectual property rights in the works of Robin and Lucienne Day. It is committed to managing their designs in such a way as to maintain the integrity of their legacies. The Foundation endorses and licenses only high-quality, authentic productions of Robin and Lucienne Day’s original designs, and all royalties are paid directly to the Foundation to support its work.


www.robinandluciennedayfoundation.org/foundation
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Major exhibition by leading Chinese artists opens at the GSA

September 22, 2017, 5:05 am
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  • Sculpture by leading Chinese artist, Li Xiangqun, is part of major group show unveiled at the GSA
  • The work was previously seen in Beijing’s Forbidden City as part of the first ever solo exhibition by a contemporary artist in the world famous museum

Li Xiangqun, leading Chinese artist and President of LAFA and Director of the GSA, Professor Tom Inns,  with President Li's sculpture of Confucius at the opening of East and West Walk Forward

A sculpture of Confucius by the leading Chinese artist and President of the Luxun Academy of Fine Arts (LAFA), Li Xiangqun, is one of the artworks showcased in a major exhibition that was unveiled today, Friday 22 September 2017, in the Reid Gallery at the GSA. The 1-metre white bronze (a highly polished form of copper-nickel) sculpture was previously exhibited in the Forbidden City, one of the World’s most important and most visited museums, as part of a solo exhibition by Li Xiangqun in November 2016. This was the first ever solo exhibition by a contemporary in the Forbidden City.

The exhibition, East and West Walk Forward, which features work by 35 artists who also teach at LAFA - the GSA’s partner institute in China - is a centrepiece of the GSA’s autumn exhibition programme.


 




“Luxun Academy of Fine Arts (LAFA) are honoured to hold an exhibition entitled “East and West Walk Forward" at the Reid Gallery of The Glasgow School of Art (GSA),” says President Li. “I would like to extend my heartfelt congratulations to this exhibition on behalf of the eight thousand faculty and students of LAFA.”

“The exhibition has been planned for more than six months. There are 36 artists from LAFA taking and the works cover a range of art forms such as painting, sculpture, moving image and installation, which concentrate on the achievements and explorations of arts creation in LAFA in recent years.”

The exhibition has great significance for the strategic partnership between LAFA and the GSAas it illustrates the interaction of faculty, works and students. It is also an opportunity for cultural and artistic exchange between China and Britain, eastern and western.”

“The tremendous depths of culture in China and Britain mark these two countries out as the best representatives of eastern and western civilizations. These two countries' cultures vary in many aspects and traditions but the two nations do not see any rivalry or competition rather we have a complementary relationship.”

The strategic partnership between LAFA and GSA is based on mutual respect and on this is the  basis on which we conduct our dialogues and our mutual learning. Moreover, the partnership plays a profound role in the bigger backdrop of cultural relationships between the two nations.”

“We hope that this exhibition can promote the friendship between LAFA and GSA, to help us to have a better understanding of each other and we look forward to welcoming the GSA’s School of Fine Art to China.

“We will carry forward the spirit of Yan’an Luxun School of Art - to be the leader of the times, to stay hungry, and lead Chinese Contemporary art on to the international stage. “


 “The GSA has been working in partnership with LAFA for the last four years and we are delighted to unveil this showcase of work by our colleagues in China,” adds Professor Alistair Payne, Head of the School of Fine Art at The Glasgow School of Art. “This is an important exhibition, not only in the context of the relationship between the two institutions, but also as an exhibition in its own right, featuring some of the most eminent artists practicing in China today.”

“We are particularly pleased to be able to show the work by Li Xiangqun which has previously been seen in such a prestigious venue as the Forbidden City, alongside works by artists including Wei Ershen, who was a key member of the mould-breaking  ’85 New Wave’ - the nationwide avant-garde movement that emerged in China in the mid-1980s.” he adds.

The work on show in the exhibition ranges from large-scale oil on canvas paintings to bronze sculptures, digital prints on silk, watercolours, ink paintings on paper. Multi-media sculptures, photography and calligraphy.

East and West Walk Forwardruns in the Reid Gallery from 23 September – 29 October 2017.
Open daily 10am – 4.30pm. Entry free.

Ends

For further information
Lesley Booth
07799414474
press@gsa.ac.uk
@GSofAMedia
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Search

Dance Number, large-scale artwork by Louise Hopkins, unveiled at the GSA

October 24, 2017, 5:33 am
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Artist has made work responding to “a potent and paradoxical space”

Dance Number, a specially commissioned work by Louise Hopkins
Photo: Alan Dimmick

A new artwork by the leading artist Louise Hopkins has been unveiled on the central wall in front of the Mackintosh Building today, 24 October 2017. A 2.5m high and 12.2m long digital print on metal, Dance Number, was specially commissioned by the GSA and is the artist’s largest work to date.

“We are delighted to showcase a new work by one of our acclaimed MFA alumni, Louise Hopkins ” says Professor Tom Inns, Director of The Glasgow School of Art. “We see the wall between the Mackintosh Building and the street as a space which can demonstrate the creativity for which The Glasgow School of Art has been renowned since its foundation in 1847.”

“Louise has created a work that responds both to the space in which it is sited and to the work which is going on around it.”

“Louise Hopkins is known for pieces that relate to a specific context and for work that explores the relationship between painting and printmaking,”adds GSA Exhibitions Director, Jenny Brownrigg. “There is also an element of destruction and reparation in her practice that chimes with what is happening to the Mackintosh Building.”

For Hopkins, the outdoor space in which the work is sited is both paradoxical and potent with its contrast between the historic building and a modern building site, and between the public face of the restoration and the hidden nature of what is happening in the Building.

“I was struck by the juncture between the early 20th century building and the 21st century objects and processes used in the restoration process, and was particularly drawn to both the grid created by the scaffolding and the colours, structure and different qualities of surrounding signage - road signs, pedestrian barriers, contractor signs - which are an integral part of the restoration,” she says.

Hopkins was also interested in the shape of the space in which the work is sited. This loading bay, a defined area that is trapezoid in shape, has the quality of a stage or arena, and also a barrier and demarcation between public and private space.

As part of the creative process she spent time observing and describing in words the pattern of movement made by workers on the scaffolding and people, materials and vehicles in the street around the building site. This process became almost a form of drawing in itself. During this observation she noticed there were patterns and rhythms, often repeated patterns.

These observations are encapsulated in a colourful artwork comprising a drawn grid structure with painted geometric shapes in blue, red and black. The shapes have been treated as units to be reordered, manipulated, disrupted, linked, repeated and mirrored to make a single dynamic form.

“The Mackintosh Building is a special place,” says Louise Hopkins. "In its very particular current state, clad with scaffolding and netting, the usually immediately recognisable building is transformed almost to a state of non-recognition. It is inspirational especially in its current form as it undergoes restoration.”

“Being able to make a work that responds to what is happening on site during the restoration has been important for me both because of the special qualities of the Mackintosh Building, and because of what that whole area of Renfrew Street demands in terms of its nature, scale and activity."

Ends

For further information, images and interviews contact:
Lesley Booth, 
0779 941 4474
press@gsa.ac.uk
@GSofAMedia

Note for Editors

Louise Hopkins is an artist and part-time lecturer in the GSA’s School of Fine Art. Her practice involves working with what already exists in the world; making paintings onto surfaces that already contain information – such as world maps, patterned fabric and pages from books. Dance Numberis her largest scale work to date. Hopkins is currently developing several large-scale works for outside locations.

Hopkins has exhibited widely overseas and in the UK. Earlier this year her work was included in NOW, Scottish National Gallery of Modern Art, Edinburgh. In 2015 a group of 7 works were included in Dévider le réel, at Les Abattoirs, FRAC Midi-Pyrenees.In 2014 she had a one-person exhibition ‘Black Sea, White Sea’ - part of GENERATION 25 years of Contemporary Art in Scotland. In 2007 she was one of 6 artists who represented Scotland at the 52ndVenice Biennale. In 2005 she had a major one-person exhibition ‘Freedom of Information’ at the Fruitmarket Gallery in Edinburgh.

Public collections include Jumex Collection, Mexico City; Museum of Contemporary Art, Sydney; MOMA New York, Musee Cantonal des Beaux-Arts, Lausanne; Arts Council of England, London and Aberdeen Art Gallery, Aberdeen


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The GSA to show acclaimed exhibition of work by South African visual activist, Zanele Muholi

October 27, 2017, 1:18 am
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  • Zanele Muholi Somnyama Ngonyama, Hail the Dark Lioness runs at the GSA from 11 November – 17 December 2017
  • The exhibition features four new portraits, commissioned by Autography ABP, that highlight the plight of women in the struggle for freedom [of movement] and equality under Apartheid. 

Ntozakhe II, Parktown, 2016 © Zanele Muholi.

Courtesy of Stevenson, Cape Town/Johannesburg and Yancey Richardson, New York


The Glasgow School of Art is to stage the Scottish premiere of an exhibition of work by acclaimed black South African visual activist, Zanele Muholi, it was confirmed today, 27 October 2017. Somnyama Ngonyama, Hail the Dark Lioness, which was shown in London’s Autograph ABP gallery earlier this year, will run in the Reid Gallery at the GSA from 11 November – 17 December 2017.

Curated by Renée Mussai and presented by Autograph ABP, the body of work on show sees Zanele Muholi (b. 1972) confront the politics of race and representation in the visual archive in her ongoing self-portrait series Somnyama Ngonyama.

“We are delighted to present Zanele Muholi’s first solo show in Scotland,” says Jenny Brownrigg, Exhibitions Director at The Glasgow School of Art. “It is a great pleasure for the GSA to work in partnership with Autograph ABP to bring this show to Scotland and give people the opportunity to see this powerful body of work.”

Taken primarily in Europe, North America and Africa between 2014 and 2016, each portrait in Somnyama Ngonyama (isiZulu for Hail, the Dark Lioness) poses critical questions about social justice, human rights and contested representations of the black body. Muholi’s self-reflective and psychologically charged portraits are unapologetic in their artistry as she explores different archetypes / personae and offers visual reflections inspired by personal experiences and socio-political events.

In Somnyama Ngonyama, ready-made objects and found materials are transformed into culturally loaded props, merging the political with the aesthetic – often commenting on specific events in South Africa’s recent history. Scouring pads and latex gloves address themes of domestic servitude, while simultaneously alluding to sexual politics, violence and the suffocating prisms of gendered identity. Rubber tires, electrical cords or cable ties reference forms of social brutality and capitalist exploitation, and powerfully evoke the plight of workers – maids, miners and members of the disenfranchised communities. Using different artefacts – from chopsticks, can lids and safety pins to plastic bags or polythene wrapping – Muholi draws attention to urgent environmental issues and toxic waste. Accessories such as cowrie shells or beads highlight Western fascinations with clichéd, exoticised representations of African cultures and people as well as the global economies of migration, commerce and labour.

The portraits in Somnyama Ngonyama skillfully employ the conventions of classical portraiture, fashion photography and the familiar tropes of ethnographic imagery to rearticulate contemporary identity politics. By increasing the contrast in post-production, the dark complexion of Muholi’s skin becomes the focal point of a multilayered interrogation into complex notions of beauty, desire and the dangerous terrains, racisms, and interlinked ‘phobias’ navigated daily.

Muholi responds to these constraining narratives of history, ideologies and contemporary realities with a sinister, often tragi-comical humour, embarking, in her own words, on ‘a discomforting self-defining journey, rethinking the culture of self-representation and self-expression’.

Thus, Somnyama Ngonyama represents Muholi’s personal visual memoir – an Archive of The Self – a growing compendium of photographic portraits emerging in constant dialogue with her surroundings, at once affirmation and reclamation, and testament to a myriad of tribulations brought forth by displacement and subjugation. Gazing defiantly at the camera, Muholi continually challenges the viewers’ perceptions while firmly asserting [her] cultural identity on her own terms.

‘I’m reclaiming my blackness, which I feel is continuously performed by the privileged
‘other’. My reality is that I do not mimic being black; it is my skin, and the experience of being black is deeply entrenched in me. Just like our ancestors, we live as black people 365 days a year, and we should speak without fear.’
Zanele Muholi

‘Somnyama Ngonyama presents a compelling and visionary mosaic of identities, an exquisite empire of selves. Inviting us into a multilayered conversation, each photograph in the series, each visual inscription, each confrontational narrative depicts a self in profound dialogue with countless others: implicitly gendered, culturally complex and historically grounded black bodies.’
Renée Mussai, Curator

NEW ARTIST COMMISSION

The exhibition features four new portraits, commissioned by Autograph ABP, that highlight the plight of women in the struggle for freedom [of movement] and equality under Apartheid.

The three-portrait series, Bayephi I, II and III, commemorates the 1956 Women’s March on Pretoria, a pivotal moment in South Africa’s history where thousands of women from different cultural backgrounds united to demonstrate against repressive ‘pass laws’, which severely restricted their ability to move freely. These portraits were taken in June 2017 at the Old Fort prison complex at Constitution Hill in Johannesburg, where many women were incarcerated as political prisoners for transgressing pass laws.

In the fourth portrait, entitled ZaKi, Muholi continues to explore the poetics of transgression and exile in Kyoto, Japan, visualising an imagined Afro-Japanese hyphenated identity.

Zanele Muholi Somnyama Ngonyama, Hail the Dark Lioness runs at the GSA from 11 November – 17 December 2017. Open daily 10am – 4.30pm. Entry free.

Ends

For further information on the exhibition showing at the GSA, images and interviews contact:
Lesley Booth, 0779 941 4474 / press@gsa.ac.uk

Notes for Editors

About Zanele Muholi
Zanele Muholi was born in 1972 in Umlazi, Durban, and lives in Johannesburg, South Africa.

Muholi sees her practice as visual activism to effect social change. Over the past decade, she has become known globally with Faces and Phases, her pioneering portrait photography of South Africa’s LBTQI communities. She co-founded the Forum of Empowerment of Women (FEW) in 2002, and founded Inkanyiso (www.inkanyiso.org), in 2009 a forum for queer visual activist media.

Muholi studied Advanced Photography at the Market Photo Workshop in Newtown, Johannesburg, and holds an MFA in Documentary Media from Ryerson University, Toronto. She is an Honorary Professor at the University of the Arts Bremen, and has been the recipient of the prestigious Prince Claus Award and the Carnegie Fine Prize.

She was included in the South African pavilion at the 55th Venice Biennale (2013) and took part in the São Paolo Biennial (2010) and documenta 13, Kassel (2013). Recent solo exhibitions include the Brooklyn Museum, New York (2015); Rencontres D’Arles (2016); and Stedelijk Museum, Amsterdam (2017). Her photographs are represented in the collections of Centre Georges Pompidou, Paris; Guggenheim, New York; Museum of Contemporary Photography, Chicago; South African National Gallery, Cape Town; Walther Collection New York/Neu-Ulm; Tate Modern, London; and others. Muholi is represented by Stevenson Cape Town/Johannesburg and Yancey Richardson, New York.

AUTOGRABP ABP

Our charitable mission is to use photography and film to explore politics of cultural identity, race, representation, social justice and human rights and to encourage reflection upon how these issues affect us individually and institutionally. Drawing on both contemporary and historical practices, we use our artistic programme to explore how perspectives and perception of these themes evolve through experience and over time.

From modest beginnings many years ago as an agency, we have grown in ambition and scale to now run our own galleries and education studio in the heart of London. Rivington Place is Autograph ABP’s purpose built home; an architectural landmark building designed by Sir David Adjaye.

From this production centre, we commission new work from artists and writers, curate exhibitions, produce publications, research and display works from our own and other photographic archives. We also offer a critical education and events programme both on and off site, which serves people of all ages, all year round. The majority of our public activities are free and we have a particular strong relationship with our local communities.

We are active regionally and internationally; lending art work from our permanent collection of photography and touring our exhibitions, encouraging public and private collectors to acquire photographic works, participating in conferences and debating questions of rights and representation as they are expressed through visual communication.

We enter into strategic partnerships locally and globally which support the production of new art work and the exploration of key themes arising from our mission. Subject to context, we are at any time working with individual artists, galleries, museums, academic institutions and other interest groups, including non governmental organisations, ranged around the world.

We receive regular funding from Arts Council England which represents approximately half our annual operating costs. The balance is made up through a combination of earned and other income streams derived from a range of sources including trusts and foundations, consultancy work and sales, including limited edition prints.

To find out more, please visit www.autograph-abp.co.uk


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The Glasgow School of Art Shop unveils 2017 Christmas Collection

November 2, 2017, 3:38 am
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  • Designs include textiles by Catherine MacGruer who was recently featured in the prestigious “Heals 100”
  • Wide range of new jewellery designs
  • Historic GSA Christmas cards return by popular demand and new limited edition wooden Christmas Tree decoration added
  • Prices start from as little as £6



 

Images: Catherine MacGruer cushion,  cufflinks by Layrd Club’, "Eyes" T-shirt by Risotto studios 
and hand painted Scottish decorations from East End Press


The Glasgow School of Art Shop has unveiled its 2017 Christmas Collection of contemporary gifts featuring designs by staff, students and alumni. 

Among the products in this year’s collection are designs by Inverness-based Textiles graduate Catherine MacGruer. MacGruer’s 2014 Degree Show collection caught the eye of Heals, the internationally renowned design store, and most recently she was included in the Heals 100 Design icons alongside luminaries such as Charles and Ray Eames, Arne Jacobsen and Philippe Starck.

Other textiles in the collection include knitwear by Alan Dibble of Green Thomas and baby blankets by Mini McGhee.

Also featured in the GSA’s 2017 Christmas collection is a wide range of new jewellery including Layrd Club’s bronze infused steel cufflinks and ties pins which have been made using state of the art 3D printing techniques. Brass earrings by Nmarra, Silver bear necklaces by Dear Prudence, dinosaur jewellery by Robyn J Mclean and watches with bespoke numerals by Imogen Ayres at Paulin Watches are also available this Christmas.

Back by popular demand this year are limited edition wooden Christmas tree decorations and Christmas cards featuring historic designs from the GSA’s Archives and Collections. This year’s Christmas Tree decoration has been designed by Léa Bonaventure,4thyear Fashion Design student, who won a GSA-wide competition to create this year’s decoration.  Also available for the tree is a set of four Scottish themed decorations by East End press.

Other products include T-Shirts and tote bags by Risotto Studio, tea towels, brooches and mobiles by East End Press, vegan soaps from The Printed Peanut and more.

Complementing the collection this year will be another set of limited edition designs by GSA Product Design Engineering students. More details will be announced at the end November.

The Collection is available in The Glasgow School of Art Shop in the Reid Building, 164 Renfrew Street Glasgow, G3 6RF(open daily 10am – 4.30pm) and online via www.gsashop.co.uk. International delivery available.

Ends
For further information, images and loans contact:
Jen Stewart
0141 566 1473  
j.stewart@gsa.ac.uk
@GSAShop


2017 CHRISTMAS COLLECTION


Gifts for under £10

 
  



  • All natural vegan soap for gardeners by The Printed Peanut (£5.95)
  • Poppy and the Blooms book by Fiona Woodcock (£6.99).
  • Screen printed souvenir decorations and tropical bird brooches by East End Press (£8)
  • Set of GSA Archives Christmas Cards £10



Gifts from £10 - £50






  • Tea towels by East End Press (£12)
  • "Eyes" totes and tees by Risotto Studio (£15 - £25)
  • Brass earrings by Nmarra (£17.50 - £22.50).
  • Mobiles by East End Press (£28)
  • Dinosaur jewellery by Robyn J Mclean (£28).
 Gifts from £50 - £100

  
  
  • Baby blankets by Mini McGhee (£55).
  • 3D printed bronze infused steel cufflinks and ties pins inspired by Scotland by Layrd Club (£60 - £75).
  • Merino wool scarves and cushions by Catherine MacGruer from £74
  • Knitwear produced in Scotland by Alan Dibble of Green Thomas from £95



Gifts for over £100


  
  • Silver bear necklaces by Dear Prudence (£100 - £120)
  • Watches with bespoke numerals by Imogen Ayres at Paulin Watches (£140 - £180).



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Scotland’s first School of Creative Education to be established in Paisley through partnership with GSA

November 3, 2017, 5:01 pm
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Partnership aims to improve pupil prospects



·      Castlehead HS pupil Rowan Kinnear, 14, from Paisley; Castlehead HS Headteacher Martin Macdonald; Castlehead HS pupil Adam McGowan, 14, from Paisley; Professor Tom Inns, Director of the GSA


Scotland’s first high school to use creative teaching methods across the general curriculum to improve pupil prospects is to be established in Paisley through a unique partnership between The Glasgow School of Art (the GSA) and Renfrewshire Council.

The exciting collaboration between the world-leading GSA and the town’s Castlehead High School aims to apply the learning and teaching models of creative education across all subjects, raising attainment and improving pupil prospects and ambitions.
By applying a studio-based, practice-led teaching model, pupils will be encouraged to develop confidence, team-work, problem solving and critical thinking across all subjects. 
The initiative to support the wider curriculum places the GSA and Renfrewshire at the forefront of creative educational development in the UK.

Following discussions over recent months, the GSA and Renfrewshire Council has now signed a memorandum of understanding to further develop the partnership’s ambitious aims.

The collaboration also includes plans for the GSA to explore the development of educational degree programmes, linking into the creative curriculum in place at Castlehead.

“Today marks the beginning of an exciting journey,” says Professor Tom Inns, Director of The Glasgow School of Art. “The GSA is looking forward to working in partnership with staff at Castlehead School to apply our studio-based teaching and learning techniques across a broad range of disciplines to help increase attainment and create confident, innovative pupils with the skills to thrive both in the world of work and in broader society."

“The value of learning through creativity cannot be underestimated,” adds Professor Inns.“It is important that the GSA, as Scotland’s national higher education institution for the visual creative disciplines, works collaboratively with partners in local government and schools to empower our young people through creativity and culture to improve both their opportunities and quality of life now and in the future.”

Renfrewshire Council Leader Iain Nicolson, said: “We want all children and young people in Renfrewshire to have the opportunity to achieve their ambitions, regardless of their background.

“Creative learning expands the mind and builds confidence, and I’m delighted that the world-renowned Glasgow School of Art has chosen Paisley and Renfrewshire to develop this special centre of excellence.

“Regardless of what a pupil wants to do when they leave school, this unique collaboration will develop a love of learning and assist them to develop problem-solving and critical thinking skills which can be applied across all educational subjects.”

Paisley is in the final five places shortlisted for UK City of Culture 2021, its bid centred on the cultural-led regeneration of the town.

Paisley 2021 bid Director Jean Cameron said: “I am thrilled at news of this wonderful collaboration with the world-renowned Glasgow School of Art. Culture changes people’s lives, opening up opportunities and developing knowledge and skills which stand us all in good stead to achieve our ambitions in life.

“Paisley is rightly proud of the incredible creative talents and techniques it has given the world, not least weaving the Paisley pattern into so many people’s lives and I am excited at the potential of this new partnership, not just for Paisley pupils, but as a model we can all learn from, which could be adopted in schools across the UK.”

Ends

David Christie, Senior Communications Officer, Renfrewshire Council
0141 618 4498
david.christie@renfrewshire.gov.uk

For further information on The Glasgow School of Art contact:
Lesley Booth, 07799414474 / press@gsa.ac.uk

Notes for Editors:

Castlehead High School is located in Paisley and serves the areas of central Paisley, Elderslie, Ferguslie Park and Hunterhill. It is a designated Scottish FA School of Football and successfully piloted the Parents in Partnership programme, now delivered in all Renfrewshire schools which sees parents attend school each week, their increased engagement with the school supporting improvement in their child’s attainment and closing the poverty related attainment gap.

About The Glasgow School of Art
The Glasgow School of Art (GSA) was founded in 1845 as one of the first Government Schools of Design, as a centre of creativity promoting good design for the manufacturing industries of Glasgow.  However, the School’s lineage can be traced to 1753 when Robert Foulis established a school of art and design in Glasgow, which was described as the single most influential factor in the development of eighteenth-century Scottish Art. Today, The GSA is internationally recognised as one of Europe's leading university-level institutions for the visual creative disciplines. Our studio-based approach to research and teaching brings disciplines together to explore problems in new ways to find innovative solutions. The studio creates the environment for inter-disciplinary working, peer learning, critical inquiry, experimentation and prototyping, helping to addressing many of the great challenges confronting society and contemporary business.
About Renfrewshire and education

About Renfrewshire Council
Renfrewshire is home to 176,000 people, with a rich history, strong resilient communities and great economic potential. The Council has just set out a five-year plan to transform the area’s future, focused on making Renfrewshire an attractive place to live, work, visit and invest in. More than 27,000 children are educated across 11 secondary and 49 primary schools. Renfrewshire is ambitious for our pupils and want all young people to reach their full potential regardless of their background. Renfrewshire is one of nine local authorities in the Attainment Challenge and through the Pupil Equity Fund are addressing the poverty-related impacts on attainment. Successful initiatives include the Renfrewshire Literacy Approach, supporting the professional development of teachers to develop a love of reading in all pupils. www.renfrewshire.gov.uk

About Paisley 2021
Paisley is the only Scottish representative on the five-place shortlist to be named UK City of Culture 2021. The competition is run by the UK Government's Department of Digital, Culture, Media and Sport and the winner will be announced at the end of the year.
Paisley's bid aims to use the town's unique and fascinating story to transform its future—by putting the town in the international spotlight, attracting visitors, creating jobs and using culture to make people's lives better. The one-time global textile hub and birthplace of the Paisley Pattern is also home to stunning architecture, an internationally-significant museum collection, Glasgow Airport, University of the West of Scotland, West College Scotland, PACE Theatre Company and a thriving contemporary cultural scene.

Find out more about our story at: www.paisley2021.co.uk
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Major United Nations accolade for The Glasgow School of Art

November 8, 2017, 7:27 am
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  • Glasgow Urban Lab designated United Nations Charter Centre of Excellence

  • The GSA will now collaborate internationally on activities to promote UN policies for sustainable Housing and Urban Development in the 21st century     

Professor Brian Evan signs the Memorandum of Understanding 
 between UNECE and Glasgow Urban Lab

Ivonne Higuero, Director of Forest, Land and Housing Division, UNECE and Professor Brian Evan mark the signing of the Memorandum of Understanding between UNECE and Glasgow Urban Lab


"The GSA’s innovation skills and research capability will be a great asset
to the UNECE network going forward."
Dr Elena Szolgayová, 
Chair of the UNECE Committee on Housing and Land Management


The UNECE, which comprises over 50 nations from North America though Europe to Central Asia, has today designated the Glasgow Urban Lab, a partnership between The Glasgow School of Art and Glasgow City Council, a UN Charter Centre of Excellence.

Through the Centre, the GSA will become a key international player in the implementation of UN policies on Sustainable Development and on the Geneva UN Charter for Sustainable Housing.
The appointment comes on the back of a major piece of work on sustainable housing and urban development in the 21st century led by Brian Evans, Professor of Urbanism at the GSA and Director of the Glasgow Urban Lab, for UN Habitat and the United Nations Economic Commission for Europe in preparation for Habitat III (a UN conference which takes place every 20 years).

Prof Evans and Dr Elena Szolgayová the Chair of the UNECE Committee on Housing and Land Management at the United Nations formalised the Memorandum of Understanding in Geneva this morning, 8 November 2017.Tomorrow Professor Evans will give a keynote address on an updated version of his Habitat III report to the prestigious Council of Ministers.


Dr Elena Szolgayová, Chair of the UNECE Committee on Housing and Land Management,
Gulnara Roll, Secretary to CHLM, UNECE and Professor Brian Evans

Dr Elena Szolgayová, Chair of the UNECE Committee on Housing and Land Management (and Director General of Housing Policy and Urban Development in the Slovak government) said: “I am very pleased that one of the first UN Charter Centres in the UNECE will be based at the Glasgow Urban Lab at The Glasgow School of Art. Their innovation skills and research capability will be a great asset to the UNECE network going forward as it has been in preparing for Habitat III last year.”

Professor Brian Evans, Head of Urbanism at the GSA and director of the Glasgow Urban Lab added: “We have been collaborating with the UNECE in their contribution to the New Urban Agenda. The establishment of the Centre now provides a structured way for the Urban Lab at the GSA to collaborate with international partners across the UNECE in supporting the implementation of the UN’s Strategic Development Goals and the New Urban Agenda.”

Cathy Johnston, Group Manager, Development and Regeneration Services at Glasgow City Council and Board Member of the Glasgow Urban Lab said: “Glasgow is delighted to support this UN initiative with the Glasgow Urban Lab in recognition of the Lab’s innovation, research and leadership in urbanism in Scotland, the UK and internationally. 

Ends


For further information, images and interviews contact:
Lesley Booth, 
0779 941 4474
press@gsa.ac.uk

@GSofAMedia

Notes for Editors


The United Nations Economic Commission for Europe
The United Nations Economic Commission for Europe (UNECE) was set up in 1947. It is one of five regional commissions of the United Nations. The others are:
•    Economic Commission for Africa (ECA),
•    Economic and Social Commission for Asia and the Pacific (ESCAP),
•    Economic Commission for Latin America and the Caribbean (ECLAC),
•    Economic and Social Commission for Western Asia (ESCWA).

The UNECE's major aim is to promote pan-European economic integration. UNECE includes 56 member Statesin Europe, North America and Asia. Over 70 international professional organizations and other non-governmental organizations take part in UNECE activities.

UNECE helps countries to convene and cooperate on norms, standards and conventions in support of the UN’s Sustainable Development Goals (SDGs). 

UNECE helps implement the Sustainable Development Goals by translating the global goals into norms, standards and conventions, developing statistical recommendations and capacity, undertaking performance reviews and studies, building capacity and engaging in partnerships with the private sector and civil society.

“UNECE’s achievements have made it a go-to source for improving 
global public goods and services, with more than 100 countries beyond 
the UNECE region benefiting from its work”.

                       former UN Secretary-General Ban Ki-moon

The Glasgow School of Art
The Glasgow School of Art is internationally recognised as one of Europe's leading university-level institutions for the visual and creative disciplines.  The studio-based approach to research and teaching, brings disciplines together to explore problems in new ways to find new innovative solutions.  The studio creates an environment for inter-disciplinarity, peer learning, critical enquiry, experimentation and prototyping, helping to address many of the essential challenges confronting society and business today.

Professor Brian Mark Evans
BSc Hons DipURP MSc PhD MRTPI FCSD FRGS MIoD AoU

Brian Mark Evans is Professor of Urbanism & Landscape at the Mackintosh School of Architecture, the Glasgow School of Art and Director of the Glasgow Urban Laboratory. He was formerly Artistic Professor of Urban Design & Planning at Chalmers University School of Architecture, Gothenburg.

In practice from 1990-2015, he was a partner with Gillespies LLP, an international design firm based in the UK where he led projects in 20 countries on 3 continents resulting in over 50 national and international awards for professional and design excellence.

From 2005 until 2010 he was Deputy Chair of Architecture & Design Scotland, the national agency responsible for architecture and the built environment in Scotland and before that was an Enabler with the UK Government Commission for Architecture and the Built Environment in London. He is a founding Director and Academician of the Academy of Urbanism, London, UK.

Since 2015 he has worked in collaboration with the United Nations Economic Commission for Europe and UN-Habitat. He was lead writer for the Habitat III Regional Report on Housing and Urban Development for the UNECE Region: Towards a city-focused, people-centred and integrated approach to the New Urban Agenda.

Dr Evans is author, editor and contributor to 20 books and over 80 articles on design, landscape planning and urbanism published in English, German, Swedish, Russian, Dutch, Spanish and French. He has presented papers and chaired over 100 national and international conferences in Scotland, the UK, Europe, Scandinavia, Russia and China.  He is a Chartered Town Planner, Chartered Designer and practices, researches, teaches and speaks widely on the contemporary and future city, urbanism, urban design and landscape planning.

The Glasgow Urban Laboratory
The Glasgow Urban Laboratory (GUL) is a partnership between the Glasgow School of Art and Glasgow City Council and is based in the Mackintosh School of Architecture. The Urban Laboratory seeks to support Glasgow’s role as an international leader in urbanism, design and creative practice and inform local and national priorities and actions for environmental, economic, social and cultural development through place-making. Research themes include ‘the contemporary and future city’; ‘investigation of comparative urbanism for economically, socially and environmentally sustainable and healthy futures’ and ‘designing from context in landscape, town, neighbourhood and city’.






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