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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.
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.
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.”
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 PagePark 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.
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 PagePark 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.”
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.
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.
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:
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.”
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.
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.
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| 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
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.
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.”
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.”
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.”
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.
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.”
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.
being sourced in the USA. It will be manufactured at Laurence McIntosh with
installation on site expected to begin in spring 2018.
Ends
For further
information, images and interviews contact:
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:
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
research information and meticulous development process
for the prototype which
has been created by
has been created by
PagePark 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 PagePark 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
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. - PagePark 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.
.