Showing posts with label Glasgow. Show all posts
Showing posts with label Glasgow. Show all posts

Saturday, August 14, 2010

Jimmy Reid – Working Class Hero


Jimmy Reid

I always remember as a young 11 year old scout seeing the River Clyde for the first time as we neared the end of the slow and dreary overnight 14 hour voyage from Dublin to Glasgow. Dreary was the voyage trying to catch some fitful sleep in the basic “steerage” class in the bowels of the antiquated Burns and Laird boat “Irish Coast” which carried a mixture of cattle and people. I looked at the cattle with envy as they disembarked three hours before us at Port Glasgow; to this day I’m convinced they had the better deal. Dreary was the voyage and dreary was the wet drizzly morning as we edged up the river to the centre of Glasgow. But as we went up the Clyde I looked open mouthed at the miles and miles of shipyards with their slipways to the river, enormous sheds and cranes and behind rows of grim tenement buildings in the black limestone calp which added to the gloom of the perspective. Then standing out from all others was the sight of the magnificent 66,000 tons of the QE2 on its berth at John Brown’s yard virtually complete just 2 months before its launch. For a young Irish kid this was not just a different landscape, in its primeval strangeness it could have been a different planet.


Irish Sea routes in the 1960's


The Burns & Laird boat "Irish Coast" which I travelled on

That was then the still impressive Clyde which at one stage had 257 shipyards and built a quarter of the world’s ships which were proudly referred to as “Clyde Built”, the ultimate badge of quality in maritime circles. That was then but now is different, there are only two yards remaining at Govan and the rest of the Clyde I saw is a post-industrial wasteland. Where our boat docked that morning in the centre of Glasgow is no longer navigable, silt has reclaimed the channel and a pedestrian bridge blocks it off providing access to a Clyde Heritage themed area and the “Armadillo” concert hall and conference centre which is meant to bring visitors to the “New Glasgow.” In truth it is only a shadow of its former self for not just the Shipbuilding is gone but also all the associated trades and crafts backed up by the famous Glasgow Art School and the impressive Engineering Faculty at the still prestigious university. Today Glasgow is a city which has lost its heart and its meaning where the biggest employers are the call centres which employ 150,000 people. It could have been so different if people had listened to a person who was a true Working Class Hero, Jimmy Reid.




SECC Glasgow - Arena; The Glasgow "Armadillo" and the once bustling quayside where passenger ships docked

The death of veteran trade unionist and socialist Jimmy Reid, just short of the 40th anniversary of the Upper Clyde Shipbuilder’s work-in which he led, robs the radical left of a once-towering figure. Reid has been labelled "the best MP Scotland never had". Reid secured his place in the pantheon of popular revolts because, along with fellow Communist party members and fellow travellers such as Jimmy Airlie and Sammy Barr, he led not only one of the most important post-war struggles but one which did not end in glorious defeat. Instead, the revolt ended after 18 months of hard struggle in a stunning victory with the nationalisation of the yards. This was one of the first nails in Edward Heath's political coffin, as he became a lame duck prime minister who was forced to make umpteen U-turns.


Old cine film of a boat trip up and down the River Clyde, Scotland. From Greenock to Glasgow & back in the 1960's. Featuring footage of the many shipyards that used to sit beside the river.

What Reid had done was to initiate a form of constructive protest which was far more difficult for governments to deal with than simply walking out away from the job. The hallmark of what Reid said in his moving speeches was that the dignity of workers demanded discipline and that it was their duty to continue production as far as they were able to do so. This attitude at the time was novel, and made a tremendous impression among those who would normally have been quick to condemn strike action.


Jimmy Reid as Rector of the University of Glasgow

Reid remained a cult figure and was elected by the students as rector of Glasgow University. His rectorial address was hailed by the New York Times, who printed it in full, as "the greatest speech since the Gettysburg Address" Re-reading it today it still resonates with our society and has lost little of its relevance and I reprint it in full;

“Alienation is the precise and correctly applied word for describing the major social problem in Britain today. People feel alienated by society. In some intellectual circles it is treated almost as a new phenomenon. It has, however, been with us for years. What I believe is true is that today it is more widespread, more pervasive than ever before. Let me right at the outset define what I mean by alienation. It is the cry of men who feel themselves the victims of blind economic forces beyond their control. It's the frustration of ordinary people excluded from the processes of decision-making. The feeling of despair and hopelessness that pervades people who feel with justification that they have no real say in shaping or determining their own destinies.



Many may not have rationalised it. May not even understand, may not be able to articulate it. But they feel it. It therefore conditions and colours their social attitudes. Alienation expresses itself in different ways in different people. It is to be found in what our courts often describe as the criminal antisocial behaviour of a section of the community. It is expressed by those young people who want to opt out of society, by drop-outs, the so-called maladjusted, those who seek to escape permanently from the reality of society through intoxicants and narcotics. Of course, it would be wrong to say it was the sole reason for these things. But it is a much greater factor in all of them than is generally recognised.

Society and its prevailing sense of values leads to another form of alienation. It alienates some from humanity. It partially de-humanises some people, makes them insensitive, ruthless in their handling of fellow human beings, self-centred and grasping. The irony is, they are often considered normal and well-adjusted. It is my sincere contention that anyone who can be totally adjusted to our society is in greater need of psychiatric analysis and treatment than anyone else. They remind me of the character in the novel, Catch 22, the father of Major Major. He was a farmer in the American Mid-West. He hated suggestions for things like medi-care, social services, unemployment benefits or civil rights. He was, however, an enthusiast for the agricultural policies that paid farmers for not bringing their fields under cultivation. From the money he got for not growing alfalfa he bought more land in order not to grow alfalfa. He became rich. Pilgrims came from all over the state to sit at his feet and learn how to be a successful non-grower of alfalfa. His philosophy was simple. The poor didn't work hard enough and so they were poor. He believed that the good Lord gave him two strong hands to grab as much as he could for himself. He is a comic figure. But think – have you not met his like here in Britain? Here in Scotland? I have.



Glasgow Tenements in 1957

It is easy and tempting to hate such people. However, it is wrong. They are as much products of society, and of a consequence of that society, human alienation, as the poor drop-out. They are losers. They have lost the essential elements of our common humanity. Man is a social being. Real fulfilment for any person lies in service to his fellow men and women. The big challenge to our civilisation is not Oz, a magazine I haven't seen, let alone read. Nor is it permissiveness, although I agree our society is too permissive. Any society which, for example, permits over one million people to be unemployed is far too permissive for my liking. Nor is it moral laxity in the narrow sense that this word is generally employed – although in a sense here we come nearer to the problem. It does involve morality, ethics, and our concept of human values. The challenge we face is that of rooting out anything and everything that distorts and devalues human relations.



Let me give two examples from contemporary experience to illustrate the point.

Recently on television I saw an advert. The scene is a banquet. A gentleman is on his feet proposing a toast. His speech is full of phrases like "this full-bodied specimen". Sitting beside him is a young, buxom woman. The image she projects is not pompous but foolish. She is visibly preening herself, believing that she is the object of the bloke's eulogy. Then he concludes – "and now I give...", then a brand name of what used to be described as Empire sherry. Then the laughter. Derisive and cruel laughter. The real point, of course, is this. In this charade, the viewers were obviously expected to identify not with the victim but with her tormentors.
The other illustration is the widespread, implicit acceptance of the concept and term "the rat race". The picture it conjures up is one where we are scurrying around scrambling for position, trampling on others, back-stabbing, all in pursuit of personal success. Even genuinely intended, friendly advice can sometimes take the form of someone saying to you, "Listen, you look after number one." Or as they say in London, "Bang the bell, Jack, I'm on the bus."




To the students [of Glasgow University] I address this appeal. Reject these attitudes. Reject the values and false morality that underlie these attitudes. A rat race is for rats. We're not rats. We're human beings. Reject the insidious pressures in society that would blunt your critical faculties to all that is happening around you, that would caution silence in the face of injustice lest you jeopardise your chances of promotion and self-advancement. This is how it starts, and before you know where you are, you're a fully paid-up member of the rat-pack. The price is too high. It entails the loss of your dignity and human spirit. Or as Christ put it, "What doth it profit a man if he gain the whole world and suffer the loss of his soul?"

Profit is the sole criterion used by the establishment to evaluate economic activity. From the rat race to lame ducks. The vocabulary in vogue is a give-away. It's more reminiscent of a human menagerie than human society. The power structures that have inevitably emerged from this approach threaten and undermine our hard-won democratic rights. The whole process is towards the centralisation and concentration of power in fewer and fewer hands. The facts are there for all who want to see. Giant monopoly companies and consortia dominate almost every branch of our economy. The men who wield effective control within these giants exercise a power over their fellow men which is frightening and is a negation of democracy.



The liner QE2 being launched from John Brown's yard on the Clyde, September 1967

Government by the people for the people becomes meaningless unless it includes major economic decision-making by the people for the people. This is not simply an economic matter. In essence it is an ethical and moral question, for whoever takes the important economic decisions in society ipso facto determines the social priorities of that society.

From the Olympian heights of an executive suite, in an atmosphere where your success is judged by the extent to which you can maximise profits, the overwhelming tendency must be to see people as units of production, as indices in your accountants' books. To appreciate fully the inhumanity of this situation, you have to see the hurt and despair in the eyes of a man suddenly told he is redundant, without provision made for suitable alternative employment, with the prospect in the West of Scotland, if he is in his late forties or fifties, of spending the rest of his life in the Labour Exchange. Someone, somewhere has decided he is unwanted, unneeded, and is to be thrown on the industrial scrap heap. From the very depth of my being, I challenge the right of any man or any group of men, in business or in government, to tell a fellow human being that he or she is expendable.




The concentration of power in the economic field is matched by the centralisation of decision-making in the political institutions of society. The power of Parliament has undoubtedly been eroded over past decades, with more and more authority being invested in the Executive. The power of local authorities has been and is being systematically undermined. The only justification I can see for local government is as a counter- balance to the centralised character of national government.

Local government is to be restructured. What an opportunity, one would think, for de-centralising as much power as possible back to the local communities. Instead, the proposals are for centralising local government. It's once again a blue-print for bureaucracy, not democracy. If these proposals are implemented, in a few years when asked "Where do you come from?" I can reply: "The Western Region." It even sounds like a hospital board.

It stretches from Oban to Girvan and eastwards to include most of the Glasgow conurbation. As in other matters, I must ask the politicians who favour these proposals – where and how in your calculations did you quantify the value of a community? Of community life? Of a sense of belonging? Of the feeling of identification? These are rhetorical questions. I know the answer. Such human considerations do not feature in their thought processes.

Everything that is proposed from the establishment seems almost calculated to minimise the role of the people, to miniaturise man. I can understand how attractive this prospect must be to those at the top. Those of us who refuse to be pawns in their power game can be picked up by their bureaucratic tweezers and dropped in a filing cabinet under "M" for malcontent or maladjusted. When you think of some of the high flats around us, it can hardly be an accident that they are as near as one could get to an architectural representation of a filing cabinet.



Govan shipyard, one of only two left on the River Clyde, saved from closure by Jimmy Reid and his colleagues in 1971

If modern technology requires greater and larger productive units, let's make our wealth-producing resources and potential subject to public control and to social accountability. Let's gear our society to social need, not personal greed. Given such creative re-orientation of society, there is no doubt in my mind that in a few years we could eradicate in our country the scourge of poverty, the underprivileged, slums, and insecurity.

Even this is not enough. To measure social progress purely by material advance is not enough. Our aim must be the enrichment of the whole quality of life. It requires a social and cultural, or if you wish, a spiritual transformation of our country. A necessary part of this must be the restructuring of the institutions of government and, where necessary, the evolution of additional structures so as to involve the people in the decision-making processes of our society. The so-called experts will tell you that this would be cumbersome or marginally inefficient. I am prepared to sacrifice a margin of efficiency for the value of the people's participation. Anyway, in the longer term, I reject this argument.



George Square & Town Hall, Glasgow

To unleash the latent potential of our people requires that we give them responsibility. The untapped resources of the North Sea are as nothing compared to the untapped resources of our people. I am convinced that the great mass of our people go through life without even a glimmer of what they could have contributed to their fellow human beings. This is a personal tragedy. It's a social crime. The flowering of each individual's personality and talents is the pre-condition for everyone's development.

In this context education has a vital role to play. If automation and technology is accompanied as it must be with a full employment, then the leisure time available to man will be enormously increased. If that is so, then our whole concept of education must change. The whole object must be to equip and educate people for life, not solely for work or a profession. The creative use of leisure, in communion with and in service to our fellow human beings, can and must become an important element in self-fulfilment.

Universities must be in the forefront of development, must meet social needs and not lag behind them. It is my earnest desire that this great University of Glasgow should be in the vanguard, initiating changes and setting the example for others to follow. Part of our educational process must be the involvement of all sections of the university on the governing bodies. The case for student representation is unanswerable. It is inevitable.



Orange Parade, Glasgow, 2008

My conclusion is to re-affirm what I hope and certainly intend to be the spirit permeating this address. It's an affirmation of faith in humanity. All that is good in man's heritage involves recognition of our common humanity, an unashamed acknowledgement that man is good by nature. Burns expressed it in a poem that technically was not his best, yet captured the spirit. In "Why should we idly waste our prime...":

"The golden age, we'll then revive, each man shall be a brother,
In harmony we all shall live and till the earth together,
In virtue trained, enlightened youth shall move each fellow creature,
And time shall surely prove the truth that man is good by nature."


It's my belief that all the factors to make a practical reality of such a world are maturing now. I would like to think that our generation took mankind some way along the road towards this goal. It's a goal worth fighting for."

James Reid, trade union activist, politician, journalist and broadcaster: born Govan 9 July 1932; married Joan Swankie (three daughters); died Greenock 10 August 2010.



Jimmy Reid being interviewed on the Upper Clyde Shipbuilder’s work-in

Sunday, November 8, 2009

Art Nouveau Prague


Municipal House

Since the collapse of the Iron Curtain in 1991, Prague has become one of Europe’s - and the worlds - most popular tourist destinations. As in London, Paris, and Rome, visitors flock to the gorgeous buildings and monuments that grace the streets of Prague, entranced by structures ranging from Gothic and baroque to cubist and neoclassical. And while hundreds of thousands stroll over the Charles Bridge and gaze up at the St. Vitus Cathedral each year, far fewer venture away from the crowds to seek out the countless gems of art nouveau peppered throughout Prague.


Smetana Hall


Obecni Dum - Municipal House

Significant Art Nouveau sites include the Municipal House, the Wilson Railway Station, the Grand Hotel Europa, and works by sculptors František Bílek, Ladislav Šaloun, and Stanislav Sucharda. There are large numbers of remarkable buildings in Art Nouveau style in Prague that remain unknown to the tourists since they pay attention mostly only to the Castle and the Charles Bridge.





The Art Nouveau style appeared in the early 1880s and vanished with the first gun-shots of the First World War. It was a brief but brilliant art movement and style of decoration and architecture characterised by intricate patterns of curving lines. In Prague at this time you had a burgeoning middle class and a unique Czech, Germanic and Jewish culture. With this prosperity there was a desire to redevelop the Josepfov, the Jewish Quarter which was overcrowded and subject to flooding. As we have seen elsewhere in Europe in Riga and Barcelona Art Nouveau was adopted as a sign not just of new prosperity but as sign of a new nationalist identity, in this case closely identified with Slav nationalism and incorporating symbolism and references from Slavic folklore and history.




Three Turks

Pařížská Avenue was laid out as the centrepiece of this redevelopment of Central Praque. In the first years of the 20th century Pařížská was laid out between Old Town Square and the Čech Bridge. It has always been one of the city's most prestigious addresses, and today it is lined with upscale boutiques, coffee shops, and airline offices. It's a sharp contrast to the gloom and despair of the Jewish ghetto that existed before. Designers used neo-Renaissance, neo-Baroque, and Secession elements. Facades are enlivened with richly decorated windows and balconies while above the eaves rise extravagant gables, attic windows, towers, and turrets. Originally named Mikulášská (St. Nicholas Street) because of the presence of St. Nicholas' Church at the Old Town Square end. In 1926 Pařížská was given its present name, which is best translated as Boulevard de Paris, to pay tribute to France for helping to free the Czechs from Austria-Hungary at the end of World War I.





The first important principle of the Art Nouveau movement was a desire to get rid of the distinctions between high and low art or major and minor arts. For many artists the essential thing was for art to affect and unify the lives of the people, not just in expensive oil paintings on rich people's walls or in institutional salons, but in the essential objects of their daily lives—their homes, furnishings, cups and saucers, advertisements, wall hangings—everything from door handles to lamp posts and sewer gratings and toilet seats. Even purely functional objects now largely machine made and mass produced should be shaped by the decorative powers of art. Hence we see many Art Nouveau artists, and Mucha in particular, demonstrating an astonishingly wide range of artistic interests (in his case from posters and paintings to lottery tickets, jewellery, police uniforms, designs for money, stamps, wall hangings, and so on).


New Town Hall



This emphasis on uniting beauty and utility was at the heart of the most important social “message” of the new art (something which earned it the name Art Social in some quarters). It was inspired, in part, by a strong reaction against the ugliness of much of the manufactured material which was increasingly dominating people’s lives and making the very idea of the traditional artist-craftsmen obsolete (a response very strong in the English Arts and Crafts Movement in the 1860’s, inspired by John Ruskin and William Morris, who looked back with delight to the ideal guild craftsmen of the Middle Ages).



Art Nouveau artists were well known for their scrupulous eye for detail. Inspiration came from nature. Under Art Nouveau style even an insect was beautiful and admired. Art Nouveau means in French “New Art”. Nowadays it may sound a bid odd calling something „new“ when it stands for a style in art, architecture and design significant for the turn of the 19th and 20th century. However, for some people – including myself – it is one of the most beautiful and fascinating styles ever and in Prague you have the chance to see a lot of this unique style.






Art Nouveau was an international movement and style of art, architecture and applied art - especially the decorative arts—that peaked in popularity at the turn of the 20th century (1890–1905). The name 'Art nouveau' is French for 'new art'. It is also known as Jugendstil, German for 'youth style', named after the magazine Jugend, which promoted it, and in Italy, Stile Liberty from the department store in London, Liberty & Co., which popularized the style. A reaction to academic art of the 19th century, it is characterized by organic, especially floral and other plant-inspired motifs, as well as highly-stylized, flowing curvilinear forms. Art Nouveau is an approach to design according to which artists should work on everything from architecture to furniture, making art part of everyday life.




Tesla Shop

The movement was strongly influenced by Czech artist Alfons Mucha, when Mucha produced a lithographed poster, which appeared on 1 January 1895 in the streets of Paris as an advertisement for the play Gismonda by Victorien Sardou, starring Sarah Bernhardt. It was an overnight sensation, and announced the new artistic style and its creator to the citizens of Paris. Initially called the Style Mucha, (Mucha Style), this soon became known as Art Nouveau.




Alfons Mucha - Poster design & stained glass window

In France it’s called Art Nouveau, in England it’s Modern Style or Yellow Book Style, in Germany it goes by the name of Jugendstil or Secession. Whatever you choose to call it, the style has left an impressive impact on Prague. First of all, Prague is the home of the famous Alphonse Mucha (1860 – 1939) – Art Nouveau artist who is most widely known for the posters he created for Sarah Bernhardt, one of the greatest actresses of that time. But even if his name says nothing to you, you should visit the Mucha Museum. It is in Panska 7, Prague 1, which is close to Wenceslas Square or Powder Tower. Open daily from 10 a.m. to 6 p.m. In museum shop you can buy gifts with Alphonse Mucha motifs. His work included, apart from sculptures and paintings, costumes and stage decorations, designs for magazines and book covers, wonderful jewellery and furniture and numerous posters.





The influence of Alfons Mucha was felt in Prague and Moravia (part of the modern Czech Republic), whose style of Art Nouveau became associated with the Czech National Revival. Fin de siecle sections of Prague reveal modest buildings encrusted with leaves and ladies that curve and swirl across the facades. Examples of Art Nouveau in the city, along with the exteriors of any number of private apartment and commercial buildings, are the Hotel Pariz, Smíchov Market Hall, Hotel Central, the windows in the St. Wenceslas Chapel at St. Vitus Cathedral, the main railway station, Grand Hotel and the Jubilee Synagogue. The Olsany Cemetery and the New Jewish Cemetery are also important examples of Art Nouveau.




Prague Main Railway Station by the architect Jozef Fanta


Hotel Pariz

Obecní Dum, Prague’s Municipal House, is more romantically known as the Palace of the People, and this is a fitting title for a building that abounds in architectural diversity providing a cultural experience for all tastes. The sumptuously decorated, pale ochre facade and glazed copper dome of Prague’s Municipal House contrast with the sombre stonework of surrounding buildings. Architects Antonín Balšánek (1865-1921) and Osvald Polívka (1859-1931) were responsible for Municipal House’s design and so many of Prague's foremost art nouveau artists and sculptors collaborated on its embellishment. The portal gives a foretaste of the delights to come, with filigree metalwork, jewel-like encrustations, allegorical figures, and a mosaic, the Apotheosis of Prague, by Karel Špillar (1871-1939). The gilt inscription around it is from ‘Hail to Thee, Prague!’ a poem by Svatopluk Cech (1846-1908).






Municipal House Cafe with Art Nouveau light fittings and coffee cups

Even the most hurried visitor should sit for a while in the sumptuous surroundings of Municipal House’s cafe and absorb the atmosphere of the classic Prague coffee house of long ago. A meal in the refined Francouska restaurace is one of Prague’s best gastronomic experiences, while music lovers can attend a concert in the Smetana Hall, the home of the Prague Symphony Orchestra. It is here that the Prague Spring music festival is launched, with a rousing performance of Smetana's Má Vlast (My Home). The designers of Prague’s Municipal House have paid great attention to its functional spaces and fittings, and it's worth admiring such features as stairways, elevators and even the cloakroom.

Prague Art Nouveau architecture adopts all of its foreign morphology. You will find bright colour which was brought by the Spanish Art Nouveau, dynamic curves of the French and Belgian Art Nouveau, the floral and animal designs as well as selected materials which were promoted by the Arts and Crafts movement. Undoubtedly, the Municipal House by the architect Osvald Polívka makes a prominent representative of the Prague Art Nouveau architecture. Numerous artists of both the older and the younger generation participated in its ornamentation – Alfons Mucha as well as Jan Preisler.



An equally prominent piece of architecture is the building of the Prague Main Railway Station by the architect Jozef Fanta. Numerous reliefs are to be found in here, above all of girlish and female figures. A set of female mascarons (grotesque masks) is unique, with each of them original. There are several Art Nouveau buildings and structures worth mentioning, such as the villas by the outstanding architect Jan Kotěra – the Trmal Villa, for instance, Kotěra’s own villa in Vinohrady, a Prague district, or the villa with a studio built for Stanislav Sucharda.


Sun Dial House


Bílek Villa

The Bílek Villa is a unique construction built in the Symbolist style, with a range of extra-ordinary symbols and allusions to be found such as stylized ears of corn. Three constructions stand out from the typical housebuilding: The Topič House and Hotel Prague in Národní třída and the House “U Nováků“in Vodičkova Street, whose mosaic was designed by Jan Preisler.



Prague has always been the centre of Mittel Europa, the crossroads like Krakow between North and South, East and West, the centre of the Holy Roman Empire, the font of Slavic Nationalism in opposition to the Hapsburg’s Austro-Hungarian Empire and from 1918 to 1938 the only democracy in Eastern Europe until the world acquiesced to its betrayal and destruction in the Munich Agreement. As mentioned it was the birthplace of a unique Czech, Germanic and Jewish culture and the naturalism and craftsmanship of Art Nouveau allowed all traditions to embrace this style from gravestones in the New Jewish Cemetery to the stylish apartment blocks along Pařížská Avenue to the stylish villas overlooking the Vltava it helped to unify and renew this unique city. Despite all that has happened since, today 20 years after the Velvet Revolution, it is still celebrated by the inhabitants of this unique place, the Golden City of Prague.




See also Art Nouveau in other European Cities;


Barcelona, Catalonia.


http://daithaic.blogspot.com/2008/11/antoni-gaud-and-barcelona-modernisme.html

Glasgow, Scotland.

http://daithaic.blogspot.com/2008/07/charles-rennie-mackintosh.html

Riga, Latvia.

http://daithaic.blogspot.com/2009/09/art-nouveau-district-riga-latvia.html







For more on Architecture and Design see ArchiBlogs in the Blog sidebar.

Tuesday, July 22, 2008

Charles Rennie Mackintosh


Charles Rennie Mackintosh

Charles Rennie Mackintosh, architect, designer and artist is celebrated around the world as one of the most creative figures of the early 20th century. He was born one of eleven children in the Townhead area of Glasgow, close to Glasgow’s St. Mungo’s Cathedral. From these beginnings, he has become one of the most celebrated architects of his generation.

Mackintosh took his inspiration from Scottish traditions and blended them with the flourish of Art Nouveau and the simplicity of Japanese forms. Much of his work has survived. It can be seen today alongside that of his close collaborators in the group known as "The Four" and the other artists and designers who collectively created "The Glasgow Style". He was apprenticed as an architect and he became a draughtsman with Honeyman and Keppie, a new architectural practice, eventually becoming a partner in 1903. All along he attended evening classes in art at the Glasgow School of Art. It was at these classes that he first met Margaret MacDonald (whom he later married), her sister Frances MacDonald, and Herbert MacNair who was also a fellow apprentice with Mackintosh at Honeyman and Keppie. This group of artists, known as "The Four," exhibited in Glasgow, London and Vienna, and these exhibitions helped establish Mackintosh's reputation. The so-called "Glasgow" style was exhibited in Europe and influenced the Viennese Art Nouveau movement known as Sezessionstil (in English, The Secession) around 1900.



Mackintosh was greatly influenced by Japanese design and art (although he never visited the country) and the Glasgow he lived in was a very different city in 1900 from the one we see today, largely due to its importance as the world’s greatest shipbuilding centre. Located by the margins of the River Clyde, during the Industrial Revolution the city was one of the greatest production centres of heavy engineering and shipbuilding in the world. As the city grew and prospered, a faster response to the high demand for consumer goods and arts was necessary.


Mackintosh Chairs

Industrialised, mass-produced items started to gain popularity. Along with the Industrial Revolution, Asian style and emerging modernist ideas also influenced Mackintosh's designs. When the Japanese isolationist regime softened, shipyards building at the River Clyde were exposed to Japanese navy and training engineers; Glasgow’s link with the eastern country became particularly close. Japanese design became more accessible and gained great popularity. This style was admired by Mackintosh because of: its restraint and economy of means rather than ostentatious accumulation; its simple forms and natural materials rather than elaboration and artifice; the use of texture and light and shadow rather than pattern and ornament.



In the old western style furniture was seen as ornament that displayed the wealth of its owner and the value of the piece was established according to the length of time spent creating it. In the Japanese arts furniture and design focused on the quality of the space, which was meant to evoke a calming and organic feeling to the interior. Shipbuilding also had another consequence for Glasgow as there was a large workforce engaged in the “fitting out” trades, joinery, cabinet making, textiles, enamelling, glass work, pottery and metalworking providing both an outlet for artists and artisans to make the designs a reality.



Glasgow is forever associated with Mackintosh, it is where he studied architecture influenced by Glasgow’s own great neo-classicist Alexander “Greek” Thomson and indeed he won the Alexander Thomson scholarship which allowed him to tour Italy in 1891. He took his inspiration from the many like minded designers who tried to marry machine methods with nature in the “Glasgow School” but he was never a sterile modernist and his designs are full of naturalistic references and humanity. In and around Glasgow you find the corpus of his work, The Hill House at Helensborough, the Mackintosh House at 6 Florentine Terrace, Glasgow where he and his wife Margaret Macdonald lived from 1906 to 1914, the Willow Tea Rooms, Ruchill Church Hall, Queen’s Cross Church, Martyr’s Public School, The Lighthouse, The Daily Record Building, Scotland Street Public School.


House for an Art Lover, Interior

The House for an Art Lover was completed in 1996 inspired by Mackintosh's portfolio of drawings of 1901 which were submitted as a competition entry to a German design magazine and finally the impressive collection of artworks and artefacts in the Kelvingrove and Hunterian museum’s. I was excited at seeing Mackintosh’s work “in the flesh” after all these years and whilst I saw most of his work from the outside time dictated that I was to visit the School of Art, The Willow Tea Rooms and the collection at the Kelvingrove Museum.


Hill House Helensborough

The Art School was founded in 1845 as the Glasgow Government School of Design, one of the first Government Schools of Design. In 1853 it changed its name to The Glasgow School of Art. Initially it was located at 12 Ingram Street, but in 1869 it moved to the McLellan Galleries. In 1897 work started on a new building to house the school on Renfrew Street. The Glasgow School of Art is regarded as one of the foremost institutions for the study of art and design in the world.


Glasgow School of Art


Library 1909

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. 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 and knowing him as a student, the design was praised by the Head of the School, Francis Newbery and after being independently assessed by the educational authorities in London, was finally accepted.


Typeface based on Mackintosh's handwriting and lettering

This was to be his masterwork. Significantly, the building was constructed in two distinct phases, 1897-99 and 1907-09, due to a lack of money. Stylistically, the substantial delay in completion offered Mackintosh the opportunity to amend and fully integrate his original design (of 1896) which owed much to Scotland’s earlier baronial tradition with a second half to the building that looked very much to the 20th century through its use of materials and technology. Most dramatic of all the interiors was the new Library (completed in 1909), which was a complex space of timber posts and beams. Its construction owed much to traditional Japanese domestic interiors but ultimately the building was an eclectic mix of styles and influences.


Glasgow School of Art - Entrance

In the book Mackintosh's Masterwork, Dr James Macaulay states, "It is without doubt one of the great works of arts and crafts architecture of the turn of the century. Mackintosh's response to a difficult site and a demanding brief is a creative synthesis of opposite - austere and delicate, dark and bright, derivative yet innovative. Whilst the exterior impression is one of imposing grandeur, the building's sombre facades and towering outer wall owe much to the Scottish baronial tradition and the interior reveals itself to be a lively and complex set of spaces. Although quoting art nouveau in some of the detailing, the overall effect is of looking forward rather than back".



Today photos of the interior are restricted for it is still a working school of art but contains many valuable original Mackintosh works. The detailing of the exterior is interesting and as well as the unusual form the eye is drawn to the exterior metalwork. The high bright windows for the north lit studios are kept light inside by the use of wrought-iron brackets outside to support the frames. These are stylised plants and as your gaze moves from left to right along the façade you notice that they progressively open and then as you look towards the other end of the building progressively close. The same naturalistic homage is paid with the railings whose finials are like tulips closed at one end then blooming and closing again. The massive fenestration of the north façade is visually broken up by decorative wrought-iron brackets that brace the huge windows and can be used as window cleaning supports. The lively wrought-iron railings also give decoration to an otherwise reduced building with finials of stylised birds, bees and beetles that resemble Japanese Mon or family crests.


Willow Tea Room Menu Cover

The School forms a simple E-shaped building with an austere and asymmetrical north façade with massive studio windows. A single central entrance leads to a staircase with two floors of studios to the right and left. The bright and airy Director’s Office with fitted cupboards and a fireplace is directly above the entrance. At the centre of the school, at the top of the stairwell top-lit with a glazed roof and timber trusses like a medieval barn, is an exhibition space called the Museum. You enter through the low main entrance with a “guardian” sculpture and into a Scottish baronial style hall but your path is lit upwards by the light cascading into the relatively dark space from the stairwell. Following the stairwell up Mackintosh plays an architectural “coup de theatre” as you emerge into a triple height roof lit gallery of the Museum with its huge honest timber trusses. Looking at these trusses you notice there is a roundel in the centre with what looks like a seedling and as your eye moves along the trusses this appears to grow and geminate for each of these trusses is slightly different creating movement and visual interest. There was little additional decoration to the building because of the limited budget.Unusually for the period there was only a small stone carving over the entrance and any decoration that Mackintosh managed to incorporate was functional as well as beautiful.



In the second phase of construction, the west elevation was radically altered with the addition of the library’s dramatic three-storey windows. The interior of the library is no less surprising, with the central fall of light from the windows contrasting with the dark stained wooden gallery supported by split beams. Mackintosh designed the fittings and furnishings in dark stained wood decorated with splashes of red, green and white – a magical mix of academic sobriety and modern geometric intensity. This library was probably one of Mackintosh’s most exciting interiors in a building that both kick started his architectural career and later revealed his mature style.


Linen Cupboard in The Liverpool Museum

What impresses though is both the humanity of the building and the clever use of the limited budget. Humanity in the window sitting areas on the top floor gallery, which provide natural niches for students to congregate in. The humanity in the fanlights to the studios featuring the Red Rose design which became the symbol of the “Glasgow School” but on either side were niches which Mackintosh had designed to hold a vase with a single stem rose so the students would be inspired by the real thing. The clever use of the budget is seen in the use of “Glasgow Marble” or polished concrete to you and me! And in the library the design with plain timber gives a real sense of enclosure and compartmentalisation in a relatively small space. It is still a stimulating building and still a building which earns its keep as a working College of Art.

Willow Tea Room 1903

Early in his career, in 1896, Mackintosh met Catherine Cranston (widely known as Kate Cranston or simply Miss Cranston), an entrepreneurial local business woman who was the daughter of a Glasgow tea merchant and a strong believer in temperance. The temperance movement was becoming increasingly popular in Glasgow at the turn of the century and Miss Cranston had conceived the idea of a series of "art tearooms", venues where people could meet to relax and enjoy non-alcoholic refreshments in a variety of different "rooms" within the same building. This proved to be the start of a long working relationship between Miss Cranston and Mackintosh. Between 1896 and 1917 he designed and re-styled interiors in all four of her Glasgow tearooms, often in collaboration with his wife Margaret MacDonald.


Willow tea rooms - Exterior


Willow tea rooms - Interior

The Willow tea rooms occupied a narrow site on Sauchiehall Street – old Scots for ‘alley of willows’, hence the use of willow for many of the decorative motifs used. Nothing escaped Mackintosh’s attention. He and Margaret designed everything from furniture and menus, to the waitresses’ uniforms. Within the four storey building, Mackintosh created a ladies’ tea room on the ground floor, with a general lunch room at the back and a tea gallery above it. On the first floor was a more exclusive ladies’ room with a men’s billiard and smoking room on the floor above. The most extravagant of the rooms was the Room de Luxe on the first floor.


Washstand made for Miss Kate Cranston

Overlooking the street, it had white walls with a frieze of coloured glass, mirrored glass and decorative leading, a gesso panel by Margaret Macdonald, splendid double doors with further leaded glass decoration and silver painted high-backed chairs and sofas upholstered in rich purple. Now restored the ground floor is a jewellery shop but the gallery is an excellent tea room where the beverages, dainties and savouries are still served in the proper manner!


Willow tea rooms - Salon Deluxe

The Kelvingrove Art Gallery and Museum is an impressive world class museum containing, amongst many other exhibits, Salvador Dali’s “Christ of St. John of the Cross.” The Charles Rennie Mackintosh and Glasgow Style gallery is divided into six stories. It is the largest display in the city of the Glasgow Style’s wide range of media and techniques: stained glass, works on paper, textiles and embroidery, jewellery, repoussé metalwork, silver, enamelwork, glass, gesso, furniture and interiors. It is the most comprehensive collection of the “Glasgow School” and essential viewing to understand the richness and diversity of what was being produced by Mackintosh and his peers and to put his work in context.



Kelvingrove Art Gallery and Museum

Despite success in Europe and the support of clients such as Blackie and Cranston, Mackintosh’s work met with considerable indifference at home and his career soon declined. Few private clients were sufficiently sympathetic to want his ‘total design’ of house and interior. He entered the competition to design a cathedral for the City of Liverpool (1902) but although his design showed a Gothic quality as requested, his entry was rejected and his design for Scotland Street School (1906) in Glasgow was to be his last public commission.


Detail; Queens Cross Church, Glasgow

By 1914 Mackintosh had despaired of ever receiving the level of recognition in Glasgow that he felt he deserved. He became increasingly obstinate and incapable of compromise and it is known that this exerted unnecessary pressures on his colleagues. In an attempt to resurrect his career, Mackintosh resigned from the practice and with his wife Margaret Macdonald moved to London. This was unfortunate timing, for with the onset of the First World War all building work was severely restricted. Adventurous plans for a suite of artists’ studios and a theatre were never built. It is possible that he intended to move to Vienna, where he was highly respected having forged friendships with Austrian architects such as Josef Hoffmann and Koloman Moser, only for his plans to be thwarted by the outbreak of World War 1. Mackintosh moved to Walberswick in Suffolk in 1914, where he produced a series of botanical watercolours. While there he was arrested as a spy, possibly because he received post from central Europe, and he then moved to London.


The Mackintosh's dining room at their house at 78 South Park reconstructed at the Hunterian Museum, Glasgow

Mackintosh’s career was a relatively short one, but of significant quality and impact. All his major commissions were between 1896 and 1906, where he designed private homes, commercial buildings, interior renovations, church, and furniture. In 1923 he moved to southern France where he spent the last five years of his life concentrating on painting before dying in London. Despite the disappointments of his later years, his early and mid-career work in Glasgow – much of which is still in use today – has sealed his reputation as one of the most important architects and designers of the turn of the 20th century. We can only speculate on what he would have achieved if he had worked as an architect for longer or indeed if he had actually visited Japan. He died on December 10, 1928 of throat cancer.


"There is hope in honest error, none in the icy perfection of the mere stylist ............."

Combining a progressive modernity with the spirit of romanticism, Charles Rennie Mackintosh (1868-1928) created many of the best loved and most influential buildings, furniture and decorative schemes of the early 20th century and in his home town of Glasgow his work is still cherished and preserved and still continues to inspire.


Rose and Tear Drop fabric 1923

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