Glasgow

School of Art

The project was won through an international

competition for a new school of design. The
work has been carried out in Collaboration with
Steven Holl Architects in New York. The key
points explored are the spatial outcomes of new
teaching spaces and JM Architects role in the
principles of designing in detail, for the skin of
the building.

Submitted by Ian Alexander / Henry McKeown

Output No. 3
PROJECT DESCRIPTION Glasgow School of Art

The new building stands across from Charles

The illustrations shows early Steven Holl paintings for studio
Rennie Mackintosh’s 1909 Glasgow School of Art spaces. The diagrams below are an extract from our detailed
in complementary contrast, forging a symbiotic analysis of the studio spaces in the Mackintosh building.
03
relationship in which each structure heightens
the integral qualities of the other. The new These illustrations help define how Holl feeds off Mackintosh but
building significantly enhances the teaching, does not parody - instead he creates an essay in ‘complimentary
contrast’ Ian Alexander / Henry McKeown
learning and research facilities available to GSA
students and staff and the access the public will
have to their work.

Centralised facilities for the GSA campus,

including exhibition spaces, seminar spaces,
digital media and the “Window on the
Mackintosh” centre are located on the ground
floor in a carefully considered balance that forges
an identity as an academic building, for the school
and students, but that also invites the public
inside.
PROJECT DESCRIPTION
The site opposite the Mackintosh Building called Spaces that do not have a requirement for the
for a unique, inspiring and stimulating twenty- same quality of natural light, are located on the
first century architecture with a great sensitivity South facade (opposite the Mackintosh building)
to light, detail, and material. Analysis of the where access to sunlight can be balanced with
Mackintosh Building revealed Charles Rennie the occupant’s needs and the thermal
Mackintosh’s inventive manipulation of the performance of the space through application of
building section to introduce and deploy light in a shading or informed shaping of openings. The
tremendous variety of inspiring and successful skin/ shroud is the arbitrator of how light is
ways; the new design complements its neighbour, captured to the buildings profit, as a
but moves forward using a new language of light. phenomenological material, shaped and
conditioned by the architect to create ambience,
The design began with the Studio space—the and delight in equal measure
core of teaching and making art. Well-
proportioned studio and workshop volumes are The building provides much needed studios and
arranged in plan and section with natural side and centralized workshop facilities, the Centre for
top light for inspiring work environments. They Advanced Textiles, new digital media spaces, a
are adaptable with potential for individual studios lecture theatre and seminar rooms, exhibition
to open into larger groups, and arranged with space, a refectory for staff and students and a
functionally adjacent support spaces in rhythm range of informal learning areas.
with the studio/workshop volumes. They are
illuminated with north light, with shafts of warm The interpretation centre for the Mackintosh
south, east or west light. Studios are generally Building, phase 4 of the Mackintosh Conservation
positioned on the north facade provided with and Access Project is also on the site. Located one
large inclined north facing glazing to maximize level below, a 300-seat lecture theatre has direct
access to the desirable high quality diffuse north accessone
Image to the
& alobby as well
description of as thewe
what centralized
are
light throughout the academic year. workshop
looking at inand
theassociated assembly
context of the project. spaces. Illustrations of work in testing - ‘thin skin’
shroud being hung onto the mock-up
PROJECT DESCRIPTION
Immediately above the ground floor are the
school directorate and administrative offices (on
the south) whilst studio space occupies the entire
north side at this level and moving up through the
building. The new GSA refectory is located on
level 2 above the offices, bringing the entire
school up and into the building on a daily basis.

The original competition brief detailed the aim of

Professor Seona Reid, Director of the Glasgow
School of Art, for “creative abrasion” between
the students and faculty. In Steven Holl Architects
and JM Architect's design, this translated to a
“Circuit of Connection,” which encourages the
‘creative abrasion’ across and between
departments that is central to the workings of the
school. The open circuit of stepped ramps links all
major spaces - lobby, exhibition space, project
spaces, lecture theatre, seminar rooms, studios,
workshops and green terraces for informal
gatherings and exhibitions.

Illustrations show Steven Holl’s first sketch for the circuit of connection and
the actual circuit of connection being constructed in the new building
PROJECT DESCRIPTION
Along the South elevation, at the same height as the
Mackintosh main studios, there is a landscape loggia
in the form of a Machair that gives the school an
exterior social core open to the city. Natural
vegetation with some stonework routes water into a
small recycling water pond which will also reflect
dappled sunlight onto the ceiling inside.

A homage to Mackintosh in space, “driven voids of

light” allow for the integration of structure, spatial
modulation and light. The driven void light shafts
penetrate the building’s core, and simultaneously
deliver natural light and vertical air circulation
through the depth of the building, providing direct
connectivity with the outside world through the
changing intensity and colour of the sky.

Construction view looking down a driven Image one & a description of what we are
void looking at in the context of the project.

Illustration shows the inter-connection of the ‘circuit of connection’/ and the

‘driven voids’ providing visual and physical connections to studio spaces
PROJECT DESCRIPTION
1 2

The structure of the new Glasgow School of Art is the

complimentary contrast of the original 1909 building.
The exterior of the new building is wrapped in a thin
skin of matte glass complimenting and contrasting
with Mackintosh’s stone skin on the 1909 building. The
material, that was developed, a diaphragm of glass,
with specialist interlayers, was a direct development of
the materials that Holl used in the Vanke Center in
Shenzen, China. The use of this material softens the
light on the Mackintosh building ensuring the studios
continue to benefit from the quality of light as
envisaged by the designer, and avoiding any risk of
glare being reflected into the great north studios of
the Mackintosh School of Art. Inside the building,
wood formwork has given the concrete a textured
finish, while steel formwork was used for the driven
voids of light, to provide smooth surfaces that reflect
light down into the section of the building.

The new building, rated BREEAM Excellent, integrates

several innovative sustainable design features, such as
storm water retention, collection and reuse, and green 3 4 & a descrip4n of what we are
1: ‘Driven void of light’ Image one
roofs. The driven voids of light provide natural
2: Studio light looking at in the context of the project.
ventilation throughout the building, eliminating the
3: ‘Thin skin’, rainscreen
need for air conditioning. A new biomass plant serves 4: ‘Thick bones’, walls
the new Glasgow School of Art, the original
Mackintosh building and the Bourdon Building.
CONTEXT
Glasgow School of Art has its historic location in
Garnethill in the heart of Glasgow. The site is
urban. It is bounded by Renfrew Street,
Dalhousie Street, Scott Street and Renfrew lane.

The site, situated on a drumlin, is prominent in

places but embedded within the urban grid.
It is visible on the skyline from the M8 yet from
certain aspects on neighbouring Sauchiehall
Street it can be quite discreet.

One of the challenges of the site is building a new

building facing Charles Rennie Mackintosh’s
existing art school building(grade A listed),
completed in 1909.

The design of the proposals was always measured

against detailed drawings and sections through
the location.

Indeed as a research piece every single window

type in the existing Art School was drawn as an
analytical reference for the new design. Views in context
In terms of planning considered views of the new
structure were essential to giving an idea of how
the proposals sat in the context.
RESEARCH QUESTIONS 1 2

1.What are the spatial outcomes for the new art

school building that creates a new teaching
environment?

2. How was the intent to create a non-reflective

glass ‘shroud’ achieved in both aesthetic and
technical terms, and live up to the status of ‘thin
skin’?

3. Design in Detail. How was the design intention of

the new art school translated into the architecture
of the fabric and the buildings materiality?

1: Principle 3: ‘Circuit of Connection’

2: Principle 2:‘adaptable studio with proportion and light’
3: Principle 5: A new language of different light
4: Principle 5: A new language of different light
3 4
AIMS AND OBJECTIVES
Design Principle 2: Adaptable studios with proportion and light

What are the spatial outcomes for the new art The section is both simple and complex. As the
school building that creates a new teaching sun rotates around the building, light and shadow
environment? fill the spaces creating different moods and
atmospheres in different times of the day, and
The new art school building is in essence a there is an impact of the sky, clouds and sun on
section of studio volumes that are linked the glass.
vertically and horizontally .
The analysis of these spaces the observation of
They are set out on a 15m grid which echoes the these changes and their relationship back to the
dimensions of the studios in the original art architectural principles that frame the project are
school building by Charles Rennie Mackintosh. worthy of investigation.
The plans are enfilade in nature with views up
and down and along depending on their position
in the section.

At certain key moments ‘driven voids of light’ cast

in concrete penetrate the section of the building
in a diagonal geometry that brings light, integral
structure and ventilation to the building. At
certain points through carved voids a multitude
of views are opened up visually connecting the
circulation ramps and studios.

Illustrations show Steven Holl’s first paintings of adaptable studio

space, and above: an adaptable studio space in construction
AIMS AND OBJECTIVES
How was the intent to create a new reflective
glass shroud achieved in both aesthetic and
technical terms, and live up to the status of ‘thin
skin’?

The starting point for this question lies in Steven

Holl’s preoccupation (bordering on obsession)
with phenomenology in architecture and in this
case the phenomenology of light in architecture.
In his book, co-written with Juhani Pallasmaa and
Alberto Perez-Gomez ‘Questions of Perception:
Phenomenology of Architecture’ Steven Holl
articulates his thinking in this subject. This
important theme runs through the project, and
this question highlights our role in ensuring the
phenomenological outcomes articulated by
Steven where made manifest in the project.

Our research and involvement was to take Steven

Holl’s ‘phenomenological’ position into the
aesthetics, and technical realisation of the ‘thin
skin’ of the new building, through detailing,
experimentation, modelling and testing

Illustrations show the ‘thin skin’ and ‘ghost’

fixing method during construction
AIMS AND OBJECTIVES
In relation to the research and development of The product is made up of 6mm acid etched heat
the glass shroud. strengthened outer layer, a 7 layer P.V.W.R
interlayer, a bespoke membrane developed
The critical requirement of the ‘thin skin’ specifically for the project – and as far as we
rainscreen was that it would not reflect sunlight know a world first in terms of rainscreen design -
into the studios of the existing Mackintosh bonding the 6mm layer to a 12mm toughened
Building while remaining enigmatic, and refined. inner layer.
JM were influential on insisting with Steven Holl
that no visible fixings should appear on the The ghost fixing and suspension bracketing are
surface of the skin, so that its uniformity and bespoke for this building. The inner 12mm layer is
appearance would be seamless. pre-drilled to received the circular ghost fixing,
and the P.V.W.R interlayer bonds the fixing to the
To do this, many man-hours were spent panels of glass. From the outside there is a faint
discussing and developing the specification with shadow, which shows the location of the fixings –
internationally renowned glass manufacturers ‘ghosts’.
and suppliers, such as Saint Gobain Glass,
Pilkington Glass, Cricursa Glass and later in the During the exhaustive testing period, it was not
process Gray Dick, Hanson Glass and Warwick. thought possible that these fixings would actually
work. At this time Steven Holl was prepared to
Following a year of research and development of move to a through fixing, a mainstream solution.
the design intent only one firm ‘Warwick’ were JM Architects maintained that this would be an
prepared to take on the design and develop the aesthetic and material weakness in the design
final product. and persevered to the final solution – the ‘ghost’
fixing.

Bregenz, Vanke, and the GSA

AIMS AND OBJECTIVES
Design in Detail. How was the design intention Part of the outcome of the design in detail
of the new art school translated into the process was the creation of full size mock-ups for
architecture of the fabric and the buildings the driven voids of light and the external
bespoke glass rainscreen and concrete walls. In
materiality?
addition internal walls of various types were built
Design in detail is a principle that we use when to test the gauge of the internal timber
teaching our students and we thought it highly shuttering.
appropriate that this became the methodology
for taking the detailed design of the school into a At a much more detailed level custom designed
set of production drawings . light fittings were built and tested as prototypes
within the built fabric.
This process involved continuous dialogue with
SHA, sharing of knowledge from previous projects
using precedents and using expert advice from
those in the construction industry. In particular,
we engaged with Arup Facades London; their lead
designer who worked on the project was the
designer of the Pilkington Glass spider fixing.

The design in detail process instigated a complete

review of detailing in previous SHA projects. We
examined walls, windows, doors, floors, ceilings,
lighting and integrated servicing. We noted, for
example, how corners met, how handrails were
crafted and how doors sat in walls. The detailing
however is entirely bespoke for the project.
Development of the ‘ghost’ fixing Testing of the glass ‘shroud’
RESEARCH METHODS
In this instance JM Architects worked hand in - We designed, facilitated and presented a 16
hand with Steven Holl Architects during the week consultation process across the city with
competition ,design development and design in all principle government agencies, student
detail phases of the project. He referred to us as cohort, staff cohort and all other relevant
his ‘critical partners’. stakeholders.

We completed the design and access statement - We had design workshop sessions with SHA in
with SRM, for the planning application, this New York and Glasgow to review the design
included a forensic analysis of the existing and progress of the detailing
Mackintosh building: - extensive solar studies in
relation to all seasons and issues of glare, a - We were involved in the sampling and
detailed urban analysis of the site and Garnet Hill approval process for all the materials
in relation to the city, studying the cityscape and
impact of the new building, and the essence of - We researched the making and detailing of
the new work to ensure that the scale, form and the glass façade ‘thin skin’
materiality would not have a deleterious impact
on the Mackintosh Building. - We researched the making and detailing of
various bespoke fittings for the new building .
- We designed and provided the majority of the
content in the design of the ‘written - We researched shutter types and the finish to
challenge’ an element of the competition, this the concrete, for an extreme smooth finish for
was presented as a book. the driven voids, to a rough board finish.

- We developed an approach –Macro to Micro - We took part in weekly Skype conversations

analysing both the city and the building as the detailed design and research into final Design in detail, full size mock-ups of the driven
materiality progressed. voids and top: the ‘thin skin’ glass shroud
DISSEMINATION
Publications Online Press

The Architects Journal ArtForum, 9 Sept 09

22 03 11 ‘Holls Glasgow School of Art Gets Go Ahead Architects Journal, 8 Sept 09
10 11 10 ‘Facing up to Mackintosh’, David Porter ArchDaily, 25 March 2011
17 09 10 ‘Steven Holl unveils Glasgow school of Art Architectenweb.nl, 11 Sept 09
The Building Design Architects Journal, 5 Oct 09
17 09 10 ‘Steven Holls Glasgow School of Art Designs Revealed’ Klettner, A. Architects Journal, 8 Mar 11
24 07 10 ‘Holl unveils art school’ Architizer, 20 Sept 10
Architect, Oct 2009 Arcspace.com, 4 Oct 10
Architectural Record, Nov 2010 ArtDaily, 21 Sept 10
Future 28-29, Dec 2011 ArtINfo, 26 Sept 10
GA Document 122, Oct 2012 BDOnline, 17 Sept 10
Mackintosh Society Journal, Dec 2010 Core 77, 17 Sept 10
MacMag 35, 2010 DesignBoom, 9 Sept 09
Perspective, July 2013 Designboom, 21 Sept 09
Wallpaper, Nov 2013 Dexigner, 12 Sept09
WIRED, Dec 2013 Dwell, 14 May 10
El Croquis, Steven Holl Architects, Jan 2014 e-architect, 21 Sept10
The Glasgow Herald e-Oculus, 15 Sept 09
May 09 ‘’starchitects ‘ Fade out of contention for top commission’, Miller, P. Evening Times, 23 May 11
Sept 10 ‘Design for art school building unveiled’ Miller, P Evening Times, 25 May 09
Jan 10 ‘ Glasgow school of Art architect promises ‘light’ and ‘green’ design Inhabitat, 20 Sept 10
Jul 12 ‘Work Well Under Way For New Art School’, Miller, P UK Wired, 17 Sept 10
Sept 12 ‘Art school Sees The Light’, Miller, P WAN, 29 Sept 10 View of studio spaces
The Observer
Feb 11 ‘Glass Warfare Comes To Glasgow’, Rowan Moore

April 2009 ‘Back to School’ Fly Be inflight magazine

Platt, C. and Carter, B (eds.), ‘Uneasy Balance’ MSA Publications June 2013
ESTEEM INDICATORS
The project was won in an international
competition

The building has been widely reported in the

press at a national and international level.

It has been covered by the BBC on the news.

Louise Lockwood is currently undertaking the

making of a documentary for the BBC

El Croquis are currently producing another

volume on the work of Steven Holl and the Art
School is to be included.

The School of Architecture have used the

building/ building construction as a live teaching
aid for students.

The building is the subject of numerous student

research projects.

The building is the subject of numerous academic View in context; looking up Renfrew Street
articles.
PHOTOGRAPHIC MATRIX