Gsa Mag 15-16 Digital Aw Low.Pdf

4 Reflections

This book provides an overview of studying Limited Edition cover 1 of 4 Terms and Conditions List of Officers at the GSA and in Glasgow, and features Each cover represents a school at the GSA This magazine is a general guide. links to more specific information on – Architecture, Design, Fine Art or Graduate The information it contains is as far Patron our website, and other content such Studies – the page content is the same in each. as possible up to date and accurate HRH the Prince Charles, as video, accessible directly through at the time of publication, but is subject Duke of Rothesay your smartphone via QR codes Credits: to alteration without notice. The GSA or via the website at www.gsa.ac.uk 1.  To The Sky, Ben Weir, Stage 4 Architecture 2014 will use all reasonable endeavours to Honorary President 2. Forearm, Minnie Garver, Painting and deliver programmes in accordance with Stewart Grimshaw QR code readers and the augmented Printmaking 2014 the descriptions set out in this magazine reality app Layar, required for some 3. Hotel Man, Kris Cockburn, Communication Honorary Past-President Design 2014 but reserves the right to make variations content, are available to download for free 4. 3D Visualisation of bladder cancer in to the contents or methods of delivery Lord Macfarlane of Bearsden KT from various App stores and alternatively the mouse, Gary Humphries, MSc Medical of programmes, to discontinue programmes video can be viewed at Visualisation + Human Anatomy 2014 and to merge or combine programmes. Honorary Vice President USA vimeo.com/glasgowschoolofart Prof. Tony Jones CBE End papers In the event that circumstances beyond Accessibility Darwin’s Homolgy Theory, Catherine Lafferty, the GSA’s control interfere with its ability Chair of Board of Governors Should you wish to rescale the text you can Communication Design 2014 to provide these programmes or services, Muriel Gray view this book online at gsa.ac.uk/study Fabric Works (1 of a series), Emma Zetterstrom, the GSA will undertake to minimise, as far More at gsa.ac.uk/information/accessibility Fine Art Photography, 2014 as is practicable, any disruption. Director Prof. Tom Inns Key Information BEng(Hons) DIC MDes (RCA) PhD FRSA

Term dates, fees and finances, campus map Design and detailed Programme Specifications Designed by graduates of gsa.ac.uk/about-gsa/key-information The Glasgow School of Art at Stand, Glasgow and Amsterdam. The Glasgow School of Art is a Registered www.stand-united.co.uk Charity. No SC012490 Editors Kirsty L. Barr Claire Biddles

Photography McAteer Photograph (unless otherwise stated)

Letterpress Hothouse typeface cut by Roy Mohan Shearer and printed by Edwin Pickstone

Contents Reflections on an art school 4 The City of Glasgow 10 21st Century Campus 14 The Mack: An Archive of Memories 36 Material Girl 40 Glasgow 2014 46 Melancholia, the ‘modern’ re-turn, and everyday miracles 56 Architecture, Literature and a City 62 The Next Generation 68 Designs on the City 76 Changing Places 82 Morphing Tradition:MacMag 86 A Space Between (Digital at GSA) 88 Our Alumni 92 Travels with my Art 96 GSofA Singapore 102 Back to the Vic/Music and Glasgow 106 A-Z Directory: Programmes, Info + How to Apply 116 6 Reflections

Left: Renfrew Street View, Mackintosh Building and Reid Building, Reid Building opening, May 2014 RefLectiOns ON

Opposite: Reid Building opening, May 2014 aN aRT SCHOOL

Vimeo The Glasgow School of Art practising artists, designers and detailed programme specifications, Video and film available free to view The GSA is internationally recognised architects, such as Ciara Phillips courses and electives, useful from a range of GSA activities. as one of Europe’s leading university- (Turner Prize nominee 2014), information on making your Subscribe here level institutions for the visual creative Brian Cairns (Gold Medal Winner, application as well as a host of www.vimeo.com/glasgowschoolofart disciplines. Our studio-based approach Society of Illustrators), and Professors content to discover from student to research and teaching, brings Charlie Hussey and Charlie Sutherland and departmental blogs, video and disciplines together to explore (Stirling Prize nominees). Many of social media. By visiting these Facebook problems in new ways to find new our staff are engaged in research pages you’ll get the most up to Keep in touch with friends and the innovative solutions. The studio creates of international and national date information and can contact School’s goings-on the environment for inter-disciplinarity, significance, with 50% of our departments directly with any www.facebook.com/glasgowschoolofart peer learning, critical inquiry, research ranked as world-leading other questions. experimentation and prototyping, or internationally recognised. All GSA degree programmes are Join our community of applicants at helping to address many of the Many students choose to remain validated by the University of the GSA Registry page, where you grand challenges confronting society in Glasgow after graduation because Glasgow, with whom we also jointly can speak to other prospective students and contemporary business. of the unique network of creative offer some of our programmes – and Registry can answer your queries Since the School was founded in people, spaces and organisations BDes/MDes/MSc Product Design about the application process. 1845 as one of the first Government in the city, and are joined by artists, Engineering; MSc Medical www.facebook.com/gsaregistry Schools of Design, as a centre of designers, architects, writers and Visualisation and Human Anatomy; creativity promoting good design musicians from around the world who and MLitt Curatorial Practice. for the manufacturing industries, are drawn here by the quality of life Twitter our role has continually evolved and and the clear sense of creative Graduate Studies Come tweet with us at redefined to reflect the needs of the opportunity. Within these pages you’ll Our taught masters programmes www.twitter.com/gsofa communities we are part of, find a glimpse into that community. offer a range of study areas including embracing in the late 19th century fine Join us for a moment for a series of fine art, sound, architecture, fashion art and architecture education and reflections on the learning, teaching, and design innovation. Our research Flickr today, digital technology. Then as now spirit and ethos of life at the GSA that programme brings to life the very For downloadable images of the our purpose remains the same - to is connected deeply with a sense of latest in creative thinking, with MPhil School, departments, artwork etc. contribute to a better world through place. Whilst what is GSA can be and PhD students supervised by staff www.flickr.com/glasgowschoolart creative education and research. found within the learning and teaching who are themselves active With a proven history of producing environment in the campus buildings practitioners and theorists, and some of the world’s most influential themselves: in the studios, workshops, internationally-recognised researchers. Tumblr and successful creative practitioners, crit spaces and lecture theatres, In recent years the graduate gsofa.tumblr the GSA’s studio-based, practice-led you’ll also find GSA reflected in the community has grown considerably, gsasuccesses.tumblr education draws talented individuals city of Glasgow, in her exhibitions, reflecting our success in research with a shared passion for visual culture events, galleries, parks, markets, across our research themes: from all over the world. tenements, cafes and dancefloors. Architecture, Urbanism + the Registry The GSA was listed in Design Public Sphere; Design Innovation; +44 (0)141 353 4512 Week’s Hot 50 as leaders in design Studying at GSA Digital Visualisation; Education in [email protected] education; has produced four Turner The GSA offers undergraduate and Art and Design; Fine Art + Curating; www.facebook.com/gsaregistry Prize winners and an astonishing 30% graduate level programmes across Health + Wellbeing; Material Culture; of all nominees since 2005; and is architecture, design, fine art and the and Sustainability. Open Day ranked by Architects’ Journal as one digital arts. This book is not however Thursday 29 October 2015 of the top five places to study a traditional prospectus. Whilst there On the RADAR (Undergraduate) architecture in the UK. is a directory of programmes at the Visit RADAR the GSA research Saturday 28 November 2015 You will find the GSA a stimulating end of the book, to find detailed repository, to discover a digital (Graduate Study) and intellectually challenging information on the range of archive of research and enterprise environment in which to experiment programmes on offer you should output produced by GSA staff Register now at and explore new ideas. Students have visit the website at www.gsa.ac.uk. and postgraduate students. www.gsa.ac.uk/openday the opportunity to work with In the study pages online you’ll find radar.gsa.ac.uk 8 Reflections

Dear GLaSGOW,

As I sit down to write this, I realise how difficult it is to put into words, my relationship with you. I want to say that I enjoyed every minute I spent with you over the last year, but that would not be true. When I first met you, I dare say, you exasperated me - a new culture and lifestyle that made me feel out of place. I missed home, I hated the weather, couldn’t figure out the customs and I just wanted out.

There have been times when I’ve felt like giving up, when things were not going my way. Each time, you were there to remind me of my worth as a human being. You accepted me, even before I let go of my preconceived notions about you. You introduced me to how wonderful the locals could be if one just went up to have a wee banter, taught me how much fun it was to enjoy a Chip-Butty while sipping Irn Bru in the rain, let me peek into your history when I tramped around town, showed me the wonderful Clockwork Orange on a sub-crawl and explained why Sauchiehall Street buzzed on a Saturday night while Kelvingrove Park teemed with people on a sunny day. But most of all, you cared. And I must confess that I simply love you for all of that.

I have grown a year wiser, and I realise now how beguilingly complex you are.

One has to learn to embrace the emotions you bring out in people and to never take you at face value. You are a force to reckon with having stood the test of time, and a place that shall forever be close to my heart. I look back in fond remembrance on how a friend compared you -

“If Edinburgh is beautiful to look at, Glasgow is the most sensual to touch”.

I draw this letter to a close with the poignant hope that when you shed a tear for your beloved sons, you shed a few for me.

Slainte!!

Aravind Aravind Patnaik is a Masters in Communication Design student originally from India. 10

Key INFO

Founded in A drop out rate of only The School of Fine Art has produced Opposite: Reflection, Martin Boyce, turner A Thousand Future Skies 2014, Prize Painted steel and glass 1845 5.1 % As the government school of design. 4 winners In 2014 still one of the few remaining one of the highest student independent art schools in the UK retention rates in the UK 30% of nominees since 2005, (source: HESA statistics 2012) and virtually all the artists chosen to represent Scotland Mackintosh Building at the Venice Biennale International exchange Best programme with

British H

Building O Voted ‘Best British Building’ of the past 175 years, attracting 26,000 T 5O annual visitors. A major restoration 75 Design Week lists the GSA in its project now underway following ‘Hot 50’ – leaders in design education the fire in the Mack in 2013 partner institutiOns in the UK

Mackintosh School of Architecture New York Architect Steven Holl and JM top architecture school in Scotland & Architects’ Reid Building named AJ100 T 5O% 2O14 of research recognised as world-leading or internationally recognised Building Of the Year O (Source: RAE 2008)

P Graduate destinations include BBC, Dyson, Apple, Rockstar Games, The in UK (Architects’5 Journal) 92.1% Modern Institute, Graven Images, Foster and Partners and JM Architects. of graduates are in employment, Strategic research partners include self-employed or have gone on Historic Scotland, NHS, Institute of to further study six months after Directors, University of Edinburgh, leaving the GSA Glasgow Housing Association and (source: DLHE 2013) US-UK Fulbright Commission OPEN DAY

Population The best way to get a flavour of life at the GSA is to experience it for yourself. Visit on Open Day to meet 1,9OO staff, tour studios and find out what makes the School unique. Almost 33% from outside the UK All GSA degree programmes are gsa.ac.uk/openday representing 69 countries validated by the University of Glasgow 12 Glasgow

Public artwork by Turner Prize Trans Europe Café in Glasgow’s winner and GSA alumnus Merchant City, a hub of bars, Douglas Gordon in one restaurants and galleries. of the city’s side streets. Image: Kirsty Anderson Herald Image courtesy Herald & Times & Evening Times The city Of gLasgOW Glasgow is a city where grit and glamour collide – where beautiful architecture and green spaces sit alongside relics of an industrial past. The cultural heart of Scotland, it is rich with museums, galleries, venues and independent shops to explore – here are some highlights.

The Glasgow School of Art Presents The City of Glasgow A short film by GSA alumni Cara Connolly and Martin Clark (Fine Art Photography 2003, 2000) exploring the city through the eyes of its cultural residents. vimeo.com/55051394

People Make Glasgow peoplemakeglasgow.com A comprehensive guide to events, festivals, shopping, attractions and more.

Further Afield in Scotland Scotland’s other cities – the Capital Edinburgh, with its castle and historic Old Town streets; Dundee, forthcoming site of a new V&A Museum – are within easy reach The Botanic Gardens of Glasgow by road and rail. in Glasgow’s West End, one of the city’s many The Glasgow School of Art green spaces. If you want to get out of the city, Presents The City of Glasgow Image: Colin Mearns, some of the best hill walking, Herald & Evening Times climbing and skiing in the UK are not far away. The stunning coastline of the west coast of Scotland is less than an hour away by train or car, as is Loch Lomond Aye Aye Books, just one of Glasgow’s many and The Trossachs National Park. independent shops. visitscotland.com Image: Tetsuo Kogawa 14 Glasgow

Left: Storm, Matthew Dalziel + Louise Scullion at GoMA, 2012

GLaSGOW

[from Gaelic, Glas-ghu meaning Dear Green Place] Just over 300 years ago, Daniel Defoe, journalist, English spy and best known as author of Robinson Crusoe, described Glasgow as, ‘indeed, a very fine city; [..] the cleanest and beautifullest, and best built city in Britain...’ In an early example of flattering travel writing, Defoe Hillhead, have a drink in a Glasgow pub, enjoy a curry extols the city’s built environment – noting the broad or fine dining with a Michelin star, plan your visit main streets and fine stone houses. He comments on during Glasgow International, Celtic Connections the energy of its trade and business and identifies its and, of course, shop and shop and shop. role as a seat of learning: by the time Defoe visited, However if you live here, you can do all of the Glasgow University was already 250 years old. above but you might also explore the radical and social A 21st century Defoe might take a similar view. history of the city at the People’s Palace, visit the Glasgow is a beautiful city. The evidence is to be found Science Centre, join the New Glasgow Society, in the physical scale and proportion of its streets and read Lanark by Alasdair Gray, enjoy the excellent spaces. The city exudes confidence and boldness. sports facilities in the city and enjoy the legacy From top, clockwise: Ca’d’oro It demands to be taken seriously. The 19th century of the Commonwealth Games, join the library and Building detail, city centre. Lighting Design, Simon Corder, legacy of a city centre grid with wide streets of shops use the great reference resource which is the Mitchell, New Wynd Lane. GoMA façade and offices, gives way to red and blond tenements, the (the largest reference library in Europe), explore the and Duke of Wellington sporting industrial grime removed, sweeping terraces overlooking Barras, go out every night to an exhibition opening, the obligatory traffic cone. parks, and large villas especially in the west and south gig, cinema, theatre, opera, or dance, cycle along the of the city centre. As for public buildings, Charles Rennie canal westward to Bowling, take a train to Wemyss Mackintosh’s masterpiece on Garnethill is undoubtedly Bay and a ferry to Rothesay, climb Ben Lomond or the the jewel. Marvel too at the legacy of Alexander ‘Greek’ Cobbler, visit the seaside at Largs and eat an ice cream Thompson, and, more recently, Gillespie Kidd and Coia, at Nardini’s. You can even get a train to Edinburgh founders of Scottish Modernism. But the architecture every 15 minutes from Glasgow Queen Street station. of Glasgow is not just in the past – the new Steven Holl But what about the people? There is no denying designed Reid Building at GSA is testament to that. that Glaswegians are a friendly lot. The habit of In what was the Second City of the Empire, the engaging near-strangers in intimate and personal legacy of heavy industry has nearly gone and the city’s conversations becomes the norm for those who settle trade is now reliant on banking, finance, business in the city too. Sometimes it appears breathtakingly services, insurance, tourism and retail. There are three direct, often funny and rarely intentionally rude. universities, a conservatoire for drama music and dance, Glasgow’s – and Scotland’s – distinctive education and, of course, The Glasgow School of Art. Many of the with its broad generalist approach encourages wide graduates from the GSA and other higher education debate and discussion: it has even been suggested institutions make their home in the city and become that Glaswegians have an opinion about anything 36 hours in Glasgow part of the creative sector across all disciplines. Higher and everything. Enter that spirit and you become New York Times 2014 education is central to the city’s cultural, social and a native. Embrace it and, like many former GSA The New York Times travel writers discover a vibrant hub economic strength, but while it underpins it does not students and staff, you will never leave. of culture, food and nightlife. overwhelm. There are many other aspects to the city’s And finally, yes it does rain… but as the comedian Nyti.ms/1sUNd2a life and the place has a hinterland. Billy Connolly, one of the city’s famous sons once If you are a tourist you must take an open topped remarked, ‘There’s no such thing as bad weather, bus tour, go on a Mackintosh trail, find the Hidden just the wrong clothing.’ Tearooms, visit Kelvingrove Art Gallery and Museum, Christine Hamilton walk through the park to Glasgow University admiring Formerly Director of the Institute for Creative the view, stroll along the River Clyde, go to, a Play a Pie Enterprise, Coventry University and Founding Director, and A Pint, lunchtime theatre at Òran Mór, take the Centre for Cultural Policy Research, University of Underground go and see Alasdair Gray’s mural at Glasgow 2012 16 21st Century Campus

Reid Building at Glasgow School of Art, by Steven Holl Architects 21st Vimeo.com/101410201 Studio is an essential part of GSA life. On campus – studio life centres in and around the new AJ Building of the Year, the 21st century built Reid Building and other buildings across our Garnethill campus; our new temporary premises for Fine Art whilst we tend to the Mackintosh Building – The Tontine Building – in the cosmopolitan Merchant City area of Glasgow; and our state of the art premises in Glasgow’s digital media quarter at Pacific Quay. Outside of the GSA it is the city of Glasgow itself that forms an integral part of what ‘studio’ means. Pop ups. Events. Talks. From Architecture Friday Lectures, A Feral Studio workshops and talks to regular Pecha Kucha nights in the union, studio in sites across the city can be just as meaningful. All the world’s a stage…

CENTURY CAMPUS 18 21st Century Campus

From top: Tableau vivant, Fashion + Textiles, Degree Show 2014; Gable End, Garnethill Park, Garnethill Mural Project, 1970s; Com Des Games; Looms, Reid Building; Tontine Building view; Product Design studio. 22 21st Century Campus

A Feral Studio, Image: Callum Rice

www.aferalstudio.com 24 21st Century Campus

Mackintosh School of Architecture stage 1 full size build project, Bourdon Building exterior.

Architecture Friday Lecture Series www.gsa.ac.uk/archfrilecture 26 21st Century Campus

Left: Detail, fine art studio, Tontine Building

Opposite: Architecture Stage 1 students 28 21st Century Campus

Second floor, Reid Building

A satirical short made by Communication Design students Laura Flynn, Stephanie Roden and Franc Gonzalez, detailing the historical background of the Reid Building designed by Architect Steven Holl. 30 21st Century Campus

From Polaroid effects on camera phones to old decide to work with traditional processes. Take a walk through the workshops typewriter fonts on websites, retro-style is the With digital photography you’re fairly sure new black. But all these current trends are digital of your results, but with analogue photography Left: Detail, Loom Room, of the GSA, and you will discover simulations of original techniques, and there any number of things can occur along the way – Reid Building is something to be said for learning things from some artists even make mistakes on purpose contemporary artists, designers scratch. At The Glasgow School of Art traditional just to see what happens. Fine Art lecturer processes, ranging from analogue photography Christina McBride is a graduate from the and architects still using traditional to letterpress, are a significant part of the department and is one of the people working in curriculum. While new students enjoy being the dark on a sunny day. She doesn’t own a digital means of making work. introduced to the traditional crafts that inspired camera apart from the one on her phone. “For me digital processes, tutors and technicians are also the darkroom is a sanctuary”, she says. “A place keen to preserve the old ways because it’s what in which to be absolutely alone and to close out hides behind modern technologies and what the world outside. It is also a place in which to makes us understand how to use them to our create narratives about that world, from within Words and photographs by best possible advantage. this darkened space. No one can enter the space In the Richmond Building that houses GSA’s unless at least alerting their presence”. Theresa Moerman Ib Fine Art Photography programme, the darkrooms This is part of the reason the corridor looks on the ground floor look somewhat empty. so empty even though there are people working But the atmosphere is always more subdued than behind closed doors. In order to enter a darkroom, in the digital darkroom upstairs. When you work you have to go through a set of doors, knocking on with analogue photography, there’s a long process each before you enter, and making sure you close before you can see a print take shape – one that the door behind you before opening the next one occurs mainly in the dark. First you develop your to ensure no light gets in and destroys the work. colour or black and white negative film. This is During first and second year, students are given a painstaking process that has you fumbling inductions in how to develop film and use the in a small, blackened room, rewinding your roll darkrooms. Whether they end up using analogue of film onto a plastic spool that gets placed in photography in their practice or not, it’s a vital a developer tank. The first time you try it, part of the learning process, especially if they you’re terrified of destroying your shots. Once you decide to combine analogue and digital. get the hang of it, you’ll be confident enough to Christina McBride recalls a recent example of develop several rolls at a time. The colour the importance of learning the analogue process: processor does the work for you in about 20 mins, ”A Year One student with no previous experience while developing your black and white film will of analogue prior to art school, spoke about her have you working hands-on from start to finish. delight in learning about the analogue processes. Sometimes things go wrong, but a “failed” It not only opened up immense possibilities and process can easily turn into your best work. understandings of light as a creative and drawing Perhaps that is part of the thrill for those who medium but also helped her to better 3 32 21st Century Campus

Top row: Darkroom, Fine Art Photography, Richmond Building; Loom Room, Reid Building; Caseroom details, Reid Building.

understand the difference and potential of digital to make all the decisions and do everything Any game that’s letter-based gets to go on the shelf. and they do have to start with the more traditional technology”. Maintaining the knowledge and “Analogue is disappearing from our places yourself, which means that when you get back One floor up from the caseroom in the new technology before we let them touch the computer skills required to work with traditional processes on the computer, you understand better what’s Reid Building is a workshop that people often stop looms”, Chantal says and adds: “They have to and making sure we pass them on to the next of learning at an alarming pace. It is imperative going on. If you’re a designer working with type, to look at when passing by. It’s the traditional understand the process and the different lifting generation is essential to a fully rounded you should know how things are controlled”. looms that are the great attention grabbers in this of shafts and the specific order before they can education in the visual arts, according to Christina that we preserve the specifics and sensibilities Since the systems are mechanical, it also space. They are currently being dressed to greet even understand how to use the computer package. McBride. ”Analogue is disappearing from our places allows hands-on control over the means of a new batch of students who will learn to make Also making the warp isn’t done by a computer, of learning at an alarming pace. It is imperative of this medium and ensure its availability, production whether it’s a run of pamphlets, textiles by sending a shuttle back and forth you have to do that by hand, so there’s a natural that we preserve the specifics and sensibilities books, posters etc. You can print from anything through the warp to create the weft. merging of the traditional and digital techniques.” of this medium and ensure its availability, its understanding and its relevance for current if you just cut it to the right height for the printing In first year the students learn a bit about These days we tend to take photographs, its understanding and its relevance for current press: all the traditional processes like lino, different weaving structures, how threads textiles and fonts for granted. They’re taken and future generations of students and artists.” woodcut and engravings – even a slice of cabbage! interlace with one another, and how to tell at the touch of a screen on your phone, The importance of the analogue to the and future generations” You can’t exactly shove that through your inkjet different structures apart. Second years spend ready to buy and wear from the shop, or available understanding of digital processes is just printer. “There are lots of ways to manipulate roughly three or four weeks with the tabletop from a dropdown menu at the click of a mouse. as evident in the caseroom, which is home to how these machines work in a way you couldn’t looms that have about 10 metres of warp and Rarely do we stop to think how these systems the letterpress of GSA’s Communication Design do with your printer at home”, Edwin points out. are set up so the students can try their hand at were invented. Engaging with traditional processes programme. Technician Edwin Pickstone is also “So while people think of it as being quite a slow different structures. Third years graduate to the in The Glasgow School of Art workshops is a great a Glasgow School of Art alumnus who has worked process because of making all those decisions, large freestanding George Wood dobby looms that way to understand digital technology and in the caseroom since graduating. It’s both learning all the processes and how to set type are over 100 years old. incredibly inspiring, too. As a graduate you will a fascinating and a daunting place with its well, the printing process is very direct and The amount of time it takes to set up a loom know the history of the techniques that laid the thousands of metal letters ready to be inked physical whereas on a screen you’re working with depends on the type of cloth you’re weaving and foundations for the way we produce things today. up and sent through the press in whichever a simulation until the moment you send it to how wide it is: a fine cloth with the full width of By holding onto those traditions you may even arrangement you choose. Careful you don’t drop print. In here there are many things that are quick the loom will take a lot longer than a sample using find yourself keen to pass them on to others a tray, or you’ll be organising for quite a while! and have immediate results and that allow you a heavy wool yarn. Once you’ve mastered the through your work, through teaching or just The type trays are organised like computer to work on a project in quite a different way”. table loom, you can progress onto the Swiss arm slowing down in everyday life. Pop some film fonts with the same names and sizes, but As with photography, it’s not a case of looms that run off a top-of-the-range computer into that old camera and see where the journey physically handling the letters is a better way choosing analogue or digital. Many students find package that allows you to simulate your fabrics. takes you.  to gain knowledge about typography. This is why that working traditionally helps them understand According to textiles technician Chantal first and second year Communication Design typography better. This can then lead them off in Balmer, another GSA graduate, the students Theresa Moerman Ib graduated from the BA (Hons) students have workshops where they get to other directions such as screen-based or laser-cut often prefer to work on the computer-driven Fine Art Photography programme at The Glasgow complete a specific project under supervision. work once the fundamental skills are in place. looms because they are faster, but when they School of Art in 2012, and continues to practice In third year they get an induction to the caseroom Other fascinating inventory in the caseroom leave art school the likelihood that they will as an artist in Glasgow, as well as working as a that allows them to work independently. includes books based on typography and printing be able to afford an advanced loom is rare. Graduate Librarian at the GSA Library. “The systems that are going on behind the screen processes: a large industrial guillotine, a paper- Table looms are cheaper and can be bought in computer programmes like Word or InDesign folding machine, bookbinding equipment, secondhand if designers want to continue their She is also a freelance curator, and co-curated are the same ones you’re using here”, Edwin says: a Boston stitcher, a large industrial stapler. practice from a private studio or from home. GSA in Dunoon 2014, the annual showcase of work “But even though it’s the same process you have There’s even a set of Scrabble and a Ouija board! “It’s important that they learn these old techniques, from Degree Show at Burgh Hall. 34 21st century campus

ON MAY 23, 2014, as flames ripped through with a range of computers, printers and scanners And there is much that is not displayed on by developing a website, The Hatchery, to record the Mackintosh Building at The Glasgow School of Art, fitted with industry-standard design software. the shelves which is also waiting to be explored: the projects which have taken place, from Gareth the School’s librarians were among the watching Staff are on hand to help students navigate a the School’s own Archives and Collections, and the Lindsay, who collected into one space for one week SeRenDiPitY crowd. Their hearts sank as smoke billowed from the range of electronic and web-based resources, library’s collection of rare books, which ranges from all the books he had borrowed from the library during windows of the Mackintosh Library. It was too much from databases to e-journals and e-books. There are a study of the human figure made by Albrecht Durer his time at GSA, to Cedric Tai, who placed on the to hope for that this iconic part of Charles Rennie over 200 magazines to browse, from Art Forum to from 1528 to a 1929 edition of Andre Breton’s shelves a book which registered electronically Mackintosh’s masterpiece had escaped the blaze. New Scientist, an ever-expanding collection of graphic Surrealist Manifesto. The high fashion of the 1820s how many people looked at it and for how long, & RiCHeS As Academic Liaison Librarian Duncan Chappell novels, and a library of just under 3,000 DVDs. is recorded in a series of rare fashion plates and the and Shelton Walker, whose ambitious MFA project walked back into his office in the Main Library across But, perhaps surprisingly, what is still most 19th century ‘Naturalist’s Library’ was exquisitely proposed relocating book collections to shipping the road, his eye rested on the large decoratively in evidence is books. Everywhere you look: books, illustrated by a team of artists including Edward Lear. containers on the coast as a way of dealing with bound book on his desk. The Arabian Antiquities books, books. ‘Sculptures of the Parthenon’. The Design Library of Glasgow carpet-makers physical material in a digitised age. From rare manuscripts and first editions to of Spain, by James Cavanagh Murphy, is recorded as ‘The Art of Bruegel’. ‘The Psychology of Love’. Stoddard Templeton, bought by GSA when the “We’ve had more and more requests in recent the first book ever bought for the School’s collection ‘The God Delusion’. ‘Architecture for Pigeons’. company went into receivership in 2005, is, in years,” says Duncan Chappell. “Students tend to use contemporary artists’ books in the form of in 1847. Normally kept in the Mackintosh Library, Alison Stevenson says: Chappell’s words, an “embarrassment of riches” our spaces in interesting, creative ways, ways that by sheer chance it had escaped the fire. It seemed “In libraries in general, the huge shift in recent years of rare decorative illustration, and was the subject we can’t possibly second guess or imagine. Our shower curtains, board games and wine bottles like a symbol of hope. has been from print to digital collections. In some of a stunning exhibition organised by Helena Britt, policy here is always that if we can accommodate While part of the GSA library collection was areas, that is really valuable and appropriate, a Lecturer and Design Researcher in the Department that within health and safety laws, and as long as it destroyed in the fire, the majority of books used but we continue to hold a really rich printed collection. of Fashion and Textiles, in the Mackintosh Gallery doesn’t impact negatively on the experience of other – the GSA’s Library and Archives and Collections by students, including the 70,000-strong lending We see that our students really enjoy and benefit in 2013. students trying to use the library, then we’ll do it. library, is housed a separate building. Many of the from coming into the library, taking a giant pile of The library also holds a growing collection of There’s quite a trend at the moment within art Centre is an idiosyncratic treasure trove waiting rarest books also escaped the fire, and those which books from the shelves and browsing through them.” around 2000 Artist’s Books, from cartoons by and design of people being interested in memory were lost are already being replaced. The library team Of course, browsing allows the greatest David Shrigley, to photographs of gas stations and historical record, what’s bought, what isn’t to be explored, as Susan Mansfield, Arts writer quickly issued a “Wants list” of the volumes most opportunity for serendipity to take hold, the chance by Ed Ruscha and a “colouring book” by Jake & Dinos bought, how we make those judgements.” urgently needed, and have been astonished at discovery of an image or a story that lights the spark Chapman. Here are books which flip over, fold out Engagement, then, cuts both ways. Students are for The Scotsman, discovers. people’s generosity. “The response from the library of an idea. Stevenson says: “People come to us not and pop up, “books” which challenge the notion of invited to become active participants in the library, community across the UK and the general public just to learn about art that was previously created what a book is: a printed shower curtain with a text but that means they also become interested in its has been incredible,” says Alison Stevenson, but to inspire their own work. Someone might have by Dave Eggers, a board game by the situationist Guy workings, and in scrutinising its decisions. As the future Head of Learning Resources. “We are quite rapidly an interest they want to develop, or they might want Debord, and a bottle of Italian red in a limited edition beckons, and the restoration of the Mackintosh rebuilding the parts of the collection which will be to explore a topic they don’t know anything about. by David Bellingham. “A lot of the students here are Building begins, so a new generation of students will in the highest demand, and we expect that the Our collection covers Scottish history, philosophy, given projects where they have to create their own be watching, thinking, examining these events in their collection of the Mackintosh Library will be rebuilt ecology, linguistics, cartography, astronomy, artist’s books,” says Chappell. “We try to open their work. GSA wouldn’t have it any other way. to a standard of real global excellence.” the kind of range you would expect to find eyes as to what a book can be.” Just how much has changed since Mackintosh in a well-resourced institute of higher education.” Every year, students not only make work inspired www.gsa.ac.uk/library designed his library over 100 years ago is apparent Students are also encouraged to become by things they find in the library, they also seek gsahatchery.wordpress.com on walking in to the GSA’s Main Library building across “co-curators” of the library by requesting titles to make work within and about the library itself. gsalibrarytreasures.wordpress.com the road. A top floor computing suite is kitted out they would like to see on the shelves. Ever open-minded, the library has responded Twitter @GSALibrary

Anticlockwise, from above: Interwoven Connections, Stoddard Templeton Carpet Archive, Mackintosh Gallery 2013; Detail from The Naturalist’s Library – Sir William Jardine (ed.) 1833; Detail from Hierinn sind begriffen vier Bucher von menschlicher Proportion durch Albrechten Durer von Nurerberg [sic] – Albrecht Durer, 1528; Vine Time Wine – David Bellingham 2011; The Thing, issue 16 – Dave Eggers 2010 36 The Mack Archive

THe MaCk: aN ARCHiVe ≤ MEMOries

On 23rd May 2014 the eyes of Glasgow - and the whole country, and then the wider world - turned to the Mackintosh Building, where fire had broken out just hours before the deadline for students to complete their final year degree shows. By 3.50pm the clocks in the building had stopped. The School was overwhelmed with tributes and offers of support in the days and weeks that followed - one of the most fittingly creative of which came from an alumna living and working in the Netherlands. As work begins to restore the parts of the building damaged in the fire, Lizzie Malcolm talks about the website she developed in response to that day in May - the Mack Photo Archive. Ground floor corridor plastercasts, Ailsa Sutcliffe, Nov 2013 38 The Mack Archive

From left: Sink, second floor, Loggia, by Rachel; 5th year Architecture on steps of the Mackintosh Building (with white door), 1990, by Colin Glover; Mackintosh Library, June 2003, Fabio Quici; Entrance to conservatory, Second floor, Sian McQueen; Second floor studio window, June 2012, Collette Rayner.

Like many fellow classmates, I have maintained a in which their photograph was taken and estimate deep connection to The Glasgow School of Art. It is not a date of capture. They can also add a description Lizzie Malcolm unusual to feel a bond with or sense of nostalgia for or a memory to the photograph, to elaborate on the place you developed your creative voice but GSA the circumstances of the image. Lizzie Malcolm graduated seems to present something very special through both Although fire was the catalyst to create the archive, from the GSA’s BA (Hons) the curriculum and the physical environment. it does not need to be tied to that specific event. Visual Communication Though many people, myself included, were The archive is both a tribute to the building, (now Communication Design) stunned when we heard of the fire, we also wanted but also a real attempt to experiment with new programme in 2010. She has to help however we could and to pay tribute to methods of gathering and viewing, particularly worked as a designer in The Hague the building and the School itself. I am sure that historical, information. As a result of the era of since graduating, and has a strong on the day of the fire there was an enormous spike digitisation, most institutions hold large digital interest in the relationship between in the number of Google image searches for the archives, but often have limited or outdated technology and information. Mackintosh Building, however, the results are interfaces to display the contents. Interfaces have The Mac Photo Archive was almost exclusively images of the exterior of the therefore gained a new significance and can built in collaboration with her building. I wanted to provide a more comprehensive be a powerful tool to expose archival contents. partner Daniel Powers, who is representation of the building and its central The Mac Photo Archive contributors obviously also a designer and developer. position within the School, and so began developing have a strong connection to the building, In September 2014, alongside the Mac Photographic Archive. and their photographs are a record of their time Susana Carvalho from Portugal The intention of the project is to concentrate on and experiences there, revealing how the building and Kai Bernau from Germany, gathering a comprehensive record of the interior of has been used for over 100 years. From paint Lizzie and Daniel established the building, from the people who have used it since splattered sinks to degree show parties, studio a new design studio in The Hague. its completion in 1909. Using floor plans, users can workspaces and class photos on the front steps. tag their uploaded photos with the floor and room the-mac-photo-archive.net 40 Material Culture

Carrie McAdam, fashion stylist and features writer at the Herald and Sunday Herald, speaks to Research Fellow Mairi MacKenzie about Glasgow’s fashion cultures, sub-cultures and cultural identity.

Mairi MacKenzie and Pam Hogg, at Pam Hogg’s pop-up shop at GirL Fashion Cultures.

42 Material Culture

GSA workshops at Jigsaw, ingram Street, Images: Callum Rice

hat we choose to was artist Scott King’s ‘How I’d Sink American Vogue’ endorsement of all of its practices.” responsibility and an awareness of where our clothes With MacKenzie’s previous research into the he used to travel to Los Angeles every year from wear is linked so intrinsically to our culture, that series, which featured a year in the life of American The power to make political statements through come from. Nobody should have suffered because designer Nudie Cohn, she studied the significance the late 60s and buy custom-made Nudie suits.” Windividual garments can tell the story of something Vogue covers, re-imagined as if Anna Wintour had fashion was explored in an exhibition and pop-up you want to wear something nice.” of the designer’s role in relation to the world of MacKenzie - along with the designer and much bigger than fashion. The study of fashion is, resigned and had been replaced by an editor who shop with fashion designer and GSA alumna Pam However, conspicuous consumption seems to be Country music, looking at the clothes he created co-curator on the project Robert Cerimagic - set out in many ways, the study of material culture and spiralled into a drink and drug induced psychosis. Hogg. Hogg’s Autumn Winter 2014 collection, alive and well in Glasgow. Featuring over 1,500 shops, and their importance in creating and reflecting that to catalogue and restore this vast collection, which through the history, preservation, and interpretation The exhibition, which was displayed on the BAM entitled Courage, was a highly political collection Glasgow is regularly lauded as Britain’s second culture. Cohn was responsible for outfitting some of also includes two Nudie customised cars. Her work of what people wear we can learn more about Construction hoardings on Hanover Street, was both that was dedicated to the Russian protest/punk band shopping city, with Buchanan Street having the the greats of the Country music scene between the culminated in an exhibition of Nudie’s designs at the the wider culture they belong to. As Mairi MacKenzie, subversive and humorous, making serious points Pussy Riot and was intended to raise awareness second strongest footfall in Britain, second only to late 1940s and the early 1980s and was effectively Mode Museum in Antwerp and a book entitled, Research Fellow in Fashion and Textiles at The about the often vacuous nature of fashion and the for their cause. The collection was not made to sell, London’s Oxford Street. Glasgow’s available responsible for creating the look that we associate Dream Suits: The Wonderful World of Nudie Cohn. Glasgow School of Art, reflects: “Fashion isn’t just influence of advertising on creativity in the magazine only to raise awareness, which is an anomaly in an catchment expenditure is £2.6 billion with clothing with the ‘Rhinestone Cowboy’. A Nudie suit was a That these performers opted to dress in such a an object. It’s an economy. It’s a culture. It’s part publishing industry. industry renowned for its commercialism. Hogg has and footwear representing £678 million. signifier that you were immersed in that particular flamboyant manner was due in part to their fans, of our social identity.” “My motivation wasn’t just to criticise fashion,” since produced a t-shirt with the statement ‘Pussy The reality of Glasgow as a major shopping city culture. He designed for many of the great according to McKenzie: MacKenzie is a fashion historian, writer and says MacKenzie. “It was just to show that there were Riot Rule’ that is for sale, with a percentage of sales fascinates MacKenzie, who adds that “there are more performers of his time including Roy Rodgers, “Roy Rodgers said that the reason he wore curator and in summer 2014 she programmed lots of different elements to it. It sounds like a very going to Amnesty International. own-label boutiques here than anywhere else outside Porter Wagoner, Dolly Parton, Hank Williams and, rhinestones was so that the kids in the cheap seats and produced the Fashion Cultures strand of the grand ambition with an 11-day programme but a “It was a political statement,” says MacKenzie of London but Manchester and Leeds both have larger most famously, Elvis Presley. The gold lamé suit that could see him ride in to an arena on his horse. Merchant City Festival, an 11-day programme of lot of people think that they are not interested in of the collection. “She felt really strongly about their populations. Why is that?” Presley wore on the cover of his 50,000,000 Elvis Country is, for the most part, a working class culture exhibitions, talks, workshops and retail events in and fashion - but if an event is about music and fashion cause and she just felt that she couldn’t not do it.” This question intrigues MacKenzie to such a Fans Can’t Be Wrong album was a Nudie design, and these male performers are macho men, at home around Glasgow’s Ingram Street. Fashion Cultures’ then people engage with it in a different way. I think She isn’t the only high profile fashion designer degree that her next research project will be a study reputed to have cost the grand sum of $10,000 on the range, yet they were quite comfortable in diverse programme of events ran the gamut from the a lot of people equate fashion with just ‘shopping’ using her fashion collections to make political of Glasgow style and the history of dressing up and in 1957. highly stylised rhinestone encrusted suits. I think populist to the avant-garde. From a talk by celebrity but it is a key component in the construction of statements. Vivienne Westwood also uses her going out in the city from 1945 to the present day, From the moment MacKenzie first spotted a man there is something about working class cultures that stylist Grace Woodward in Cruise, an exhibition your social identity.” catwalk shows to campaign about human rights as told through the story of its dancehalls, nightclubs dressed in a Nudie suit in a London nightclub in 1997, when you make money, you want to show it off.” exploring the commercialism of leading fashion MacKenzie felt that it was important that Fashion issues and MacKenzie is complimentary of and boutiques. she was hooked. There is a recurring theme in MacKenzie’s research magazines to creative classes run by The Glasgow Cultures asked some serious questions about the “the value of Vivienne Westwood and Pam Hogg “There is such a thing as a Glaswegian style but “I became really interested in his work and started that is concerned with working class fashion cultures, School of Art in the Jigsaw store on Ingram Street, nature of the fashion industry. as provocateurs that connect fashion to the what that style is and why it is, that’s a bit harder to spotting references to it within popular culture. the icons that working class people idolise and the it was a high-low mix that felt very Glaswegian. “With ‘How I’d Sink American Vogue’, the work political world.” define - that is what I want to examine.” The link Then about 6 years ago, a friend of mine in Belgium fashion codes that they adopt. MacKenzie is currently MacKenzie wanted the Fashion Cultures makes a valid point about the insidious nature of “Something that will hopefully change is an between what people wear, where they shop, where who lives with the daughter of a man called researching the links between Liverpool football programme to be relevant to Glasgow but also to fashion publishing, because fashion isn’t all sweetness increased awareness of where we get our clothes they go out to and what music they listen to will Bobbejaan Schoepen told me that Bobbejaan had a casuals in the late 70s and David Bowie. have a broader focus and make comment on the and light,” she reflects. “It is something I enjoy and from. This idea that fashion is disposable - nobody hopefully present some broader insights into Glasgow full collection of Nudie suits. Bobbejaan was one of “That research is about the relationship between fashion world and its practices. One of the highlights I study it but the study of something isn’t an needs 15 t-shirts. There needs to be greater social culture and the different tribes that exist within the city. Belgium’s biggest music stars and entertainers and an outfit worn by David Bowie in the film The Man3 44 Material Culture

Top left: Pam Hogg at Pam Hogg pop-up; Middle: Ms B presents: Glam, at the Corinthian, 2014, Opposite: Gram Parsons in Nudie Suit

Who Fell to Earth and the earliest Liverpool football tremendous detail on one topic but hopefully gives “The exhibition will be called The Sistine Chapel of casuals. In particular the duffle coat that Bowie wears insights into wider cultures.” Nudie Suits , referencing both the artistry at play in and the vibrant red wedge haircut he sports”. An item of clothing or a specific fashion look can the design of the suit as well as the reverence people She interviewed the writer Kevin Sampson, an be a signifier that relays information about a fashion afford both Gram Parsons and its designer, Nudie. authority on Liverpool terrace culture, to find out tribe and the culture that they exist within. While the The suit has become totemic and people worship it. more about the reasons behind why these football subjects of MacKenzie’s research vary, most are It embodies him as a performer.” fans were inspired by Bowie and the look he sported connected by the fact that they are concerned This ability to look at one garment as being in the film. with the role that clothing plays in the relationship representative of a wider culture is something that “He said it was about the music, that they just between a performer and their fans. fascinates MacKenzie and is key to her research loved Bowie. There were loads of different influences MacKenzie admits she is “not a major fan of at the GSA: on football casual culture but music was a part of it anyone which is why I think I am so fascinated by it.” “That is what my research is about, it is very and I don’t think that link is ever really discussed.” Her next exhibition will further explore the notion specific and goes into tremendous detail on one Adopting these aesthetics gave individuals a of fans and hero worship, and will focus on the topic. But I like that because I am interested in fans commonality and identity as a group. The duffle embellished white suit that Nudie designed for and I guess that is exactly what fans do, they go coats and angled haircuts took on a meaning that Gram Parsons, which he wore on the cover of the into minute detail over absolutely everything.”  went far beyond Bowie’s original intention and Flying Burrito Brothers 1969 album The Gilded Palace www.fashioncultures.org became signifiers that you were part of the football of Sin. The suit, which has become an iconic and casual culture. These items of clothing are much copied garment, features embroidered pills, Mairi MacKenzie is Research Fellow in Fashion and sociologically significant as pieces of material culture poppies, marijuana leaves, naked women and a cross. Textiles at The Glasgow School of Art. She is a fashion as they became a particular type of working class Fans of the suit include Glasgow band Primal historian, writer and curator. uniform that was specific to the culture and the Scream’s Bobby Gillespie, who wore a suit inspired socio-economic conditions of the time. Looking at by the iconic original on his wedding day in 2006. Also available: this one subculture and their chosen uniform gives In the 45 years since the suit was first designed, Mairi MacKenzie, Dream Suits: The Wonderful World of an insight into what life was like during that period. its power and allure has grown steadily. This is aided Nudie Cohn, Lannoo 2011 ISBN 978-90-209-6046-4 As MacKenzie reflects: somewhat by the fact that Gram Parsons himself “Obviously there was so much more going on but has become an almost mythic figure due in part Published to accompany the exhibition; Dream Suits: what interests me is that a very specific example can to his premature death at the age of 26. Designs by Nudie Cohn, the Rodeo Tailor, featuring the tell a much bigger story. I think that is what a lot of “It is reverential”, says MacKenzie of the love fans collection of Bobbejaan Schoepen. MoMu Antwerp, my research is about, it is very specific and goes into hold for both the suit and for Gram Parsons himself. October 2011 – February 2012. 46 Glasgow 2014

Commonwealth mural painting, Glasgow. Images: Jim Hill GLaSGOW 2O 14 Every year, Glasgow is host to a seemingly ever-growing number of festivals, special events and collaborative public projects. The number of cultural events in 2014, however, surpasses the usual, thanks to the 20th Commonwealth Games, held in the city in July and August with a strong supporting cultural programme. Alumna, artist and The Skinny’s Arts Correspondent Emma Ewan reflects on a very busy few months, and highlights the GSA’s wide-ranging involvement in the Games. 48 Glasgow 2014 Summer 2014 saw 4,950 athletes from 71 CONNeCtiNG tHe different countries unite in Glasgow for the XX COMMONWeaLtH Commonwealth Games. Glasgow stood proud and the contribution of GSA staff, students and alumni played a significant role at each stage, as medals, textiles, art and design work and a host of volunteers poured from the School. From designing the baton that travelled the Opposite: Glasgow Slow Down 2014 – Jacqueline Donachie. Image: Alan world before the Games started, to helping Dimmick, courtesy the artist and Patricia Fleming Projects.

establish a legacy forthe Games that will remain Below: Jonathan Boyd with Gold Medal, detail, Medals, long after the final medal was won, GSA was at Glasgow 2014 the heart of connecting the Commonwealth. by Jonathan Boyd. Emma Ewan (Painting and Printmaking 2012) of The Skinny looks at a historic summer in the city.

2014 is certainly Glasgow’s festival year. Back-to-back has speckled much of what we have seen and read festivals have packed the creative calendar; behemoths about the Games in 2014. Featuring a shooting star like visual art festivals Glasgow International and emblem, it is inspired by the façade of one of Glasgow’s Generation, bounteous DIY festivals of visual arts, music most iconic music venues, The Barrowland Ballroom - and performance, plus annual regional staples including a renowned nurturer of home-grown musical talent. the Merchant City and West End festivals have rallied to Lambie also re-exhibits his seminal 1999 piece Zobop – create an ambitious year-long cultural schedule. There is a similarly vibrant installation of coloured tape covering a feeling that over the last six months, ten new things the gallery floor - at the Fruitmarket Gallery, Edinburgh. have opened every weekend, and even for the hardened The show is part of Generation, a country-wide Glaswegian culture-chaser that’s a lot to keep on top of. celebration of the past 25 years of Scottish Two weeks in July/August saw over 4000 contemporary art, prompted by the Games and international athletes battle for medals, with Glasgow spanning the whole of 2014. and the rest of Scotland benefitting from an extensive Phil Collins looked inwards to the spotlight city year-long celebration of culture as a result of those two in his new film Tomorrow is Always Too Long, specially whirlwind weeks. This has occurred in two main strands; commissioned for Festival 2014 by The Common Guild. Culture 2014, a year-round nationwide programme, Shown at a free open air screening, the film leads its and Festival 2014, a Games-time flurry of activity audience on a journey informed by locals from the coinciding with the sporting action. The wider-reaching social clubs, schools, hospitals and community groups Legacy 2014 ensures that the whole of Scotland of Glasgow. Set to a soundtrack by Barry Burns of feels the benefits of the Games post-competition. Mogwai, Cate Le Bon, Art School regulars Golden The Queen’s Baton, created by 4C Design, Teacher and the Royal Scottish National Orchestra, has travelled 190,000 kilometres across the globe, the event at Queen’s Park in Glasgow’s Southside borne by around 4000 baton-bearers in every recalled the Park’s recurrent history as a place for participating nation. After visiting Africa, Asia, the public gatherings. Americas, Europe and the Pacific, it arrived home Earlier in the year we saw another mass gathering in Scotland in June. The baton is a historic symbol of as the city took to their cycles for Glasgow Slow Down, unity between the commonwealth countries that has a public art project by GSA alumnus Jacqueline been a ritual of the Games since its inception in 1930. Donachie. On Sunday the 13th of April 100 cyclists Glasgow-based product design company 4C was travelled through the city, literally ‘marking’ the founded by alumni from GSA’s Product Design and 101-days-to-go point with the brightly coloured chalk Product Design Engineering programmes; and they that trailed from their wheels. The result was a rainbow worked with PDE students, Francesca Stephens and of converging and parting lines that lasted only as long Michael Tougher to develop the baton. as the good weather. The most sought-after items of the Games - As a gesture to her event in April, Donachie also the bronze, silver and gold medals - were designed unveils a permanent piece of artwork. Installed in by GSA alumnus and current Silversmithing and Jewellery Glasgow’s East End, and part of Legacy 2014, it is one lecturer, Jonathan Boyd. He worked with a team of the works that will be around long after the athletes of eleven expert jewellery-makers at the school to have left town. It is part of a wider project entitled produce more than 1,380 medals, which were awarded PULSE, curated and delivered by a collaborative team across 261 medal ceremonies during the games. based in Glasgow - Patricia Fleming Projects, Pidgin The Centre for Advanced Textiles at GSA also played their Perfect and Picture Window. PULSE features permanent part in the medal ceremonies by printing the Glasgow and temporary art installations sited around London 2014 official tartan for Scotland’s medal-bearers. Road, the pathway to the main Games site in the The visual identity for the Cultural Programme, East End. Another new permanent artwork Cut designed by Turner-Prize nominated artist Jim Lambie, from the Factory Floor by Iain Kettles, addresses the 3 50 Glasgow 2014

Opposite: Queen’s Baton, ‘This was a great opportunity which allowed Glasgow 2014 Commonwealth Games, designed by 4c Design.

me to meet lots of new people - including Top: The Golden Tenement. Neil McGuire and Marianne Anderson with Elizabeth international organisations which I often Campbell, Hamish Dobbie and Hamilton + Inches/

worked closely alongside. Connecting with such Bottom: Common Wealth, Katie West and Highland Stoneware, Panel. a wide scope of practice enabled me to learn Both for Scotland Can Make it, how a diverse variety of artist-led initiatives Image: Gordon Burnistoun function. The experience was also valuable for my professional development. It’s expanded my understanding of both local and international practice, and helped to give me direction in what I hope to achieve after graduating.’ Kirsty Mellon, Silversmithing & Jewellery student, volunteer gallery supervisor at IAI, an international programme of exhibitions, art, events and performances as part of Glasgow Culture 2014

area’s industrial heritage by referencing the history sustainable focus. Accompanying the shop was of the famous nearby Templeton Carpet Factory. a plein-air fashion show, a textile printing workshop Also part of PULSE were the temporary artworks and the Repair Café, where visitors could learn to presented by Picture Window, a public video art repair or up-cycle damaged or unloved clothes. project initiated by Sculpture and Environmental Art Over the past year, artist-led David Dale Gallery alumni Annie Crabtree and Eileen Daily. Moving image has been establishing links with other artist-led works by both established artists and recent graduates initiatives across the six commonwealth territories; were projected in shop-fronts, encouraging those The Cyprus Dossier (Cyprus), Clark House Initiative traversing the main Games drag to stop and consider (India), Fillip (Canada), Fresh Milk (Barbados), a part of the city that many are not overly familiar RM (New Zealand) and Video Art Network Lagos with. Much like Donachie’s project earlier in the year, (Nigeria). For Festival 2014, International Artists it encouraged Glasgow to slow down, transforming Initiated produced exhibitions, public art, events, the area from a commute to a platform. performances and a publication; each being invited Festival fever seems to have infected every arts to respond to the Commonwealth Games or reanalyse organisation in the city and like PULSE, many their nation’s contemporary culture from the responded by producing whole programmes of their perspective of an artist-led initiative. Set up by GSA own for Games-time. Organisations Panel, David Dale alumni in 2009, David Dale’s Commonwealth Gallery, Africa in Motion and Refashion Glasgow, programme reflects the increasing desire to engage to name just a few, shifted their activities up a gear with artists, organisations and communities outside by producing mammoth programmes of exhibitions, of Scotland. events and workshops. In addition to their annual film programme, Panel, a curatorial practice established in 2010 Africa in Motion has been touring sports-themed by Lucy McEachan and Catriona Duffy, have developed films across Scotland as part of Sports Stories from Scotland Can Make It! - a series of unofficial souvenirs Around the African Commonwealth. They transformed inspired by the Games. Scarves, jelly-moulds, an audio- lighthouses, climbing centres, disused baths, visual app and more have been created by some of Glasgow’s oldest music hall and more into platforms Scotland’s leading artists and designers. Each is a for viewing film. AiM toured their programme through unique collaboration between designer and industry Glasgow, Edinburgh and Dundee, as well as rural that reflects Scotland’s industrial heritage, past and and seaside locations including Cromarty and the present. The souvenirs were launched alongside a Isle of Skye. The audience was often invited to join diverse (and extremely fun!) programme of events, the on-screen actors in their sporting pursuits; united in their consideration of the souvenir as a at Glasgow’s Riverside Museum, a screening of memento, and perhaps what bearing this has on Rising from Ashes was entirely pedal-powered Scottish identity. The project follows on from a similar by the audience. For another, they teamed up with series they produced in 2012 to coincide with the House for an Art Lover to offer a Film and Food Olympics in London. McEachan graduated from GSA Marathon in which the audience were treated to in 2000 and Duffy from History of Art at Glasgow a starter from Tunisia, a main course from Kenya University in 2001. and a dessert from South Africa to accompany The Merchant City Festival, an annual summer a film from each region. occurrence, was extended this year to an eleven-day The vigour displayed by Glasgow’s creative programme. Recently assembled eco-design collective organisations and inhabitants this year proves Refashion Glasgow transformed a shipping container that 24 years after it was named City of Culture, into a unique pop-up shopping experience; Drop- Glasgow continues to live up to its reputation Down Pop-Up was a hub of designer clothing, as a global culture capital. Perhaps in 2014 more than accessories and homewares with an ethical and ever, it has come to play on the international stage.  52 Glasgow 2014

From Left: Lindsay Pope, MSc International Management + Design Innovation student; Dr Iain Reid, studio tutor; Students in GSA studios working on Beyond the Finish Line.

Video: Tutor and Innovation Designer Iain Reid discusses the project. vimeo. com/104632837

DeSiGNiNG A LeGaCY: BeYOND tHe FiNiSH LiNe

When the 11-day spectacle of the 2014 Commonwealth Games IN CONVERSATION Chen Wang (Urban Catch team): Our clients as some of the other projects, it’s still valuable During the first six months of the programme, four recognised that by learning more about our process - experience, because that’s going to happen to you. teams of students on the joint GSA and University combining design and business thinking - they could You’re going to work for people who are hard to please. finished, attention shifted to the lasting impact the event would of Glasgow programme MSc International come up with workable ideas again and again. Management & Design Innovation provided Lindsay Pope: A lot of what we did was client have on the city. Legacy 2014 is a programme developed alongside business support and mentoring for four clients Lindsay Pope (The Dream Machine team): We also management. Sometimes our client would come involved in the programme - participating had a really positive experience with our client. In a in with lots of great ideas about the project we were the Games, aiming to ensure that Glasgow and Scotland benefits businesses The Dream Machine, a sensory way it was an unusual thing to be involved with, as we working on, which was fantastic, but sometimes immersion experience with mental health benefits; didn’t start the project and we weren’t there when the he would come in and would want to talk about from the largest sporting event held in the city’s history – whether Hungry Window, a space for creativity open to all; project finished – there was definitely the feeling that some other unrelated idea that he had – and we had In Bloom, a youth culture magazine with a focus we were just one chapter in the story. When we do to try and convince him to get working on the project through wide-reaching aims such as a bolstered economy and on equal opportunities; and Urban Catch, offering projects in the studio they are much more contained. at hand. A lot of us are interested in consulting and sustainable food education and workshops. managing in creative industries, and what we are doing The participating MSc students – Chaio-Lun Lin Erth Rujeraprapa (In Bloom team): I think the is merging business and design – a really straight strengthened engagement with culture, or more grassroots plans and Chen Wang (for Urban Catch), Lindsay Pope success of the mentoring depended on the client you and narrow world with a creative world. We’re trying (for The Dream Machine), and Erth Rujeraprapa were dealing with. Some of them felt that they didn’t to justify the differences between those two things such as increased access to sporting facilities in schools, (for In Bloom) along with their studio tutor, really need our help, because they had their own and using them to create profitable situations. innovation designer Dr Iain Reid, gathered to reflect working style and just followed that. I don’t think That’s definitely what we encountered with our client and development of small local businesses. on Beyond the Finish Line after their involvement our clients had particular business focus. Me and Asa – he was all over the place but he had fantastic ideas in the live project. (King, who also worked with Erth on the In Bloom and that’s what we needed. We needed those great One programme that was set up to support the latter aim was team) tried to talk them through business plans, ideas but we needed to get them into order. Iain Reid (Studio Tutor): The idea for the social but they didn’t really want to think about it. Beyond The Finish Line, led by Glasgow organisations Firstport and enterprises already existed before Beyond the Finish Chen Wang: I think we learnt a lot of things from Line, but the businesses hadn’t been established, Iain Reid: I think these difficulties lay in the fact that each other – it was a two-sided thing. they weren’t implemented. The role that the students Erth’s team had very clear ideas, a very clear vision icecream architecture. This was a year-long programme mobilising played was to develop the concept into some kind of what they wanted to do. They weren’t willing to Iain Reid: For me that was one of the most positive of reality. Giving them a roadmap for the business. deviate from that at all. I don’t think they realised things about the project - the reciprocal engagement. young people aged 16-30 in Glasgow to regenerate their local areas how much help they needed, and their lack of business The clients obviously got a lot out of it in terms Chiao-Lun Lin (Urban Catch Team): Our client was experience was maybe an obstacle. I think their of the work that the students did, but it was also by setting up social enterprises. 15 individuals or teams were given trying to target a really wide market, so we suggested naivety was something Erth and Asa had to deal with. very good experience for the students in terms of targeting a smaller group at first: targeting the working with a real client, who you could go back the support, mentoring, space and funds they needed to test their service [delivering workshops and equipment Lindsay Pope: Some clients are going to be difficult to for feedback and advice. A nice wee taste of the real promoting sustainable food education] to children – some are going to be so difficult that you’re unable world. And I think the clients all explored or at least ideas for a social enterprise in the 6 months leading to the in schools. This is quite a difficult thing to suggest to finish the project. I think the differences between considered other avenues that they wouldn’t have to clients – they want as many customers as they the positive and negative experiences that we’ve considered if it wasn’t for the students’ input. can get at first – so we also showed them how they had with these clients is very indicative of what we’ll Commonwealth Games, with six months of further support. could expand their market in the future. We focused find in reality. Find out more about the Beyond the Finish Line project at on identifying target markets mainly because we only beyondthefinishline.org.uk The aim was to create and develop 15 sustainable social enterprises, worked on the project for a short time – obviously Iain Reid: Even though there was a lot of difficulty, Video: Lindsay Pope talks about her experiences working business is a long-term thing, so we tried to do as I still think it’s a good experience for Erth and Asa with Beyond the Finish Line delivering lasting social benefits to local areas around Glasgow. much as we could in that short space of time. to have had – even though it didn’t run as smoothly vimeo.com/104632837 54 GSA Sport

Images: courtesy GSA Sport The Glasgow School of Art Sports Association is an award-winning student initiative promoting sport and activity throughout the GSA and Garnethill community. 100% student led, in only a year clubs have sprung up over a range of disciplines such as: hockey, mountaineering, cycling, football, rugby, swimming, racket sports, skiing, yoga, running and even Salsa and kite flying. Each club is led by students who are talented and passionate about their sport and the responsibility falls on them to assess the club’s needs and apply for funding from the Students’ Association. Sports at an Art School? Keen to tap into the creative potential of the student and staff body by having opportunities for art and sport to link, the hope is to encourage not just those who love sport, but people who may not have been traditionally interested in sport to take part in a less formal arena. www.gsa.ac.uk/gsasport 56 Miracles Melancholia, the ‘modern’ re-turn, and everyday miracles

It is commonplace that art history is polyvocal – histories rather than history – so in an art scene as diverse as Glasgow’s there is a multitude of different stylistic voices finding expression. One of the most compelling narratives has been a discernable return to what looks like a Modernist (formalist) sensibility. Can this be understood as a melancholic turn, where an idealised past (that never truly existed) haunts the present? And what kind of art history or art writing would best suit this type of work? If ‘miracles’ are made in retrospect (as re-written, edited idealisations), how does ‘The Glasgow Miracle’ Left: Toby Paterson, Installation view ‘New Facade’, CCA, Glasgow, 2003. Courtesy of – arguably made manifest in ‘Generation: 25 years The Modern Institute/Toby Webster Ltd, Glasgow. Courtesy of The Artist and The Modern Institute/Toby Webster of Contemporary Art in Scotland’ – fit into the Ltd, Glasgow

Photo: Alan Dimmick postmodern fashion for immediate reprise? 58 Miracles

Left: One of theToby Paterson, relate to each other in a way that is worth installation, BBC Scotland at Pacific QuOting a Quay, Glasgow commenting on in a wider philosophical context. The fashion for artists to flirt (however ironically) PrepOsterOus Bottom: The Corbusier Haus, Berlin, Le Corbusier in 1957 following with Europe, specifically European Modernism Art HistOry his concept of Unite d’Habitation. itself, is not a new phenomenon. And to do so is not ©iStock.com/claudiodivizia to necessarily neglect the national, cultural and In Quoting Caravaggio: Contemporary Art, social environment that artists find themselves in. Preposterous History Mieke Bal begins by telling us In fact, such a pose can act as a unifying trope; it can that: ‘Quoting Caravaggio changes his work be part of the shared cultural language that a group forever’4 – an observation made by T.S. Eliot where employs – a shorthand form of avant-gardism that he claims that the past can be altered by the is essentially empty. By calling it ‘empty’ I do not present. Bal’s book is an investigation into the mean to belittle the validity or sincerity of gesturing concept of the Baroque and its signs, signs that are towards the European avant-garde. On the contrary. ‘quoted’ by later artists. The quotation, like the This process demonstrates that the ‘originality of performance, creates the semblance of the the avant-garde’ as Rosalind Krauss would have it, is originality of the text or art object that it appears itself a myth. By utilising such mythic forms, by to be referring back to. The categories of past/ quoting and seemingly misappropriating them to a present, subject/object are spliced; the binaries leak certain extent, creates a dialogue with the original into each other, thus destroying clear distinctions work and the philosophical, social and political and denotations. issues that surrounded it, as well as exposing the When the later manifestation is read as misconceptions, the biases and (to be slightly informing and changing the earlier appearance, hyperbolic) the repressive epistemologies that then the history that is written due to this uphold the myths that we are now so familiar with. relationship appears to be inverted; all claims to A workable and attractive theory of ontological ontology and truth are open to question. Bal labels ‘emptiness’ is put forward by Butler, Laclau and this deconstructed history writing ‘preposterous’, as have tried not Žižek in their book Contingency, Hegemony and she tells us: to naïvely historicise the recent past here, and do Universality – Contemporary Dialogues on the Left. This reversal, which puts what came not look to explain the artworks by the artists I use We can adapt their project by expanding their chronologically first (‘pre-’) as an after effect behind as examples in a socio-historical sense, but will description of the sign to include the art object itself (‘post’) its later recycling, is what I would like to call discuss a recent trend in Scottish art for revisiting as sign, or by simply interpreting their findings in an preposterous history... it is a way of ‘doing history’ formalist concerns from a quasi-formalist position, art historical context. The authors argue that there that carries productive uncertainties and illuminating where the serious work of continually is a constitutive emptiness at the illusory core of the highlights.5 deconstructing, emptying and repositioning one’s sign and the subject – the subject is an empty These ‘productive uncertainties’ are the use of universal(ising) signifiers is never complete. signifier, in other words; ontologically incomplete. connotations and contingency of meaning that I These ideas are in response to a selection of works This emptiness means that the content or meaning have mentioned earlier. In inverting the model of created by artists working in Scotland in the last of the subject’s identification with a form, a name, a art historical linearity, of the unfolding of a zeitgeist decade or so, who have, we could say, ‘Returned to style, comes retroactively, and is not waiting in the back into itself, ‘reversing’ the progression of styles, Modernism’, or have pointed out that for them it concept/category as an ontological quality. We we find a politically invested project that can be never really went away, specifically: Craig identify with terms that can never fully express us. If Modernism and works are not ‘copies’ in the pejorative sense; they do discerned by deconstructive methods. In reading Mulholland, Martin Boyce, Toby Paterson, Lucy the Universal is always particular, in that it always not blindly mimic the results of the artists they ‘other’ meanings into an object, in quoting and McKenzie, and a few others. This ‘Second Modernism’ misrepresents that which it claims to represent, it is Melancholia invoke. They can be read as a depository and critique interpreting that object, the meaning of the primary takes Modernism and its post-modern counterpart a Universalism that is ‘not one’ – a quasi- Can this idea of the sign’s emptiness, its rhetorical of the formal elements of a tradition, simulacral object is shown to be created out of a ‘vacillation’ of very seriously, creating an atemporal melancholic universalism. and parodic use, be related to the way that some collages in paint that tie the disparate strands of past/present, subject/object. The notion of primacy loop that draws on the concerns of High European Laclau’s theory of ‘empty signifiers’ states that contemporary artists have referred back to European Modernism to the present. This can also be said of then, is constructed retroactively in a manner that Modernism, bringing them back to Scotland’s because the signifier is empty, that it is not attached Modernism? Is there a place for High Modernist art Toby Paterson’s invocation of Malevich’s parallels the illusory core of Butler’s decentred galleries and exhibition spaces. This melancholic to any specific political aim or subject, this allows a in Scotland? Was there ever? ‘New York stole the Suprematism, Lisitsky’s Proun and Le Corbusier’s subject. We can argue therefore that these ‘Second strategy demonstrates the lack of High Modernist (counter) hegemonic struggle to take place over the idea of Modern art’, we are told,3 and it can seem interiors, Craig Mulholland’s early examination of Modernists’ deconstruct Modernism by questioning artists in Scotland. Forms and visual languages are body of the signifier. Laclau argues that the that Scotland got left with the Scottish Colourists, Bauhaus construction and De Stijl, Lucy McKenzie’s the binarised categories that produce it as a concept freed from the shackles of their historical contexts. investment of that sign is ethical, or rather, that the that Scotland has no successful early 20th century, use of Mackintosh and Van Doesburg’s aesthetic and – Modernism is: ‘cultural attitudes and states of The binary that is set up between formalist and moment of investment is ‘the ethical moment’, or truly Modernist and avant-gardist tradition to Martin Boyce’s reference to Mies van der Rohe and consciousness which encompass intellectual and contextualist approaches is critiqued. We’ve fallen where the subject identifies and performs as and speak of. The closest we got was Mackintosh. No the International Style, amongst others. aesthetic, political and scientific, assumptions and for the myth that a limiting version of ‘context’ is with that sign: ‘The ethical moment is essentially abstract explorations of the basic stuff of painting Is this allowed? If history were some kind of grand thoughts’6 – that were once related to a specific the only ethically and intellectually sound path for linked to the presence of empty symbols in the (that was contemporaneous with the developments narrative that slowly unfolded underneath our feet, time, and can now be thought of as an epistemology. long enough. So, unavoidably, this argument will rile community.’ 1 This emptiness can be related to in mainland Europe) – line, colour, form. Anne as we walk forward into a glorious future, then this Modernism as a sign is also deconstructed by these self-identified formalists and contextualists alike. Butlerian theories of performativity, where the Redpath’s Matisse inspired works did go some way to kind of temporal loop would be reactionary. But if the artists through their rhetorical positioning, in I have to admit that I am always suspicious of subject performs rather than is performed by the shake things up, but not far enough, and we did get a ‘new’ is a myth invented in a think tank by market setting up relationships between objects/theories, artists’ explanations of their own work, so the artists categories he or she fills. For Butler this performance hand painted Pop version of Abstract Expressionism researchers, and history is in process and is continually in discerning tropes, metaphors, ‘Modernist points themselves will not necessarily share the theoretical is close to a deconstructive theory of hegemony in in the work of Joan Eardley (particularly in her being re-written, then there is definitely a place for of view’ that can be used to ‘fold’ time and observations that I make. It is not my intention to that multiple positionings, which have an illusory Hockneyesque portraits), but it was always shackled these ‘quotations’. The ‘copy’ gives the illusion that philosophy – the Modern style/period into the understand or explain the artist’s intention. I do not ontology, can be brought together within the to subject matter. The closest we got in Scotland was there was an ‘original’ in a pristine historical context style/period of the contemporary artists I have find it helpful to put an artist in some kind of closet decentred subject – forming an aggregate or the multicoloured mud of the Scottish Colourists waiting to be plundered. If the copy creates the referred to. 3 before outing their work, reading their diary entries ‘alliance’ in a sense, creating agency as a before Paolozzi’s Pop pattern version in the 60s. It is original then art created after Modernism exploits or the sediments of their social, private or even consequence (without inherent existence), post res, no wonder that European High Modernism and this temporal fold. intellectual lives. This short essay, therefore, is not a rather than as an original, foundational motivation. American Abstract Expressionist ‘colour field’ Melancholia, in strictly Freudian terms, is the quest for some kind of ‘truth’ that can be found Butler’s theory of performativity sets out to paintings are melancholically invoked. A fifteen-year refusal to mourn the loss of a love object, an object of either in the object or its pristine social context, but question, not condone or occupy, positions within assault cannot really be thought of as a comeback, identification. It is kept alive as an ideal. For my how this work can be said to quote, critique, and the ‘societal norm’; she argues that a performativity but it does demonstrate our growing fascination and purposes here Modernism is that ideal. This identify with Modernism, through a melancholic of refusal exposes the limits of the ‘dominant norm’ our melancholic refusal to mourn the loss of a melancholic process is based on narcissism – where investment (cathexis). To put this bluntly: I hope to and demonstrates its illusory necessity in society. Modernist tradition that we did not have. the subject either wants to be or have the object that try and understand and propose a theoretical Laclau sees Butler’s theory of parodic or subversive If we follow the traditional Greenbergian line of is identified. But one has to identify in order to make framework that supports these art objects, not performance as very much like his ‘ethical argument, the ‘colour field’ painting pioneered by the object available for desire, and desire it in order to necessarily the artist’s explanations for their work. It investment’, in that both create and work in the gap Rothko and Newman et al in 40s American Abstract identify with it. If an object is lost to desire it can be is impossible to absolutely separate one from the between the act and the rule enacted, or rather, the Expressionism was a continuation of the experiments identified with, and vice versa. It is the loss that is other of course, but I am not interested in writing act and that which he calls the ‘normative’. I would with form that had been going on in Europe – desired, expressed. Melancholia demonstrates that either an iconographical treatise on the artist’s say, how that act is read or registers within mainland Europe that is. So can Callum Innes’s our identifications are based on a wish not to be; to work, which is usually led by an unchecked obsession normativity. He calls this ‘gap’ a ‘rhetorical space,’ 2 paintings, for example, be seen as evidence that identify or internalise something that has passed is to Emptiness, with biography and the artist’s intention, or a social a space before the moment of investment that can ‘Scotland has stolen back the idea of Modern Art’? bring that death into the subject. This would mean history per se. This essay could be thought of as be expanded in the light of Dominick LaCapra’s What does that mean in 2014? Innes creates works that these secondary Scottish Modernists become Formalism taking a deconstructive iconological approach theory of rhetoric. Rhetoric, he argues, is based on a that would not look out of place in a New York the thing that they refuse to accept they have lost as (a modern invention), at a push, where an argument dialogical relationship with the past, setting up a gallery 60 years ago. Neil Clement’s reexamination an ideal (i.e. Modernism) – the thing that they never and the Use is created by placing similar signs beside each other ‘conversational’ process between object and of minimalism also changes how we look at its mid- had. In losing it, it is now open to desire; in desiring it of Style and seeing how or if they temporarily reverberate or historian, object and artist. 20th century American expression. But these art as an ideal, it is now open to identification.

60 Miracles

Addendum: The ‘misattribution’ of a miracle

A retrospective is a reprise, a place for unfolding, revisiting and re-examining, and We can create a post-factum narrative of sorts in order to explain how this occurred: ‘Generation: 25 Years of Contemporary Art in Scotland’ acts like another moment of the increase in artist-run initiatives and spaces (a turn away from the critic and reflection within the wider arc described above. It could not be said that Generation is curator), towards the professionalisation of this role – artist as critic and curator. Many ‘mournful’ in the limited sense, but to mourn is also to celebrate, to nostalgically contemporary art writers and historians such as Sarah Lowndes and Neil Mulholland, ‘celebrate the life of…’. Although the exhibition is Scotland-wide, it is not difficult to have examined the three decades of success in terms of ‘social sculpture’ and ‘critical link it to the that apocryphal term ‘The Glasgow Miracle’, a phrase that describes a regionalism’, socio-political terms that attempt to describe the interactions between flourishing or fruition in the art made by that generation. the artists themselves, and the artists and their environment – Glasgow. When the big boys and girls of the 80s and 90s became successful (read international), the younger ‘COME TO THE EDGE! generation took stock, took a DIY approach and looked inwards, knowingly, creating And they came work and a critical climate that no longer looked south for recognition. This wasn’t a And he pushed salon des refusés, but an anti-salon salon, what can still be understood as an agitational And they flew.’ or (deep breath) avant-gardist tack. The do-it-yourself mentality that emerged became – Not Apollinaire 7 formalised in the 90s by the Environmental Art Department, emphasising the process of finding a space to exhibit, reacting to the space and creating site-specific work – the The above quotation is often wrongly attributed to poet and art critic Guillaume whole process of installation now understood as significant and incorporated into the Apollinaire. It’s both a glorious cliché and a miracle that we hope happens to young work, becoming the work. artists in art schools. Yet, although the inspirational quotation is misattributed, the It became increasingly difficult to ignore these developments internationally, and miracle that is described remains. This is true of the ‘Glasgow Miracle’ (a term coined with the political and economic climate in Scotland ‘on the up’, it made sense that we in 1993 by Hans-Ulrich Obrist), a phrase that is still used today to explain what’s now had a pavilion at the Venice Biennale and that Glasgow had its own international happening in Glasgow’s art scene right now, for we are not yet ‘post-miracle’ are we? art festival, the GI. Commercial galleries (such as The Modern Institute and Mary Try to explain it, anachronistically employ, invoke, deny or exorcise the term, but it will Mary), run by artists who had originally been involved in grass roots artist initiatives, not go away. It’s all still happening in the present tense. It seems wrong to attribute the also took the work borne from this hiatus very seriously, helping to put the work on an current situation to a miracle – the truth is more prosaic – but what has happened in international stage. Yet even in the current economic climate (maybe in reaction to it) Glasgow in the last thirty years remains extraordinary. there has been an increase in artist-run spaces in the city, with The Duchy, Ironbbratz, Francis McKee, Director of the CCA and lecturer at GSA headed a project that the Glue Factory and Panel being some of the most recent additions. Panel, co- sought out to unpack and contextualise the phenomena, a project that was been founded by Catriona Duffy and Lucy McEachan, are independent design curators and awarded £122,500 by the Arts and Humanities Research Council. McKee is also slightly producers with backgrounds in visual art, design and art history. They are indicative of suspicious of the ‘miracle’ label. ‘I always felt the coining of the description of Glasgow’s the recent increase in artist-run initiatives that not only exhibit local talent but bring cultural success as a miracle was double edged,’ says McKee. ‘Miracles come from world-class artists and designers to Glasgow. ‘We are interested in creating new forms nowhere and disappear as quickly (if you even happen to have faith in miracles...). I can of cultural programming that animate and activate real spaces and find new contexts see why it may have appeared a miracle from a distance, however, as Glasgow’s beyond the gallery’, says Duffy. Their last project, The Inventors of Tradition, involved previous reputation had been as an industrial powerhouse and then as a post-industrial an exhibition, a film screening, a publication and taking the work to international urban husk. But from within, it’s clear that there were many factors at play that showrooms. ‘Glasgow is home to a large community of creative people, many of gradually coalesced and eventually were acknowledged at an international level with whom may have studied in the city and then decided to stay,’ continues Duffy, ‘It’s this some surprise.’ Like most writers, lecturers and artists, Karla Black, an alumni of GSA community that supports and creates opportunities to make and present new work and 2011 Turner Prize nominee, is also ambivalent about the term. Agreeing with and we think this is an ongoing tendency. The Glasgow School of Art has, over the McKee, she says: ‘It’s strange for me to hear what’s happening in Glasgow described as years, undoubtedly attracted a number of home-grown and international artists as a a ‘miracle’. I would never think of it like that. I suppose when you’re inside something result of its inspirational teaching.’ it’s very difficult to see it from the outside. That said, I am aware that the quality of art So the everyday miracle continues, with The Glasgow School of Art at its heart. It’s currently made in Glasgow is unusually high.’ difficult not to compare what’s happening now in the art world (and the world at large) If one measures success in prizes and column inches (it is impossible to ignore the with what happened then, but this time Glasgow has thirty years of experience and presence of GSA artists who are nominated and who win the Turner Prize, for example), success behind it. It’s easy to look back in languor, but if ‘Generation’ is re-generation then it is hard to deny that Glasgow is currently centre stage. The specific socio- then the successes of the present must be seen in the light of a past that is eternally economic conditions that have led to this (bust, boom, bust) must be taken into present. It begins again. consideration, a cultural climate that the artists themselves have both exploited and been the victims of. ‘My own theories would include the wider education for a An adaptation by Dr Alexander Kennedy of two chapters from generation of artists growing up from the 70s onwards,’ says McKee, ‘The establishment ‘How Glasgow Stole the Idea of Contemporary Art’, Alexander Kennedy, of an infrastructure (Wasp’s Studios, the Print Studio, Third Eye Centre, Transmission Kadmon for Daat Press, Glasgow, 2013. and later Tramway and a host of others) encouraged artists to stay in the city. The city’s abundance of empty industrial spaces, the tight-knit support offered by the community, the arrival of artists from around the world, the city’s regeneration through art policies 1. Judith Butler, Ernesto Laclau, Slavoj Žižek, Contingency, Hegemony, Universality – Contemporary Dialogues on the Left, Verso, London and New York, 2000, p. 85. and the work of the Arts Council all contributed too. What’s clear already from looking at the archives is that current theories can easily be challenged by evidence from the 2. Ibid., p. 78. 3. Ser ge Guilbaut, How New York Stole the Idea of Modern Art, The University of Chicago Press, past and that our memories are selective, praising some figures, forgetting others just Chicago and London, 1983. as important or misremembering dates and events. Hindsight is not to be trusted!’ 4. Miek e Bal, Quoting Caravaggio: Contemporary Art, Preposterous History, What does seem to have been vitally important is the amount of artist-run spaces The University of Chicago Press, Chicago, 1999, p. 1. in the city, leading to a multi-tiered system allowing artists of all levels of experience 5.. Ibid., p. 7 to enter and exhibit. Karla Black cannot emphasise this enough. ‘There are places to 6. Ibid., p. 16. exhibit for artists at every stage of their development,’ she says, ‘It means that an artist 7. This quotation was originally used to advertise an exhibition of Apollinaire’s work in the ICA can continue to develop their practice and can have ambitions to sort of move up the on a poster in 1961, and was taken from a poem by Christopher Logue. ladder of exhibition opportunities. Also, The Scottish Arts Council had increasing amounts of funding that an artist could apply for as they became more experienced and more visible that give the strong foundation that makes it possible to build a good body of work here.’ 62 Architecture & the City

Rivers, hills, railways and motorways distort and define Glasgow’s abstract grid. Like most European settlements, Glasgow’s cityscape has been moulded by the evolution of moods, attitudes and ideals. In 2013, over 140 students from seven architectural schools in Europe worked with a series of sites across Glasgow to design a Literary Institute – a celebration of Glasgow’s literary heritage and contemporary culture. Jointly led by the Mackintosh School of Architecture, it offered the opportunity for the exploration of the relationship of literature as a cultural activity, and how architecture could influence and be influenced by it in turn. The following are extracts from the publication that was borne from the project: Architecture, Literature and a City: Perspectives of Glasgow by Seven European Schools of Architecture (©2013 MSA Publications). 64 Architecture & the City

Words evoke. They evoke atmospheres, sounds, smells and other lies at the very heart of the international exchange ethos. Literally an Institution but for the architect of a prospective institute to house the events and Opposite: 39 Otago Street – places. They describe people, their character and feelings. They The first two years of our collaboration involved design projects Tony Halbert, Stage 5 Architecture Professor Johnny Rodger activities of this human endeavour which questions the very possibility unlock our senses and our imagination. Words inform. They can relating to archive and display, set in Naples and Berlin Professor in Urban Studies, Mackintosh School of Architecture of institution, then the design difficulties are manifest. How can you be as memorably powerful in their individual state as when respectively. The chosen language has always been English; in build an institute for an activity which is continuously dismantling and collectively grouped in sentences and phrases. “Stop!” “Help!” some ways an easy and obvious choice (at least for the English- The brief is to design a Literary Institute. But what should such an remaking its own constitution, and terminally uncertain about its own “Please”, “Shalom” are brief and tiny utterances which are speaking participants), yet one that implicitly underlines the institute be? Are there any extant examples of such a building? forms, boundaries and content? The modern architect would generally nevertherless pregnant with meaning. Words externalise our very heart of this whole experiment; namely the relationship Since time immemorial the book has occupied a central place in approach the design of a building by formulating an architectural thoughts and are the vehicle we use to extend ourselves into the between the general and the particular. our culture. It is not, however, simply the book as an object that is programme, which would outline user requirement, social settings, world beyond our private domain. They are the threshold to our This third year of collaboration was jointly hosted and led by enshrined there, not the actual printed or otherwise written words in and facilitation of its functions. But for the case of literature this seems understanding of that world; or perhaps, to many worlds. Like the two Glasgow-based architecture schools; The Mackintosh it, not solely its interpreted meaning, nor even just the reading or nigh impossible. Neither would there be much possibility of bricks in a wall, words can sometimes be dull and lifeless and School of Architecture at The Glasgow School of Art and the performance of the text, that have that special place, but rather all approaching selected users and seeking to find consensus on their sometimes exhuberant and articulate. Words tell us who we are Department of Architecture at the University of Strathclyde. those things together as a special social relation and an understanding needs. Imagine, if you would, that we were somehow able to ask a at the deepest level of our being, but are also our passport to The chosen theme was ‘Architecture, Literature and a City’ with of how the word is approached and received. This approach and random selection of writers from the past: would we find that, say, the wider, public world; the world of the social, the world of Glasgow being selected as the setting for the projects. Glasgow reception of the word is a spatial notion in itself, and historically it has Antonin Artaud, Enid Blyton, Jack Kerouac, Virginia Woolf, Berthold others, the world of difference. exhibits characteristics of both North American as well as been worked out in the religious sphere. To Islamic believers the Brecht, James Joyce, Alice Walker and James Kelman could all agree on Words and the art of the wordsmith lie at the heart of the European city morphology and as the UK’s quintessential post- followers of that faith, and of the other Abrahamic religions, the purpose, extent and requirements for a housing of literary activity? projects contained within these covers. Whilst paper and print industrial city, provides a wealth of social, cultural and Christianity and Judaism, are known collectively as ‘People of the And would any set of readers even agree that all of these may be the medium for communicating and making visible the architectural stimuli to examine the long-standing relationship Book’. In mosques, churches and synagogues, we see an architectonic individuals were ‘real’ writers, or that their work truly belonged to the output of the writer (including this writer), it is bricks and between words, buildings and the public realm. In comparison codification of approach to the uttering and interpretation of the category ‘literature’? mortar which form the shelters that permits the writer to carry to previous years, further developments were made allowing ‘word of god’ in terms of minarets, bell-towers, iwal, open halls, aisles, It is evident that to proceed by attempting a straightforward out her activities. The wordsmith and the master builder in each school some flexibility to suit individual academic needs naves, altars, sanctuary, mihrab, minbar, ark, bimah and so on, and of projection of possible uses of the building would undoubtedly lead to other words, are inextricably linked, even if their paths never and timescales. In some cases the project took place within one reception of that word in terms of ceiling-heights, seating a confusing impasse. For sure, there are a host of ancillary activities cross and they never encounter each another. semester, whilst in others it extended over two. Otherwise, the arrangements, lighting, fonts, rostra, pulpits etc. which could oil the wheels (to employ a hackneyed old metaphor and There is something of the masterbuilder/writer in the role of structure that had been implemented two years previously There is thus a fundamental relationship to one book, or set of one we ought to never hear in the institute itself!) of literary activity. the architect. The architect must also create narratives and continued again this year. This began with an introductory (and books, and its word, in religion. In modern secular society, however, Spaces could thus be conceived to cater for quiet study; a place for atmospheres, but fashions them with walls and roofs, rather celebratory) three day symposium of talks, tours, information while literature and books (and electronic versions thereof) are still arguing and promoting campaigns and manifestoes; a place where than with sentences and paragraphs. Like the writer, the dissemination and formal and informal social gatherings for all held to be the repository of all knowledge, wisdom and learning, no legal, contractual, and copyright information and advice can be architect also needs the public to occupy and use those participants. This was followed throughout the year by a series one particular text or its word is universally privileged across society. obtained; a place to meet with a few colleagues and friends for narratives. For what meaning lies in an unread manuscript or a of cross-school visiting reviews concluding with a book and Indeed the modern age seems to have difficulty conceiving of a discussion or for help; a café or a bar to relieve the feeling of isolation : building that has never received people through its doors? What travelling exhibition. As in the previous two years, schools set defined boundary to its notion of literature and a valid word, and of a place to isolate oneself from distractions: a library; a computer room; purpose can an empty building have if it languishes unoccupied the project for their students in year four or five. how to approach and receive it. Unlike the canonical texts and their access to stationary, photocopying, and so on. None of these activities like a shell on a beach? Is it still truly a building if it is not Whether academic, writer, practitioner or matriculated relationship to God, which we find in the world of religion, there is no are, however, strictly related to the core activity of writing and of inhabited by people any more? student, we remain in some fundamental ways, students of real convention in modern secular society which allows for stable and delivering the final literary work to the readership. Is it simply the case This is the third iteration of a unique collaboration involving architecture. We are after all, still trying to understand what permanent agreement on the question of what sort of writings can be for the latter of providing an auditorium or public lecture hall? Again a group of European Schools of Architecture. It developed from architecture is or can be and we do this by building, writing and called authentic ‘literature’. This dilemma, if it be that, was perhaps not all writers would agree. The great Italian poet Leopardi, for an idea to establish a common studio design project discussing. Our aspirations for this project therefore were to best summed up by French philosopher Jacques Derrida, who sees example, famously wrote of the public reading as a ‘scourge, a public simultaneously involving students and their tutors from across deepen that understanding of architecture, pedagogy and how literature as that institution where everything can be said, and which calamity, and one more affliction for mankind in general’. Architects Europe. The idea was to deepen and broaden the nature and to address the contemporary artefact within the historic city. thus questions the very possibility of institution. And this might well have more experience of ‘public calamity’ than writers, but purpose of the Erasmus Exchange experience for both staff and We wished to enjoy a different pedagogical experience with our indefiniteness of the category literature even permeates, as Derrida their real stock in trade should lie precisely in managing the move from students. The shared focus for the collaborations was the students to that which the curriculum usually demands of us. discusses in his essay on Kafka’s ‘Before the Law’, the individual work private to public and back again without afflicting anybody. That’s why challenges of designing contemporary architecture within the We also wished to expose our students to an international in terms of its external boundaries, its uniqueness, its authorship. they should be aware that the types of space we can discover in historic European City. Through this collaboration, a crucially community which they were part of, but rarely met and to To bring this precariousness of literary definition into view, we need literature itself as used for literary composition go far beyond the desk important contemporary architectural issue was given focus, encourage them to see their own work through an international not even invoke here difficult analytical concepts like Barthes’ and chair, and have varied enormously through history, across energy and insight. In sharing a project brief and city setting, we as well as a national lens. ‘death of the author’ and the idea that each reader remakes the cultures, and depending on personal inclination, from the Stoa of hoped to discover each school’s own architectural distinctiveness work themselves, for the contemplation of a simple question - Ancient Greece a type of covered market walkway, where philosophers as well as whether there were different approaches to teaching Professor Christopher Platt whether the title of a literary work is itself an integral part of that and writers held forth and argued in public, to the habits of the Gaelic and pedagogy within the design studio. We also wished to learn Head of the Mackintosh School of Architecture work? - will suffice. poets of Scotland, who were supposed to compose poetry while lying about each city through others’ insights. Learning from each The above may or may not constitute a modern literary dilemma, alone on a beach with a flat stone on their chest under an upturned 3

Times were curious. Extraordinary volumes of new construction faced unlet property; the gracious streets and squares of Blythswood fronted mews so thickly spread with dung as to render them noisome as the High Street; improved tenements for the working classes made no impression upon the waves of what John Buchanan called the ‘Irish Huns’ settling in High Street, Gallowgate and Calton - at least a better fate than facing the ‘Great Hunger’ back home. Tentative steps toward smoke and sewage control were overwhelmed by pollution.

McKean, Charles , In Search of Purity Glasgow 1849-56, in ‘Greek Thomson’, ed. Gavin Stamp and Sam McKinstry, 1994, first published in paperback 1999, (pp 9). 66 Architecture & the City

rowing boat, to the rhythmic walking of Wordsworth, and the static the more basic London coffeehouse. In Vienna various different café’s Opposite: 85 West George full height stance of Ernest Hemingway at his library. have also been associated with styles of interior design of differing eras Street, Ross O’Connell, Stage 5 It seems then, that the only way forward would be to examine the (eg Michael Thonet chairs and Secessionist style furniture) and with Architecture myriad forms and spaces which have in history provided congenial political movements. Café’s are also associated very much with the and or necessary environments for the furtherance of literature. late 19th and early 20th century Viennese Enlightenment, when That’s not to say that we are going to define a typology, or carry out writers and artists such as Freud, Musil, Klimt, Hoffman, Kokoschka a full-blown precedent study, for none of these places examined lived there, and Karl Kraus’s journal Die Fackel was said to have been below were purpose designed for literary activity, but rather the composed and drawn up in cafes. activity evolved and adapted, and grew in given places and contexts: In the twentieth century a phenomenon latterly known as the social, political, artistic and architectural. And the type of places Poet’s Pub developed in urban Scotland. Poets and writers began to examined here below - the Literary Salon, the Coffeehouse, the form loose societies, alliances, manifestoes around public houses Viennese Café, the Poets’ Pub, the Writer’s Retreat/Creative Writing where they gather discuss, read and promote their works. In Edinburgh Centre, the Society of Authors, the Poetry Library and so on, have from the 1940s - 70s such groupings were found in the pubs of Rose each catered for only some of the historical literary possibilities and Street in Edinburgh, where the poet Hugh MacDiarmid held court. In actualities. Glasgow in the 80s and 90s, writers such as James Kelman, Alasdair The literary salon first appeared in Italy in the 16th century but is Gray, and Tom Leonard gathered in pubs around the Briggait, e.g. the especially known to have flourished in France from the 17th to the Scotia Bar. Such Glasgow writers held readings, discussed tactics, 19th century. Salon basically means a large lounge or comfortable organised political demonstrations, and so on, from these pubs. It was room where people could relax, have conversations, readings could important for them that the pub was an open, public, egalitarian and be held, and debates and discussions would take place. The most working class space, from which they could organise political famous salons were held in the residences of well-to-do people in the campaigns, start open discussions of policies and actions by the city centre of Paris like that of the Marquise de Rambouillet, but they also authorities, and publicise alternative and popular viewpoints on civic existed across the provinces. Balzac describes these in his novels set issues. Such groups as the Workers City, and the Free University - in 19th century France, especially in Illusions Perdus. Some writers campaigning groups on political questions, and on issues regarding like Alexander Broadie see this type of gathering as important in right to the city (e.g. campaigning against the privatisation of Glasgow developing the Enlightenment through concept of the Republic of Green) - were founded in these pubs. Letters, which is a loose community of scholars and writers stretching One other type of place which has been associated with the through different cultures and nations communicating through idea furthering of literary endeavour is concerned with those ancillary and literary argument. The German philosopher Jurgen Habermas activities mentioned above. This type of place, such as the Society of has also written of the historical importance of the salon and other Authors, the Poetry Library, and the Creative Writing Centre, provides places of literary gathering in developing civil society, or a ‘public specific services for writers, be it legal and copyright advice, sphere’ which widened political debate and participation from the bibliographic and lending services, classes in writing, or just a quiet centralised power structures of European monarchies. The prominent space to get on with work. The architect of a prospective Literary role of some women in literary salons is notable where they were Institution should study all the spaces and places described here otherwise not involved in public life. This limited social liberation of above, how they operate, how they have been exploited and what women is seen again in the tearooms of the very paternalistic 19th have been their effects. Of course it must be remembered that the century industrial Glasgow. ways of achieving, approaching, receiving and deploying literature are From the late seventeenth century the Coffeehouse took off as a infinite and unpredictable. Something can be learned from the past place for meeting and discussion in London. It became notorious in about leaving the institute open to a multitude of different hostings, the late 18th century as a meeting place for poets, writers, and performances, effects and engagements. But in the meantime, there dramatists. The famous debates and bon mots of the playwright are some obvious aspects - in terms of gender, social, demographic Garrick and lexicographer Dr Johnson in London coffeehouses were and ethnic qualities - of those historical spaces to which attention recorded by their friend Boswell in his biography Life of Johnson. must be given immediately. One can’t help but notice that, with only The Viennese Café developed at around the same time as the a few exceptions, the users of these historical spaces, the ‘people of the London coffeehouse. It is said that the fashion for drinking coffee had secular book’, were white, middle–aged, and male; perhaps that is the arrived with the Turkish invasion in the late 17th century. The real public calamity, the real historical affliction of mankind in general: Viennese Café is however associated with a much more epicurean and that’s where the designer should start to question the possibilities range of coffees, specialised cakes and other small food dishes than for this forward-looking institution. 68 The Next Generation The Skinny’s Art Editor Jac Mantle maps the contemporary art scene in Glasgow, and talks to some of the artists – established and just starting out – who are part of it.

Hayley Tompkins ‘Digital Light Pools’, Exhibition at The Common Guild, Glasgow 21 June – 2 August 2014. Work courtesy of the artist. Photographs by Ruth Clark 70 The Next Generation

And it’s happening in Glasgow! And that’s Opposite: Ciara Phillips, Things put together [detail] (2013) screenprint on paper the thing, the tutors are all practising artists; 525 x 477 cm. Installation view from: Funktion / Dysfunktion: Contemporary Art from they’re in the city, making things happen. Glasgow Neues Museum für Kunst und Design in Nürnberg. Photography by Annette Kradisch. It does make you take it more seriously Left: Ciara Philips, Workshop (2010 – ongoing) (2013) because you can see that there is actually Installation view from The Showroom, London Commissioned by The a future. Showroom, London Photography by Daniel Brooke

Adam Benmakhlouf, Painting & Printmaking student Middle: Hayley Tompkins ‘Digital Light Pools’, Exhibition at The Common Guild, Glasgow 21 June – 2 August 2014. Work courtesy of the artist. Photographs by Ruth Clark

Bottom: Scotland + Venice, Information Assistants for the Scottish Pavillion, Palazzo Pisani, Venice International Art Biennale. Photo: Scotland + Venice.

about moving somewhere else because of the a bit spoilt, so you become more discerning!” weather,” she laughs, “but then I’ve been on Along with some of the other Assistants, residency in other places and that has helped he put this fine-honed gaze to good use, acting as me recognise how easy it is to live and work here. a Biennale correspondent for The Skinny magazine And also, other cities have a bigger commercial as part of an arrangement with The Common Guild. scene, and that changes things – the type of work Now back in Glasgow, he is a regular writer for that’s getting produced and the way that people The Skinny’s Art section. I ask about his experience relate to one another.” of a well-versed theme in the history of the ENERATION, Although Glasgow’s art scene is currently in no Glasgow art scene – its great sense of community. the major survey exhibition of 25 years of danger of being dictated to by commercial galleries, “I think that’s the nicest thing,” he says, Gcontemporary art in Scotland that is currently the media attention on its successes has boosted “because since I’ve come back from Venice I’ve done on show across 60 venues, is an acknowledgement its reputation as an international fine art hub, more work with The Common Guild. You just walk by the Scottish art scene of its own vitality. at the same time as governments demand that the in and there’s Kitty Anderson and she’s this massive For the most part, the ceaseless endeavour that arts quantifies itself in terms of market productivity figure in the art scene and she’s just, “How’re you has produced a disproportionate number of Turner and councils are ever keen to capitalise on its doing? What you been up to?” and it doesn’t feel Prize nominees and drawn international claims of touristic and gentrifying potential. Should we like there’s this circle you’ve got to break into.” a “Glasgow Miracle” is simply business as usual for expect this inflated reputation to change the nature Indeed, Glasgow is a city where emerging artists here. The exhibition includes many landmark of the art produced or the career expectations and established artists live and work alongside works such as Douglas Gordon’s “24 Hour Psycho,” of students at GSA? Phillips thinks not, telling me each other, showing in the same spaces and even but also looks towards the next generation of that people were already venting these concerns collaborating. This easy integration of different artists, with works by Rachel Maclean and Alex when she moved to the city twelve years ago and career levels is readily apparent at events such Dordoy. Dordoy, who graduated from GSA in 2007, the scene hasn’t changed vastly since then. as Glasgow International Festival of Visual Art, is now represented by The Modern Institute and “I think the students at GSA are great,” she says. the sprawling biennial programme that inhabits exhibits internationally, while Maclean, a 2009 “They prioritise the ideas and making work and every art space and many non-art spaces in the graduate of Edinburgh College of Art, counts the doing things that are interesting, rather than being city for a fortnight. The 2014 incarnation included Film London Jarman Award shortlist among her sort of strategic about having a career. I think it’s international artists such as Bedwyr Williams accolades and had a solo exhibition at Glasgow’s still pretty healthy.” and Beatriz Santiago Munoz, but also recent Centre for Contemporary Arts for GENERATION. For Adam Benmakhlouf, a student in the Painting graduates. A highlight was a sci-fi-tastic live Just a few years ago, Maclean and Dordoy would department, GSA’s alumni are inspiring and making performance around the concept of the gymnasium have been considered emerging artists; now they a living as an artist seems viable. “I think maybe by Glasgow collective, Opera Autonoma. Even with are part of a major survey show. While their that’s one of the reasons why people take their a map to navigate it, GI is extensive, and displays successes are unquestionably the result of studies so seriously in Glasgow, because the minute the incredible amount of making that goes on in remarkable talent and hard work, receiving you step outside the student union you meet the city. recognition for it so early in their careers surely all these people who are there, making it work,” Placing making at the centre of art is something has something to do with the Scottish art scene, he says. “And it’s happening in Glasgow! And that’s Ciara Phillips emphasises – often bringing and Glasgow in particular. the thing, the tutors are all practising artists; the printmaking process into the gallery and Ciara Phillips, as one of three Turner Prize they’re in the city, making things happen. It does collaborating with other artists as a means of nominees in 2014 who are graduates of GSA, make you take it more seriously because you can having a dialogue about the work. Her Turner has found herself tasked with explaining Glasgow’s see that there is actually a future.” Prize exhibition at Tate Britain will also include successes a lot lately. “I just think the conditions Benmakhlouf was one of the students selected a collaborative element, though she won’t be of the city are still so good for artists to be able from Scottish art schools last year to work as printing in the gallery, lest it be reduced to a to spend time making their work, and studio Information Assistants in the Scottish Pavilion spectacle. Phillips’ emphasis on making and provision is good, and that’s changed a lot in the at Venice International Art Biennale. Curated by experimentation seems a vital lesson for art last few years,” she says. “There are more and more The Common Guild in Glasgow, the Scottish education, especially because – as she says – places you can have a studio and more and more exhibition presented three installations by Duncan “the time of study is so short and the journey is of them are heated! And then it’s really strong on Campbell, Corin Sworn and Hayley Tompkins, huge!” For this reason, she says, the focus at GSA production facilities, and it’s still affordable to use subsequently to be shown in Scotland. As well remains on teaching students how to develop rather those facilities. I think that has a lot to do with it.” as meeting people from around the world, than how to practise as artists. “But,” she adds Phillips, a Canadian artist who graduated from Benmakhlouf took the opportunity to see an honestly, “there’s always a question about how it all the GSA’s Master of Fine Art programme in 2004, overwhelming amount of art. “I felt like I had to works, and what do I want to tell people about how it continues to live and work in Glasgow, lecturing at go see art every day, and I did. It was kind of crazy,” all works, because there are things I don’t like. So you the GSA to support her practice. “I’ve thought a lot he says. “Because there’s so much to see you get really want students to move it on. Challenge it.” 72 The Next Generation 74 The Next Generation

The Mackintosh Building means a lot to you, doesn’t it? That building is right in the middle of the city. I talk about the Mackintosh Museum as being the heart and head of the architecture over there. Well, that building, in terms of its geography and its position, you could describe as the heart and head of the city.

Tell us about Scheme For Consciousness, the 60 teeth paintings in enamel that were such a big part of Cabbages In An Orchard… I used my tongue to feel my teeth and tried to draw what I could feel. It was originally because as forms they are something everybody in the world has, but at the same time they are completely unique – I love that dual understanding of teeth. And around the time I was putting pen to paper on my thoughts about the archives, that idea about teeth was still in my thinking. I decided the way to deal with it was to let it happen, give it creative time. After doing a lot I realised that what I ended up doing was, in some way, trying to draw or represent ‘consciousness’ or ‘perception of self’. I thought: ‘that’s madness – is such a thing possible?’ And then I was excited, because I realised such a thing IS possible because I am trying to do it.

Did it make you think about your own archive, and your own place within the canon? The older I get as an artist, the more my work gets out and about, and the more I start to understand the value of an archive. It used to be that if a collection or a museum bought a work, that would be great, you’d think, “I’ve got a bit of money”, and then a while later you would get an invite in the middle, you see the narrative acted out, through because they were showing the work and beyond the monitors will be the wreck of and you’d realise your work has another life that the exhibition. We were thinking about the very is separate from who you are and what you do recent history of civic squares as places of change day-to-day. and revolution, and how cyclically, it goes back into some kind of norm. We also thought It has been interesting with Generation. About 60 we could have some archive where the broken of my preparatory drawings for a work called artworks were being repaired or restored, Killing Time were consigned to the Cooper Gallery so the cycle continues. in Dundee. For me they had done their job, but the curator, Sophia Hao, wanted to put them in the What are the common themes that link all your Graham Fagen graduated from The Glasgow between two visual artists rather than with the gallery as her exhibition was about collaboration work, across all the various mediums? School of Art in 1988. Since then, he has mythology or history. The feel in the archive is really and how people work. Looking at them again, What I am interested in is something I have been established himself as an artist of international good. There is a great staff whose knowledge was I surprised myself; there was also evidence of calling ‘cultural forms and formers’. If we have a renown, with works including Peek-A-Jobby, invaluable - they’re very welcoming but also protective, a lot of the work I am doing now. culture, how does that get shaped and how in turn Killing Time, I Murder Hate and this summer’s as any good archivists should be. The work is important does that culture shape us. Can we influence that Cabbages In An Orchard exhibition in the Reid and I was very aware of that. How did you feel about being part of the culture or are we passive receivers of it? And I Gallery showcasing his work across a full range of Generation project? suppose that is where that attitude I could see media, from painting to sculpture, via performance Your work in the archive was originally The ambition was to let people see what we inside the GSA comes in. I would never describe art and video. Fagen’s work has been widely commissioned to lead to an essay – but eventually have here, which is great. But the question I think myself as an artist that works within a particular shown this summer as part of Generation, became an exhibition… needs to be asked about Generation is the same medium, but my medium is the questions that and the artist has been selected to represent Doing the research allowed me to think creatively one that gets asked about the Olympics and I have in relation to forms and formers. Scotland at the Venice Biennale in 2015. and go down creative paths that ordinarily, if I was guiding Commonwealth Games – what is its legacy? my own work in the studio, I wouldn’t have consciously Matt’s Gallery in London consigned 166 of my And then Venice – is being chosen to represent We meet upstairs in the Reid Building café, chosen. I used the research as a catalyst for creative time works, and only three have come from collections Scotland a big honour? overlooking the Mackintosh Building, to talk and creative work in the studio. in Scotland. So I hope that Generation is not only Yes. It is a great honour and really important to be about his work, and the influence of art school I selected three Mackintosh watercolours from the going to raise the profile of artists living and selected, but I can’t think like that. It is important Cabbages in an Orchard; the on his career. archive that he had included in The Magazine, which was working in Scotland, but politically might help I take that same attitude I arrived here at the GSA formers and forms of Charles Rennie Mackintosh + Graham a student art book or what we would know as a fanzine. our institutions connect with funders so that art with with me and make an exhibition that reflects Fagen. Graham pictured with What were your hopes when you first arrived It was a book made by a group of friends with poems, can be bought and held in Scotland. that. It is hard to talk about because they are so installation views, Reid Gallery, Reid Building, The Glasgow at art school in 1984? writing, drawings. And I began creating works of my own. young, but my early ideas are very ambitious… School of Art. I was attracted by the attitude. At school What are you working on at the moment? I was in bands, it was the tail end of the punk Cabbages in An Orchard came about after you It was originally conceived for the Mackintosh Museum. I have a big project in Marseille this September Adrian Lobb is a freelance arts journalist based movement, we were making fanzines and t-shirts, were invited to spend time in the Archives and I was thinking about bringing the colour and vibrancy with theatre director Graham Eatough, inspired by in Glasgow. He has written for The Big Issue, doing gigs, going on CND marches – it was social, Collections Centre and write about connections of these sculptures and drawings to the Mack Museum, Sartre’s ‘In Camera’ or ‘No Exit’. When people talk The Guardian, Radio Times and The Quietus. cultural, political and there was a strong attitude between your own work and Charles Rennie which would be an aesthetical antithesis of the darker about Sartre’s line ‘hell is other people’, that is the within my peer group. The thing that amazed me Mackintosh’s – was that daunting? aesthetic in the museum. I was excited about where play that concept comes from. We are developing Exhibitions at GSA curates a year-round public here was that I could see the same shapes and At first it felt almost like an insult! My knowledge that room is in the building – it is both the head and the narrative and making an art gallery as a set, programme that works with contemporary artists, forms. I recognised that this institution’s function of Mackintosh was through being a student here the heart of the building. So as well as the watercolours, with my artwork in that set – so two women designers and architects from the UK and abroad,  was to encourage that attitude and creativeness and hearing about him all the time. It is like putting he would have had a presence in the exhibition without and a man realise hell isn’t fire and brimstone, as well as interacting with teaching and research – that is what made me want to come. It is easy the wrong ends of a magnet together – the more you having to be labeled, we would be in his space. But that it is actually the three of them together, activities and developing creative opportunities with to be flippant about what you do as you get older, heard, the more you were pushed away from being still worked in the Reid Gallery [Where the exhibition for eternity, in this art gallery that they can staff and students. An innovative programme of Layar app can be downloaded but it is such a privilege to be nearly an old duffer interested in who he was and what he actually did. was moved to while the Mackintosh Building was never escape. We have changed the narrative – exhibitions, performance, seminars, talks, off-site for free on App stores and still feel that what you do retains the attitude So doing this gave me the great advantage of studying inaccessible] – you could look out and see the our characters learn that they can escape it: by projects, publishing initiatives and outreach aims to (android and mac). you had as a teenager. That is what I’m doing with Mackintosh at a very primary level. That type of Mackintosh Building behind my bronze tree sculpture, trashing the artwork and knocking the walls down! explore the creative, social and educational nature Download Layar to watch my life, and that started across the road. connection was important – it was a relationship Scheme for Conscience. We are setting four cameras up, so if you stand of contemporary practice. www.gsa.ac.uk/exhibitions the digital content 76 Designs on the City

DeSiGnS On The C i tY

Anna Burnside of The Scotsman meets some of the GSA alumni helping to shape the Design landscape in Glasgow.

MakeWorks tour. Image: Ross Fraser McLean 78 Designs on the City

Fi Scott MakeWorks Alistair McAuley & makeworks.co.uk Paul Simmons When Fi Scott was studying Product Timorous Beasties Design (she graduated with a BDes timorousbeasties.com in 2012) she thought she would end up in New York, working in a studio Swirling thistles, insects, Yardies, in Brooklyn and drinking craft beer. Napoleonic bees ... Alistair McAuley But in her final year at GSA, frustrated and Paul Simmons have no fear of by her inability to get anything taking imagery from the most actually made in Scotland, she decided hackneyed to the least expected to stay and document what’s left of and combining them in the most the country’s manufacturing base. lovely and clever way. Their textiles, Now her company, MakeWorks, carpets and wallpapers sit happily has just launched its digital directory in Glasgow’s flashiest casino as well of Scottish industry - a beautiful, as on the best-dressed walls of the functional website to connect artists city’s most prestigious addresses. and designers with the fabricators, They set up Timorous Beasties suppliers and facilities that can (the name comes from the Robert produce their products. Scott and Burns poem To A Mouse) after her floating team of photographers, finishing their postgraduate diplomas film-makers, designers and producers in Textile Design in 1989. The plan visit each one. It’s a lot of travelling was always to work together and they but getting to this stage feels, set up their own studio, in Glasgow’s to Scott, like a real achievement. Maryhill, in 1990. And the word is spreading. The decision to stay in Scotland “We have started to get contact from was, says Simmons, easy. “We both heavier industries that previously lived and were educated in Scotland, were not interested in the project,” Clockwise from top left: friends and family were all here. It she says. “We even had a rubber MakeWorks tour, ESK Knitwear; was easy set up here, to get space and Fyfe Glenrock factory; and gasket manufacturer asking us ESK Knitwear. equipment and just getting around to come and film. That felt like a bit of Photography by Ross Fraser McLean was easy. We knew our work was not a breakthrough because it took a long going to be particularly local though time to convince the more traditional Glasgow and Scotland have been factories that working with artists incredibly supportive. So the and designers is an exciting thing.” geography wasn’t important but In the longer term, Scott would the circumstances were.” like to see collaborations and Clockwise from top: Screen, Birds Early clients included fabric houses commissions that started with N Bees print, Timorous Beasties; Mantero, Dedar, Sahco Hesslein and Paul and Alistair of Timorous MakeWorks come to fruition. Beasties; Sofa, Grand Blotch Warners. “We produced some shirt The groundwork is already laid: her fabric, Timorous Beasties. fabric for a company in London who first commission, from the Jerwood took ages to pay us,” Alistair recalls. Charitable Foundation, was running “We had no business education at residencies for eight artists and all.” What they did get from GSA was: designers interested in manufacturing, “The courage not to give a f**k at materials and methods of production. first but understand that we would And how does her GSA degree fit have to eventually or we would die.” in with MakeWorks? “From day one, Timorous Beasties now employs you are in charge of figuring out for seven full-time and three part-time yourself how to do things. Everything staff in the slightly lovelier environs we are doing now feels like a of Anniesland. They hope to take continuation of a project that we over the rest of their building and would have been doing in art school continue producing extraordinary anyway. It’s pretty empowering.” award-winning textiles in Glasgow. 80 Designs on the City

From top: Gabriella diTano, Communication Design 2012; Map Magazine Festival Booklet; 2014 Risotto calendar

Gabriella Marcella Sarah Raffel DiTano Brazen Risotto brazenstudios.co.uk risottostudio.com When the time comes to buy jewellery that costs more than a In the third year of her Communication coffee, remember this name: Brazen. Design degree, Gabriella Marcella DiTano Started by Silversmithing and went on an exchange to Pratt Institute in Jewellery alumna Sarah Raffel in New York. On an independent publishing 2003, it’s a workshop-shop-haven course, she had a life-changing encounter for the most discerning of magpies with a Risograph printer. - people who want more than bling “It was the first encounter I’d had with when they chose a ring or a necklace. this print format and I loved it,” Winning a Deutsche Bank Award she recalls. “Risograph printing bridges in her final year at GSA gave Raffel the gap between a photocopier and the chance to put down her tools and screen printing, which is why it suits start thinking about the practicalities the creative sector perfectly.” of making a living. She discovered a With free access to her new favourite good business head on her shoulders, toy, Marcella was able to develop her secured further funding (although practice “through play and she says in retrospect she could have experimentation. I began overlaying pursued more, and set the business typography and bold graphics using up on a stronger footing from day the Riso’s vivid colour pallet and was one) and opened Brazen in Glasgow’s inspired by the instant results and Merchant City in 2004. the tactile formats that this could Brazen stocks work from 30 be applied to.” different jewellery designers as well Back in Glasgow, she bought a as providing workshop space for Risograph printer on eBay and began graduates ready to make the leap printing from her flat. What would from Degree Show to shop window. Clockwise from top: Sarah Raffel; become her studio, Risotto, in effect While there have been some tough Brazen studio and Brazen shop front, Merchant City. started there. When she graduated years during the recession, Raffel has in 2012 she secured Deutsche Bank found the grit to keep going. She funding and set up her studio in the Glue credits her GSA degree for this: Factory, a creative hub in the industrial “I think it taught me to be driven, area of St George’s Cross. to overcome adversity and strive to Her jobs vary from one-off continue to hone my practice both commissions from the likes of creatively and professionally.” Dr Martens and The Scottish Book As the economy eases up Trust, to regular work from galleries such and people have the cash to buy as The Modern Institute and Tramway. If statement necklaces once again, you have seen a poster for a cool-looking she forecasts expansion ahead. club, the chances are it originated from “I would like to think we will continue Marcella’s chaotic studio. to grow the team, employing both Her short-term aim is to take on traditional bench and setting skills someone to run the business end of and engaging more design talent.” Risotto. She would welcome the chance CAD and rapid prototyping are two to expand out of paper, into textiles areas that she would like to develop. or furniture, and she can see herself “I am also very interested in working in a shop-front studio that could collaborations with interior designers double as a gallery, displaying work as and architects, I love it when our work well as producing posters scales up and works within a different and generally making Scotland’s first environment. It’s not sitting on the specialist Risograph printer more visible body but it still carries the finish and and accessible to the public. jewel-like nature of fine jewellery.” 82 Changing Places

Muriel Gray meets Jessica Taylor Ant. Lorionseque coresed essequas aut liscipsam reicid utatis elestem niti tor min comnis eumqui- bus doluptas evel mo tendissuntia voluptatas eosam evendel iur, odita volum ipsae molupti bustis as doluptas magnis solut ea quo vendipicium quam fu- git que eium fugitis eatem qui quate accab in nonsequi doluptat lic tem fuga. Itaer-

ChaNGing PLaCeS

BROADCASTER Muriel Gray and art student Jessica Taylor are pouring over an illustration Taylor has created for the front page of a Guardian supplement on applying for a university place through clearing. The image is bright and primitive and depicts subjects such as law, sociology and sport science as products in a chemist shop. A hand appears from the left and plucks one of the items from the top shelf. The message is clear: your future is there for the taking. 84 Changing Places “My desk was almost exactly where we are sitting, one floor up in the Foulis building,” Gray blurts out to her successor. “You won’t remember what a shambles that building was then, but you dodged a bullet there.”

“There are similarities with New York. and social shifts had on those who (the GSA Students’ Association venue, illustrator and took on freelance work Looking at the tenements with the study there? still very much at the heart of the such as creating wrapping paper he drawing is on stairs coming down - that’s just like A broader intake means artistic campus) and I used to book the designs for a printing firm and the cover because Taylor - who is walking down a block in the upper influences from across the globe bands. I used to book Orange Juice painting tin soldiers. “The [in-house] T west side. There’s lots of stuff going job was Dickensian,” she laughs. “We about to begin the fourth year of a which must be a good thing. “I envy and the Dreamboys [featuring fellow Communication Design on all the time and it’s not just the you the diversity,” Gray tells Taylor. graphic design student Peter used to pick up the paintbrush when undergraduate degree at The Glasgow crème de la crème of cultural society.” “I didn’t want to sit in a room with Capaldi],” says Gray who was herself the factory siren went on at 9am and School of Art - won a competition run Of course, some aspects of GSA someone who had only come in the in a punk band called The Family drop it at 5pm. We sat in a row with by the newspaper. It was open to all life are immutable. Artistic hopes of marrying an architect. Von Trapp. our boss facing us and we had to the students on her programme and communities are cauldrons of There were people who used the GSA This discussion sparks another ask permission to go and change our has provided a fantastic platform for insecurity, with students obsessing as a sort of finishing school and lacked about the impact of technology. Does paint water.” her work. about what everybody else is up to. passion for art.” the ease with which people can now After a few years as a professional Right now, however, Taylor is being “We were always looking at each You might think the city’s access and experiment with images illustrator, Gray was appointed interrogated by Gray, who gained the other’s work, sometimes transition from the post-industrial promote or stifle creativity? assistant head of design at the same degree (in her day, it was called surreptitiously, sometimes openly,” to a vibrant artistic hub would also Gray seems unsure. Without National Museum of Antiquities in Graphic Design) and is now the (first says Gray. “ Is it like that for you?” be an unqualified boon for GSA technology, she says, producing Edinburgh before co-presenting the ever female) Chair of GSA’s Board of “Oh definitely,” agrees Taylor, “except students, but this suggestion proves individual works was a longer process. music show The Tube and forging a Governors. Gray wants to know how we have the internet and follow each more contentious. Though Glasgow “If - as a student - I had decided I career in the media. Taylor came up with the idea for the other on Cargo Collective and now has an international reputation wanted to, I don’t know, represent She doesn’t draw much these days, image, which, she points out, is Pinterest so we are able to compare for nurturing artists - GSA having Prince Charles with the body of an but, as she says: once an artist, always two-dimensional and has echoes of ourselves not only with each other, produced 30% of all Turner prize elephant, I would have had to paint an artist. “What this place did for me David Hockney. “I guess I was looking but with everyone else, all the time.” nominees since 2005 - and there is it because there was no other way to was to make me look at things to African street signs which use But the Glasgow Taylor knows - a developed infrastructure of of do it. Now that’s something you could differently,” she adds. “I was shown bright colours very simply to get with its bijou restaurants, innumerate studios, exhibition space and put together in a couple of minutes. how to challenge my own aesthetics, something across,” Taylor says after Inspired by her aunt, who studied opinionated; Taylor, dark and galleries and designer shops - would commercial galleries, Gray believes I don’t know where the imagination to recognise it isn’t just a question of Above: Clearing Supplement, some thought.” Gray’s face lights up there a generation earlier, Gray had cautious) it is inevitable they will The Guardian. Illustration have been unrecognisable to Gray and 1970s’ austerity was a key driver goes from here.” On the other hand, taste, but about how you examine in recognition. “I see that now,” she been determined to secure a place disagree on some aspects of life at Jessica Taylor. her contemporaries. When they began for creativity. Gray says, in the 1970s, so much something’s ugliness or beauty or says. “That’s great. Gorgeous.” from the age of seven. “Auntie Moira GSA, but their shared love for their student life, heavy industry was in “Being constrained by something effort had to be invested to achieve rightness or wrongness.” The pair have met up in the café of had the most glamorous life alma mater shines through, even decline, unemployment was is what pushes artists to their limit,” anything, artists were were less This legacy is one thing on which the recently-opened Reid Building imaginable,” Gray says. “After she when they are dissecting its flaws. approaching three million and the says Gray. Against a bleak backdrop, inclined to abandon a project which Gray and Taylor concur; GSA has such - where Taylor is now based - to talk graduated, she went out to South “My desk was almost exactly where city’s regeneration was more than the New Glasgow Boys - Steven wasn’t working out, less able to let go. a profound impact on those who about their experiences of both GSA America where she met Che Guevara.” we are sitting, one floor up in the a decade away. “It is almost Campbell, Ken Currie, Peter Howson “You can get instant gratification of study there that they feel bonded and Glasgow. The sun is beating Though Taylor too wanted to be an Foulis building,” Gray blurts out to her inconceivable now, but Mackintosh and Adrian Wiszniewski - rose to fame an idea now - maybe that means you to it forever. So much is obvious from through the floor-to-ceiling windows artist from an early age, her parents successor. “You won’t remember what hadn’t taken off as cool or interesting and GSA flourished. “It was a great can have more of them.” the delight Gray now takes at being which look out towards the famous thought she should study something a shambles that building was then, to anybody back then,” Gray says. time imaginatively. And we had the As she enters her final year, able to play a part in shaping its Mackintosh Building as the pair swap more “useful” so she did a history but you dodged a bullet there.” In the 1970s, too, the School was wildest parties. University students Taylor’s thoughts are turning to the destiny. “I have no idea what the stories about their respective peers, degree in Birmingham, before moving Work building the new Reid dominated by home-grown students. would be battering down the doors to future. Is she optimistic she will be magic of this place is,” Gray says. tutors and social lives. to Edinburgh. After completing a Building forced Taylor and the other “Anyone who was not from here get in.” able to make a living as an illustrator? “All I can think is that you feel so Gray, 56, who grew up in East foundation course at Leith School of design students off-campus for two seemed really exotic,” Gray says. In particular, Gray believes “It depends what day it is. I know it’s connected to it because it taught you Kilbride, went straight to GSA from Art, she applied to GSA because of its years, so she is happy to be in “I remember there were two beautiful economic adversity produced an going to be difficult, but I think I’ve to think in a certain way, because it is school in 1976, a time when Glasgow reputation and because she had been Garnethill and is looking forward to Russians, a brother and sister, and energy which saw Glasgow’s art and a better standing coming from here the place where you woke up. was ‘on its uppers’. Taylor, 31, is a enjoying the culture of the city that getting back into the routine of they were about seven foot tall and music scenes intertwine. Artists and than lots of people,” she says. For Does that sound pretentious?” mature student from New York who reminded her a lot of New York. lectures and tutorials when the new just amazing.” Nowadays, around people who were putting bands Gray – who had offered her services “Let’s be pretentious,” laughs has spent the summer working in the Coming from different term begins. She is enthusiastic about 30% of GSA’s students come from together all hung out in pubs like for free during the summer holidays Taylor. “I’m sure I’ll feel the same way Centre for Contemporary Arts - just backgrounds and different eras (and life on the west coast too. “Glasgow is overseas and 25% from the rest of the Nico’s and The Griffin and it seemed in order to build up a portfolio of work when I leave. There was my life before as the city thronged with with different personalities - Gray is more of a city than anywhere else UK, making it far more cosmopolitan. that every GSA student was also a – the transition was straight-forward. The Glasgow School of Art. And then Commonwealth Games visitors. bleached-blonde, animated and I have lived in the UK,” she says. So what impact have these economic musician. “We built the original Vic She got a job as an in-house there’ll be my life after it.” 86 MacMag

In 1974, a group of students from the Mackintosh MacMag39, the latest issue that has been put activities gives a flavour of what it’s like to School of Architecture (affectionately known as together by Sofi Campbell, Lawrence Khoshdel, study at the Mac. ‘the Mac’) started the tradition of a student-run Natalie Pollock and Arseni Timofejev, explores In addition to the traditionally physical publication known as MacMag. It has been the theme of old & new that has been especially publication, MacMag39 has also seen the growing, morphing and adapting ever since - relevant in 2014, which saw the opening of launch of a digital platform that expands MOrPHinG with a new team of Stage 4 Editors taking over the new Reid Building as well as a tragic fire on what is possible in print, providing a and reinventing the publication every year. in the Mackintosh Building. The issue explores look behind the scenes, featuring videos Today, the MacMag serves as a proud voice the relationship between those two pieces of and additional content, ensuring that of the School, showcasing the creative output architecture, and features interviews and articles MacMag keeps evolving and contributing TRaDitiOn: of the students and staff, alumni and relevant with the people behind the latest addition to to the development of contemporary professionals within Architecture - with a range GSA’s campus. The student work that lies at the Architectural discussion. of student projects, interviews and articles that heart of MacMag39 provides an insight into how www.MacMag39.com capture the excitement of each year at the Mac. Architecture students combine analogue and All this content is then carefully crafted into a digital techniques, with brief project descriptions @MacMag39 MaCMag publication that launches at the end of the year giving an overview of the design philosophy /MacMag39 as part of GSA’s Degree Show. of the School; a further overview of student

Top: MacMag archives; left MacMag39; right: MacMag pin up meeting; screenprinting MacMag tote bags. 88 Digital GSA

Digital design is a newer tradition at the GSA. The nerves: part of the 3D Digital Head and Neck Anatomy an ultra- realistic and fully interactive model From a dedicated programme at undergraduate which will allow students and clinical trainees to view, manipulate and interact with a 3D head in real-time in order to develop level – Digital Culture, to The Digital Design an understanding of anatomy, and learn diagnostic techniques and procedures. Commissioned Studio at Pacific Quay – a graduate level from The Digital Design Studio at the GSA by NHS Education for Scotland. Unveiled 24 April interdisciplinary hub blending science, art and 2013 by Scotland’s then technology, with research and commercial work First Minister Alex Salmond. covering 3D medical and heritage visualisation, 3D sound, and game development – the GSA is future focused. The Skinny’s tech editor Cathleen O’Grady explores the role of the studio as a centre for boundary – crashing digital work across Glasgow, Scotland and the world.



Layar app can be downloaded for free on App stores (android and mac). Download Layar to watch the digital content A space betWeen Home to a vibrant, world-class research and Immersed in Sound people suffering from anxiety and depression. She Other students on the programme focus on a more visualisation work with the Scottish Ten, says postgraduate student community, the Digital works with the University of Glasgow’s Institute of modern approach, using their own dissections or data Livingstone. “It’s a world-leading team of professionals Design Studio (DDS) works at the interface of A number of students in the MDes Sound for the Neuroscience and Psychology to generate soundscapes from the Visible Human Project, with projects ranging based on-site, and we’re able to bring students science, technology and the arts, exploring Moving Image programme become involved in for sufferers of noise-triggered anxiety. from an interactive educational resource for asthma together to learn from these professionals who are uncharted territory in 3D visualisation, interactive commercial work, says DDS resident sound expert Paul “I learned a lot in a very short space of time,” says patients, to a 3D-printed liver for pre-surgical absolutely world class.” technology, and sound design. Laser scanning Wilson, and many students go to the BBC and other Argo of the MDes, “and the facilities are fantastic. planning. A variety of digitisation approaches are used, While some students already have some technical methods, 3D sound, speech recognition, and companies for work experience. However, while the Getting to use an ambisonic recorder, and being trusted and the goals of the projects include patient education, training, the two visualisation programmes draw from camera-based and haptic interactive technologies focus of the sound department tends to be on film and with that kind of equipment, was one of the reasons therapy, and anatomical training. a wide interdisciplinary pool. Most Medical are all used to create tools for a variety of industries television work, some students also use the programme I decided to come back – this is the best facility.” Nicola McCabe, one of the first cohort of students Visualisation students have a background in life and applications. Housed in The Hub at Glasgow’s as a platform for artistic practice. Alumnus Raydale in the new MSc International Heritage Visualisation sciences, such as anatomy, neuroscience, dentistry, Pacific Quay, the studio is, fittingly, a hub of Dower continues to use sound in his professional Blending Art, History and Science programme, is creating an ‘online museum’ for the and nursing. For some, the artistic element of the commercial projects for business and industry practice as an artist, creating sculptural installations Stobcross Crane, more widely known as the Finnieston work is central, while others are not of a particularly across Europe. that explore “sound, music and our experience of The DDS joins hands with another world-class facility Crane, a disused giant cantilever crane that stands as artistic bent, says Livingstone: “The modelling we’re Students in the four DDS Masters programmes space”, according to GENERATION, an exhibition for another programme offering: the MSc Medical a symbol of Glasgow’s industrial heritage.“It’ll be doing here requires more a technical than artistic work alongside researchers, commercial designers, programme showcasing Scottish artists from the last Visualisation & Human Anatomy, which works at the interactive, with stories on both the engineering side, proficiency, because you’re trying to capture reality, and PhD students in the state-of-the-art facilities at 25 years. One of his recent works, Piano Drop, was an intersection of science, art and history in collaboration and about what it was like working in the shipyards,” without putting much interpretation on things.” The Hub, which houses one of Europe’s largest installation featuring an ultra-high frame-rate film of with the Laboratory of Human Anatomy at the she explains. Nonetheless, there is room for art even in 3D virtual reality laboratory spaces, as well as an a piano dropping from the roof, with ambisonic University of Glasgow. “The medical visualisation “There’s nothing at the moment that tells you modelling, adds McCabe: “I think there is an artistic ambisonic (3D sound) lab. “We’re right in the middle recordings, played back in slow motion. “The idea was programme is the only one of its kind in the world, in what was there before. I don’t remember it – it was all eye to seeing where things jar, and having everything of things,” says postgraduate Programme Leader to shatter your illusion of what you see and what you that it combines visualisation with dissection,” notes gone by the time I was born, and anyone in my sit comfortably together.” Dr Daniel Livingstone: Pacific Quay is also home to expect to hear,” explains Wilson. “The slow-motion Livingstone. “It’s a rare privilege to be able to learn generation will be the same, so it seems a shame Jocks, who is originally from Germany, has lived the Glasgow Science Centre, BBC Scotland, the screening sounds like a subterranean volcano going off, anatomy with human dissection, and the anatomy at when it was such an important thing that contributed and studied in Glasgow for the past six years, and is Scottish Media Group, and STV (Scottish Television). not anything like you’d expect. Then it surprises you the University of Glasgow is already a world-class to the building of Glasgow.” The changing of places planning to begin a PhD after completion of his MSc. Another close neighbour is Film City, which houses and does the real-time drop, and it’s over in about resource. This is the first course of its type to combine over time is a subject of fascination for McCabe, as is “It’s a great city,” he enthuses. “I wanted to move to Savalas, Scotland’s largest sound post-production three seconds and hits you like a ton of rocks.” these disciplines, which makes it totally unique.” the River Clyde’s pivotal role in the creation of the city: Scotland for a long time, and I looked at various facility and the UK’s first Dolby Premier mix theatre. For some students, the programme is more about Ianto Jocks, an MSc student with a background in “I find the industrial history fascinating, but it’s not universities, but I like the flexibility of the curriculum Top: Visualisation produced “One of the key things about Glasgow is that the exploration of possibilities. “Many students know history and classics and an interest in the history of something that’s generally very celebrated.” here, and I liked everything about the city. I come by DDS for Bannockburn Visitor it has a very vibrant student community interested they’re interested in sound, and some know that they medicine, utilises this interdisciplinary approach The DDS collaborates with Historic Scotland from a former industrial city that has reinvented itself, Centre, 2014.

in sound, music, and film, and there are plenty want to go in certain directions, but the majority just heavily in his own work. His current research project on the Scottish Ten project, which aims to digitally so Glasgow appeals to me because it has the same Bottom: MSc International of spaces where students are able to showcase their study it and find their niche,” says Wilson. involves creating 3D visualisations of the anatomical document ten worldwide UNESCO heritage sites kind of heavy industry background that has now Heritage Visualisation students work,” Livingstone enthuses. “The community is a Jessica Argo, who recently graduated from the collections at the University of Glasgow’s Museum of – five of which are in Scotland – using laser scanning transformed itself into a city of culture.” on site at Glasgow Cathedral, 2014. big part of it, as well as the good local scenes: a big MDes Sound for the Moving Image, has moved on to Anatomy. The collection was created for medical and photogrammetry to produce realistic 3D models. Glasgow is a city famous for its rich artistic, music scene, as well as a big experimental scene, PhD research within the department. Her Master’s purposes, explains Jocks, but also has an element of This collaboration, which serves both educational cultural, and scientific history, and is fast developing with plenty of venues and a good community research explored how music affects our emotions, the artistic: “Anatomy has always been science as well and conservationist purposes, allows the DDS access a role as a world leader in 3D visualisation and sound. established around that. Being based where we are, and her PhD research delves more specifically into the as art. I think that looking back at medical history helps to data, and positions Scotland at the forefront of For those interested in positioning themselves at we are right in the centre of digital creative work relationship between music and psychology, exploring us understand modern society, modern science, and historic documentation. Many of the lecturers on the the forefront of cross-disciplinary scientific and artistic in Scotland.” the use of synthesised sound as exposure therapy for the process of generating ideas better.” MSc course are involved in professional heritage work, the DDS is undoubtedly the place to be. 90 Digital GSA

Right: Via Layar, Living Walls Project, featuring Outline by Simon Sloan, Digital Culture student.



Layar app can be downloaded for free on App stores (android and mac). Download Layar to watch the digital content

A 2015 will see the first cohort of students from the BA In Digital Culture we teach the fundamentals of Above, via Layar: Living Walls (Hons) programme in Digital Culture graduate. It’s a code in an accessible manner alongside visual thinking Working independently, students created a significant point in the history for GSA, as digital and creative problem-solving. When combined these meaningful, visually engaging site-specific projection technology sits alongside more traditional brushes, aptitudes gives students access to a fully featured and map within/on to/around the Barnes Building. Using looms and drawing boards. But it’s not out of place - essential digital toolset. Skills and confidence are mapping technology students created a dynamic programmes across GSA have been using digital developed through supported exercises, which form digital projection made of animated texts to create technologies for years – Photoshop sits on every the building blocks of knowledge and techniques, an engaging experience for the viewer in an attempt computer, we have commercial, state of the art digital which students can quickly apply to the creative to blur the barrier between the virtual and the real textile looms in the Reid Building for the Centre of problems set in project briefs. Current projects include world, conveying as the title suggests, the sense that DigitaL Advanced Textiles (CAT), and from Interior Design, the process of digitisation, data visualisation, 3D form the walls of the building have come alive. Architecture to Communication Design, Sculpture or generation, contemporary narrative structures, Fine Art Photography, digital technology platforms interaction design, procedural drawing and motion are specific, important time savers and can graphics. The projects change year on year to reflect significantly add to projects. But for Digital Culture the fast pace of innovation in digital culture. digital provides additional possibilities, students learn The ability to mix code and procedural thinking, the fundamentals of code alongside visual thinking with aesthetic consideration and critical awareness, and creative problem solving to equip themselves allows students to create interactive virtual and with a digital toolset to be applied to myriad physical artefacts, and gives graduates access to the possibilities in digital art and design. exciting and innovative world of digital art and design. The discipline is fast paced and prone to constant Code, Aesthetics and the Future flux so it is imperative that digital artists and designers What does it mean to interact with digital technology? keep up with current advances. They require a passion What are the skills that artists and designers need for technology and innovation, along with forward to exploit to creative possibilities opened up by thinking imagination and the capacity to develop digital technologies? great ideas. The content of the programme is kept The 21st century is seeing exciting changes ripple current and topical through strong links with industry through art, design and architecture; changes driven and digital arts practitioners. During the four years of CuLture by fresh ways of thinking informed by advancements study students participate in critical discussions and in digital technologies. The Digital Culture inquiry led learning to explore historical and programme at GSA embraces the creative possibilities contemporary theories associated with digital culture opened up by such technologies to reveal alternative and consider their impact on interconnected global approaches for design and artistic expression. society. There are ever growing opportunities for Digital art and design crosses different boundaries and sustainable creative careers relating to the creative builds its foundations on good practice developed digital industries and the GSA’s first cohort of students in a variety of creative disciplines including will enter this arena fully equipped to compete. photography, moving image, 3D, sound, graphics, www.gsa.ac.uk/digitalculture web, interaction and more. 92

Life at the GSA prepares students for careers across art, design and architecture, but can also lead to more idiosyncratic career paths – jelly-mongering, play-writing, film-making - even a stint in the TARDIS. Let us introduce you to some of our alumni working in Glasgow and beyond.

Christine Borland (Environmental Art 1987) Artist Andy Bow (Architectural Studies 1988) Architect Martin Boyce (Environmental Art 1995) Turner Prize winner 2011 John Byrne (Mural Design 1964) Artist & Playwright Ian Callum (Industrial Design 1977) Director, Jaguar Cars Peter Capaldi (Graphic Design 1980) Actor & Oscar-winning Director Robbie Coltrane (Drawing & Painting 1972) Actor Douglas Gordon (Environmental Art 1988) Turner Prize winner 1996 Alasdair Gray (Mural Design 1957) Writer & Artist Louise Gray (Textiles 2004) Fashion Designer Muriel Gray (Graphic Design 1979) Writer & Broadcaster Robert Hardy (Painting 2003) Bassist in Franz Ferdinand Gareth Hoskins (DipArch Architecture 1993) Architect for National Museum of Scotland James Houston (Visual Communication 2008) Director & Animator Charlie Hussey (Architecture 1987) Architect, shortlisted for Stirling Prize 2003 Janice Kirkpatrick (Graphic Design 1985) Interior & Graphic Designer Liz Lochhead (Drawing & Painting 1970) Poet & Playwright Andy MacMillan (Architecture 1952) Architect Norman McLaren (Interior Design 1937) Filmmaker Harry Parr (BArch Architecture 2008) Architectural Jelly Maker Ciara Phillips (Master of Fine Art 2004) Turner Prize Nominee 2014 Jonathan Saunders (Textiles 1999) Fashion Designer Jenny Saville (Drawing & Painting 1992) Artist David Shrigley (Environmental Art 1991) Artist Simon Starling (Master of Fine Art 1992) Turner Prize winner 2005 Charles Sutherland (DipArch Architecture 1987) Architect, shortlisted for Stirling Prize 2003 Dan Watson (Product Design Engineering 2009) International James Dyson Award winner 2012 Andrew Whalley (DipArch Architecture 1983) Architect for the Eden Project, Cornwall

For stories from established practitioners and recent graduates, visit the alumni section of our website: gsa.ac.uk/alumni 94 Our Alumni

Image credit: Peter Capaldi, © Paul Stuart 2014

‘The art school – any art school – is a good place to be, generally. Because of what it is about. But that place, in particular, has a great atmosphere. You have this big, meaty, industrial city… but you have in the centre of it this great temple to art, which I think is a fabulous thing. It opens its doors to that city, and to me that is what art should be – an expression of the place and the people that it springs from. ‘I had my student days there, and they were wild and crazy as they should be. But at the art school, you always had the sense of a kind of, if not a higher purpose, then a sense that the arts were valuable, that talents were valuable, that these were things that people had that should be developed and cherished.’ Doctor Who actor, Oscar-winning Director and School of Design alumnus Peter Capaldi (Graphic Design, 1980) in conversation with Adrian Lobb 96 Exchange and Art

Maya McBeath Product Design Exchange student at National Institute of Design (NID) in Ahmedabad, India

‘You are a girl and going to India by yourself, are you mental?’ That was more or less the reaction after I was accepted for my exchange at the National Institute of Design. But it has been one of the best decisions I have made up to now. Apart from its six million people, the city does not have a great deal to offer. This is not picture book India. The attractions are covered in two days and there is no nightlife – alcohol being illegal in this state. It has very little tourism and as a white person I stood out a lot. On the upside, people are very open, helpful and friendly and there is still a lot to do and explore. It is a very interesting place to live and study, especially for the cultural difference. When going to India you need to be open to something totally different. That struck me the most while experiencing student life there. NID has a beautiful campus with gardens and peacocks, which is closed off from the loud and busy surrounding city. All life takes place on the campus; you live there, you eat there, you study there, you meet your friends there. In addition, the work ethic differs a lot, I felt there was little division between work time and free time and regular chai breaks were of great importance. Adapting to this different way of life took some time, but once done life on the campus was very enjoyable and rewarding. I chose India for my exchange to experience a very different culture, but I also benefitted a lot from studying Product Design there. Our tutors The GSA is a truly international institution, with students from suggested we work with the Blind People’s Association in Ahmedabad as our project partner. 69 different countries populating its studios, workshops and lecture We visited the association often - it provides a hospital, a school, a library and workshops for theatres. As well as being part of this international community the blind. I re-designed a blind football for them, as the common one was not loud enough to be heard above the sheer volume of background noise in Glasgow, students also have the opportunity to live and study in in India. I was motivated by seeing the joy they had while playing blind cricket and wanted to cities around the world as part of the GSA’s exchange programme, offer them more possibilities to have as much fun. I taught the institute’s cobbler how to make which has 75 partner institutions in thriving creative places such Maya McBeath, image the new football so they could produce as many ©Fabian Siefert as they needed. Through this project I learned as Berlin, Reykjavík, Tokyo and New York. Students from these kreativemetropole.de a lot about what I want to do and what I want other images, Ahmedabad to stand for as a designer. It clarified where I see institutions are also welcomed to the GSA on Exchange, along with and Blind Peoples’ myself in future and showed me it is possible. Association, India is not a country for everyone but by Maya McBeath. I personally gained and grew so much through students from a multitude of other creative programmes around going there. If I had to choose again I would definitely do the same again. As Dev Patel says the world coming to study at the School through Study Abroad in The Best Exotic Marigold Hotel, “Everything is going to be alright in the end and if it is not programmes for periods of 3 – 9 months. Here three students – alright it is not the end!” See Maya’s photo diary of her exchange to India one Study Abroad, two Exchange – share their experiences. on her blog: mayabumblebee.wordpress.com 98 Exchange and Art

Left: Sniedze Riekstina Top: Allyce Wood; ©Barron Whitney Peper Bottom: Allyce at Right: Ecole Nationale beachfront, Ayr, Scotland. Superieure d’Architecture de Paris-Belleville,Paris Bottom: Eiffel Tower view.

Allyce Wood Sculpture and Environmental Art Study Abroad student from Cornish College of the Arts, Seattle

There were many contributing factors as to why going on trips outside of the city via bicycle I studied abroad. The first of which came from the and train were comforting and joyful. There were basic desire to leave Seattle, the only city I had a number of great pints shared over stories of our ever lived in, to immerse myself in a different pasts, similarities and future ambitions. landscape, culture, and art scene. I was attending Glasgow granted me an expanded notion a small college in Seattle and was interested in of what art could be, giving me the freedom to gaining some new perspectives and expanding my push my practice further. Seeing so many artists peer group, and I was also excited by the GSA’s involved with the construction of venues was Sculpture and Environmental Art programme. a great lesson in courage: You needn’t wait for There were many memorable moments at a gallery to select you if you have the drive to the GSA and the surrounding city alike. I loved build the space yourself. I continue to live by that the Friday Event lecture series that was held in lesson, and apply it to many facets of my artistic the Glasgow Film Theatre, learning about the career, my job searches and peer outreach. practices and influences of professional artists. I had the good fortune of travelling quite I also enjoyed the critiques given by classmates a bit when I finished my two terms at GSA. – the frank exchanges taught me so much about I went around Scandinavia, Germany, the UK intention, historical reference, and perspective. and France, with some of my best friends I made Putting on exhibitions was very rewarding – whilst on exchange. I have been able to come it was a thrill to partake in events at the Centre back to the UK once a year since I graduated from for Contemporary Arts and SWG3 gallery, as well University, both for social reasons as well as for Sniedze Riekstina as at various flats and studios. Never before had exhibitions and collaborations. My home is still Architecture I lived in an area so full of exceptional venues! Seattle, although my considerations for where I also enjoyed becoming close to many I will live next have expanded greatly – there is Exchange student at École Nationale Supérieure d’Architecture de Paris-Belleville, Paris of my fellow students: Cooking meals together, a good chance I will make my home abroad again.

I had the good fortune to go on exchange just Indeed, the city itself must be the very reason before concluding my studies of architecture. for an architecture student to enjoy one’s stay I spent the first semester of my final year in Paris, there. Starting from individual buildings, to doing research for my thesis and discovering this magnificent monuments, and finally to the major spectacular city and its architectural treasures. urban redesign of Paris by Baron Haussmann - Packed with different languages and customs, the capital of France is full of excellent culture and lifestyle variations, this was a architectural examples to discover and to study. challenging, yet nurturing experience. But the real joy must have been just to immerse My host school was École Nationale Supérieure myself in the city (discretely checking my map d’Architecture de Paris-Belleville - one of 6 from time to time) and to stumble upon some architecture schools in Paris region, known for wonderful places, “secret” to all the crowds of its research in architecture and urbanism. The key tourists, and to see the real Paris with the eyes element to its academic structure was the variety of a Parisian. of design studios available for students to choose I am certainly no Parisian, but I dare to say from, thus helping to deepen knowledge in I do not feel like a tourist anymore. The first particular areas early on. My design studio – focused three weeks of my stay were a bliss of meeting on housing in Paris – in its very practical approach, new people and exploring a new city, but by the was fairly different from its mostly concept driven end of the first month I got to feel the real counterpart I had known before. And I found it Parisian rhythm “métro-boulot-dodo” beneficial to become familiar with both approaches. (metro, work, sleep) growing on me too. There were also city wide and out-of-school And to me this day-to-day experience was the activities I got to profit from, such as Nuit Blanche real thing, as it raised my awareness and made art festival, museums and galleries and pop-up me understand Parisians and the city far better. performances on street corners. I was inspired I am glad for having had this opportunity by the talks by prominent architects, the most of exchange, for it was a truly positive and notable being Alvaro Siza Vieira. Maybe because unforgettable experience. Many strong of the inspiring study atmosphere or the abundance international friendships were created, of research materials, the city library of the new horizons unveiled and a strong basis of architecture (Cité de l’architecture et du my thesis project formed. And in hope of finding patrimoine) right beside the Eiffel Tower quickly some déjà vu moments, I will visit Paris again! became my favourite place in Paris. 100 Exchange and Art

A SmaLL WOrLd: A PersOnaL View

After leaving school, Jamie Snedden on it, connections on Earth are to find themselves in. Differences of spent a year teaching spoken English everywhere. But, of course, people do course emerged, differences in in Sri Lanka with the educational move in amazingly similar circles. appearance, beliefs, any number of charity Project Trust. He is now in his Nevertheless, I’ve always believed things. But it was always that one second year studying Architecture in this idea. This is partly because, factor responsible for any differences; at The Glasgow School of Art. Excited occasionally, genuinely amazing physical distance. In an ideal world, by the changing boundaries of the coincidences do occur. people like people because of who they architectural profession, Jamie spent My time in the States did what time are, not where they come from. On this July of 2014 at the Global Social spent teaching English in Sri Lanka did trip I liked certain Americans and Entrepreneurship Institute in Indiana, two years ago; it reinforced the idea certain Europeans not because of their USA; a place that he gained on a that the world is small not because nationality but because of their Fulbright Scholarship. Joining 20 two of us randomly had the same personality; who they were. We all other European Undergraduates from hairdresser when we were twelve, know, tragically, that isn’t always the 13 different countries, Jamie spent but because you realise that people reality; which I find very sad. five weeks learning about business, are just people wherever they are. Yes, I was woken up by the scale of the enterprise, and the culture of the there are a lot of us, but we are a lot United States. On first impression, American Mid-West. Now back in more ‘connected’ than we might think. it reminded me that the world is not Glasgow, here Jamie reflects on his Sri Lanka introduced me to this idea small. Or similar. Or remotely equal. time in Indiana, and discusses the because suddenly I was living for an In reality, it the massive, completely lessons he’s taken back to the GSA. extended period of time with a family unequal, and hugely dissimilar. The place I called home for five on a tropical island, and was suddenly However the world is also, in its weeks this summer was a little town sharing their worries about the price of entirety, populated by humanity. called Bloomington in the south-east electricity, and wondering why the local And humanity has an overwhelmingly of Indiana, USA. ‘The Crossroads of shop now closed early on Tuesdays. similar core. On reflection, that’s the America’; the Mid-West state of Indiana People do this in Scotland too, they’re smallness here. Not physical location, is hot, politically conservative, and just colder when they do it. When but the intrinsic likeness of individual largely empty. Home to around 40,000 pared down to our little circles and nature. My five weeks in the USA gave full-time students, Indiana University bubbles of existence, we are all me a reinforced belief that the world is pretty much is the town of intrinsically united. immensely diverse, wonderfully huge, Bloomington. Clean, green, and warm, However, my time away also and, indeed because of this; well and this was an entirely pleasant place to reinforced something else. Physical truly small. be. Through a series of lectures, distance does cause differences. workshops, client visits, group and Perhaps it’s because I live in the UK, To read the full piece, see more from individual projects, our little group a country that can be travelled head Jamie’s USA Blog, or to preview received a crash course in alternative to toe in a day that I’m inclined to and purchase his self-published business, start up and enterprise. It was discount distance. But the States is short book, ‘Sri Lanka – genuinely inspiring. huge. The differences between Indiana The Inside Story,’ please visit Spending five weeks in the USA and Washington, DC literally couldn’t www.jamiesnedden.com completely realigned my sense of scale. be starker. The sheer size of the country To read the official press release from The saying, “It’s a small world,” gets has allowed massive, pretty Jamie’s trip please visit the Glasgow batted around a lot. I certainly say it fundamental, differences to establish. School of Art Media Centre pretty regularly, despite several people Obviously over time, land travel and http://gsapress.blogspot.co.uk usually disagreeing every time I do. then flight has allowed not only for But I have always defended it. The artificial mix of these once very world is small. Upon reflection, my separate peoples, but now for the time in the States succeeded in occasional injection of people from the reinforcing this long-standing belief. other side of the world. Sometimes The notion of our world being a wearing a kilt, I’m told. Jamie Snedden is a second year small place is usually remarked upon What was interesting about this Architecture student. when one person meets another disparity was this it is seen the world person, seemingly completely different, over. For many thousands of years who turns out to hold a surprisingly humanity has developed societies, close mutual connection. The idea is religions and customs specific to the that despite having seven billion people geographic location that they happen Images: Jamie Snedden; scenes from Bloomington, Indiana. 102 Singapore ∂ SingapOre

Of Mice and Men, Christine Neo, GSofA Singapore, Communication Design 2014 104 Singapore

Clockwise, from top left: The GSA community extends far beyond Wong Xueli, Communication the UK. As well as alumni throughout Design 2014; Gender Fuck, (2 of a series) Clarence Sim, the world, the GSA has an office in Communication Design China, and our sister campus The 2014; Within the Beauty of Chaos, Kenny Low, Interior Glasgow School of Art Singapore was Design 2014; Clandestine established in 2012. In Singapore GSA Nest of Redemption, Xue delivers years 3 and 4 of the Bachelor Ee Wong, Interior Design 2014; Teo Wei Shan, Suzanna, of Art (Hons) programmes in Communication Design Communication Design and Interior 2014; Diana Lee Si Qi, Communication Design 2014; Design, in partnership with the Kill that insecurity, Katy Rosli, Singapore Institute of Technology (SIT). Communication Design 2014; Celebration, Seah Shi Yun, The degree programmes, validated by Communication Design 2014. The University of Glasgow, enable Diploma students from one of Singapore’s Polytechnics to progress from a Diploma to a Bachelor of Arts (Hons) degree. The first cohort of students from Singapore held their inaugural degree show and graduation in 2014. Students from the programme have already won a host of design awards and look set to make an exciting contribution to the creative economy of SE Asia and beyond. gsa.ac.uk/singapore 106 Back to the Vic This year, with the opening of the new Reid Building and the refurbishment of the Assembly Building premises a new chapter has opened in The Students’ Association’s (GSASA) history. The legacy of The Vic from the past few decades is strong, so what next for the social hub of the GSA? Will Judge, newly elected President of the GSASA, and Matt Robin, Vice President, look forward (and back), to discover what lies in store.

WELCOME A VICE PERSPECTIVE Exciting, enthusiastic, energetic ideas The sandstone facade of the Student and bubbles of energy bounce from Association has stood still for nearly the Sabbatical Office walls. A new a 100 years, it has survived a World academic year is ready to begin and War, the destructive modernism of there are high expectations, many the 1960s, and a recent extensive plans and a real buzz of commitment re-transformation of the School’s in the office. What a year to be campus. Over the years students entrusted with not only one of the and the greater Glasgow community best independent music venues in have fought hard to preserve the Scotland, equipped with the best in building and maintain the activities sound and AV technologies; but, to that kept it alive. also offer a consistency in our service I had never stepped foot in the Art to students, ensuring student initiated School union before it shut its doors projects and collaborations are for refurbishment. My experience only sustained, supported, funded, and began in January 2014, when the Star appropriately promoted. It is going Dance Portal was re-opened for its to be a curious mix of challenge inaugural ceremony. I was struck ‘The Vic’ Assembly Building. and delight to steer and present our by the potential scale of activities Image courtesy The Art School. hothouse for student-orientated that could happen - the opportunities creative arts, music and culture over for synthesising music, art and the next twelve months. performance seemed endless. This There are certainly challenges that level of epic transiency continued lie ahead and we have high ambitions. through the year with the Reid My election manifesto pledged to Building Opening party, the Millenium work for greater integration and foster Party, the 2014 Fashion Show, more cross-departmental links. right down to the recent Degree Show Obviously at this time in our history Party where the crowd was joyfully this is more important than ever. anaesthetised from the malaise of Recent events have galvanized the the recent fire by Golden Teacher’s School community and strengthened beat. The crowd worshipped as a giant resolve to protect student interests effigy of Steven Holl’s face (architect and ensure our ambitions are in no of the Reid Building) looked down way diminished. A union’s strength upon them through red laser eyes, is dependent on the support smoke discharging from his yap. and commitment of its members. Looking back through the The team will do their best to create photograph archives uncovers a opportunities to foster and focus such familiar world. 1940s photographs energy for the benefit of all. of “the Inferno Christmas Ball”; - Will Judge, President, Students’ a papier mache Trojan horse; Association Martin Boyce striking a pose at the 3 108 Back to the Vic

1989 Fashion Show; the activities From top: Students outside and the collective imagination of the Assembly Building at GSA, turn students it seems have remained of the century. Alan Miller (aka Hushpuppy); Gig at the constant. Chats with DJ and promoter Art School; ‘Steven Holl’, Degree Alan Miller (aka Hushpuppy) about Show Party 2014; Main image: students prepare the function and essence of the for a ball, Assembly Building building are revealing. “It has always c.1930s. From the archives. been a doorway into the masterclass of the creative sphere of hedonism” he says, a space for “learning about your creative instincts” and offers many the freedom to “make creative gestures which might be the gestures of future practice”. “We loved your ears, we loved your arty” Optimo’s farewell to the old union at their 2010 Hogmanay marked a symbolic death for ‘the Vic’ but in its place something has sparked something of a rebirth for a new generation. The Vic’s bare bricked walls and exposed steel structure are reminders of the past but the newly installed state of the art sound system, optimal rigging system, wide range of lighting options and a new generation of students look set to open new doors to creative expressions. Expect great ephemeral shows in music, art, performance and all other creative practices. - Matt Robin, Vice-President 110 Music City

Lauren Mayberry of CHVRCHES, debut gig at The Art School Image: Allan Roney

Glasgow is well known throughout the UK and across the world for its legendary music scene. In 2009, Glasgow was named as one of five international UNESCO Cities of Music, and hosts an average of 130 live music events a week, from international touring bands to emerging underground acts. Here music journalist Stewart Smith of The List magazine introduces the city’s eclectic and consistently exciting music scene 3 THE H I S T O R Y OF A MUSIC CITy 112 Music City

Left: Richard Youngs & Luke The contributions of GSA students and alumni Fowler at Cry Parrot’s Music Is The Music Language 2012. Image: Alex Woodward to the music scene are significant - Below: Alex Kapranos of Franz Ferdinand. Image: Herald & Times from playing in bands and DJing, to booking Opposite: GSA Degree Show rooftop after party 2012 shows, and designing posters, artists are at the heart of the city’s musical community.

lasgow is a great music city. mystery and magic of Glasgow. The runaway success interesting and peculiar musical events to the people New students atG The Glasgow School of Art will find of Franz Ferdinand in the early noughties highlighted of the city based on passion, curiosity and generosity themselves at the heart of a vibrant and diverse the importance of the GSA to the city’s music scene. rather than a desire for profit or personal gain. community of musicians, DJs, promoters and fans. Although only bassist Bob Hardy had studied there, When people ask me why I choose to live in Glasgow, GSA alumni have found fame as members of Franz all the band members had strong connections to the I would cite the fact that people like Cry Parrot do what Ferdinand and Frightened Rabbit, to name but two, art community. As a result, they became the house they do here as one of the reasons’. their success made possible with the opportunities band at The Chateau, an art deco warehouse turned DIY promoters also make an effort provided by the city’s rich infrastructure of venues studio and performance space. to offer an alternative to the standard gig experience, and art spaces. Beyond the grassroots scene lies a world The GSA is close to a hub of venues and bars putting on dance parties and festivals in warehouses, of possibilities: large venues and arenas, plush concert in Garnethill: The Art School itself is a gig, club and art spaces and community centres, as well as more halls and a musical calendar packed with festivals exhibition space with an excellent reputation for leftfield conventional venues. Artist collectives have embraced and special events. events. Down the hill on Sauchiehall Street is the this approach, organising innovative multi-media The GSA has played a significant part in the history famous Nice & Sleazy, a local indie institution which events in former industrial spaces such as SWG3, of Glasgow pop and rock. The Art School venue was also serves the finest burgers in town. The CCA offers the Glue Factory and The Whisky Bond. Such activities where Orange Juice played their first Glasgow gig in an excellent performance space, plus galleries and two have had an influence on the city’s ‘official’ events, 1979, and it continues to host shows by cult bands café-bars. For larger bands, there’s the O2 ABC, and for with pioneering festivals such as Arika, Counterflows and future stars, such as the hotly tipped Glasgow emergent touring acts, Broadcast. Moving across town and Tectonics presenting experimental music alongside electronic trio CHVRCHES, who made their live debut towards Central Station, you’ll find the Stereo café installations, talks and performances. there in 2012. More significant still have been the and venue and the versatile art and music space the German curator Hans Ulrich Obrist has described contributions of GSA students and alumni to the music Old Hairdressers down Renfield Lane. Beneath Central the city’s explosion of award-winning art and culture scene. From playing in bands and DJing, to booking Station lie The Arches, a vast network of underground as the ‘Glasgow Miracle’. The GSA has been at the shows, and designing posters, artists have been at the spaces hosting gigs, club nights, art and theatre. heart of this cultural renaissance, and new students heart of the city’s musical community. In nearby Jamaica Street is the Sub Club, home to will have a fantastic opportunity to participate in this This fruitful exchange can be traced back to the early the famous Optimo, an eclectic club night which has hotbed of creativity, shaping the art of the future 1970s and the Third Eye Centre (now the Centre for played a major role in shaping the city’s music culture, and its soundtrack. Contemporary Arts or CCA), where playwright, as well as the bass-worshipping Numbers, and house poet and pianist Tom McGrath presided over a visionary stalwarts Subculture. programme of avant-garde jazz and folk music, Walk along Argyle Street towards the Trongate alongside theatre, readings, exhibitions and radical and you’ll reach the artists’ quarter of King Street, intermedia happenings. As punk bands were banned home to the Transmission Gallery and Glasgow Print by the city council, it wasn’t until the post-punk era Studio, as well as the mighty 13th Note Café, the site that Glasgow would produce its own distinctive scene. of innumerable loud and sweaty subterranean gigs. Behold the Sound of Young Scotland: Postcard Records. Kings Court, meanwhile, is home to vegan café-bar Home to the sighing pop reveries of Aztec Camera and venue Mono and its fantastic in-house record store and Orange Juice, as well as the more angular sounds Monorail, co-owned by Stephen McRobbie of local indie of Josef K, Postcard would prove influential on several legends The Pastels. Other great record shops in the city generations of Glasgow indie, providing a model for include Rub-a-Dub, for electronic music, and Volcanic bands and labels to carve out their own little corners Tongue, for esoteric underground transmissions. of the music world. While some Glasgow bands such These places have been hugely supportive as the Jesus and Mary Chain and Primal Scream moved of the city’s creative community, allowing independent to London to further their careers, others such promoters such as Nuts & Seeds, Cry Parrot and Never as The Pastels, The Vaselines and Teenage Fanclub Come Ashore to thrive. Run on a non-profit basis, remain in the city to this day, helping to run club nights, these DIY promoters boast an inclusive music policy, organise shows and keep record stores stocked with which takes in everything from scuzzy punk and the latest underground sounds. kaleidoscopic electronica, to Saharan trance rock As Britpop went into decline, Glasgow emerged and wild-eyed avant-folk. 2013 Turner Prize nominee as a hotbed of post-rock, lo-fi and indie pop. and GSA alumnus David Shrigley is a prominent From the Chemikal Underground label emerged supporter of Cry Parrot, and he speaks for many Mogwai, Delgados, Arab Strap and Bis, each with their in saying that independent promoters represent own distinctive sound and attitude. Meanwhile, ‘all that is great about the Glasgow cultural landscape: Belle & Sebastian’s wistful pop gems captured the a DIY attitude towards presenting wonderful, 114 Music City

Sons and Daughters: Adele Bethel, lead singer, pictured second from right.

UNtaiNteD LOVe Glasgow band Sons and Daughters’ lead singer Adele Bethel on the Glasgow music scene’s very personal relationship with The Glasgow School of Art.

The GSA has always had a profound and long- in fact been written by 80’s electro goths Soft Cell concerts in the (then) tiny cloakroom, the GSA and the considered moves, sometimes attack, time and remembers Franz’ first experience playing inspirational, electric and by their own admission running relationship with the city’s vibrant and and that the original Gloria Jones version was even created and continues to create an interesting sometimes retreat, on the appropriately chequered in the Vic – their fifth ever show. pretty shambolic. A few months on from that event, prolific music scene. As an 18 year-old aspiring more killer. Whenever I put that record on now, product that sits outwith the parameters of grading dance floor. As for music, Divine was a touchstone “Most of the people in the audience were they invited Sons and Daughters to hang out in musician, an indie kid in a Jesus and Mary Chain I’m immediately transported straight back to that by tutors - namely a huge contribution of music for Belle and Sebastian both socially and musically.” students at the art school who studied with Bob, the rather grandiosely titled ‘Chateau’. It turned t-shirt, I read a book called ‘Art into Pop’ where sticky and seductive dance floor. to the local catalogue,” he said. “It shouldn’t be a Both bassist Bob Hardy of Franz Ferdinand and who was in his final year of painting. He’d never out to be a condemned building, understandably author Simon Frith proclaimed, ‘The art school It was on that very floor that I met Barry Burns surprise to find such interesting and often successful Veronica Falls vocalist/guitarist Roxanne Clifford been in a band or played a musical instrument in a secret location and occupied by artists using experience is about freedom and experimentation for the first time, now guitarist and keyboard player music coming from the GSA when the teaching were among those Belles’ devotees who came from before. A lot of the first album draws on our it as both their home and studio space. On the very and not really caring what anyone else thinks’. for Mogwai, who a few years on from our first is geared towards exploration, experimentation outside of Scotland to study at GSA and to witness experiences in and around the art school, top floor was a huge empty stone room that housed This resonates with me still. meeting would record my first ever demo in his flat. and self-critique.” with their own eyes the picture of Glasgow painted particularly the union, which was like a hub for us. the only toilet in the 8 or so storey building - Although I was never a student at the GSA It was winter in Glasgow, so both of us were By the late 90s it became evident that many through the sweet and melancholy lyrics of Belle Gregor Johnstone (Painting and Printmaking 2002) perfect for playing a gig. We played for the first time myself as my artistic ability was limited to say ice-cold, trying to keep warm in dressing gowns students arriving at GSA, whilst had come primarily and Sebastian’s Stuart Murdoch. Roxanne would is name checked in Jacqueline, Lucy McKenzie with Franz there. I remember the ‘drinks service’ the least, I began socialising in the GSA’s Vic bar whilst sitting on the floor of his tenement to study at that famous art school, were also drawn later become a cult cover star on B+S’s ‘Step into (who was studying at Duncan of Jordanstone was a shopping trolley full of beer. It was the height on Saturday nights in my teens. I discovered the bathroom. I sang my vocals into a microphone to a city which had wooed them musically too. My Office Baby’ EP. As art school nights often led but frequented GSA’s social scene) was originally of winter - and has thankfully remained the only club ‘Divine’ where to my teenage delight, the drinks suspended from the shower rail to give it that ‘lo-fi’ The most stalwart suitors were indie pop band Belle inevitably to late night house parties, it was late supposed to design the sleeve for our first album. time I have ever played a gig wearing a coat, were cheap and the music was rich. The atmosphere Steve Albini effect. I was pretty sure that’s how PJ and Sebastian, themselves regulars on the art school one such evening at a friends house that I first was At the time we didn’t see any difference between hat and a pair of fingerless gloves, (so I could still was unrivalled, guys and gals impeccably dressed Harvey had done it back in the day. We recently scene, as guitar player with Belle and Sebastian introduced to Bob and somehow persuaded him what we were doing with musical instruments hold my guitar pick you understand). like 60’s mods, punk kids, goths ripping it up reminisced and I asked how influential he thought Stevie Jackson recalled. to come to the first gig of my new band ‘Sons and and what our friends were doing with visual art.” If the GSA is your chosen destination, whatever (and starting again) on the dance floor. I discovered The Glasgow School of Art had been in shaping “The art school to me meant Divine on a Daughters’. A painting student, when I met him he Not long after I met Bob, he in turn invited me route you find yourself following, know that paints bohemia right in the middle of my very own city, his own and other musicians’ creative mind set. Saturday night. I first went there as a young guy. had just been asked to play bass for Franz Ferdinand to guitar player Nick’s house party and I saw Franz and plectrums are plainly tools to build the same which was a revelation for me, a shy girl from He agreed that it was the social autonomy that A whole world of amazing, sounds, grooves, despite never having played a note in his life. Ferdinand play their first ever live gig in the front thing. So free yourself, create, dance yourself silly stifling suburbia. One night on the Vic dance floor it offered us: “Aside from countless formative cheap style and great looking girls were to be witnessed Franz drummer Paul Thomson had met Bob through room to a crowd of their friends, the majority and remember, when you hear Soft Cell playing I discovered that the song ‘Tainted Love’ had not nights out in The Vic and the very unusual live every week under one roof. The sexual politics some friends of his who also studied at GSA at the of whom were GSA students. It was intoxicating, in the Vic, that you always preferred the original. 116

A-ZAll GSA degree programmes are Directory Contents validated by the University of Undergraduate Glasgow. Established in 1451, programmes the University of Glasgow is a Graduate Study member of the prestigious Russell programmes Group of leading UK research Key InfO universities and a founder member Entry Qualifications of Universitas 21, an international How to Apply grouping of universities dedicated Please note that the information contained within this directory is subject to alteration, and applicants should to setting worldwide standards check the GSA website for current entry requirements before making an application. for higher education. www.gsa.ac.uk/howtoapply Caseroom, Reid Building Theresa MoermanIb – Theresa

118 Architecture (BArch) Fashion + Textiles Painting and Printmaking Sculpture and Environmental Art UCAS code: K100 Fashion Design UCAS code: W230 UCAS code: W120 UCAS code: W130 Award: BArch (Hons) or Textile Design UCAS code: W231 Award: BA (Hons) Fine Art Award: BA(Hons) Fine Art BArch (Ord) Award: BDes (Hons) Fashion and Textile gsa.ac.uk/paintingandprintmaking gsa.ac.uk/sculptureenvironmental gsa.ac.uk/barch Design Painting and Printmaking together form The Sculpture and Environmental Art The Architecture programmes of study gsa.ac.uk/fashion a specialist programme of study that department offers two subject pathways, (BArch and DipArch) are organised over The BDes (Hons) Fashion and Textile equips students with the skills and each with its own distinct focus, with five years, delivered through two Design programme at the GSA nurtures expertise, through a wide range of media elements shared across both programmes. academic programmes. The syllabus highly specialised subject experts in an and processes, to help them realise their Sculpture extends beyond the conventional includes design, construction, structures, ‘expert amongst experts’ environment full creative potential and pursue a career boundaries of object-making to encompass environmental science, history, sociology, which values the interactive, synergetic in the visual arts or other related a wide range of contemporary processes economics, law and management, as well and ever-evolving nature of Fashion and professions. The programme is studio- and media. Environmental Art prepares as skills in hand drawing, three Textile Design. Studying in one of the two based and offers an inspiring environment students to develop work in relation to dimensional visualisation, modelmaking pathways of Fashion Design or Textile where students learn the language of sites and contexts beyond the gallery. and workshop techniques, photography, Design, students acquire a thorough painting and printmaking in the context Students acquire a practical and audiovisual and verbal presentation, and understanding of the design process, of both contemporary and historical philosophical understanding of the subjects core skills including problem–solving and developing in-depth drawing and colour fine art practice. with a focus on studio and exhibition working with other people. The Bachelor expertise alongside traditional craft skills, practice, alongside site-specific projects. of Architecture programme leads to an CAD and the use of high-end technologic Ordinary or Honours degree and to equipment such as digital jacquard looms. exemption from Part 1 of the Examination Portfolio Preparation in Architecture of the ARB/ RIBA. Full-time Silversmithing and Jewellery Apply directly to the School students are required to undertake a year Directory gsa.ac.uk/continuingeducation UCAS code: W721 of practical training in an approved Fine Art Photography architect’s office between Years 3 and 4. Award: BA (Hons) Silversmithing and The GSA’s Continuing Education Jewellery Design UCAS code: W640 department offers Portfolio courses that Award: BA (Hons) Fine Art enable students to develop a portfolio gsa.ac.uk/silversmithingandjewellery gsa.ac.uk/fineartphotography of work for submission to HE/FE courses Silversmithing and Jewellery is a broad, Architecture (DipArch) in Art and Design. A range of Portfolio Students on the Fine Art Photography balanced programme covering aspects of Apply directly to the School courses are available including part-time body adornment and fine metalworking programme blend conceptual, aesthetic evening and day courses, Saturday Award: DipArch/Masters of Architecture by from the development of original design and technological awareness. Students courses (for 5th and 6th years) and week Conversion concepts through to the finely crafted do not simply study photography, long Summer School courses. (also available in part-time mode) but photography in a fine art context finished work. The programme embraces as broad an approach to silversmithing gsa.ac.uk/diparch alongside more ‘established’ forms such as sculpture and painting. The use of and jewellery as possible, from designing The Diploma in Architecture is studio– for the mainstream jewellery or silverware a range of media is encouraged; based with all students working in photo-mechanical, stills, video industries to the pursuit of very personal open-plan studios to promote a creative works intended for gallery exposure. (time-based media) and text are all environment in which students across all used as a means of artistic expression. stages can innovate, experiment and share advice. The programme also provides a rigorous educational framework for students wishing to enter the architectural profession, and gain exemption from Part II ARB/RIBA Examination in Architecture.

Communication Design Interior Design Product Design GSofA Singapore UCAS code: W213 UCAS code: W250 UCAS code: HW72 Apply to Singapore Institute of Award: BA (Hons) Communication Award: BA (Hons) Interior Design Award: BDes/MEDes Product Design Technology Design gsa.ac.uk/interiordesign gsa.ac.uk/productdesign gsa.ac.uk/singapore gsa.ac.uk/comdes This programme is available to study The Product Design programme focuses GSA delivers years 3 and 4 This programme is available to study at at GSofA Singapore upon the role of the designer as the of its Bachelor of Art (Hons) Programmes GSofA Singapore gsa.ac.uk/singapore creator of objects, services and in Communication Design and Interior gsa.ac.uk/singapore experiences. Student work extends Design in Singapore, in partnership with Interior Design at the GSA is about traditional understandings of form, the Singapore Institute of Technology Communication Design covers three revitalising and enriching buildings to function and materiality to encompass (SIT) and Temasek Polytechnic (TP). streams; illustration, design photography create exciting and practical environments the social, cultural and ecological context The programmes enable Diploma and graphic design. Students are given the in which people can live, work and enjoy of products and their uses. The students from one of Singapore’s opportunity to explore the traditional themselves. Students focus on the programme includes the study of Polytechnics to ‘top-up’ their Diploma skills of drawing, printing, photography production of appropriate, practical and European languages, research methods to a Bachelor of Arts (Hons) degree. and other graphic processes with video, creative solutions while working within from the social sciences and an sound, animation and other aspects of specific types of constructed space, engagement with issues around moving image and multimedia. The using traditional methods alongside digital sustainability along with study in partner programme is brief led, and students methods of representation, such institutions around the globe. work collaboratively as designers in an as CAD, 3D-printing and immersive environment which places value on virtual-imaging. ideas and processes. Product Design Engineering International Foundation in Art Apply to the University of Glasgow Digital Culture and Design Institution name: GLASG UCAS code: W280 UCAS code: WW12 Institution Code: G28 Award: BDes (Hons) Digital Culture Award: CertHE and IELTS equivalent UCAS Code: H3W2 (BEng) gsa.ac.uk/digitalculture of minimum 6.0 4 year programme gsa.ac.uk/intfoundation UCAS Code: H3WG (MEng) The Digital Culture programme embraces Accelerated Route the creative possibilities opened up by This year-long programme is aimed at 5 Year programme digital technologies to reveal alternative students whose first language is not UCAS Code: H3WF (MEng) approaches to design and artistic English, who wish to study art or design Award: BEng (Hons)/MEng Product expression. Students learn a specialised programmes at the GSA, or other Design Engineering creative approach, an understanding of institutions in the UK. The programme the digital world and an advanced ability allows international students to familiarise gsa.ac.uk/pde in digital tool usage to create attention themselves with the very specific culture Product Design Engineering is an grabbing content, products and artefacts and language of the art school studio, internationally recognised, accredited for different digital platforms. and is designed to aid practice and and award-winning degree programme, critical theory and facilitate cultural offered jointly with the University integration before students apply to first of Glasgow. Students focus on the or second year art, design or development of innovative products to architectural programmes. support changing and increasingly sophisticated human needs and lifestyles. The programme consistently produces high-calibre graduates who possess a rigorous design engineering process in conjunction with ingenuity, creativity and management skills.

120 Directory Graduate

Learning and Teaching/ in Learning and MSc in Serious Games : MDes in Sound for the Moving for Sound : MDes in PG Cert: Learning and Teaching/ Learning and Cert: PG Supervision Design Engineering Product Serious Games Development Image the Moving for Sound Award: Award: PG Cert Supervision gsa.ac.uk/pgcert The available. are Certificates PG Two in Learning and Cert the PG of purpose to enable Practices) is (Creative Teaching professional UK HEIs and related staff in fields to develop knowledge and skills of teaching practice in higher education in Cert The PG disciplines. the creative Supervision will to develop enable you at of research to supervise projects skills taught (PGT) and postgraduate (PGR) levels. postgraduate research develop and acquire Participants of current knowledge and understanding of contexts and pedagogies research supervision at postgraduate level. Design Engineering MSc in Product Award: gsa.ac.uk/pde is collaboratively This MSc programme department PDE GSA’s between delivered and two departments ofUniversity at the School of Engineering,Glasgow’s Mechanical Engineering (Mech Eng) and and Electrical EngineeringElectronics beingdelivery with curriculum (EEE), two institutions. the split between equally to equip students aims The programme design engineering expertise, with drive. management skills and creative of the areas skills in key Students acquire design, design,product user-centred mechanical engineering, and electronic develop and electrical engineering, and butof a rigorous the context work in intellectual climate. supportive Award: Award: Development gsa.ac.uk/seriousgames The Serious Games Development offers programme students transferable skills to design, develop and analyse serious games, and encourages in serious research interdisciplinary applications of games technology prepares The programme sectors. across the creative work in for students such as healthcare, industries, and in areas education, and cultural heritage, technology is increasingly games where in demand. Award Image gsa.ac.uk/sound Imagethe Moving for Sound MDes in for offers the opportunity graduate the craft and with to engage students of sound production practice creative film,applied to animation, television, new visual art, as games and media, electronic tools the with well as equipping students project a research develop to required within this field. The programme of original work,promotes production basedor group individual through that is conceptually-driven, research, wide- challenging and aesthetically design and of sound ranging in its use music production. MSc in International Management MFA Interior Design International Heritage Visualisation International Management & Design Innovation Master of Fine Art Visualisation & Human Medical Anatomy Award: MDes in Interior Design Award: gsa.ac.uk/interiorspg the taught over A one-year programme, course of which students develop a portfolio ofreflective work to a Emphasis is placed standard. professional on the fundamental exploration of issues facing the subject,value of the of technologicalappropriate levels the of and an understanding intervention, importance of disciplinary autonomy as dialogue. well as interdisciplinary MSc in International Heritage Award: Visualisation gsa.ac.uk/intheritage one-year Visualisation is a The MSc in GSA’s the based at taught programme Studio. state-of-the-art Digital Design aimsThe International Heritage pathway the knowledge and skill sets develop to to deliver and required conduct digital The world heritage sites. of preservation a unique presents programme and to combine architecture opportunity heritage with state-of-the-art digital technologies, including 3D laser scanning, of historic sites and digital reconstruction visualisation artefacts, interaction and using virtual facilities. reality Award: & Design Innovation gsa.ac.uk/intmanage The by offered is This programme Glasgow of University and taught in partnership with The Glasgow School of oneThe over programme is delivered Art. via a weeks of 15 stages three in year, series of taught workshops, tutorials, set and lecture projects, and elective sessions and self-directed seminar-based The emphasis of the programme learning. the interplay between on rationale is user-led practices of design innovation, and research, theoretical underpinned by technological and economic the social, of contemporary management context and design practice. Award: gsa.ac.uk/mfa multidisciplinary programme: two-year, A both of these fundamental facts are of A two-yearsignificant. programme offers students an extraordinary study opportunity to their analyse studio practice in depth, develop and to modify, The it accordingly. and secure multidisciplinary context also ensures protected are developments that such defined ambitions. against narrowly to, and contribute from, Students learn of the the delivery programme curriculum, the experiences of their peers, wider art community basedthe and Within this within the Glasgow. city of is placed uponsituation a premium and initiative originality, independence, three alumni include enterprise. MFA Turner Prize winners: Simon Starling, and Martin Boyce. Wright Richard Visualisation & MSc in Medical Award: Human Anatomy gsa.ac.uk/medvis isVisualisation programme one-year This the with in collaboration offered School of Laboratory of Anatomy, Human Life ItSciences, University of Glasgow. to combine opportunity a unique provides actual dissection with cadaveric 3D digital interaction andreconstruction, virtual visualisation using state-of-the-art to facilities. It allows students reality to and examine human anatomy, 3D it in a real-time reconstruct for use in education, environment simulation, and training.

Graphics /Illustration/ in Design Innovation &MDes in Design Innovation MPhil or PhD in Fashion + Textiles + MDes in Fashion gsa.ac.uk/supervisors Design Innovation & Environmental & Environmental Design Innovation Design Service Design & Design Innovation Doctoral Study Fashion Fashion + Textiles Art Practice (MLitt) Fine Graphics, Illustration, Photography students can found on our be website & MDes in Design Innovation Award: Design Environmental gsa.ac.uk/designandenv taught focuses This one-year programme the It considers of ‘place’. the study on the relationship and material geography within aof a community and interactions to or location. It aims particular landscape for change and opportunities identify the through application ofinnovation to usethinking, design methodologies and to understand design practice as a means the human and material and explore that shape an environment. factors Award: Service Design gsa.ac.uk/designinnovation to equip students seeks This programme with the thinking, tools and ofprocesses the in innovation design, creating service conception, design of and delivery services and service experiences. It places an of service value the social emphasis upon well as its economicdesign, as As importance. part of the programme, students work with closely communities on and organisations live whichprojects, the Scotland, included NHS recently have and Highlands & Government Scottish Islands Enterprise. Award: gsa.ac.uk/phd specialist,distinctive GSA has a The that is culture practice-based research Our internationally. recognised widely and PhD supervisors include researchers historiansdesigners, architects, artists, offerand critics of world We standing. opportunities for part-time and full-time starting in of research, programmes year, January each September and for either welcome applications and will betopics mode. Enquiries about on their considered merits and on our expert appropriate to provide capacity research of primary supervision. Profiles research supervisors and current at Award: Award: gsa.ac.uk/fashionandtextiles The at Textiles and The MDes in Fashion Art is an advanced skills of School Glasgow postgraduate designed toprogramme of motivated Fashion the ambitions meet tograduates who wish Textiles and their individual and hone develop extend, isThe programme signature’. ‘design for weave, studio-based with workshops CAD, and knit, embroidery dye print and forand allows Centre access to the digital and (CAT) Textiles Advanced weave. jacquard MLitt in Fine Art Award: Practice gsa.ac.uk/fineartpractice one-year Art Practice is a The MLitt in Fine in pathways five with taught programme, Image;the Moving and Photography Drawing; Print Media; and Painting; Students to theSculpture. applying which identify in advance programme they pathway would to like study; they are staff within, and supported by housed the School of of the from, appropriate area The MLitt is studio based, and Art. Fine on centred practice. MDes in Award: Photography gsa.ac.uk/gip Graphics/Illustration/ The MDes in two-year the is run alongside Photography Design. It is aCommunication MDes in subject- three with programme one-year designed It is specific pathways. for thosespecifically students wishing to subject at postgraduate level, explore, specialisms in one of these three areas. their chosen Applicants should specify the application. in pathway

& Innovation Design Communication Practices Creative Curatorial Practice Design Innovation & Citizenship & Design Innovation Creative Practices Creative Art) Curatorial Practice (Contemporary Communication Design Communication Architecture Conversion by Architecture Studies Architectural Award: MRes in MRes Award: gsa.ac.uk/creativeprac Creative in of Research The Master highly to produce Practices aspires to able who are individual researchers integrate the traditions ofrigorous the autonomy with academic research disciplinary practices. In a multi creative of conscious environment, and culturally to examine encouraged students are the of academic enquiry and the place the in expression of creative forms many of social, historical and wider context serves The MRes discourse. theoretical qualification as a stand-alone masters for Doctoral studies. or as preparation MLitt in Award: Art) (Contemporary gsa.ac.uk/curatorial masters programme one-year This new aims to engage varied with modes of they contemporary curatorial practice, be or contemporary art collections, archives, practices. and performative relational a professional, develop Students which thefocus, through outward-looking of the platform become city and beyond jointly offered is The programme activity. and offersGlasgow, of University with the the city, with external institutions in links GoMA, the Hunterian Museum, including Guild the Common and more. MDes in Design Award: gsa.ac.uk/designandcit taught This one-year postgraduate offers programme students the opportunity to use design practice, to engage tools and methods thinking the changing social, with critically of economic and political imperatives contemporary Students on the culture. will engage with, programme examine, contemporarycritique, and propose and definitions of designemerging addressing by practice and citizenship faced technological issues political and society. today’s by Citizenship Award: MArch in Architecture (by Architecture in MArch Award: Conversion) gsa.ac.uk/archconv high a sufficiently who achieve Students standard final design thesis of thein the to to proceed may be eligible DipArch a programme leading to the ofaward Conversion), (by MArch degree, a masters there is where an opportunity to develop an aspect of the thesis in depth.greater on to the Students MArch progressing an individual prepare Conversion) (by piece of work final to their relating the Professor thesis supervised by design of Architecture. Studies Architectural in MArch Award: gsa.ac.uk/march Studies Architectural in The MArch driven and project is research programme with multi-disciplinary input, providing discourse. Programme for shared ground pathways Urban are Design, Creative Urban Building, Digital Urban Practices, and Environmental Energy Creativity, City, Theory of the Studies, History and Customised Mass Energy and Zero their Applicants should specify Housing. the application. in chosen pathway MDes in Award: Design is aCommunication MDes in which is practice- programme, two-year to in relation led and process-oriented The definitions of design broad practices. methods rigorous provides programme for the visual of interrogation and textual positing questions toresearch, relating and designer in society, the of the role personal questions regarding fundamental and social responsibility. gsa.ac.uk/ commdesign STudent FeeS anD 122 SERVICES FinanCe www.gsa.ac.uk/studentservices www.gsa.ac.uk/finance You should budget for each year Accommodation Learning Support & Development Tuition Fees of your programme of study and should As Scotland’s largest city and with five Help and advice for all students about the Tuition fees vary depending on whether you allow for costs over and above your fees higher education institutions, Glasgow process of learning, offering specific are studying an undergraduate or and maintenance, particularly if expensive has an excellent supply of student support to dyslexic and disabled students postgraduate degree, and where you are materials or projects are chosen. A accommodation, whether you choose to and English Language classes applying from. For up to date details on fees graduation fee (subject to annual change) apply for a room in one of the GSA’s Halls and support for international students. for students from Scotland, the rest of the is also applicable to graduating students of of Residence – all within 2 – 10 minutes’ all programmes. [email protected] UK (England, Wales and Northern Ireland), walk of the GSA campus - or rent a private the EU and International (outside of the EU) flat or room sharing with others. The +44 (0)141 353 4787 students visit our dedicated website pages. Part-Time Employment approximate cost for single student’s gsa.ac.uk/finance Many students work approximately 15 accommodation is £300-350 per month, hours a week to top up their student loan. but this can vary. Detailed information Student Counselling Service For budget advice and information, please can be found on our website. GSofA Singapore A confidential service offering professional contact the Student Welfare Service. www.gsa.ac.uk/accommodation counselling about personal or academic Tuition fees vary depending on whether gsa.ac.uk/welfare Directory related issues. students are Singapore citizens, permanent residents of Singapore, or international Student Welfare [email protected] students. For information or assistance regarding Our Student Welfare Service can support part-time employment opportunities, +44 (0)141 353 4484 tiny.cc/gsofafees you in your search for appropriate please contact the Careers Service. accommodation, at one of their gsa.ac.uk/careers accommodation advice drop-in sessions GSA Sport Cost of Living and flat-hunting workshops. They also Based on the following breakdown, we offer practical support and advice about GSA Sport is an association run by Financial Support students with an aim to promote recommend that you budget funding and finances, childcare, approximately £680 per month minimum Full details of the financial support systems immigration and the practicalities of being recreational and competitive physical activity for students. Groups and clubs (excluding entertainment) for a single of grants, loans and bursaries available to a student. student, and £950 for a couple. For each vary from running, swimming, rugby and students wishing to study at the GSA are [email protected] child, add approx £1,800 per year. The available on the finance pages of our football to salsa, yoga and kite-flying. A following is a rough breakdown of the website. Before you apply for one of our +44 (0)141 566 1414 full list of available clubs, prices etc can be estimated cost per month for a single found on the GSA Sport Facebook page. student living in shared self-catering programmes, you should ensure that you accommodation: receive any support to which you are facebook.com/sportGSA entitled. You should also be aware of any • Accommodation £300 conditions attached to such support. Our • Bills (electricity, gas) £60 website also contains details of mature student bursaries, disabled student • Food £140 allowances and discretionary funds. • Mobile phone (contract or pay as you go) £25 Scholarships • Miscellaneous (clothes, toiletries, travel The Glasgow School of Art welcomes etc) £130 applications for its many undergraduate • Entertainment – variable and postgraduate scholarships from • Travel home – variable eligible new students. The criteria for each scholarship varies. Full details and Estimated costs for materials, specialist application forms are available from our equipment and study/field trips are website: programme dependent, and are available on the programme pages of our website. gsa.ac.uk/scholarships Individual departments bulk buy some materials to save you money, and you will then be charged a set fee for usage.

INTeRNATiONaL www.gsa.ac.uk/international

Applications Visas Support The GSA welcomes applications for all its International students from outside the In addition to the support provided for all programmes from suitably qualified EEA who are not Swiss Nationals will need students we also recognise that students students from all over the world. to obtain a Tier 4 General Student Visa from outwith the UK sometimes require International applicants should apply to before being allowed to enter the United additional support. We provide free the School through UCAS in the same way Kingdom. If you would like to study at the English for Specific Academic Purposes as other applicants – see the How to GSA, it is your responsibility to determine classes for students on our programmes, Apply section for more details. Students exactly what you will need once you have and advice in applying for or extending a applying from outside the EU can do so at received an official offer letter from visa is also available to applicants any time between 1 September and 30 the School and well before your proposed from our Student Welfare Service. More June, although we advise all students to departure date. Please note, in addition to details can be found on our website. apply by 15 January as competition for tuition fees, that you are required to show gsa.ac.uk/welfare places at the School is high. All applicants evidence of £820 per month for living for Fine Art & Design programmes are expenses at the time of your visa also required to submit Supporting Visual application. International Student Guide Material to accompany their UCAS A wealth of information on visas, finance, application – this is done online, and The UKVI/Home Office website provides budgeting and living as an international details can also be found in the How to detailed information on the visa student in Glasgow, with links to further Apply section. application process for Tier 4 General online content, is available to download. Student Visa. gsa.ac.uk/international Interview and Portfolio ukvisas.gov.uk Most undergraduate programmes conduct a portfolio interview with Country Guides students before offering them a place. For students unable to come to GSA this is Guides to academic and English language usually conducted by telephone or online qualification requirements for your meeting/skype. country, arranged by geographical area, are available on the GSA website at English Language gsa.ac.uk/countryguides Please note that you must be proficient in English before we can offer you a place on Health one of our programmes. See the Entry Qualifications section for details on the All International Students studying in the qualifications we require. UK for over 6 months are entitled to the same free health care under the National Parent Guides Health Service as UK nationals, when registered with a General Practitioner (GP). View or download our guides There will be an opportunity to register for parents of international applicants with a GP during Induction at the School. translated into a variety of languages. gsa.ac.uk/parentguides

Working in the UK Students with the correct stamp in their passports are able to work for up to 20 hours a week during term time and full time in vacations.

124 Directory

(with a

(with a

Applying toApplying We accept a wide range of UKof wide range accept a We and international qualifications for our normal These are admission. as expressed entry requirements, qualifications most commonlythe for admission, which willpresented whenbe used as a baseline determining equivalencies. shown here The entry requirements the normal entry requirements are should You programmes. degree for this information carefully check application.your submitting before that entry requirements note Please theto alteration after subject are publication of this magazine and does not implytheir publication School that the must offer you indicated.the level a place at Please GSA websitecheck on the for current GSA Registry with or entry requirements. these met already have you If them) (or could achieve standards this does not will that you imply be basedOffers are offer. made an on your not only academic record but on your evidence of potential as personalyour outlined in and inthe reference statement, in the programme for suitability your application, andyour as indicated in yourdemonstrated through portfolio and interview (where that ourrecognise We required). wide a from applicants come of social, cultural andvariety we and educational backgrounds to consider applicationswilling are for those who dofrom admission the published not have qualifications forconventional admission to and/or who wish gain for formal or recogition informal elsewhere. study undertaken English Language Requirements DISCLAIMER: Undergraduate or GraduateUndergraduate Programmes  A minimum 5.5 in each component) Academic IELTS - 6.5 overall overall - 6.5 IELTS  Academic overall - 6.0 cademic IELTS Generally the School expects allthe Generally students to demonstrate proficiency whichthe English language, in shownUK students is normally for GCSE in English.or a Higher by will normallyInternational applicants evidenceto provide be expected toof attainment equivalent the following. International Programme Foundation (with aoverall 5.0 IELTS Academic minimum 5.0 in each component) Architecture (with aoverall - 6.5 IELTS Academic minimum 5.5 in each component) DesignBEng/MEng Product Engineering minimum 6.0 in each component) All other Undergraduate Programmes or Advanced Scottish Baccalaureate Entry Advanced 2 Entry Year Route Accelerated GSofA Singapore We are happy to consider holders of theof to consider holders happy are We Scottish Baccalaureate. Fine Art or Design 1 entry plus period of Year as Normally study equivalent to year 1 or 2 of the Course eg Foundation programme, degree withqualifications, normally or HNC/D Merit standard. BEng/MEng Product Design Engineering A Level exceptional have you If to gainHigher grades it is possible 1 study and enter Year from exemption faster route follow a or 2 Year into directly whichof both advanced entry programme, to allow you degree in onecomplete your information, more than usual. For less year see the University of Glasgow website at www.gla.ac.uk through Applications should be made in the Technology Singapore Institute of SIT’s that meet Applications first instance. GSA. by then be considered will criteria tiny.cc/gsofaapply

cottish Highers Irish Leaving Certificate S 5 may receive an offer based on themon offer based an 5 may receive AAAAAB the attaining by S6.end of Applicants these offers willreceiving HighersAdvanced to study be required subjects. in relevant Design Engineering MEng Product S5 including Maths andof end AAAAA by Physics. Grades and subjects required Scottish Highers. as per and normally English. and normally Design or Fine Art ABBB (one sitting) 4 Highers at AABB (two sittings). or Architecture ABBB (one sitting) 4 Highers at to include EnglishAABB (two sittings) or Art. and preferably or Physics, and Maths Design BDes/MEDes Product ABBB (one sitting) 4 Highers at at leastAABB (two sittings). Normally or the Highers should be a modernof one language other than English. Design Engineering BEng Product Entry S5: AAAA from or AAABB including or B/A A/B at grades Maths and Physics Entry S6: Applicants from who achieved or B/A inA/B at grades and Physics Product Design Engineering MEng Product the Diploma, including in overall 36 points Maths and Physics,6 Higher Level ABBB including Maths of a minimum

English Baccalaureate (Ib) Baccalaureate Language English International Applicants Academic Portfolio A Levels International Applicants to all postgraduateApplicants first a good should have programmes or subject area in a relevant degree or professional equivalent industrial to Applicants should also refer experience. on individual additional entry requirements programme pages on our forwebsite guidance. gsa.ac.uk/applypg School expects all studentsthe Generally the English in demonstrate proficiency to UK students isfor which language, GCSE inor a Higher shown by normally willEnglish. International applicants evidenceto provide be expected normally Academic to of attainment equivalent 6.0 (minimum 5.5 in each IELTS these are component). Please note and some programmesminimum scores – a higher English requirement may have on individualfound these can be programme pages on our website. theon pages See individual programme essay show reel, for portfolio, website GSA or other Guidelines forrequirements. of supporting materials can besubmission our application site. found at UK outside the shouldfrom Applicants forour international student pages consult details of fromaccepted qualifications specific countries: gsa.ac.uk/international Design or Fine Art GCSE ABB and at A Levels 3 orto include Maths ABB at A Levels 3 A. Grade GCSE English at and Physics, Design BDes/MEDes Product includeShould normally ABB. at A Levels 3 than English,other a modern language and GCSE English A. at Grade Design Engineering BEng Product AAB including Maths at A Levels 3 A. Grade GCSE English at and and Physics, Design Engineering MEng Product A*AA including Maths at A Levels 3 A. Grade GCSE English at and and Physics, Design or Fine Art the Diploma, in overall 30 points normallyincluding 18 at Higher Level, or DesignArts Visual including English and Students not presenting Technology. at Higher Levelor above English at grade 5 to submit an IELTS. will be required Architecture the Diploma, including in overall 30 points or including Maths 18 at Higher Level, Visual English and and normally Physics Students not Technology. or Design Arts or above English at grade 5 presenting to submit will be required at Higher Level an IELTS. Design Engineering BEngProduct the Diploma, in overall 34 points Maths and Physics,including 5 Higher Level English. and normally at Grade A. Architecture www.gsa.ac.uk/study www.gsa.ac.uk/study Graduate Studies Undergraduate 126 Directory HOw tO AppLy

Final decision communicated by 10 December 28 January 18 February 11 March 1 April 22 April 13 May 10 June 1 July 22 July 12 Aug 2 Sept The School will aim to process will aim School The for Decisions March. 31 by results oroversubscribed programmes the applications submitted past through deadline may be processed UCAS until 8 May Applicants must accept or decline 31 before offered 7 May ( if places by after 31 offered June (if or 4 March) March) Applications can be made from Applications can be made 15 September til 15 January for non-EU applications) June (30 Visual Materials must Supporting January 22 be submitted by assessed applications are Completed submission is Early on receipt. encouraged therefore late from will be held Interviews January - mid March. Interviews completed by 5 December 23 January 13 February 6 March 27 March 17 April 8 May 5 June 26 June 17 July 7 August 28 August

will be invited with advice on what to expect by Selected applicants - to Invitation interview 28 November 16 January 6 February 27 February 20 March 10 April 1 May 29 May 19 June 10 July July 31 21 August e informed Submit Supporting Visual Materials and Statement to GSA (not StudiesArchitectural for required Design Engineering)and Product GSA assesses application and Selected applicants Applicants ar Applicants accept (Firm (which you (which you bring with you) (ucas.com) visual material (if applicable) and against entry requirements supporting visual criteria (see website for details) for a portfolio interview – 20 minute discussion with two staff in interest your members about portfolio your and the programme Submit Application Form to UCAS of final decision through UCAS final decision through of or Insurance) or decline offers UCAS through

Application UCAS online Form submitted to Jan 2015 Sept 2014 - 15 15 for non-EU applications) June (deadline 30 2. 1. 3. 4. 5. 6. Acknowledgement ofAcknowledgement application by 2014 21 November 9 January 2015 30 January 2015 2015 20 February 2015 13 March 3 April 2015 April 24 2015 22 May 2015 12 June 2015 3 July 2015 July 2015 24 14 August 2015 APPLICATION PROCESS KEY DATES PROCESS APPLICATION Application Process Key Dates Key Application Process Postgraduate programmes at the GSA the at programmes Postgraduate no are there Although September. begin in for doctoralapplication deadlines (except application is encouraged instudies), early the programme. on a place to ensure order on a cyclical reviewed Applications are follows. August as – November from basis

gsa.ac.uk/phd APPLICATION WEBSITE APPLICATION application.gsa.ac.uk Doctoral Study Portfolio Interview Portfolio Help and Advice We enrol MPhil and PhD students in enrol We and are year, January each September and September 2015 for recruiting currently 30 deadline is Friday The next entry. with interviewsJanuary 2015 at 5pm, week commencing 23 March taking place 2015. Subsequent deadlines will be of how details due course. For available in ourto submit, see what and to apply website at After your application and Supporting application and your After beenVisual Materials (if applicable) have assessed the department youby relevant for a portfolio interview. may be called The portfolio interview is a two waytwo The portfolio interview is a to gain a better you allowing process GSA understanding of the and your chosen programme and for us to fullview your your about out more find portfolio and chosen specialism.your in interest will last around The portfolio interview will be conductedtwenty minutes, and will also be There of staff. two members by to tour your for you chosenan opportunity will you for interview, department. If called your of full portfolio to bring a be required the at by will be looked This work. the interview itself department before and should contain between 10-15 pages This would A1 of work, size. maximum work, and can best your be normally submitted ascontain images already Visual Materials (if required). Supporting successful of previously Examples submissions are available on the the programme website, in application Application Guides. abledepartment are Registry GSA’s The to offer help and theadvice through via email at either application process, or on their [email protected], Facebook page. facebook.com/gsaregistry

) gsa.ac.uk/applypg Applicants will be required to submit theto submit will be required Applicants JPEG images and The images should be The personal statement should be no already achieved (e.g. Highers, GCSEs, (e.g. Highers, achieved already A-Levels) the to from exams to achieve be taken done be will usually in 2014/15 (this your referee) by yourself information about background in motivation and interest your and chosen have you the programme studying or Counsellor, a Careers Teacher/Tutor predictedof any details which should give suitabilityyour on grades and a statement the chosen programme. for the uploadof images. i.e. if full amount site has 25 available upload boxes then please submit 25 images. than 200KB in size. cannot be larger than more 500 words. Details on what the personalshould be included in foundstatement can also be at the application website. A list of Academic Grades you Grades you haveA Academic list of predicted are you of grades Details Art an from – usually A Reference Completed Completed Application Form Evidence of Academic Qualifications Portfolio (see requirements on individual (see requirements Portfolio of Intent (a concise critical Statement x 2 References Academic of English Language Proficiency Evidence (if appropriate) of Passport Copy What to Submit to UCAS Submit to What to What to Submit to the GSA Submit to the What to What to Submit to the GSA Submit to the What to •  •  • A Personal Statement outlining •  • • • • • Your UCAS form should contain UCAS Your (along with your personal details choice):and programme to submit between 15 and 25 will be asked images (depending on the programme to) and a personal statement.applied thefound at details can be Full portfolio application website, application.gsa.ac.uk, following: the of but please be advised •  •  •  All programmes (with the exception of the exception (with All programmes DesignStudies and Product Architectural to you Engineering) submitrequire Visual ourMaterial through Supporting will be contactedAll applicants website. directly The by Glasgow School of Art, with portfolio submission details. Applicants Undergraduate Applications for postgraduate to directly should be made programmes for most documents School. Required the follows: as are programmes • pages, and atprogramme application.gsa.ac.uk work self-evaluation of your and the for wishing to reasons join the programme words) 500 GSA, approx. at • photocopies/Transcripts) (Certified (if appropriate) e.g. IELTS frequently Further details on how to apply, questions, asked entry qualifications and on available forms are application relevant our website at to: Applications should be returned Registry The Glasgow School of Art Buliding Reid Street 164 Renfrew Glasgow G3 6RF [email protected] Gradute Studies

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

Since the School 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, the role of the School has continually evolved and redefined to reflect the needs of the communities it is part of, embracing in the late 19th century fine art and architecture education and today, digital technology. Then as now the purpose of the GSA remains the same - to contribute to a better world through developing creative approaches with new audiences. www.gsa.ac.uk