 Let's try it. Oh yes, it's working, even I can hear myself. So it's very effective. First of all then an apology is just a spot of the type of the spelling mistake which some of you might be able to see in your head bone. Oh that's awful, if I was allowed to put a mark on the stratumnau university walls it would go over it now and change it. So sorry, my poor icing. But I've chosen the title. Ac mae'n meddwl yn y ffilm. Wrth gwrth i, mae'r ffwrdd yn 60 o'r ddefnyddio. Mae'n gwneud o'r cratio yma yn y Gyllid Gymraeg yw GSA, Pedia Trials, ymr�io gyllid yn ei gwneud. Roeddwn i yn ymddi'r sorg yw'r ffrindio oherwydd yw y chyrdwch yn Llyfrgell yn Helensbrough. Mae'n dwy o fynd y mae'r ffrindio yma yng Nghyrchaf yn 2014, a nid yn yw Peter. Roeddwn i yn ymddi'r ffrindio a'r ffrindio. Rwy'n gynch chi'n dweud yw'n ffoxid, yw'r cyfnod bwyd yn rhai i'r cyfnodd, ac wrth gwrs, rydyn ni'n ddynnu'n gwneud. Mae'n ddynnu i'r cyfnodd, ond byddwn yn gweithio. Mae'n cyfnodd. Rwy'n 60 o'ch rhan o hyn, o'r cyffredin ni'n gweithio. Rydyn ni'n gweithio i ddifartwch ar y cysylltu. Mae'n cyfrwyng chael eich ddîm, Mae'r bwysig yn ddim yn fwy o'r hollwg, yn ymlaen, ond, yma, yma ar dwy'r hollwg yn 2014. Mae'n meddwl i'r hollwg yn ymddi'r hollwg yn cystafol i'r hollwg, ac mae'n hollwg yn cystafol i'r hollwg, a mae'n hollwg yn bobl yn yno'r hollwg yn 2014. Mae wedi bod yn ei gwneud hynny o'r hollwg o'r hollwg yn y bwysig yn y hollwg. Mewn gweld addangol yw ddim yn siarad ac rydyn ni wedi'u defnyddio fyddio y byddwyr tîm oherwydd ei bod yn defnyddio'i gwybodau er mwynhaf fel eich llaw i yw'r wynau, i'r tynnu oedd ymlaen oedd y dalwyr i chi'n lle o'r ysgrifennu mawr newydd, a'r graddion gwlad yn 자edd ar y bydd y bwyr i'r ddiwedd i gwasgolau. Mae'r wath am y bydd hwn yn cael ei gwasgol a'r bydd, ac yn eu gweithio'r dyfu a'r hanes, yng ngzydwyd iawn yn ei mweithio gyfanol y Glaesgo ac oed i ddweud dwi'n Penol. Rwy'n credu, mae'n cael ei gwaith... Pan yn gweld y Lleidol, y Lleidol yma. Mae'r argwr plwyth крasol Lleidol iawn. Gweithio'n credu cy starvingu'u cwyl sydd na chael yr artist a llwyddo'n gwneud eich taithu yn wychydgol wrthyll drwng pa'r bruns a'r llwg hwnnw i'r rhanion o'r cyfrosol. Mae'n haf fach gennydd i'r tyniad hefyd. Mae'n cystro am gyframe hwnnw. ond mae weithio'r llweinach yn cyflaenol, sy'n hyffredig fel yllan â gyntaf oedd y Llywodraeth yn ein bod yn Maen pu ddweudio hynny i fatha ac y Llywodraeth yn siŵr yn gwych am y siŵr, ac mae hefyd yn achosigl. Yna Maen angen i gychwyn am yr heb o'r sgol yma, ac mae'n cadw ychwaneg i'r llyfr yn y Llywodraeth. Yn y math ymgylcheddol, ond y gallan maen yn Sefydlu'r Llywodraeth. Mae erdwyr ymnydd o'r holl gwerthu, ar y cyfan, The school is still very much part of the hill, and the community, a lot of students live there, have gone on to live there, and the community itself is full of people who have had an affinity, have been touched, I think, by Glasgow School of Art, none more so than, of course, last year, when so many people were awfully disrupted by and worse, really, by the fire of June 18. So there aren't many institutions that can stay in the space of four years. There have been two catastrophic fires, but, meanwhile, the school, as an entity and as an institution, has really continued to struggle and to be determined to deliver education and the student experience and also work with its community to make sure that, you know, that the broadening of the mind and that great generosity of spirit that comes through education is something that continues to be applied and extend and expand from that site. And it is very much what we expect of Glasgow School of Art. It is a world-known, a world-ranking institution, and it punches well above its weight. I'm just going to leave that on site for a moment, because it'll run, and it's important if folk don't know, because actually it was very important in the case of the first fire, just how the fire was stopped. And what I want to talk about tonight, because I was asked a year ago to do this lecture, so it was actually before the current fire of last year. That, by the way, the circular building is Henglaas Circus, as it was well known. It had various lives, but that's still there as the O2, which was also very badly damaged last year. But what I'd like to do is still talk a little bit about the project that happened, because it's very relevant, I think, what happened after 214, and the work that was done, because so much of that work at the time has now prepared us so much better for what has to happen this time. If we'd had the fire that we had last year, and it was the first fire the school had ever suffered, and that would be normal enough, we would really have been struggling, because so much was, we thought we knew about the building, but so much more was known about the building after the fire in 214, with the surface that were done, with all the digital scanning, with all the research that was done over those three or four years after the first fire. It's a hard thing to say there's a silver lining, because there really isn't, but I suppose if you were looking for anything, the fact that there's been so much time to really crawl over every inch of that building using the technology that's available to us now, means that we're much better placed to look at a reconstruction, not a restoration, as the first one was called, but a reconstruction. But that's quite an important slide there, just captured I guess, the building is probably a lot for you do know was built over two, over 12 years really, the money was only available at the start to build one half of the building, the east half of the building. So McIntosh had designed, well the brief was for a plain pragmatic building and it was quite puritan, that's what Francis Newberry wanted, he wanted the building to educe as he called it, I think a Latin phrase, he believed everybody has art and creativity within them, and it wasn't about educating which is something about telling you what you do, it was to solicit to induce the art from every person that has it. They have to work hard to attain that, but nevertheless this is what the McIntosh building was built to do, was to create a place where people would be able to explore and develop and build on their innate creativity. And what you see there is that when they did get around to building that second half, the second half with the library tower, by that time it was already outstripping demand, so they took the roof off the first half of the building on the east wing and then built up this fantastic long lantern light along the top, with more studios there on the east and there on the right, the professor studios and the library tower coming in and studio 58. So it's quite a schizophrenic building, the front fitted well with the tenemental form of Garnett Hill, it was quite industrial, those huge windows. The back was like a Scottish castle rendered using Portland cement that wrapped around and cloaked the building, so that was the so-called cheap elevation because it was brick and then hard. He was working to a really strict budget the whole time, which he utterly ignored, so it was meant to be £14,000 the entire competition, the first half got built for £14,000 which ended up being £21, but the time they'd finished the entire scheme it was £42 million, which is, sorry, not million, thousands, it's extraordinary what you could do in those days with £42,000, but it had in the end four different faces because it spanned his crane, it's undoubtedly his masterwork, I'm going to move it on from there. This was a fantastic photo opportunity for the building when the Newbury and the Foulas towers were demolished across the road, if anybody remembers, fairly brutalist buildings across the way, still much loved I think by a lot of the folk who graduated from them in design and silversmithing and whatever. But we had this opportunity to stand back across the road and take a kind of corrected verticals image of the Macindosh, and you just see there just so extraordinarily beautiful a building it was really, so as I say within the street itself, within Renfrew Street it actually fitted in pretty darn well, Creme Sanson, it always looked a bit pink and that slide makes it look a bit pink, but that's just how it weathered. But a plain building nonetheless, using the money it was being spent on the huge sheets of glass there or the big first floor studios, whenever people walked in for the first time if they didn't know the building at all, they'd always think if you lost the floor, particularly if the fire, they thought if we burned through in it, no, they were nine metre high studios capturing the northern light. It was very important at the time, obviously that in Scotland time it was on the very first buildings to non municipal buildings to use electricity, and it was drawing electricity off the cooperation on a very cheap rate, but it didn't want to be switched on at all if they could help it. So during the summer months they always ride on natural light, but of course in the evenings where a lot of the classes were run and where Macindosh himself would have gone if he'd been a student and he built it, so he wasn't a student there, then the evening classes were truly paid for so much of the schools really operating, they had to have the lights on, so it was really important though how much unadulterated northern pure light you could get into the building for painting purposes in particular. That's what we have left today of that front facade, so I will show you some other images, but just to keep going back and forth if you can keep with me. So what you've got there is a drawing of the building in the black and photographic imagery of applied to that so that we can start tracing how much storm we've lost in the second fire and the damage to it. So it doesn't look it from that slide, but certainly you can zoom right in and look at very hairline cracks on that and we're just doing a lot of the work just now to just quantify how much we have lost and how much more will be lost because without a doubt the windows which we lost, not the metalwork of them, but the timber frames saw these windows and the leaded ones in the middle. When the fire came out of those areas it very, very badly shattered the stone which I'll show you as it came through the building. So again just looking at that elevation, just a fabulously beautiful asymmetric, it looks symmetrical but obviously isn't, but the door and that central line of the double door in the middle is the central line of the entire building. But this is a lovely subtle juxtaposition of three bays, four bays, very neatly done, slight slimming of the windows on the right hand side. That was it after the first fire and at the time everyone thought dreadful, you can still see the fire appliances still on Renfrew Street there, but what we had effectively lost was the library which is, I'm sure you'll know in the tall windows there to the right of the slide, studio 58 above it and the bookstore above it or the furniture store above it. And the professor's studios and the main painting studios on this side were also very badly damaged, but a surprising amount had actually survived. So although it was catastrophic, we now look at that and think walk in the park. We could walk into the building, we could walk along those buildings and just see what the damage had been. Macindosh never did a great deal of drawing in his handover, but they are beautifully simple and very legible drawings and they cover surprising details. So it shows where, well for instance where sinks are going to be in each of the studios where the ventilation shafts run through the walls of the building. It was very early adopter, he was an early adopter rather than an innovator a lot of the time. Well he innovated, but he wasn't an inventor himself I think in many of his details, but he was fascinated with technology and making this building breathe I suppose with the height and with the scale. And also with the amount of people at that time in Glasgow would not have had indoor sanitary and there was things like TB in the air and a lot of fumes within the building itself because of the nature of the material. And the chemicals that they would have been using within it so it had to work, it had to really inhale and exhale as a building and he achieved that very very well. But you can see here he's got things like the lecture theatre at the top and then in this basement area he has the ornament and the sculpture studios down here. So he's within the clay of the building and the hill really and this is where he's putting his clay modelling people as well. So they're kind of coming out of the terrain I suppose, the heavy work of modelling. And on the top there you see cloak rooms, male and female. Again very unusual in its day and it was something that kind of came full circle in the last couple of years or in the last year when we were looking at putting the toilets back into the, let's go about, they'd been long since removed. Surprisingly no records of the loose, nobody photographed toilets, don't know why but everything else got photographed. Nobody has a slide or a shot or a video or anything, a selfie of themselves in the mactress toilets before they were ripped out in the, I don't know, probably successively over the last 50 years and renewed. But what he was doing at the time and this is Francis Newbury instructing this was putting in equal provision for male and female. It was very, of its time it was right out there, it wasn't just about getting men in to do sculpting, it was about women as well. And even in fine art it was one of the first institutions where women were allowed to do fine art and modelling and the drawback on that was always life modelling. So it was not always men but it would be female and male nude life models and there was a big taboo on that or an unspoken taboo throughout the country on that. And Glasgow was one of the very first to allow women to, I think, certainly with women and then laterally as well with male life models to work from the live model. So it was important that there was female and male toilets, interestingly enough what we were facing when we were putting the building back again within the last 12 months was the student body rising up and saying, no female and male toilets of course, we want gender neutral. So they didn't want to have the female and male which was a bit of a, well not on a problem but we think we're doing this authentically, we're doing this back to these plans and that was the female club room, that was the male club room and there was the one thing they were absolutely adamant about they did not want segregation of the sexes in the toilets. So it was an interesting revisiting of what Newbury was trying to do well meaningly at the time obviously. And these are the kind of students even then so you could see probably even then they were going to demand for something different. I always have to look at that slide and count the number of people and the ones who are actually just models and hopefully the guy top left obviously is definitely just a model. But there's a few others and I think there's four fake bits of people in there all together. But even then a rum bohemian equal male female mob of young, mainly Glaswegians and what is, Glaswegians are a bit further afield but what is very interesting nowadays we had an event in the building, I have to remember two years ago, year and a half ago, year and a half ago where we called it a Mac memories tea party. And there was in the technical education room on the way into the building we had two or three rooms which were not within the construction site and they were well not within the active construction site and we had lectures there for students and others. But we went through the alumni roles of the school and found everybody that was born basically from I think it was the mid-twenties. So we went through people and found the oldest people looking backwards is what I want to say. And we had three, we had five folk in the nineties, we had a range of people in their eighties and then we went to the mid-seventies and we sent out invitations to come into the building and to talk about their memories of the Macintosh being a student in the Macintosh building. And it was an extraordinarily privileged event to be part of where folk came in and they brought their degree show or their piece of fabric that they had taken for their dissertation but in the day it was a diploma not a degree. And they brought in their workbooks and photographs and they met people they hadn't met for maybe 60 years. It was a really wonderful occasion and we had facilitators on a table of about five or six people a piece and we just listened to them talking. And none of them had a photo of the toilets which was really annoying. And that was the one thing I kept asking any news in the toilets yet but nobody could have that. But we're losing the memories of the building and it was really important to us to try and capture some of the things that were interesting. But colour in the building for instance, everybody thinks it's a black and white building but there was colour in the building. And Audrey Gardner, if anybody knows, is a member of various societies and lives quite near to me who's in the mid 90s now. She came along and she told us what a particular piece of joinery in the big studios was for which I don't think I have an image of. But we were puzzled at this kind of flap down thing in the walls of all the main painting studios that we'd uncovered by taking off after the fire everything was contaminated and we'd taken off wall linings, basically taken off everything that you see in front of you in a room and found these incredible doors with stained glass in one case. We'd found a whole area of racking and we kept on uncovering things through the building which had just been happily encased rather than taken away over the years always. And she just said it was because we worked in easels in those days. We didn't work as artists on the wall like you do from the 60s onwards in those days. We still worked in the middle of the room, not on the edges of the room and worked on easels and at the end of the day at the end of the class you'd have a wet oil painting. You couldn't leave it there because somebody might come in in the evening so you put it into these kind of slots that were flap down slots then you put them in but there was lots of air around them and then the next day you'd come in and start working on it again. The things that had been kind of forgotten. That was the basement floor. When you got to the ground floor again you had male and female cloak rooms because again Newbury was really interested in having male and female teaching. Here you have the architecture studios at this level coming in also where he felt architecture should be a very functional discipline sitting at the ground floor of the building and he progressed from junior architecture there and that long run of studios there on the right hand side with the mountable walls between all of these where you could take them apart and run through into larger spaces into senior architecture and only very few people made it up to that senior architecture. You can see the proportions are about a third would make it. It's not dissimilar today architecture is still a really cruel industry to get in. You see in the space of the two gray areas at the top of the site these are the top studes 8 and 11 because he was working on a very tight site and he couldn't build everything to the depth of the site. He knew the sites of the south which is 02 and another night club now on Suckey Hall Street were going to be built so what he did was he put them into the ground but he gave them top light and they were two very very beautiful studes. I am talking in the past sense because I know they've been horribly damaged as well and when you move up to the first floor again you've got these. These are the fine rooms the grand rooms they well not in any ostentatious but these were the ones with the light so they had top light from these roof lights and again these were the library and the museum which is the exhibition area and the design room were as well. So that's the big line of studios and at the very top you've got the the professor studios and the embroidery room which was actually strange enough. My favorite I'll show you a slide of it my favorite room much altered because they had taken the corridor when they built the Henry. They had built the corridor you see there just above composition room and taking it all the way to that doorway because otherwise you were walking through a class and it did at least spot that very beautiful room but it was a schizophrenic building. This was his elevational plan at the time back in 1897 and at the time he figured that once he built the east elevation on the left there which is very much as it is today minus a few bits he would do the same on the west elevation. That was the one he presented to the to the board of governors at the end of the 19th century. They didn't have the money and they said well come back and do it again by the time he came back to do it in 1907 10 years later the library on the right there was utterly different proto modern soaring jazz modern doorway down in the middle of the bottom there and just extraordinary use of I mean this is a building looking to the future. It's not about it's not about anything to do with any arts and crafts even in that sense he's absolutely heralding modern architecture in this elevation and it's the most extraordinary elevation still to look at. As I say in the first file that was the one that was most severely damaged and at the back well where does that start you know it's a fantastically mad building all the windows in the building. There were some that actually matched up but so many different windows in that building in each window every single window always had an opening pain. If it wasn't a whole casement it would be one little pain in the Henry had one pain that opens every window always went through the building was constantly getting through it and breathing and you see what he's looking at 30 years later when he's looking at castles and this is the summer palace of the Queen of Aragon in the Pyrenees. And you know what was in his mind he's thinking about Scott Peroni was a great nationalist about Scottish architecture and castellated architecture generally and he felt Scotland should reclaim its own I think and develop its own type of architecture but also very much looking to the future. The reason I put up some of these wonderful images and these are still with us thankfully these images these are the things that really guided the first restoration project to the detail that we could move to. So the logia on the top right there the lecture theatre down below both of these are these lovely setback spaces and again Mackintosh I think as a man had this wonderful forward thinking attitude and understanding I think about how an art school would work. So there's a lot of talk nowadays about if you go to Google's headquarters or Apple Mac's headquarters they have bean bags and shoots and you know places where you just have incidental chats in a corridor and a cappuccino et cetera but Mackintosh was doing this over 100 years ago so in the logia you've got these little setback bays where you just have a stool and put a little shelf you can pull down and work on and again outside the lecture theatre he could have done that as a straight line but he's just made these scalloped benches and this appears if anyone remembers the main one. I mean library corridor with the fantastic full height timber booths where people sat and smoked all day until reasonably a long time ago. And then the library and this image of the library was taken we can actually dated almost exactly as to when it was taken and it was about 1909 in the August before the main periodical table arrived because they're using a different that some of the furniture hasn't arrived at that point we've got the bill of quantities and the job book. The furniture arrived but the chairs are what he had specified for the space and it was really after the first fire when this room was utterly destroyed apart from the metalwork these photographs were absolutely essential it allowed a team a very young team from our architects page and park and two people in particular to work on this to the nth degree to the point that they could look at the archaeology on the site images of it that had been captured. Videos obviously and what remained of the library itself and be at the end at the point we were installing the library which we were just before the second fire and they would say stand up in a lecture theatre and say they felt they had 98.9% I don't know why that but you know there was always but you didn't quite know which would normally be behind a book a book case or something like that but generally speaking they felt they had knew exactly how that library being built from the evidence that we had from photographs such as this and what you what we. Know now is if you see the far column I think people not people but you know there was a kind of common thought at the time these were great big stansions of beams of wood that went up and held up the balcony but what we know now is that very cleverly we know in again in the job book that Macintosh had wanted it done in oak and he'd said it would cost 400 pound more to do it in open pine and he wanted oak and the Board of Governors at the time said well we'll think about it son see how you can make savings elsewhere and then he didn't. So they said we can't have oak but these are in fact tulip wood and there's a piece of a square piece here a square piece there a piece of cheap pine running at the middle a plate of tulip wood and another plate of tulip wood they're very very thin like almost a veneer so they do look and tulip wood has the. Which is from the North East Sea Buddha of the United States tulip wood would have been a very readily available wood at the time also one that is known to be the softest of the hardwood so it can be chameleon like it can do what you want with it you can kind of twist it into what you want and it takes a color very very beautifully it's very even grain and it could be stained to look like oak so he used a kind of a slightly you know chameleon wood I suppose and he did make that building look like an oak interior but and you can see from that again if. Remember before 2014 that the library was very dark space but it is actually quite a light finish on that so when we were doing the research on it we found that it had been actually a blend of almost oil paint almost an artist oil paint that doesn't exist anymore in professional painter and decorators kit of parts but it was a pigment oil that you could rub into the woods it wasn't paint it wasn't stained but it was like something you'd squeal out of a dail around the tube in those days you'd get in big vats and I think they can still get it if you. Ask for it from places like what are they called Elliot's is it on Finnison Elliot place that the paint mixer up a who'd be we're around at the time in fact on the map was built an incredible industrial institution that's still over in Finnison in the West End and these images again very helpful to us at whatever stage we are top right we've got studio 11 one of the top lit so the top left and then studio 58 here again top top lit and light from all four sides in that particular. Tower the tallest part of the building so we look at these and look at what he was doing with lighting which was really clever at the time so he uses a lot of bear bulbs he's celebrating the fact you know he's got the mod cons he's got the electricity it shouldn't be used too often but he but he's definitely saying here it is I don't need to press these up this is fantastic but what he is doing in the in the top studio then modelling studio is these are on a system of runners called the Laurie and Engelfield system which again we found a patented system but very very early. The use of it and particularly in a scene such as this and what you could do is pull them across on wires and group them over a particular object you can lower them you can tilt them you can add shades them like the top left shade has got so you can focus beam of light on something so the students can actually work on a piece or scatter and work in the far corners. It's very simple it's just a bulb on the end of a wire but the way he was using it and manipulating it was absolutely innovative of its time and of course very very she she in vogue-ish now if you go anywhere and look for LED lights which are all the spare bulb technology as well. And the bottom left is the embroidery studio selling about so that's the one at the very top of the building that got added in 1909 when they took the roof off and what I love about this is the fact you've got three different types of window opening. You've got the top lantern light going north and then you've got south light and he was constantly modulating light so that the south light would have been absolutely harsh at times so he's punching the holes in that rear castle elevation and then you've got this lovely grid window down at the bottom as well. Of course that room has never looked like that for a long long time not long after they continued this corridor and took it right the way to the door at the far side so it blocked out that light from that side and that's a potential opportunity for us going back having is now no longer. Whether or not we put that room back and have that fantastic three point of light type of light coming in which personally I think we the school should do. Anyway to take us leave us forward a little bit. That was the opening of the reed in March 2014. Everything was good. We just had the new building. It was an international American competition winning design for the School of Design so that's the School of Design on the right is the School of Fine Art. The board is where that photograph is taken and that's the School of Architecture so we have this tight wonderful campus a new public realm betwixt. On May 23rd that was the first fryer but the fabricated put it out at that midpoint. They were pretty heroic and I say heroic because not just because they did their job but they went back in and they rescued the archive which is essential for us and they rescued the furniture gallery and they rescued a lot else beside and they helped students go in because it was the start of the degree show. There was a lot of devastation at the time that was the hen run. That was the library but we could stand on a floor and look in at the library at that point and that was it when all the archaeological excavation had happened within the space and the ladder beams had been put up around the windows which were again badly damaged. These are these pillars which we began to unpick and realise how they've been put together and made. Once the building had been cleaned and taken back obviously a lot of sadness and a lot of loss but it was still substantially there and it was very badly beaten up in that corner indeed. You can't underestimate the loss of both the library and the store above which had furniture and paintings in it but it was a 20% of the building probably is what was affected and even then there was survival. This is from the library extraordinary in the inferno that it was but still some things had survived. The textiles were down in the basement and the whole archive was evacuated thankfully so everything came out and they were dried across the road in the reed building before being repackaged and put together. It revealed things to us because I mentioned about the walls in the studios that were removable and the old planks you could see it's not actually quite fuzzy but what you're looking at there is these walls over the years as Macintosh had designed are just single planks that go up to a down stand where the lath and plaster is above but you could take them out so you could move through one room to another room to another room if you wanted to have three large rooms or you could have two and one or three individual ones. But over the years they'd been plasterboarded over and then services had put on to them and fixed in place and sockets so they just fixed into those spaces and then putting the building back we were going back to Macintosh's flexibility again. Very forward thinking very modern in his flexible space where you could just pull back walls and have large events happening in them or five aside football matches or whatever you cared for. And other spaces again this is on the east side so it wasn't affected by the fire you know the stairwells on the right side we had a lot of soot damage but the hard surfaces this is the Glasgow marble so called and it was where Macintosh again working on that budget was doing nothing fancy but he was doing a kind of Roman cement. He was actually known as Keane's cement and it's still called that in America and we'd found out it has alum in the mix and it's made up of quite a rough scratch coat and a very very thin very fine top coat of this Keane's cement which you polish with the pallet effectively and you just get this lovely rendered cement finish so we'd found out how to do that again and repair it and also to clean it. And they're big hard surfaces you know so we could work with them and these spaces again are absolutely sculptural in how he had designed them that's again you can see it's on the east side and that's the matrim window so that if you remember from the animated model that's when he had to add a staircase on both sides for the new floor. So this would have been an outside window it became an inside window but extraordinarily done and I don't know anybody else who could have handed that was such canash to actually build a staircase at the front of your building and make it so a thing of beauty in its own right. This is probably one of the sentiments that had guided us at the first fire in so far as we lost a lot of material but we felt we could get under the skin very much of the man and of his thinking and what the intent had been in how he built the building and that we felt if we studied that well enough and hard enough and I don't mean myself by that but you know a host of people from our archives and researchers and the architects and the engineers. But if we brought that together we could rebuild this building and of course a lot of the questions at the time even more so now were you know do you want to rebuild the library why would you do that because it's gone it's gone it's a moment in time and you'd do something modern now you'd get in a modern architect to do something. And I think the school at the time felt well it had just finished its big you know expedition and adventure into modern architecture with the rebuilding it had got that out of its system and that's sitting there very beautifully. The Mac was a room in a glorious house that it had lost and you wouldn't redesign that completely if you didn't want to you know if you loved the room you'd bring the room back. We had all the drawings as we said at the time Macintosh never actually built it he wasn't the man with the saw or the nail or the hammer he designed it we still had the designs and we felt new craftspeople could do it if they did it correctly and with integrity so that was definitely a guiding light for us. I think it's his own words in some ways as well. So the first thing we did was put a temporary roof over the building at the time we're thinking about that now but there's so little interior left. And then there's two slides which are quite wordy and it's this one and the following one but they're probably quite important. We had to look in terms of conservation just what is the right thing to do and the answer is there's no one right thing to do. It's not it's too complex for that but we worked through one of the best known of the conservation charters and there have been others since certainly but the borough charters still I think holds true very strongly in that you can restore something. You must never fake anything up you should only do it if you have enough evidence to do what you're doing and it's appropriate where you have something of such cultural significance to actually try and bring that thing back and even to impart back into it the use that it had. So there are various things there that talk about where you should reconstruct, where you can adapt, where you can insert new work and where you just repair what you've got very carefully and in some cases make it very obvious indeed what you're doing in terms of the repair. And there are various places where we did do repair. The majority of the building was actually repair because so little had been really damaged, a lot of smoke damage but other than that it was about bringing it lovingly back I think. There was a lot of reinstatement of things like for instance there had been lost over the years so the plaster work had been lost in a lot of the studios and in the ceilings where they'd come down over the years perhaps had been put back up in plasterboard or there'd been new services riddled through. And we worked with incredible subcontractors which we'd hoped to have back in and I'll show you some slides to put in some really wonderful beautiful plaster work and those skills are still with us to do that. There was a lot of conservation of fabric we had and the sculptures there which were still left within the building. We lost about three or four the first time we've lost more in this fire because some couldn't leave the building so about 20 to 30 were lost this time. And that's in itself tragic. I mean a lot of these sculptures are held in places like the Louvre. We have a request at the moment to go in plaster of Paris one of their sculptures. I'm sure they'll tell us to take a hike but we just thought we'll ask anyway and see if we can take some moulds. But Edinburgh College of Art for instance they have their sculpture quote and a lot of them are duplicates and they were sent around the art schools at the time but the ones that we had we did a lot of conservation work so I'll show you one again just a little bit later. And some were entirely reproduced. Things at the library were starting from scratch but were being done with such attention and love and we had the new technology to help us through this project which was still is a reserve now of information that's computer held of billions of pieces of data. That have all been put into a computer model which will help us so again that was the view after fire number one the building was you wouldn't kind of almost have known but you could these windows were later additions anyway in the 19 about 1948. They had been hopper windows that opened in and they become casement windows you can see the kind of vertical windows so we were changing those back and those windows had just started to get installed in 2018 to the original profiles and they would have made a stunning new difference I think to the building. Wonderful work at the time all aided by the invaluable addition of the national drink obviously and this was constantly found it was like the traffic cone on Wellington on the site and we kept on taking them away but I think it became a kind of game with the seal guys not the masons they didn't like it but they were winding up the seal. But it was mainly one or two stone masons who were consistently on this job because the main area of stonework damage was over at the library end and some lovely apprenticeship work done as well during the project. So this is the roof going back on in the first project and that was the same room with its timbers going in the fireplaces all it had survived and that was just before the fire occurred. So the roof timbers had been darkened down the chimneys had been plastered again this is the professors studios at the top floor and the fantastic Douglas fir planks beautiful planks which were smooth on one side and rough on the other and the joiners were furious because they were being told to use the rough side and put the smooth against the wall and they wanted but that's how Mackintosh had it it was very rough it was called rough from the saw plane from the saw plank and that's what was being used. This is the roof going on on studio 58 and again extraordinary work here with scaffolders working with riggers working with glazes working with stone masons to cut pockets into the gables working obviously with these fantastic joiners JCG from Dymfirmland and lifting in these massive balks of timber. The harling was being finished using Portland cement again we looked at using other materials but actually the Portland cement worked well and put all put all on together it was it was coming out very very beautifully. Rooms like this again the plaster which is the architecture studio on the ground floor and notice things like Mackintosh and there's no doubt about it his obsession with not breaking the light so those tables will have been designed or specified by him they do not break the sill height of the window. Everything it was down to that level of detail and again his slung lighting but very very simple good and timber floors above with lovely soft plaster work that was it after the first fire so it's still there that was it just before the fire again just lovely plaster going in and ironically and sadly that is the miss suppression system pipes that have to be obviously exterior to the fabric which would have did rather spoil it but were necessary. And if you look at things at Euston station you can see you know he was again very much a forerunner of the simplicity and the beauty of that kind of work. The logia, new timbers going in, glass being put back into logia, the hen run that was it not that was it having been altered you can see the flashing discoloration there at the top of the roof and that's because the roof had been raised because some of his details were not great all the time. And on that one he had a quite a flat roof originally but we hadn't realised it until we took it off and because it had been so badly destroyed and realised there was a lower line to that. And we can see that from the photo on the right so we at the same time found photographs in the archives and not just showed us that the roof was much flatter than the probably better a chedding water version that's on the left. But they also had these lovely converging verticals so not just the wall had had astragals going along it but the ceiling did as well. And what that does is create a kind of infinity tunnel so the whole building very much very much was a tool for teaching you would sit in the corridor and you could draw a vanishing point. And when we started to put all the back again and you can see that with the original pitch put in it still has a pitch but it's only about two and a half degrees not seven degrees. You can see that when the sun's coming through us it's due south you've got a grid there and you can start looking at perspective and how to measure and draw things at a distance. And it was all about teaching you things like this. And again when we started looking at through the archives in the interior now in the Kelvin Hall they allowed us in just before and there was a detail that this is as the building is but we found his drawings in the archive and they actually show this slanted detail at the top there by Professor Studiw. And we thought well that again is a better detail actually that will shed the water. What it wouldn't do is allow the professors to sit there and look out the window. So whether or not there was a change we don't know but certainly the detail was a flat one. And again similarly this is the building after the first fire in studios that weren't affected but there were maintenance issues so that's kind of tape across one of the windows where it cracked and the top of the studios. But when we got into those areas we found that again that grid had been in his drawings and so these were going back in patent roof lights with the grid again. Everything was made up of this square, this module in the square straight in the building. The main corridors were being stripped back to this lovely honey coloured wood which we knew was now the original colour of the wood. Studiw 58 had got new timbers coming in. That was a dark studio and you can see the roof timbers there again. I don't know why but it was darker but the bulks of timber there, the big over 9m high timbers were actually from a mill in Massachusetts that were floor joists and they were brought in to form the beams, the four posts in this very Japanese style studio. And they would have been of a mill of exactly the same date as the building so it felt the right thing to do. And I think I've called that the shock of the new because when that and again you know look at the lightning through of light and the sills there's no doubt there was a lot of discussion of the things at the chairs because the chairs were a little bit low. Not for somebody of my stature but for bigger people, abnormally tall people. They would have found those quite low by about two and a half inches from a standard chair but they were all about fitting against that sill. He worked down from the sill down and that was the height of your chair. He didn't work from the floor up and what your legs were doing. There was nothing to do with that. And it goes over the time that you can see how dark the library is just before the fire. I think there's about 212 this image is taken. And you can see the chairs that had been moved around and switched around a little bit. But this is the prototype bay that we had built by the very excellent Edinburgh based cabinet makers that were doing it. So we asked them to do a full height bay. Now this bay will probably come back to school quite shortly and be put into the re-building. And they'd looked at the analysis of the paint. They'd looked at the carved details and this is the colour the library would have been we think originally. So it would have been shocking for folk to come back into the building Easter this year because it would have looked very different to what we saw there. But we do think that's how it was originally and it would have darkened over time with the effect of light but also through I think the school itself had painted it or varnished it in a different way. And these lovely balusters were coming back as well and these fantastic skills of one man doing all these lovely pendants who's finishing that work anyway. None of the carved detail was brought on site thankfully so that's still out in the warehouse somewhere and we'll come back. So very quickly the second fire was appalling. This is taken from the roof of Blythewood where my office is, Blythewood school of residence by a student. That was not long after the call was made so the speed and the intensity of that fire you see the museum down there on the left with the four people were looking at only the eastern side of the building at this point. But it's an appalling fire, really appalling. And the next day that was the scene from the air, the entirety of the building and the O2 arena as well. You can see the circular form behind it taken out. We were very quickly on the scene with the scanning equipment that had happened in the first fire. Now much augmented so we were very quickly able to say if the building had moved anywhere it had in one or two areas. So this is all point cloud data from lasers that's been fed out, brought back in, compared against the building from before. And very quickly a massive amount of scaffolding was put up to hold it both on the outside and from the inside from any kind of collapse. That's the damage to the library windows that have been very beautifully restored and finished. The windows were going in so the Italy shattered. This fire didn't just burn on the inside it burned everything. It was burning stone. So we are very speedily the wonderful man who works with me called Tom Simmons who is in charge of craft skills and training. He became overnight the salvage operator and has been cattle tagged here. If you can think what they look like, tagging every bit of stone that's coming off the building, every piece of metal. So that has barcodes and we're plotting where they come from, where they would go back to. If they are capable of low down the building that fantastic jazz modern doorway is still good. It's the only bit that wasn't damaged at that lower level. Inside, as I say, the only thing that survived, the fire brigade didn't put this one out. It stopped finding anything to burn. So that is the horror of the inside of the building. The brick is done alright because brick is made by firing. But you can see even the steel has given way to the pressure of the heat and the stone is appalling. There will be fine. So in the first fire there were fine. In the library we found the lights. These are the art school. This is after the first fire. We found these little flat packed bits of metal. We did it on a grid at the time through an archaeological survey. Those were the rights when they were in situ. We packaged them up so we gridded where they were found. Then when we got a kid apart we thought probably because a soul double melted. That all belongs to one. We found most of the lights. I think in the end of the 53 lights 17 are composite. But most of them are complete sets of lights that we were able to bring back to. Absolutely. It's not a terribly good image but the one on the right there shows you the lights coming back and then they are burnished up again and the new pieces being made there. But they will come back and look like they're new. The brass is extraordinary. That level of attention and detail, things that the furniture of it hadn't gone back in. It was being made off site so that that will continue. We won't be putting back in the mix and match chairs that were there. Just one that we thought were original. The clocks are off site in the archive. We lost two in the fire I think so they're being remade anyway. I think I'm on the last few slides actually. Leicun was one of the sculptures that you can see was very near the first fire. He's been lost in the second fire which is terrible. We had digitally scanned him and you can do as a project actually. So he'd been wonderfully restored and we were keeping the black because we felt that's how he'd become. He had been painted white all his life as a capacitor cast but after the fire he was very much damaged. He was wonderfully captured on film actually having. The way that Graciela Ainsworth, the wonderful Edinburgh based again conservator that was working on this had to do this because you didn't know how much damage had happened on the inside. One of the studios, this particular studio was set up when you're in a hospital ward, you get those things, you move along with the sale line drips on it. So they had epoxy resin or a form of consolidant that was being pumped into him and he had those by the side of it. So it was like an A&E ward. All these sculptures were these things in their veins being consolidated from the inside. But unfortunately he was finished. He was almost certainly lost in the fire from what we can tell. He's not sitting on the floor because the floor doesn't exist anymore. He was captured through a wonderful virtual reality project. And I've seen it and you put on the virtual reality goggles and helmet and you can still walk around him completely as if he's right there in the room. It's a very emotional experience. And what was interesting at the time was Lacune. This is at the Vatican. He's meant to be the embodiment of human agony. He sees his children killed by a serpent or something in front of him. And we always thought he was marble and that's where the school always had in white. But in fact he was originally a Mesopotamian bronze. So he would have gone black over time with the action of air anyway. So we can remake him if we wish to. There are copies. This is a little project one of the students did. So we have on the right hand side a latex 3d print out from a machine because we've scanned him. One is an actual plaster cast. One is done in bronze. One has been done in plaster and then blackened and whatever. But plaster casts are something we are able to bring back to the building. It's more about the spirit of the building I think as much as a lot of the things of the building. So finally I just wanted to end on education I think. One of the things that we were told by the now director of the school. So I will dump her in. She used to say to me because she was the head of the design school. You don't need flow sockets. Students hate flow sockets. Staff hate flow sockets because it limits them and they stick up and they trip and they jam cables in them. And of course we were having to put a huge amount more services in the building to accommodate what people now need. Which is a phone charger, a computer charger, a camera charger, whatever. And just everything on your desktop. And she kept on saying to me by the time it's finished you won't need plugs at all. It will be all in the ether. It will be a walk in and everything on your charger. So it wouldn't have in a couple of weeks time so she was wrong. And we did put sockets in. I kept on saying to her well if we don't need them we won't use them. But in four, five years I mean the programme we are looking at now is 224 before the building would come back. It is really genuinely likely that we will not be using sockets. There will be by that time the pace, the race of technology is actually far greater. We have opportunities by putting this building back which I would love to do that room if we are going to do it. This was one of the studios we had. It wasn't even a studio. It was the old counselling suite that we had finished. And you can see the amount of wiring that was having to go into it. Just the service of building nowadays. I'd love not to have to do that if it were possible and to keep it clean. Mackintosh himself, I just want to end on a way because I suppose I started with it a tiny bit with the murehead bone print. And Glasgow in its soot and its smokiness which I suppose nowadays is probably what you'd see from space if you looked over Saskatchewan or something like that with all the fracking and things like this with all the environmental changes and challenges that we have. I think he was without doubt an environmentalist of his time. He greatly believed in the natural and the botanical and the living world, I think. And I think we were already looking at, that's taken off the time when the radiators were on. We were already looking at, we were underflow heating the library. We hadn't double glazed the windows. That was not appropriate, I don't think, but there were areas where we were using similar double glazing. We will be able to do a lot more this time because there's so little, or we have the skeleton of the building left to actually make this building energy efficient. And it would be wonderful if what we could do is actually look at this building and if you look at what is happening through educational and through research institutes at the moment and the speed of technological change about things like the glass can now absorb the sunlight and send it into energy through the building. Even the render, the render on the back, there's an incredible building called, I think it's Laplazzo Italiano in Milan, which if anyone's seen it is like a concrete forest. And it's made of concrete that in itself takes the pollutants out of the air. So it takes 70% of the pollutants out of the air by the way the concrete is put together. You can get concrete now that absorbs CO2 in the manufacture of it. So it actually isn't carbon neutral, it's carbon negative. It will take carbon out of the air in the way that we want the Amazon rainforest to do. So we should be looking at all of this. We've got solar voltaics, we've got water recovery. There's a huge amount plus robotics, which I don't want to get into particularly, but certainly the technology of even the construction industry so that instead of trying to think about what should happen when and the sequence in a programme, that can now be fed through incredibly powerful computers on some of the largest projects that are happening over the world to tell you exactly when your supply chain needs to come on site to absolutely minimise construction waste to run the project. And you still need the human eye and the experience, but the intelligence of that system now is something that we would be embracing, I'm sure, in a few years. So I think just to end actually, and it's actually remarkably going to be on time, I think without education, inspiration, innovation is going to be the future of bringing this building back. But what we will never get around is the creativity, I think, of what people, actually just people will bring to this and the integrity of the process. So it's the marrying of that, I think, that will avoid catastrophe and that will be hopefully done through the powers of not just the art school, but the wonderful experts that have come around and the people who still love what we have left of this building. So thank you very much.