Scotland’s Architectural Heritage

Patricia Ferguson Excerpts

Tuesday 5th November 2024 Westminster Hall

[Torcuil Crichton]

I thank my hon. Friend for the point that Glasgow is a cultural lighthouse and a beacon, although much decayed in present days, as he has noted. Its buildings do speak to the world, and hopefully will again when the Mack is restored.

Winston Churchill said:

“We shape our buildings and afterwards our buildings shape us.”—[Official Report, 28 October 1943; Vol. 393, c. 403.]

The Mack and Glasgow School of Art has certainly done that. It is a 20th century dynamo that has produced some of the most talented British artistic practitioners we have seen. Doctor Who went to Glasgow School of Art in the shape of Peter Capaldi, who is my favourite Doctor. Coincidentally, my good friend Annie Grace, a piper who was also at Glasgow School of Art, is sharing the stage with another Doctor, David Tennant, in the west end production of “Macbeth”. It is not just the previous students we have to think about.

[Patricia Ferguson (Glasgow West) (Lab)]

Having gone to school next door to the Mack, it holds a great place in my heart. I also worked next door to it for a time, so it was rooted in my life when I was growing up. It is incredibly sad to see what has happened to it, not only because of its architecture but because of what it has meant to generations of Glaswegians and of art students who have gone through its doors.

It is also disappointing to see, as my hon. Friend mentioned, the other examples of where we in Glasgow are not looking after our heritage in the way we should. The ABC cinema was also affected by the fire at the Mack, and just today, it was reported that some elements of it, which were meant to be retained, have been skipped, to use the vernacular. It is disappointing that we are in this situation and that Glasgow, which once respected its heritage, now seems to be ignoring it.

[Torcuil Crichton]

I think my hon. Friend was referring to Charles McNair’s portico in the ABC cinema, which has sadly been demolished. She spoke of generations of art students, past and present. It is for the educational experience of future students and those currently undergoing their studies at Glasgow School of Art that we should take cognisance of what is happening. They should not be overlooked.

In the years following the fire and in the absence of the Mack—the beating heart of the school—students were dispersed across the campus estate to workshops and exhibition spaces. That removed them from the concentrated network of experience that makes art education so enriching. It is essential that the building is restored so that generations more artists and students can feel the vibrancy and alchemy of Mackintosh’s masterpiece.

Despite a global outpouring of support and donations after the first fire, the restoration project following the second fire suffered a series of setbacks, and those setbacks only fuel the anger, pain and frustration of all those who love the Mack. A report by the Scottish Fire and Rescue Service published two years ago concluded that the 2018 blaze was so fierce and all-consuming that the cause might never be known.

Earlier this year, the art school, which is frustrated, as is everyone who loves the Mack, initiated an arbitration process with the insurers over what the hon. Member for North East Fife (Wendy Chamberlain) might describe as an act of God. It is a complex case and a complex claim. It does not take in the whole insurable cost of the building, but it has been slow and has brought the restoration to a halt until the case is resolved.

In 2023, the art school management also had to abandon its search for an architect to lead the restoration. The meter, of course, is running on that restoration because of a flaw in the procurement process, but thankfully, the GSA board is working on a fresh business case, which will consider the economic and cultural impact of the art school not just on Glasgow but on the rest of Britain and on the world. It will also take into account the pressures of the modern era—the rising cost of living, the pandemic and wars—and the effects they have on the cost of construction and particularly the cost of heritage reconstruction.

I am told that revised costs and completion dates will not be available until early 2025. Leading architects, politicians—such as my good friend Paul Sweeney MSP, formerly of this House—and heritage experts have expressed dismay at the lack of progress. They fear, as do many others who have the best interests of the art school at heart, that the project is faltering. The Mack is a landmark of national importance, and we are all collectively the custodians of it.