Scotland’s Architectural Heritage

Torcuil Crichton Excerpts

Tuesday 5th November 2024 Westminster Hall

[Torcuil Crichton (Na h-Eileanan an Iar) (Lab)]

I beg to move,

That this House has considered Government support for Scotland’s architectural heritage.

It is a pleasure to serve again under your chairmanship, Mr Efford.

Given my constituency, Mr Efford, you and the Minister might expect me to use this debate to make an appeal for the continued restoration of Kisimul castle, which is the jewel of Castlebay on the isle of Barra, or to talk about the lottery funded virtues of the restored Lews castle on Stornoway. Worthy as both those projects are, time is short, so I will move directly to my main subject, which is the role that the Department for Culture, Media and Sport and the UK Government could play in responding to what is not a local or Scottish issue but a national and international tragedy: the restoration of Glasgow School of Art’s Mackintosh building. I make a direct appeal to the Minister and to the Government to reach out and help with the complete restoration of the Mack.

It is a full 10 years since fire first broke out at the Mackintosh building, as students prepared for their final degree show. Scotland wept—we all wept—as the news broke and the fire spread through the building, destroying the Mack’s library, which was one of the most famous examples of art nouveau design in the world. The situation was grave, but a £35-million restoration was nearly complete in June 2018 when a second fire ripped through the building, engulfed the whole site and left a burnt-out shell of what should be a grade I listed building—the crowning achievement of Charles Rennie Mackintosh.

Scotland is still grieving and Glasgow is still in trauma over the loss of the Mack. The pall of it still hangs over the city and the tang of burnt timbers could still be smelt on Garnethill when I walked up to the art school last week. I think that is mostly because of the demolition of the neighbouring ABC building, which continues apace. The fire that damaged that building also took with it Charles McNair’s art deco entrance, so that portico has also been lost to the city. Indeed, much of Glasgow’s incredible built heritage is in danger of falling, either to the elements, to neglect, to lack of funding or to simple malicious demolition.

[Wendy Chamberlain (North East Fife) (LD)]

The hon. Member is making a powerful statement; as the daughter of a woman from Glasgow, I know the importance of Glasgow School of Art. He is talking about longer-term resilience when acts of God, or indeed acts of individuals, happen but organisations or local authorities do not have the funding to respond, as is also true with St Andrews harbour and Largo pier in my constituency. May I support his appeal for direct investment?

[Torcuil Crichton]

I thank the hon. Lady for that intervention and I will say later what is or is not considered an act of God.

[Jim Shannon (Strangford) (DUP)]

The issue means a lot to my constituency, because the plantation brought my brothers and sisters from Scotland to Northern Ireland, and they brought their architecture, culture, history, poetry and music with them.

In Newtownards, the main town in my constituency, the market cross is architecturally similar to those in Edinburgh and Glasgow. The local council spent some money on it. Has the local council spent money on the project that the hon. Gentleman is discussing? Does he agree with the hon. Member for North East Fife (Wendy Chamberlain) and I that these pieces of history in Glasgow and Edinburgh—and indeed everywhere—should be preserved for future generations, and that national UK-wide funding is needed to do that?

[Torcuil Crichton]

I heartily agree: the links across the Irish sea between Scotland and Northern Ireland are well known, and the influence of Scottish architecture, as I will go on to demonstrate, is worldwide.

Hon. Members have talked about other stories, but above Sauchiehall Street, wrapped in a white plastic shroud, is the burnt-out shell of the Mack. The site is sealed, like a sarcophagus, against the elements. The art school board, the engineers, the architects and the firefighters have all done their utmost and the walls are still standing, but there is no sign of a phoenix rising from these ashes.

The architectural value of Charles Rennie Mackintosh’s masterpiece is recognised all over the world. It was built in two phases, from 1897 to 1899 and again from 1907 to 1909. There has never been a building like it, whether in Scotland, the UK or the world. It is the inspired design of Charles Rennie Mackintosh. He was only 29 when he started work on it, which is quite humbling. Of course he did not do it on his own and he did not spring from nowhere. Not far from here, in west Kensington, the inspiration for a young Mackintosh can be found in the work of another Scottish architect, James M MacLaren. His towers and delicate spires find an echo in the masterpiece on Garnethill, which contains strands of Japanese design, modernism, art nouveau and sheer genius.

It was by combining three elements—imagination, engineering and art; as good a definition of good architecture as one can get—that the Mack was created. Unlike many of our other monumental buildings, it actually worked. For over a century, the Mackintosh building performed the purpose for which it was designed, combining exquisite craftmanship and design while producing an incredible production line of talent.

I never attended art school, but I was a citizen of Glasgow for many years and I did live next door to the Mack for a time. The second city was my second home, and I have many lifelong friends who are graduates of Glasgow School of Art. As the song goes,

“the art school dance goes on forever”.

The Mack runs through our personal lives as much as it does through the life of the nation.

In my constituency, I have many friends who are alumni of the Mack, such as my good friend Calum Angus Mackay, a photographer, painter and TV producer, who only recently produced a retrospective of 40 years of work since he left the Mack; Roddy Murray, the director of An Lanntair art gallery, ex-Dreamboy, local hero, actor and writer; his cousin, Ishbel Murray, and her brother Kenneth, who are both teachers and fine artists; Maggie Smith, a Harris tweed designer; Kenneth Burns, a landscape painter who has chronicled Glasgow and his native islands; Christine Davidson; and many others. Outwith the islands, there is Andy Scott, the internationally renowned figurative sculpture of the Kelpies, and my friend David Pratt, a photojournalist and war correspondent, who turned his unflinching lens on the flames of the art school as it was consumed a second time.

The impact and influence of the art school has been profound on all our lives—not just on those who were lucky enough to pass through its doors. Its structure is integral to Scotland’s identity and central to the image of brand Scotland we want to portray, and an asset to the UK on the world stage.

[Chris Murray (Edinburgh East and Musselburgh) (Lab)]

I congratulate my hon. Friend on securing this debate. Does he agree that the art nouveau Charles Rennie Mackintosh style speaks to a time when Scotland looked outward at the world? There are examples of that art nouveau Charles Rennie Mackintosh style in Paris in the Musée d’Orsay, and the Japonisme spoke to a Scotland that was looking outward. When we think of the art school in my home city of Glasgow being wrapped in sheets, we should remember that it is part of a group of buildings, including those on Waterloo Street and Carlton Place, that are falling into decay. Scotland is not looking out at the world and preserving its architecture. Does he agree that the new UK Government should step up to protect it, and that the Scottish Government also have a role? It is disappointing that no SNP Members are here to even listen to the debate.

[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.

[Martin Rhodes (Glasgow North) (Lab)]

My hon. Friend talks about the restoration of the art school. Does he agree that it would be an important impetus to give focus to an area that is so rich in cultural heritage and the arts? The art school is there, but so too, in the vicinity of Sauchiehall Street, are the King’s Theatre, the Pavilion, the Theatre Royal, the Royal Conservatoire, the Glasgow Film Theatre and so on. The restoration of the art school could be the impetus to bring that together and create a much more vibrant area—at the moment it feels a bit neglected.

[Torcuil Crichton]

My hon. Friend echoes the bare bones, or the Z shape, of Glasgow School of Art board’s economic case—that the Glasgow School of Art, and the Mack building, is the anchor for that whole zone of development in Glasgow city centre, because it is such an important landmark, one of national importance, of which we are all collectively the custodians. It should fall on us as a nation to restore the building to its glory. This Government should be willing and ready to engage with the Glasgow School of Art board in that project. It is no less than what Glasgow, Scotland and the legacy of Charles Rennie Mackintosh deserve.

When Notre Dame was consumed by flames, the French Government threw the entire strength of the state into the effort of restoration—whatever it took, whatever it cost. Calling on talents from all over the world, they rebuilt that symbol of the nation in record time. I am not questioning the ability or the experience of the architects and engineers involved in the restoration project in Glasgow, or the commitment of Glasgow School of Art to return the Mack into a working undergraduate school, but I am calling on the UK Government to be ready and willing to help.

Some have argued that the responsibility for restoring Mackintosh’s masterpiece should be taken out of the hands of the arts school and placed in an independent body, such as a specialist board of trustees or an Olympic-style delivery system. There are templates for that that have worked before, but it would need careful consideration and talks between all parties. The aim is the same—everyone has the same destination, and that destination is restoration.

I am not calling on the Department to bigfoot the art school or trample on the duties of the Scottish Government. I am just calling for positive engagement from the UK Government, for them to roll up their sleeves and find a solution for what everyone wants—the restoration of the Mack. It can be done; I am sure it will be done. Evidence for what can be done is not far from us, in the Chamber of the House of Commons. Bombed out in 1941, faithfully restored after the war, it is still working its political alchemy on us all. That is what we want for the Mackintosh building, too—for it to rise from the rubble, to work its artistic magic on students, on Glasgow, on Scotland and the world.