CHARLES RENNIE MACKINTOSH

Post 700 –by Gautam Shah

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01 Chairs By Mackintosh

Charles Rennie Mackintosh (1868-1928) was a Scottish architect, designer, textile designer, product designer, graphics artist and water-colourist. He lived most of his life in the city of Glasgow. At young age he was afflicted with rheumatic fever, this resulted in a droop on one side of his face. Because of these disabilities, young Charles was encouraged to spend time in the countryside. And love for the countryside and flora was to enliven creativity through his life.

1 Tea Room Room_de_Luxe

9 TEA ROOM

Mackintosh was a reclusive child who had difficulties in understanding the emotions of others. He used his sketchbooks as a way to withdraw from the world, manage his own outbursts of rage. Mackintosh in his later years became an avid painter of flowers. Macintosh art work of nature in pencil and watercolour was exquisite and botanically accurate. Later in life, disillusioned with several un-built architectural designs, Mackintosh devoted himself as a watercolour artist. With Margaret, his wife, they painted many landscapes and flower studies.

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1 b Fetges CR Macintosh 1927

1 c weathercade Charles Rennie Mackintosh Willow Wood

‘Art is the Flower – Life is the Green Leaf. Let every artist strive to make his flower a beautiful living thing, something that will convince the world that there may be, there are, things more precious more beautiful – more lasting than life itself… you must offer real, living – beautifully coloured flowers – flowers that grow from, but above, the green leaf – flowers that are not dead – are not dying – not artificial – real flowers springing from your own soul – not even cut flowers – You must offer the flowers of the art that is in you – the symbols of all that is noble – and beautiful – and inspiring – flowers that will often change a colourless leaf – into an established and thoughtful thing’.

Mackintosh, Charles Rennie, 1868-1928; Wall Panel for the Dug-Out (Willow Tea Rooms, Glasgow)

3 Margaret MacDonald Mrs Mackintosh Opera Of The Seas 1903

Mackintosh joined Glasgow School of Art at fifteen and a year started working as a trainee draftsman with John Hutchinson. After that apprenticeship in 1889, he joined Honeyman and Keppie. In 1890 he won £60, as the coveted ‘Alexander Thomson Traveling Studentship for Public Design. He decided to go to Italy and Europe. This changed his life with varied design related experiences. It was here that Charles Rennie Mackintosh met fellow artist and future wife, Margaret MacDonald, who influenced his life intensely. Macintosh, wife Margaret, sister-in-law Frances and her husband Herbert Mac Nair, were known as the The Four or the Spook School’, and the Glasgow Style. They influenced the Glasgow art scene and European design movements such as Art Nouveau and Secessionism profoundly. The Four exhibited widely in Europe, both together and individually, and Mackintosh received commissions for furniture from patrons in Berlin, Vienna, and elsewhere in Europe’.

4 a Galagow School of ART

4 Mackintosh School of Art

Architecture of Charles Rennie Mackintosh is a contrast between strong right angles and floral-inspired decorative motifs with subtle curves’. The Glasgow School of Art project, considered to be the first Art Nouveau style building, gave him international reputation. It was constructed in two stages separated by nearly half a decade, allowed lots of improvisation during the second execution. During the period he completed a curious project, the Queen’s Cross Church. It is now restored and houses the Charles Rennie Mackintosh Society headquarters.

House for an art lover Glasgow)(3811523958)

Macintosh created a new design paradigm from the natural forms of plants and flowers in an age when most of the modernist designers were trying to rediscover Greek, Roman, Egyptian and other ancient expressions. ‘We must clothe modern ideas with modern dress’. A friend said, ‘the creations of Mackintosh breathe. The interior and exterior spaces designed by Charles Rennie Mackintosh sing of serenity, spirituality, and of rigorous attention to detail’. He had a knack of making hard surfaces and tough forms, soft and elegant. His was meticulous, delicate and extremely restrained. The husband-wife partnership created a unified expression. From around 1904, Mackintosh began to adopt more formal, angular geometry, gradually doing away the cursive form of Art Nouveau.

17 a Ruchill Church Mackintosh

52 Ruchill Church Hall 17

Charles Rennie Mackintosh’s only other ecclesiastical work was the Ruchill Free Church Halls which were completed in 1899. Significantly, the Free Church did not ask Mackintosh to design the adjacent church building.

‘The architect must become an art worker… the art worker must become an architect… the draughtsman of the future must be an artist…’ Charles Rennie Mackintosh.

50 Queens Church Mackintosh

Church buildings by Mackintosh > Mackintosh designed two religious buildings in Glasgow. Queen’s Cross Church is a former Church of Scotland in Glasgow. The site was on a corner location, with adjoining tenements and a warehouse. The Building started shortly after Mackintosh finished his competition design for the Glasgow School of Art. The design has Gothic features. The window features a blue heart. After being decommissioned in 1970, it serves as headquarters of the Charles Rennie Mackintosh Society. The adjoining church hall provides tearoom facilities with a display many Mackintosh artifacts including replicas of the chairs he designed for the Willow Tearooms.

56 Ruchill Church 37350818736_cac711721f_z

Mackintosh works had subtle Scottish flavour, but he consciously adopted freshness that marked his modernism. He was concerned for functional, practical and simplistic features. He never used heavy ornamentation of past styles. Much of his work includes contribution by his wife, Margaret MacDonald whose flowing, floral style complemented the formal, rectilinear architectural work. Unfortunately his work was appreciated only long after his death.

31 Bedroom furniture by Charles Rennie Mackintosh Wikipedia Image by Karora

By 1914 Mackintosh lost hope of ever receiving the recognition that he truly deserved. He became stubborn and uncompromising. His career and health both were low. After the stay in Walberswick, conditions began to improve. This was just before the war (WW-I), but he was called a German spy and for a while put under house arrest. He moved to London, in the early 1920s, to reignite his carrier. Here Macintosh began to concentrate on water colour art. Later they moved to France in 1923-27, where he painted scenes of the French coastline. He painted Port Vendres, near the Spanish border and the landscapes of Roussillon. He sought to capture the harmonious coexistence relationships between man-made and natural elements through architectural landscapes in watercolour paintings.

20 Hill House by Mackintosh

Macintosh was a meticulous person, and his working drawings included exhaustive details for architecture, decoration, and furnishings. His wife, Margaret MacDonald immensely contributed to this documentation. These drawings have helped restore many of the projects with original details. All his major architectural commissions like homes, commercial buildings, interior renovations and churches were between 1895 and 1906. Many of his projects, however, remained on paper.

Charles Rennie Mackintosh (Kelvingrove Glasgow) (3838792257)

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STORAGE CABINETS

Post 493  by Gautam Shah

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Storage systems have been with us from very ancient times. These systems have helped in spatial organization of living, commercial and manufacturing areas. Organized storage primarily means segregation and stacking of entities for the purpose visual identification and easy access. Storage systems for foods have been conceived for isolation, preservation and maturation. Commercial and manufacturing storage systems serve the same purposes, but for former visual merchandising and for the later goods and tools, access were important issues.

Storage Cabinets have been known by many names. Almirah is a Portuguese word, Hindi = Alamari, describing a free standing closet. It was a place to keep vestments in the sacristy of a church. Almirahs in modern sense are synonymous with cabinet, cupboard, wardrobe etc. A cabinet could be an open or shuttered-storage entity, so may not be equated with open storage systems with shelves in niche, alcove, bay or recess.

Scroller

The Sandook, Patara, Manjusha (Hindi), Chest or Box, are all storage units of ancient origin, and considered predecessors of Almirah. Manjusha generally means a box for jewels, or treasure chest. These are associated with nomadic life, so were compact but were multi-functional. These were accessible only from the top and so were cumbersome for storing. These storage units, like the almirah, had few compartments or cells to store small things, and secret chambers for the valuables.

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An important category of storage systems includes a chest of drawers, bureaus (French word for office), secretary, secretaire, or escritoire, and desks. These were primarily used for home-based offices, personal study areas, as communication console by officers, ministers and scholars. The units were independent entities, placed against a wall, and often on a raised platform of 100 to 200 mm height. The drawers were for minuscule in size for storing pins and pens, to very large ones for books and manuscripts.

Chippendale Desk

The efficiency of access and ergonomic size made them very popular and began to be used in bed rooms, dining rooms, pantry areas, shops, hotel lobbies, restaurants and bars. In bedrooms these were used as personal craft-station, as Lingerie chest for storing socks, underwear, hands kerchiefs, napkins, as a parlour for make-up things. Lingerie chests were of highboys or tall design where a set of drawers as a tall chest of were mounted on legs. Parlour chests were comparatively lower volume chests, of a bureau-dressing table in combination with a pivoted mirror on an integrated stand or as a wall-mounted frame.

Personal work area Sherlock Holmes Museum

In entrance halls the chests had drawers for shoes but low enough to sit on it to tie shoelaces. Entrance hall chests were accompanied by long wall mirror, a coat stand, and umbrella tray. In dining rooms these became cutlery and linen station taking away the functions of silver room.

The bureaus made their formal appearance in 17th C across Europe. These were similar to modern day office desks, with a set of drawers or shuttered cabinets on sides and knee-space in the center. The knee space often had a drawer, or a flat pull out board for writing. Europe bureaus as a writing desk had no knee space, but the top section had a fold-down flap that rested at both edges on sliding vertical supports. The projecting fold-down flap provided sufficient knee space. The fold-down flap covered a set of pigeon holes or micro-sized drawers.

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Castle Ward Interior -Classical Palladian Library for J5749 >© Copyright Suzanne Mischyshyn and licensed for reuse under Creative Commons Licence

Design and construction of bureaus was considered a challenge for furniture makers of the times. But as the time progressed designs became lighter, hardware superior and finishing techniques elaborate. The nominal inclined top was replaced with an accordion like folding flaps, or a curved tambour top. By 19th C it essentially became either delicate feminine furniture or robust commercial-use facility.

Dining room cabinet

Shelved storage systems were used for storing scrolls, manuscripts and arms. These were mostly open systems, to permit aeration and in colder climates prevent water condensation, but the same need some enclosure in other climates. The enclosure was provided to the entire room containing such shelves, rather then group of shelves. Almirahs were used where storage requirements of smaller volume. Shelving storage systems were in built niches or alcoves and formed within panelling system. From later part of 18th C it became fashionable to stock famous books in tea-coffee rooms, drawing rooms. Real and false libraries (with slices of books spines) were created as part of room panelling design. With availability of good quality of glass in late 19th C these were covered with wood framed glass shutters.

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slotted angle shelving Industrial warehousing

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The industrial revolution period saw streamlining of production processes. These required huge warehousing systems for raw materials and finished products. New storage devices such as steel-angle racks, steel almirahs, file cabinets, index card drawers, were now available.

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ANTI-LIGATURE

Anti-ligature 

Ligature derives from Latin ligatura, from ligare = ‘to tie‘.

A dictionary defines Ligature as

  1. a thing used for tying something tightly.
  2. a cord used in surgery, especially to tie up a bleeding artery.
  3. Music a slur or tie.
  4. Printing a character consisting of two or more joined letters.

 

Anti-Ligature is rather an unusual term. It is used with reference to furniture, furnishings, utilities, facilities and amenities. Anti ligature products and processes are mainly used to hamper someone from doing a hazardous act by tying, fastening or binding to something. It is a provision that discourages self harm or suicidal tendencies of a person under stress or with mental disorder. Anti-ligature means prevent people from causing self harm by attaching ligature to door handles, locks, grills, light fixtures, etc. Anti-ligature is also increasingly used for ‘anti-vandalism’. Anti-vandalism strategies are required to prevent wilful or malicious destruction caused by removal or destruction of units or components from public or private property such as parks, bus stations, road sides or schools etc. Anti-ligature technology makes such entities no-removable. Continue reading