smaller formation to the side only to fold back into the plane of the façade. All are terminated with a merging of the inside and the outside as the building stretches out to create a level platform at the door, as if to catch students going down the 1:4 hill. It’s quite difficult to talk about being influenced by Mackintosh because all of us who studied there were. There are, of course, links to our work. Wright & Wright’s buildings tend to be very rational in plan with lots happening in section. They are about light and using materials in a way that’s true to their nature. We like contrasts between compression and expansion and between light and dark, and we design spaces that have ambiguous boundaries. I like to use tones of darkness. We did this in the Women’s Library and at Hull Truck Theatre, where we decided consciously to have a dark building and made the whole thing a black box from the outside in using rough and ready materials – black on black. The Mac always reinvigorates me as I know it does others. Perhaps the greatest achievement for an architect is to build something that makes other people come alive.
The library – Clare Wright’s favourite space at the Glasgow School of Art – with its distinctive pendant lights and timber detailing.
Preview of 50 Architects 50 Buildings by Twentieth Century Society, edited by Pamela Buxton.