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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.

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50 Architects 50 Buildings press preview  

Preview of 50 Architects 50 Buildings by Twentieth Century Society, edited by Pamela Buxton.

50 Architects 50 Buildings press preview  

Preview of 50 Architects 50 Buildings by Twentieth Century Society, edited by Pamela Buxton.

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