The Glasgow School of Art is Scotland's only public self-governing art school offering university level programmes and research in architecture, fine art and design. The school is housed in one of Glasgow's most famous buildings, often considered the masterpiece of Charles Rennie Mackintosh and built between 1897 and 1909. The building was severely damaged by fire in May 2014. Wikipedia.
Greated M.,Glasgow School of Art
Optics and Laser Technology | Year: 2011
The increasing role of sound within the visual arts context and the trend in postmodernism towards interdisciplinary artworks has demanded a heightened awareness of the audio-visual. This paper explores some of the fundamental physical properties of both sound and colour, their similarities and differences and how the audio and visual senses are related. Ways in which soundscapes have been combined with paintings in exhibitions by the author will be used to illustrate how the two media can be combined to enhance the overall artistic experience. © 2009 Published by Elsevier Ltd. Source
Sharpe T.,Glasgow School of Art |
Proven G.,Proven Energy Ltd.
Energy and Buildings | Year: 2010
This paper describes the concept development and work to date, of an innovative 'true' building integrated wind turbine. The context for this is the role of small-scale renewable energy in addressing climate change. In the UK a number of small wind turbines have reached the market, however, in almost all cases, these are existing HAWT or VAWT tower mounted systems. Due to their inherent design qualities, and issues such as planning requirements, these have much reduced output due to their form and siting and are unable to take advantage of augmented airflow around buildings. The Crossflex proposal is a radical new development of a Darrieus turbine form. As well as having a technically innovative flexible blade system, it also utilises a lightweight cowling system that can provide both augmented airflow and improved visual integration into new and existing building forms. It is a modular form that can be sited on ridges and corners of buildings to provide useful levels of generation. © 2010 Elsevier B.V. Source
Lim C.S.C.,Glasgow School of Art
Journal of Engineering Design | Year: 2010
Technological products such as mobile phones have the potential to increase the quality of life among older people through enhancing communication networks and recreation. However, surveys have shown that older populations are slower to adopt new technological products compared with younger populations. Due to technological advances, the way we interact with information and communication technology (ICT) products has changed significantly in the past century and this affects a person's attitude and behaviour towards these products. This paper proposes a new approach for designing technological products, which in addition to considering age-related decline in ability, takes into account both the formative age when the use of technologies is first learnt, and the 'technology era' in which this occurred, e.g. whether this was the era of analogue or digital products. Using a multi-method approach (i.e. using different methods on the same object of study) through interviews and quantified by the performances of users of different ages and cohorts using past and current ICT products, a technology generation effect (TGE) was confirmed. The author proposes that in the interaction design of new ICT products, and in order for these to be acceptable and used effectively by older people, it is essential to consider users' own historical frames of reference and mental models of interaction. The visual Generation Timeline Tool (GTT), which was developed to facilitate this research, was evaluated by student designers. One of the outcomes was that the GTT was able to assist designers in taking TGE into account when designing new products. The paper also discusses the implications of this research on product development. © 2010 Taylor & Francis. Source
Agency: GTR | Branch: AHRC | Program: | Phase: Research Grant | Award Amount: 122.50K | Year: 2012
Glasgow is widely recognised, alongside London, as the major hub of artistic creativity and practice over the past two decades, with roots stretching beyond this period over the past thirty to forty years. Glasgow remains the largest centre of creative enterprise, activity and practice outside London, and a major influence on the development of contemporary art of the last quarter century. It has been the source of a renaissance whose impact has been felt in the UK and worldwide. But what happened to make a particular group of artists and talent coalesce over this period? And how can insight from Glasgows recent history help ensure that the city remains a creative centre with the right conditions for creativity and artistic practice?\n\nThe project draws on evidence sources from four main strands of enquiry. These include the archives of Glasgows two main contemporary arts venues of the period, the Third Eye Centre and the Centre for Contemporary Art (CCA) that superseded it. These are combined with insights from the Cordelia and George Oliver archive - a personal archive of an important art critic, commentator and collector from the period in question - that shed another unique, albeit personal perspective. The next strand of evidence comes from recordings made by curators at the time of various events and shows at the main Glasgow venues. Lastly, we draw on the insights of the artists themselves, through a unique arrangement of artist interviewing artists, led by our co-investigator on the project. While there have been other attempts to write a history of this period, none have had the privileged access to this range of evidence as our proposed research group.\n\nPart of the unique strength of our proposal is in the make up of our project team. Our principal investigator, Francis McKee, splits his time between being a Senior Researcher at Glasgow School of Art and his role as Director of CCA in Glasgow. As such, his motivations for the project combine his academic inquisitiveness, with his understanding of the practical and strategic need for this type of project in order to support on-going work and development of the CCA as an organisation as well as the artists that come through its doors.\n\nOur co-investigator, Ross Sinclair, again combines two main activities within his professional career. While, like Francis, holding a part-time Senior Research post at Glasgow School of Art, Ross also maintains a portion of his working week to concentrate on his professional practice as one of Scotlands leading contemporary artists. Ross is intimately linked to the subject matter of this proposal and uniquely placed to lead on the Artist to Artists strand that involves re-visiting artists in their work-spaces and drawing on memories to illuminate the role of Glasgow in their work and development.\n\nAssisting Francis and Ross, we propose to draw on the skills of Susannah Waters, an experienced archivist, who has responsibility for the Cordelia and George Oliver archive, and Glasgow School of Arts institutional archive collections, which may also provide useful additional insight. Carrie Skinner, who would be working as a Research Assistant, also brings existing knowledge of the Third Eye and CCA archives, having undertaken some initial investigation of these on behalf of CCA.\n\nAs the sources that we propose investigating are largely un-tapped, we are unsure about what they will uncover. However, we are confident that as a result of this project, we will be in a position to make significant progress towards further understanding of what was, in the mid-90s termed The Glasgow Miracle. We expect that our investigations will open further lines of enquiry, relating to sub-groups of artists, influence into Europe and beyond, as well as comparative exploration of the development of other cities and how what has happened within the the Glasgow contemporary art scene can be both continued and perhaps replicated elsewhere.
Agency: GTR | Branch: AHRC | Program: | Phase: Research Grant | Award Amount: 134.69K | Year: 2013
The ACCORD project seeks to examine the opportunities and implications of digital visualisation technologies for community engagement and research through the co-creation of three-dimensional (3D) models of historic monuments and places. Despite their increasing accessibility, techniques such as laser scanning, 3D modelling and 3D printing have remained firmly in the domain of heritage specialists. Expert forms of knowledge and/or professional priorities frame the use of digital visualisation technologies, and forms of community-based social value are rarely addressed. Consequently, the resulting digital objects fail to engage communities as a means of researching and representing their heritage, despite the now widespread recognition of the importance of community engagement and social value in the heritage sector. The ACCORD project aims to address this gap through the co-design and co-production of an integrated research asset that addresses social value and engages communities with transformative digital technologies. ACCORD will create a permanently archived open-access dataset of community co-produced 3D digital models of archaeological sites and monuments, integrated with expressions of social value and contextual documentation. The project will actively engage community groups that have ongoing relationships to heritage places in the process of creating 3D records and models of those places. With the support of visualisation technologists, community engagement practitioners, and experts in social value, each community group will design, direct and produce their own 3D objects. The use of digital technologies to enhance and generate forms of social significance will be an important outcome, adding distinctive value to existing heritage assets and our understandings of them. Community groups will be able to draw on the resulting digital datasets for various purposes, such as public presentation, education, and tourism initiatives. The records and models resulting from the project will also provide important research resources for community groups, heritage managers and academic researchers. Evaluation will be an integral aspect of ACCORD project, examining the relationships between community groups, digital heritage professionals and the outputs they have created. This will include a review of the transformative aspects of the process, investigating changes in attitudes to 3D recording technologies during the life of the project, as well as the forms of significance, authenticity and value acquired by the resulting 3D objects. Ultimately, through the co-production of an open-access dataset, and the creation of a community of communities engaged in sharing skills and experiences, ACCORD seeks to broaden capacity for the creation and reuse of digital visualisation technologies in community heritage activities and research.