Project Proposal In Brief - The Ringer (What Every Tower Needs) This work address the complex feelings of displacement and disconnect experienced by the Glasgow School of Art and the surrounding community during campus redevelopment. Honoring the ideals incorporated in the Rennie Mackintosh building, that of history and heritage, a bell is cast out of copper cladding salvaged from the campus demolition site to commemorate the new Stephen Holl building. Although only 5 inches tall, The Ringer is crafted according to the dimensions of a tower bell so that its depth of sound can be purposefully amplified, by electronic means, to the students and faculty scattered across the eleven campus buildings and down to the pedestrian street below. The Ringer is tolled on the hour, during operating school hours. It calls out to its immediate community, anchors students to a central campus point, and can orient the everyday passerby. By reinvesting in the once commonplace tradition of bell ringing, The Ringer defines the neighborhood and plays a significant role in the cultural life of the city. By creating a visible presence through sound, GSA demonstrates how modern art can be accessible and even a useful part of daily life. Proposal in full Project Proposal – The Ringer (What Every Tower Needs) Reusing Copper Cladding from Foulis Building Who: Personal Statement Two months into my first MFA term, a piece of GSA history was erased as the Newbery Tower and Foulis building were demolished to make way for a new campus facility. However lacking these interior spaces were, their facades (the Brutalist style architecture of the Newbery Tower and the 1960’s wood and copper clad façade of the Foulis) were part of the Garnethill landscape and their demolition has stirred up the inevitable mixed feelings. The consequential loss of the Vic Bar, a meeting spot where students from all departments could converge, adds to the disconnect students feel while the campus undergoes redevelopment. During this time, neighborly conversations revealed another sort of disconnect between life and art on Garnethill. Many locals openly tout their appreciation of Charles Rennie Mackintosh in the same breadth as they utter their disinterest and bewilderment in modern art. Although this response is by no means unusual, or even particular to this community, I was disheartened that, even in this Glaswegian community of 600,000 people, where Mackintosh and The Turner Prize are household names and museums and galleries are always free entry, the detachment between what is created at the top of Garnethill and their general audience, one block below on Sauchiehall St., is great as ever. With these instances taking shape in my mind, I imagined an art project that could address the complex feelings of displacement and disconnect experienced by the school and those of the community. My thinking was that a medium scale community project, incorporating the idea of salvation, regeneration, and outreach could be achieved. Perhaps something from these demolished buildings could be salvaged for history, for the school, and the enhancement of the Garnethill community. The copper cladding was the most distinct material on site, an evocative token momento of the older buildings, so I asked, and was thankful to receive a single sheet of copper from Estates. The possibility of transforming this single sheet into a work of art has evolved over the past year, alongside my art practice in the MFA program. For this year’s interim show my piece highlighted the observers’ perception of the Mackintosh gallery. This type of work has precedence in a practice know as Situation Aesthetics. In a similar a vein, my proposal for the Holl building is about heightening the observer’s personal experience over the art object and increasing their awareness in their environment. It is an accessible work and one that I hope will enrich GSA, student life, and the city of Glasgow. What: Concept In commemorating GSA’s new Stephen Holl Building, I honor several of Mackintosh’s ideals, that of history & heritage, by recasting the salvaged copper into a functional campus bell, The Ringer. Although only 5 inches tall, The Ringer is crafted according to the dimensions of a tower bell so that its depth of sound can be purposefully amplified, by electronic means, to the students and faculty scattered across the 11 Garnethill buildings and down to Sauchiehall St. below. Ideally, The Ringer is tolled on the hour, during operating school hours. It calls out to its immediate community, signaling its stable and lasting presence –one you can set your watch by. The Ringer can be attached to an existing or PA system with the addition of outdoor speakers. This is a common practice amongst churches, for instance, whose bell towers are no longer operational and who use digital carillons to project an array of prerecorded chimes (and other music) through external PA systems. The difference with The Ringer, of course, is that this small bell will stand in for a larger tower bell and will produce the sound that will actually be broadcast. Why: Creative Statement Recently, British artists such as Martin Creed (London 2012) and Stephen Claydon (British Art Show 7) have received critical praise for creating work that reintroduces bell ringing into modern daily life. The Ringer goes one step further and unites the traditions British bell ringing with a Mackintosh sensibility to form a unique postmodern GSA identity. The bell, made out of the reclaimed copper, invests the Holl building with a strong sense of place, heritage and history. The success of The Ringer is also found in its simplicity. The work asks nothing of its participants and, although conceptual in nature, is simple to read: an hourly chime can be understood by one and all. Not only does it keep time, the sound will anchor students to a central campus point (however far reaching the GSA campus grows) and can orient the everyday passerby. By reinvesting in the once commonplace tradition of bell ringing, I hope The Ringer can play a significant role in the cultural life of the city. By creating a visible presence through sound, GSA can demonstrate how modern art can be accessible, useful, and uplifting in daily life. When: Schedule Stage A – R&D. a) There is the opportunity for this project to be done completely in-‐house. The next phase is to complete technical drawings for both the sound amplification and the time keeping arm of the clapper. Despite several attempts over the past few weeks, the Design department has refused to respond to my requests to meet. With your help, I am certain they can assist with the necessary schematic drawings. b) Make contact with the local community to gather their support for the project. Stage B – Production. a) I have contacted several local foundries and, so far, have found two possible places to cast this (Scottish Sculpture Workshop in Lumsden or John McKenna). It will take approximately one week to complete the firing and tuning of the bell. Alternatively, George in health and safety has suggested that the once operation crucible in the Haldane metal workshop can be reconnected and the casting done here. If this should happen, further discussion with Russel Lamb will determine who can operate the equipment. b) Fit the bell into the housing and connect the electrical components. c) Consult with architecture team. Stage C – Completion. Reliant on building specifications.
Project Proposal In Brief - The Ringer (What Every Tower Needs) This work address the complex feelings of displacement and disconnect experienced by the Glasgow School of Art and the surrounding community during campus redevelopment. Honoring the ideals incorporated in the Rennie Mackintosh building, that of history and heritage, a bell is cast out of copper cladding salvaged from the campus demolition site to commemorate the new Stephen Holl building. Although only 5 inches tall, The Ringer is crafted according to the dimensions of a tower bell so that its depth of sound can be purposefully amplified, by electronic means, to the students and faculty scattered across the eleven campus buildings and down to the pedestrian street below. The Ringer is tolled on the hour, during operating school hours. It calls out to its immediate community, anchors students to a central campus point, and can orient the everyday passerby. By reinvesting in the once commonplace tradition of bell ringing, The Ringer defines the neighborhood and plays a significant role in the cultural life of the city. By creating a visible presence through sound, GSA demonstrates how modern art can be accessible and even a useful part of daily life. Proposal in full Project Proposal – The Ringer (What Every Tower Needs) Reusing Copper Cladding from Foulis Building Who: Personal Statement Two months into my first MFA term, a piece of GSA history was erased as the Newbery Tower and Foulis building were demolished to make way for a new campus facility. However lacking these interior spaces were, their facades (the Brutalist style architecture of the Newbery Tower and the 1960’s wood and copper clad façade of the Foulis) were part of the Garnethill landscape and their demolition has stirred up the inevitable mixed feelings. The consequential loss of the Vic Bar, a meeting spot where students from all departments could converge, adds to the disconnect students feel while the campus undergoes redevelopment. During this time, neighborly conversations revealed another sort of disconnect between life and art on Garnethill. Many locals openly tout their appreciation of Charles Rennie Mackintosh in the same breadth as they utter their disinterest and bewilderment in modern art. Although this response is by no means unusual, or even particular to this community, I was disheartened that, even in this Glaswegian community of 600,000 people, where Mackintosh and The Turner Prize are household names and museums and galleries are always free entry, the detachment between what is created at the top of Garnethill and their general audience, one block below on Sauchiehall St., is great as ever. With these instances taking shape in my mind, I imagined an art project that could address the complex feelings of displacement and disconnect experienced by the school and those of the community. My thinking was that a medium scale community project, incorporating the idea of salvation, regeneration, and outreach could be achieved. Perhaps something from these demolished buildings could be salvaged for history, for the school, and the enhancement of the Garnethill community. The copper cladding was the most distinct material on site, an evocative token momento of the older buildings, so I asked, and was thankful to receive a single sheet of copper from Estates. The possibility of transforming this single sheet into a work of art has evolved over the past year, alongside my art practice in the MFA program. For this year’s interim show my piece highlighted the observers’ perception of the Mackintosh gallery. This type of work has precedence in a practice know as Situation Aesthetics. In a similar a vein, my proposal for the Holl building is about heightening the observer’s personal experience over the art object and increasing their awareness in their environment. It is an accessible work and one that I hope will enrich GSA, student life, and the city of Glasgow. What: Concept In commemorating GSA’s new Stephen Holl Building, I honor several of Mackintosh’s ideals, that of history & heritage, by recasting the salvaged copper into a functional campus bell, The Ringer. Although only 5 inches tall, The Ringer is crafted according to the dimensions of a tower bell so that its depth of sound can be purposefully amplified, by electronic means, to the students and faculty scattered across the 11 Garnethill buildings and down to Sauchiehall St. below. Ideally, The Ringer is tolled on the hour, during operating school hours. It calls out to its immediate community, signaling its stable and lasting presence –one you can set your watch by. The Ringer can be attached to an existing or PA system with the addition of outdoor speakers. This is a common practice amongst churches, for instance, whose bell towers are no longer operational and who use digital carillons to project an array of prerecorded chimes (and other music) through external PA systems. The difference with The Ringer, of course, is that this small bell will stand in for a larger tower bell and will produce the sound that will actually be broadcast. Why: Creative Statement Recently, British artists such as Martin Creed (London 2012) and Stephen Claydon (British Art Show 7) have received critical praise for creating work that reintroduces bell ringing into modern daily life. The Ringer goes one step further and unites the traditions British bell ringing with a Mackintosh sensibility to form a unique postmodern GSA identity. The bell, made out of the reclaimed copper, invests the Holl building with a strong sense of place, heritage and history. The success of The Ringer is also found in its simplicity. The work asks nothing of its participants and, although conceptual in nature, is simple to read: an hourly chime can be understood by one and all. Not only does it keep time, the sound will anchor students to a central campus point (however far reaching the GSA campus grows) and can orient the everyday passerby. By reinvesting in the once commonplace tradition of bell ringing, I hope The Ringer can play a significant role in the cultural life of the city. By creating a visible presence through sound, GSA can demonstrate how modern art can be accessible, useful, and uplifting in daily life. When: Schedule Stage A – R&D. a) There is the opportunity for this project to be done completely in-‐house. The next phase is to complete technical drawings for both the sound amplification and the time keeping arm of the clapper. Despite several attempts over the past few weeks, the Design department has refused to respond to my requests to meet. With your help, I am certain they can assist with the necessary schematic drawings. b) Make contact with the local community to gather their support for the project. Stage B – Production. a) I have contacted several local foundries and, so far, have found two possible places to cast this (Scottish Sculpture Workshop in Lumsden or John McKenna). It will take approximately one week to complete the firing and tuning of the bell. Alternatively, George in health and safety has suggested that the once operation crucible in the Haldane metal workshop can be reconnected and the casting done here. If this should happen, further discussion with Russel Lamb will determine who can operate the equipment. b) Fit the bell into the housing and connect the electrical components. c) Consult with architecture team. Stage C – Completion. Reliant on building specifications.