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Glasgow School of Art (GSA) has recently indicated that fully restoring the iconic Mackintosh Building to its original state is not feasible without securing additional financial resources. The building, a seminal work by architect Charles Rennie Mackintosh, suffered extensive damage following two devastating fires, first in 2014 and again in 2018. Although the school had previously committed to an accurate restoration, a fresh assessment of the financial landscape—bolstered by an insurance settlement related to the latter fire—has revealed that the institution alone cannot afford to carry out a faithful reinstatement.
The latest report issued by GSA highlights several contributing factors that have escalated restoration costs significantly beyond earlier estimates made in 2021. Inflation in construction, fluctuations in the market, and broader economic pressures have combined to push the anticipated expense to an estimated £265 million. The report underscores a substantial funding gap and stresses that progress hinges on uncertain external funding sources. In light of this reality, the school now proposes reimagining the building’s future role, suggesting it could act as a central piece within a broader “creative and cultural production innovation district” aimed at fostering artistic and cultural activities in Glasgow.
Ann Priest, chair of the GSA board of governors, acknowledged the financial constraints facing the institution. She told BBC Scotland News, “What we are doing is what is affordable to us,” adding, “The school cannot possibly, on its own, rebuild this whole building. It would take us away from financial sustainability.” Priest emphasized that the school remains hopeful about ultimately achieving a thorough reinstatement, though she admitted it will not be an exact replica because modern construction and building standards have evolved since the original completion of the building in 1910. Going forward, GSA plans to seek involvement from visionary investors, as well as governmental and local authorities, to deliver the necessary funding. As a practical initial step, the school will remove the external scaffolding surrounding the site to improve both the building’s appearance and stability.
The proposed shift away from a literal restoration has met with criticism from figures within the art community. Painter and writer Lachlan Goudie voiced strong opposition, calling the prospect of a less-than-faithful restoration “a disgrace” and a “national disgrace.” He expressed concern that, with the passage of time, public memory of the building’s significance might fade. Goudie urged transparency and more decisive action, asserting that only an authentic recreation will suffice to honor Mackintosh’s legacy. In response to speculation about potentially transferring control of the restoration effort to another organization, Priest voiced confidence that the school would secure the necessary investment and continue leading the project. Meanwhile, architectural critic Professor Alan Dunlop questioned the viability of the plans, highlighting numerous uncertainties and a lack of clear pathways to full restoration. He warned that modern regulations might make a true rebuild impossible, and questioned how the £265 million figure was derived, though Priest confirmed it was developed in consultation with top architects. The discussions ahead will be critical to determining the ultimate future of Glasgow’s treasured Mackintosh Building
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