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Architecture in modern Scotland encompasses all building in Scotland, between the beginning of the twentieth century and the present day. The most significant architect of the early twentieth century was Charles Rennie Mackintosh, who mixed elements of traditional Scottish architecture with contemporary movements. Estate house design declined in importance in the twentieth century. In the early decades of the century, traditional materials began to give way to cheaper modern ones. After the First World War modernism and the office block began to dominate building in the major cities and attempts began to improve the quality of urban housing for the poor, resulted in a massive programme of council house building. The Neo-Gothic style continued in to the twentieth century but the most common forms in this period were plain and massive Neo-Romanesque buildings. After the Second World War, brutalist tower blocks were adopted as a solution and this period saw the building of new towns, including Glenrothes and Cumbernauld, but the social and building problems of these constructions soon became apparent. The creation of new towns and council house estates necessitated the rapid supply of new churches. From the 1980s Scottish architecture began to recover its reputation, with new buildings like that created to house the Burrell Collection in Glasgow and more recently the Scottish Parliament Building in Edinburgh. There has also been urban regeneration, involving the replacement and renovation of existing buildings and landscapes. The 1980s saw the growth of speculative house building by developers and the introduction of English brick and half-timbered vernacular styles to Scotland. As the production of state sponsored housing subsided in the 1970s there was a return to conservatism in church design, but there were some original and post-modern designs from the 1980s. ==Glasgow style and the early twentieth century== The most significant Scottish architect of the early twentieth century, having a considerable influence on European architecture, was Charles Rennie Mackintosh (1868–1928). He mixed elements of the Scots baronial, Arts and Crafts Movement and the Art Nouveau to produce elegant modern buildings. His major work included The Willow Tearooms in Sauchiehall Street, Glasgow (1903), Glasgow School of Art (1897–1909) and Hill House, Helensburgh (1902–04).〔A. L. Palmer, ''The A to Z of Architecture'' (Scarecrow Press, 2009), ISBN 0-8108-6895-4, p. 34.〕 The influence of Mackintosh's Glasgow style can be seen in the work of architects like James Salmon (1873–1924), whose designs included the heavily glass-fronted, Art Nouveau "Hatrack" (1899–1902) on Vincent Street and the Lion Chambers, Hope Street (1904–05), an early example of reinforced concrete construction.〔M. Glendinning, R. MacInnes and A. MacKechnie, ''A History of Scottish Architecture: from the Renaissance to the Present Day'' (Edinburgh: Edinburgh University Press, 2002), ISBN 978-0-7486-0849-2, p. 368.〕 Estate house design declined in importance in the twentieth century. An exception was the work undertaken by John Kinross (1855–1955). Beginning with the reconstruction of Thurston House, Dunbar, from 1890, he undertook a series of major country house designs.〔("John Kinross" ), ''Dictionary of Scottish Architect'', retrieved 9 February 2012.〕 The most important was Manderston House (1901–03), built for James Miller in the Adam style.〔H. Montgomery-Massingberd and C. S. Sykes, ''Great Houses of Scotland'' (Laurence King Publishing, 1997), ISBN 1-85669-106-3, p. 9.〕 Skibo Castle was rebuilt for industrialist Andrew Carnegie (1899–1903) by Ross and Macbeth. English architect C. H. B. Quennell designed a neo-Georgian mansion at Altmore (1912–14) for the owner of a Moscow department store. There was a lull in building after the First World War and social change undermined the construction of rural country houses.〔D. Mays, "Country seat 1600–Present", in M. Lynch, ed., ''Oxford Companion to Scottish History'' (Oxford: Oxford University Press, 2011), ISBN 0-19-969305-6, pp. 326–8.〕 In the twentieth century the distinctive Scottish use of stone architecture declined as it was replaced by cheaper alternatives such as Portland cement, concrete, and mass-production brick. Stone would however be retained as a material for some housing stock in Edinburgh, Aberdeen and Dumfries, and would undergo revivals.〔I. Maxwell, "A History of Scotland's Masonry Construction" in P. Wilson, ed., ''Building with Scottish Stone'' (Edinburgh: Arcamedia, 2005), ISBN 1-904320-02-3, p. 29.〕 In the twentieth century private architecture was increasingly client driven.〔 James Robert Rhind (1854–1918), the son of David Rhind, was successful in the competition for new libraries to be constructed in Glasgow following Andrew Carnegie's gift of £100,000 to the city in 1901. His designs were selected for seven libraries, allowing him to demonstrate his individual interpretation of Edwardian Baroque architecture. Rhind's libraries were all built with locally quarried sandstone, which blended in with the existing tenement neighbourhoods. His landmark buildings were greatly enhanced by his liberal use of columns, domes and sculpted features.〔("Baroque libraries in Glasgow" ), ''Carnegie Libraries of Scotland'', retrieved 11 May 2012.〕 James Miller (1860–1947) is noted for his Scottish railway stations, such as his 1901–05 extensions to Glasgow Central railway station,〔E. Williamson, A. Riches and M. Higgs, ''Glasgow'' (New Haven, CT: Yale University Press, 1990), ISBN 0-14-071069-8, p. 97.〕 and the spectacular Wemyss Bay railway station on the Firth of Clyde.〔F. A. Walker, ''The South Clyde Estuary: An Illustrated Architectural Guide to Inverclyde and Renfrew'' (Edinburgh: Royal Incorporation of Architects in Scotland, 2006), ISBN 0-7073-0476-8, p. 146.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Architecture in modern Scotland」の詳細全文を読む スポンサード リンク
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