City Chambers, 82 George Square, Glasgow

City Chambers, 82 George Square, Glasgow

William Young designed this building as architect between 1882 and 1888, with interior decoration continuing from 1887 to 1890. Morrison and Mason were the contractors. Sculpture was provided by John Mossman and George Lawson. The building stands as an emphatic statement of civic pride and prosperity, occupying the entire block site between George Square and John Street, with all four facades equally opulent in their detailing.

The architectural style is eclectic, drawing mainly on rich Italianate references with Roman and Venetian elements, and some Flemish overtones. Each elevation is faced in light polished ashlar, now stonecleaned, using Polmaise and Unmore stone. This fronts a fireproof framework of brick, iron, steel and concrete. A polished pink granite basecourse runs at ground level, with ashlar fully rusticated at the ground and first floors. The building is four storeys with attics. The end bays are advanced and taller, finished with cupolas, while a four-stage tower with lantern and gilded weather vane rises centrally to the west. In 1912, Watson and Salmond built a large extension to the east, linked by pairs of archways across John Street.

Main (West) Elevation

The principal facade follows a 1-3-5-3-1 bay pattern, with end and centre bays advanced. The central three bays project further still, featuring three tiers of paired Ionic columns supporting an entablature and balustraded balcony at the second and third floors, with a pediment rising above the third. Three tall round-arched keystoned doorways pierce the ground floor. The central door is taller than the flanking pair, all three with pilastered reveals, moulded archivolts and elaborate carved spandrels, their openings fitted with decorative wrought-iron outer gates.

The end bays contain tripartite pilastered windows to the ground and first floors, flanked by giant Ionic pilasters supporting round-arched pediments that break through the second-floor cills. The intermediate bays have single-light pilastered windows throughout. The second floor, which contains the main public and committee rooms, displays an almost continuous row of Venetian windows flanked by paired Corinthian columns, with pilasters marking the end bays and elaborately carved spandrels between. The third floor repeats this pattern in the centre and end bays with Venetian windows, while intermediate bays have small single windows almost hidden behind a balustrated balcony. All windows retain multi-pane glazing.

A cornice runs above the ground floor, with a die balustrade forming a balcony to the second and third floor cills. This balcony at third-floor level supports bronze statues. The central three bays are crowned by a pediment whose tympanum is densely populated with sculpture representing Queen Victoria and personifications of the United Kingdom receiving the world's homage. This pediment is flanked by square-section cupolas with domes. The end bays feature sculptured figures at angles and octagonal tempiettos. The intermediate bays have a mutuled eaves cornice and balustraded parapet. Slate roofs sit above, with tall corniced axial stacks rising to either side.

George Street (North) Elevation

This elevation follows a symmetrical 1-3-3-3-1 baying pattern, with end and centre bays advanced and taller. The intermediate bays contain simpler single-light windows. Masonry and detailing, particularly to the end bays, mirror the main facade. The central three bays are advanced to emphasize their function as banqueting halls, and feature giant Venetian windows to the second floor with elaborate carved spandrels. Each giant Venetian is flanked by full-height paired fluted Corinthian columns supporting individual projecting entablatures with statue groups above. Third-floor windows are single-light, recessed behind a balustrade.

Cochrane Street (South) Elevation

This facade follows a 1-4-5-4-1 baying pattern with masonry and details similar to the main facade. The second-floor windows sit within pedimented aedicules. The central five bays are advanced, with a round-arched entrance to the centre fitted with elaborate wrought-iron gates and a coffered ceiling. Above this rise paired, partly fluted giant Corinthian columns in antis flanking a tripartite window. The third floor matches the main facade pattern with oculi to the centre. A panelled parapet runs across the centre, flanked by square-section domed cupolas.

John Street (East) Elevation

This elevation shows a 1-4-5-4-1 baying pattern, with Watson and Salmond's paired archways adjoining at the penultimate bays. Details are simplified here. To the third floor sit small "attic" windows flanked by giant fluted consoles. A pediment crowns the central three bays.

Tower

A three-stage square-section tower rises centrally behind the main pediment. The lower stage is banded. The first stage above is arcaded, and the third contains a pedimented aedicule. Above this rises a colonnaded lantern and dome, crowned with a gilded weather vane.

Interior

The interior is richly and elaborately detailed throughout, executed in the finest materials. The main hall or loggia features a ceramic mosaic floor and vaulted ceiling. Large stone doorcase surrounds the access points to lower rooms, those flanking the staircases adorned with caryatids by Mossman. The staircase leading to the Banqueting Hall is the most elaborate, employing polychrome Brescia and black Irish marble with Numidian mosaics to the vaults.

The Banqueting Hall to the north is a double-height barrel-vaulted chamber. Its decoration was designed by Leiper with murals executed by members of the "Glasgow Boys"—Walton, Lavery, Henry and Roche. The decoration of the remaining rooms is hardly less opulent. The Council Chamber is the most sober in treatment, with mahogany panelling, a frieze of Tynecastle Tapestry and a gilded ceiling with a central dome.

Wylie and Lochead were responsible for much of the interior joinery and fittings. Stephen Adam provided the glass. The sculptors engaged included Mossman, Lawson, Farmer and Brindley, Charles Grassey and Edward Good. George Adam executed the ironwork.

Four ornate cast-iron lamp brackets stand to George Square.