SCOTLAND'S top architectural body has made a donation to firefighters' charities as a gesture of thanks for their efforts at the Glasgow Art School fire.

The Royal Incorporation of Architects in Scotland (RIAS) donated 1500, split between two charities linked to fire personnel.

The charities were the Fire Fighters Charity and the Scottish Fire and Rescue Service Family Support Trust.

Assistant Chief Officer Dave Boyle said: "The fire at the Mackintosh touched a great many people and it has brought together communities like architects, artists, Historic Scotland and the fire and rescue service.

"We appreciate the recognition that has been given for the work of the firefighters - the first responding crews and officers in particular did an absolutely magnificent job - and there is certainly a greater understanding of the vital role they play."

RIAS president Ian Connelly said: "To people around the world the Mackintosh is an iconic building and the architects of Scotland are hugely grateful for the work the fire and rescue service did.

"The building and its artefacts could have been completely destroyed had it not been for the firefighters.

"Their efforts went way beyond the call of duty and it was fantastic to see them receive a standing ovation at our annual dinner, when we made the presentation."

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Architects reward firefighters

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The George Lucas museum is currently in the works, looking to house his large collection of art and memorabilia.

"Star Wars" creator George Lucas on Monday announced an architectural team for his controversial planned museum on Chicago's lakefront: an avant-garde Chinese designer whose credits include Toronto-area skyscrapers dubbed the "Marilyn Monroe Towers" and Chicago's Jeanne Gang, shaper of the undulating Aqua Tower here.

Ma Yansong, founder of the Beijing firm MAD Architects, will design the building for Lucas' Museum of Narrative Art. Gang, who heads Studio Gang Architects, will conceive the landscape around the building and design a pedestrian bridge linking the museum to Northerly Island, a peninsula east of the museum site.

The announcement of the star-studded team, a surprise given Lucas' penchant for traditional designs, has political implications for a project championed by Mayor Rahm Emanuel. It would rise on 17 acres now occupied by parking lots between Soldier Field and McCormick Place.

If the architects produce a design gem that upgrades the landscape of the Museum Campus, the cluster of shoreline museums to which the Lucas Museum would belong, it could soften, or at least blunt, opposition.

Critics include open-space advocates threatening a lawsuit to block construction and Chicago Bears fans fuming that the museum will boot them from tailgating spots. Citing the opposition, a newspaper in San Francisco, where Lucas first intended to build the museum, last week labeled Chicago "the City of Cold Shoulders."

Conceptual designs are expected to be released later this year.

Lucas is promising to pay for the pedestrian bridge, which would have to be high enough to allow sailboats using Burnham Harbor to pass beneath. It won't come cheap. The price for a soon-to-be-built lakefront pedestrian bridge at 35th Street is pegged at more than $18 million.

Further sweetening the pot for Chicago, Lucas has selected another Chicago firm, VOA Architects, to be the museum's executive architect. While Ma and Gang focus on the broad creative strokes, VOA will be responsible for details like construction drawings. VOA has designed offices for Ariel Investments, whose president, Mellody Hobson, is Lucas' wife.

Lucas declined an interview request. In a prepared statement, he said: "We are bringing together some of the top architects in the world to ensure that our museum experience begins long before a visitor ever enters the building."

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George Lucas announces architects for lakefront museum

One of the most remarkable periods in the history of Connecticut's evolving architectural landscape was the late 1940s to the late 1960s, when a group of Harvard-trained architects took up residence in the town of New Canaan and made modern history.

Known as "The Harvard Five," Eliot Noyes, Philip Johnson, Landis Gores, John Johansen and their teacher Marcel Breuer built homes for themselves and others that were nothing like the traditional clapboard Colonials with pitched roofs and many-paned windows that dotted the leafy town.

These architects took a gutsy new approach in their Mid-Century Modern designs, using broad horizontal lines, exposed steel beams, dramatic cantilevers, spare detailing and massive walls of glass that blurred the line between the inside and the great outdoors.

New Canaan quickly became the locus of Modern home design in this country. House tours were organized to benefit local charities and so the architects could show off their work but they created traffic jams in the sleepy town.

"This was an architecture that burst on the scene. And like the uninvited guest, many a resident wished for some forewarning," Jean Ely wrote in an article published in the New Canaan Historical Society Annual of 1967.

The unconventional designs were derided as "packing boxes," dismissed as "cracker boxes," and in a poem that ran in the local newspaper and set off a flurry of other versifying critics likened to "partially-opened bureau drawers set on steel posts and stanchions, an architecture as gracious as Sunoco service stations."

A couplet from one of the many replies: "They're lousing up the countryside with buildings most alarming, It isn't like New Canaan, where everything's been charming."

William D. Earls, a Wilton architect and author of "The Harvard Five in New Canaan" (W.W. Norton, 2006), said the young architects have to be given credit for taking chances with their careers and reputations.

Eliot Noyes, for example, who was the first of the five to settle in New Canaan and built his first house in 1947, used his own houses as "experiments, with little regard for conventional public opinion," Earls writes. The second home Noyes designed for his family, on Country Club Road, was built in 1955 around a central courtyard, with massive stone walls that evoke New England's classic stone walls. Bedrooms and bath are on one side of the house; the kitchen, dining room, living room and study on the other.

Some visitors were rather aghast that the family had to walk outside through the covered courtyard to get from one side of the house to the other.

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