Charles J. McNair.
Photograph Scottish Screen Archive Collection.

One of Glasgow's finest cinema architects, Charles James McNair was born on 1st November 1881. When he was seventeen he went to work for James Archibald Morris of Ayr, staying there for five years, before moving to John Nisbet's practice in Glasgow first as a junior draughtsman and then chief assistant, taking over the practice on Nisbet's retirement in 1910.

His early work included The Commercial Bank in Falkirk, Partick and Temple Saw Mills, Possil Engine Works and a wine store in Partick. Later in his career he was responsible for the Bellgrove Hotel in Gallowgate, now a run down homeless hostel and the Glen Moray Hotel in Dunoon. He became a member of the RIBA on May 14th 1912, his nomination proposed by well - known cinema architects Neil C. Duff and John Fairweather as well as James Morris, his first employer.

Charles McNair was almost exclusively a cinema designer, working mainly in partnership with George Urie Scott of the Cinema Construction Co., creating cinemas throughout Scotland, including Falkirk, Hamilton, Coatbridge and Paisley. But it was in Glasgow where he made his mark with cinemas in almost every area of the

city. His early cinemas included the Western and Star Palace in Partick, the Scotia, Bridgeton, the Canadian Picture House, Springburn and the Dennistoun Picture House all in 1921, the Blythswood and the Cambridge in 1927 and the Regal, Sauchiehall Street in 1929.

Robert Walter Elder had joined Charles McNair in 1927 as senior assistant, Elder worked on the designs with five assistants and was by all accounts a very shy man, leaving McNair to deal with the clients - Elder became a partner in 1936 and it was from the mid - thirties that McNair and Elder created their masterpieces.

The Plaza, Govan opened in December 1936 and promised "superlatively good entertainment ... in an atmosphere of dignified and entrancing beauty" - the design was heavily influenced by the its location in the heart of Glasgow's shipbuilding area.

Contemporary accounts of The Plaza suggested that "a ship theme is obvious, created mainly by illuminated pillars"