Editing Giles Gilbert Scott (section)

==Life and career==
===Early years===
Born in [[Hampstead]], London, Scott was one of six children and the third son of [[George Gilbert Scott Jr.]] and his wife, Ellen King Samson.<ref name="archive">Butler, A. S. G. [http://www.oxforddnb.com/view/olddnb/35987 "Scott, Sir Giles Gilbert"], Dictionary of National Biography Archive, Oxford University Press, accessed 22 June 2012 {{subscription required}}</ref> His father was an architect who had co-founded the architecture and interior design company [[Watts & Co.]] in 1874.<ref name="archive"/> His paternal grandfather was [[George Gilbert Scott|Sir (George) Gilbert Scott]], a more famous architect, known for designing the [[Albert Memorial]] and the [[Midland Grand Hotel]] at [[St Pancras railway station|St Pancras Station]].<ref>Stamp, Gavin. [http://www.oxforddnb.com/view/article/24869 "Scott, Sir George Gilbert (1811–1878)"], ''Oxford Dictionary of National Biography'', Oxford University press, accessed 21 June 2012 {{subscription required}}</ref>

When Scott was three, his father was declared to be of unsound mind and was temporarily confined to the [[Bethlem Royal Hospital]]. Consequently, his sons saw little of him. Giles later said that he remembered seeing his father only twice. A bequest from an uncle in 1889 gave the young Scott ownership of Hollis Street Farm, near [[Ninfield]], Sussex, with a life tenancy to his mother.<ref name="dnb">Stamp, Gavin. [http://www.oxforddnb.com/view/article/35987 "Scott, Sir Giles Gilbert (1880–1960)"], ''Oxford Dictionary of National Biography'', Oxford University Press, accessed 21 June 2012 {{subscription required}}</ref> During the week Ellen Scott and her three sons lived in a flat in [[Battersea]], spending weekends and holidays at the farm.<ref name="scott3">Scott, p. 3</ref> She regularly took them on cycling trips to sketch buildings in the area, and encouraged them to take an interest in architecture.<ref name="thomas">Thomas, John. [https://www.jstor.org/stable/40033841 "The 'Beginnings of a Noble Pile': Liverpool Cathedral's Lady Chapel (1904–10)"], ''Architectural History'', Vol. 48, (2005), pp. 257–290</ref> Among the buildings the young Scott drew were [[Battle Abbey]], Brede Place and [[Etchingham#The church|Etchingham Church]]; Scott's son, [[Richard Gilbert Scott]], suggests that the last, with its solid central tower, "was perhaps the germ of Liverpool Cathedral".<ref name="scott3"/>

Scott and his brothers were raised as Roman Catholics; their father was a Catholic convert. Giles attended [[Beaumont College]] on the recommendation of his father who admired the buildings of its preparatory school, the work of [[John Francis Bentley|J. F. Bentley]].<ref>Scott, pp. 1–2</ref> In January 1899 Scott became an articled pupil in the office of [[Temple Lushington Moore|Temple Moore]], who had studied with Scott's father.{{#tag:ref|Scott's younger brother Adrian became a pupil of Moore at the same time. Their elder brother Sebastian chose a medical career, and became, in Richard Gilbert's Scott's phrase, an eminent radiologist,<ref>Scott, p. 2</ref> head of the radiology department of the [[London Hospital]] from 1909 to 1930.<ref>[http://www.aim25.ac.uk/cgi-bin/vcdf/detail?coll_id=3922&inst_id=23&nv1=search&nv2= "Radiology Department of the London Hospital"] {{Webarchive|url=https://web.archive.org/web/20130513150009/http://www.aim25.ac.uk/cgi-bin/vcdf/detail?coll_id=3922&inst_id=23&nv1=search&nv2= |date=13 May 2013 }}, Archives in London, accessed 24 June 2010</ref>|group=n}} From Moore, or Ellen Scott, or from his father's former assistant P. B. Freeman, Scott got to know the work of his father.<ref name="thomas"/> In a 2005 study of Scott's work, John Thomas observes that Scott senior's "important church of St Agnes, [[Kennington]] (1874–77; 1880s–93) clearly influenced Giles's early work, including [[Lady Chapel of Liverpool Cathedral|Liverpool Cathedral Lady Chapel]]."<ref name="thomas"/>

In later years Scott remarked to [[John Betjeman]], "I always think that my father was a genius. … He was a far better architect than my grandfather and yet look at the reputations of the two men!"<ref name="dnb"/>{{#tag:ref|Some of Scott's contemporaries shared his view of the relative merits of his father and grandfather. In 1950 a profile of Scott in ''[[The Observer]]'' called [[George Gilbert Scott, Jr.]] a much better architect than his more famous father.<ref>"Profile – Giles Gilbert Scott", ''The Observer'', 29 October 1950, p. 2</ref> In 1960 ''[[The Guardian]]'' called the eldest Scott "the archaeological 'renovator' to whose devastating energy so many of our cathedrals bear unhappy witness, while [George Gilbert Scott Jr.] was an architect of some discrimination and taste".<ref name="mg">"Sir Giles Gilbert Scott", ''The Guardian'', 10 February 1960, p. 2</ref>|group= n}} Scott's father and his grandfather had been exponents of [[High Victorian Gothic]]; Scott, when still a young man, saw the possibility of designing in Gothic without the profusion of detail that marked their work.<ref name="archive"/> He had an unusually free hand in working out his ideas, as Moore generally worked at home, leaving Freeman to run the office.<ref name="dnb"/>

===Liverpool Cathedral===
{{main article|Liverpool Cathedral}}
In 1901, while Scott was still a pupil in Moore's practice, the [[diocese of Liverpool]] announced a competition to select the architect of a new cathedral. Two well-known architects were appointed as assessors for an open competition for architects wishing to be considered.<ref name="c3">Cotton, p 3</ref> [[George Frederick Bodley|G.&nbsp;F.&nbsp;Bodley]] was a leading exponent of the [[Gothic revival]] style, and a former pupil and relative by marriage of Scott's grandfather.<ref name="bodley">Hall, Michael. [http://www.oxforddnb.com/view/article/31944 "Bodley, George Frederick (1827–1907)"], ''Oxford Dictionary of National Biography'', Oxford University Press, 2004, accessed 2 October 2011 {{subscription required}}</ref> [[Richard Norman Shaw|R.&nbsp;Norman Shaw]] was an eclectic architect, having begun in the Gothic style, and later favouring what his biographer Andrew Saint calls "full-blooded classical or imperial architecture".<ref name="shaw">Saint, Andrew. [http://www.oxforddnb.com/view/article/36050 "Shaw, Richard Norman (1831–1912)"], ''Oxford Dictionary of National Biography'', Oxford University Press, 2004; accessed 2 October 2011 {{subscription required}}</ref> Architects were invited by public advertisement to submit portfolios of their work for consideration by Bodley and Shaw. From these, the two assessors selected a first shortlist of architects to be invited to prepare drawings for the new building.

For architects, the competition was an important event; not only was it for one of the largest building projects of its time, but it was only the third opportunity to build an Anglican cathedral in England since the [[English Reformation|Reformation]] in the 16th century ([[St Paul's Cathedral]] being the first, rebuilt from scratch after the [[Great Fire of London]] in 1666, and [[Truro Cathedral]] being the second, begun in the 19th century).<ref name="t1902">"Liverpool Cathedral", ''The Times'', 25 September 1902, p. 8</ref> The competition attracted 103 entries,<ref name="t1902"/> from architects including Temple Moore, [[Charles Rennie Mackintosh]]<ref>[https://web.archive.org/web/20120402212739/http://www.huntsearch.gla.ac.uk/cgi-bin/foxweb/huntsearch_Mackintosh/LargeImage.fwx?catno=41153&filename=crm%2F41153.jpg "Design for Liverpool Anglican Cathedral competition: south elevation 1903"] Hunterian Museum and Art Gallery, accessed 21 June 2012</ref> and [[Charles Herbert Reilly|Charles Reilly]].<ref>Powers, p. 2</ref> With Moore's approval, Scott submitted his own entry, on which he worked in his spare time.<ref name="dnb"/>

In 1903, the assessors recommended that Scott should be appointed. There was widespread comment at the nomination of a 22-year-old with no existing buildings to his credit. Scott admitted that so far his only design to be constructed had been a pipe-rack.{{#tag:ref|The pipe-rack had been constructed to Scott's design by his sister.<ref>Scott, p. 4</ref>|group= n}} The choice of winner was even more contentious when it emerged that Scott was a Roman Catholic,{{#tag:ref|At this time it was customary for architects to undertake ecclesiastical work only for the denomination to which they belonged. When Bodley's partner [[Thomas Garner]] became a Roman Catholic in 1897, the partnership was dissolved and Garner's church work was thereafter exclusively for the Roman Catholic church while Bodley worked solely on Anglican churches.<ref name="thomas"/>|group= n}} but the assessors' recommendation was accepted by the diocesan authorities.<ref name="dnb"/>

Because of Scott's age and inexperience, the cathedral committee appointed Bodley as joint architect to work in tandem with him.<ref>Kennerley, p. 24</ref> A historian of Liverpool Cathedral observes that it was generous of Bodley to enter into a working relationship with a young and untried student.<ref>Cotton, p. 24</ref> Bodley had been a close friend of Scott's father, but his collaboration with the young Scott was fractious, especially after Bodley accepted commissions to design two cathedrals in the US,{{#tag:ref|These were for [[Washington National Cathedral|Washington, DC]], and San Francisco. The latter was not built.<ref name="bodley"/>|group= n}} necessitating frequent absences from Liverpool.<ref name="dnb"/> Scott complained that this "has made the working partnership agreement more of a farce than ever, and to tell the truth my patience with the existing state of affairs is about exhausted".<ref>Kennerley, p. 38</ref> Scott was on the point of resigning when Bodley died suddenly in 1907, leaving him in charge.<ref>Cotton, p. 22</ref> The cathedral committee appointed Scott sole architect, and though it reserved the right to appoint another co-architect, it never seriously considered doing so.<ref name="thomas"/>

[[File:Anglican Cathedral Liverpool 2 (6730011723).jpg|thumb|left|[[Liverpool Cathedral]] in 2012]]
In 1910 Scott realised that he was not happy with the main design, which looked like a traditional Gothic cathedral in the style of the previous century. He persuaded the cathedral committee to let him start all over again (a difficult decision, as some of the stonework had already been erected) and redesigned it as a simpler and more symmetrical building with a single massive central tower instead of the original proposal for twin towers.<ref>Kennerley, p. 55</ref> Scott's new plans provided more interior space.<ref>Cotton pp. 28, 30 and 32</ref> At the same time Scott modified the decorative style, losing much of the Gothic detailing and introducing a more modern, monumental style.<ref>Cotton, pp. 29–30</ref>

The [[Lady Chapel of Liverpool Cathedral|Lady Chapel]],<ref name="thomas"/> the first part of the building to be completed, was consecrated in 1910 by [[Francis Chavasse|Bishop Chavasse]] in the presence of two archbishops and 24 other bishops.<ref>Forwood, William. "Liverpool Cathedral – Consecration of the Lady Chapel", ''The Times'', 30 June 1910, p. 9</ref> Work was severely limited during the First World War, with a shortage of manpower, materials and money.<ref name="c6">Cotton, p. 6</ref> By 1920, the workforce had been brought back up to strength and the stone quarries at [[Woolton]], source of the red sandstone for most of the building, reopened.<ref name="c6"/> The first section of the main body of the cathedral was complete by 1924, and on 19 July 1924, the 20th anniversary of the laying of the foundation stone, the cathedral was consecrated in the presence of [[George V of the United Kingdom|King George V]] and [[Mary of Teck|Queen Mary]], and bishops and archbishops from around the globe.<ref name="c6"/>

Construction continued throughout the 1930s, but slowed drastically throughout the Second World War, as it had done during the First. Scott continued to work on the project until his death, refining the design as he went. He designed every aspect of the building down to the fine details. The cathedral was finished in 1978, nearly two decades after Scott's death.<ref>Riley, Joe. "Finished – but for the way in to the nave", ''The Guardian'', 25 October 1978, p. 8</ref>

===Other early work===
While Scott was feuding with Bodley in Liverpool, he managed to design and see built his first complete church. This was the [[Church of the Annunciation, Bournemouth|Church of the Annunciation]], a Roman Catholic church in [[Bournemouth]], in which he made a high transept similar to his original plan for Liverpool.<ref name="dnb"/> His work on another new Roman Catholic church at [[Sheringham#St Joseph Roman Catholic Church|Sheringham]], Norfolk showed his preference for simple Gothic frontages.<ref name="dnb"/> Other churches built by Scott at this time, at [[Ramsey, Isle of Man|Ramsey]] on the Isle of Man, [[Northfleet]] in Kent and [[Stoneycroft]] in Liverpool, show the development of his style. Scott and his brother Adrian worked on [[Ashtead#Grey Wings|Grey Wings]], a house in Ashtead, Surrey in 1913.<ref name=NHLEGrey>{{NHLE|num=1391240|desc=Grey Wings|access-date=4 December 2017|mode=cs2}}</ref> While working in Liverpool, Scott met and married Louise Wallbank Hughes, a receptionist at the [[Britannia Adelphi Hotel|Adelphi Hotel]]; his mother was displeased to learn that she was a Protestant.<ref name="dnb"/> The marriage was happy, and lasted until Louise Scott's death in 1949. They had three sons, one of whom died in infancy.<ref name="dnb"/>

During the First World War Scott was a Major in the [[Royal Marines]]. He was in charge of building sea defences on the [[English Channel]] coast.<ref name="dnb"/>

===1920s===
[[File:CropthorneCourt.jpg|thumb|Cropthorne Court, [[Maida Vale]] (1930).]]
As Liverpool Cathedral rose Scott's fame grew, and he began to secure commissions for secular buildings.<ref name="dnb"/> One of the first was for [[Clare College, Cambridge]], Memorial Court, which was in a neo-Georgian style on the west bank of the River Cam.<ref name="archive"/> This style was also used for [[Chester House, Paddington|Chester House]], a house he designed for himself in Clarendon Place, [[Paddington]] in 1924, which won the annual medal for London street architecture of the [[Royal Institute of British Architects]] in 1928.<ref name="times">"Sir Giles Gilbert Scott", ''The Times'', 10 February 1960, p. 13</ref> Scott's residential buildings are few; one of the best known is the Cropthorne Court mansion block in [[Maida Vale]], where the frontage juts out in diagonals, eliminating the need for [[lightwell]]s.<ref name="dnb"/>

[[File:Red telephone boxes behind Young Dancer - Broad Street - London - 240404.jpg|thumb|left|K2 [[red telephone box]]es preserved as a tourist attraction near [[Covent Garden]], London]]
[[File:Battersea Powerstation - Across Thames - London - 020504.jpg|thumb|[[Battersea Power Station]]]]
Scott continued working on churches during the inter-war years. Shortly after his work on the nave at [[Downside Abbey]] he was commissioned to design the small Roman Catholic [[Church of Our Lady & St Alphege, Bath]], the first part of which was completed in 1929.<ref name="forsyth"/> His design was inspired by the church of [[Santa Maria in Cosmedin]], Rome.<ref name="gough">[http://www.saintalphege.org.uk/14gough.html " William Drinkwater Gough"] {{webarchive|url=https://archive.today/20121224105409/http://www.saintalphege.org.uk/14gough.html |date=24 December 2012 }}, Our Lady & St Alphege, accessed 23 June 2012</ref> Scott's distillation of the main elements of that large and ancient church into the much smaller Bath parish church has been described as "a delight" which "cannot fail to astonish".<ref name="forsyth">Forsyth, p. 291</ref><ref name="alphege"/> Some 25 years later he wrote "The church was my first essay into the [[Romanesque architecture|Romanesque]] style of architecture. It has always been one of my favourite works".<ref name="alphege">[http://www.saintalphege.org.uk/2building.html "The Building"] {{webarchive |url=https://web.archive.org/web/20120226145613/http://www.saintalphege.org.uk/2building.html |date=26 February 2012 }}, Our Lady & St Alphege, accessed 23 June 2012</ref> On the capital of one of the pillars beneath the west gallery W. D. Gough carved a representation of the architect, and a shield inscribed "{{lang|la|Aegidio architecto}}" (By Giles the architect) – possibly the only depiction of Scott in stone.<ref name="gough"/>

Scott's most ubiquitous design was for the [[General Post Office]].<ref name="dnb"/> He was one of three architects invited by the [[Commission for Architecture and the Built Environment|Royal Fine Arts Commission]] to submit designs for new telephone kiosks.{{#tag:ref|The other two were [[Robert Lorimer|Sir Robert Lorimer]] and [[John James Burnet|Sir John Burnet]].<ref>Stamp, Gavin. [http://www.bffthing.demon.co.uk/html/t6/soane.htm "Soane in Budapest"] {{Webarchive|url=https://web.archive.org/web/20130517094856/http://www.bffthing.demon.co.uk/html/t6/soane.htm |date=17 May 2013 }}, ''Things Magazine'', accessed 24 June 2012</ref>|group= n}} The invitation came at the time Scott was made a trustee of [[Sir John Soane's Museum]]. His design was in the classical style, topped with a dome reminiscent of the [[mausoleum]] Soane designed for himself in [[St Pancras Old Church]] yard, London.<ref name="kiosks">"New Telephone Kiosks", ''The Times'', 28 March 1925, p. 9</ref> It was the chosen design and was put into production in cast iron as the GPO's "[[Red telephone box|Kiosk no. 2]]" or "K2".<ref name="kiosks"/> In 1932 the design was expanded to include a [[Post box|posting box]] and two stamp vending machines as "[[Red telephone box|Kiosk no. 4]]" or "K4".<ref name="kiosks"/> Later designs adapted the same general look for mass production: the Jubilee kiosk, introduced for [[George V of the United Kingdom|King George V]]'s silver jubilee in 1935 and known as the "K6", eventually became a fixture in almost every town and village.<ref>"More Telephone Concessions", ''The Times'', 1 August 1935, p. 11</ref>{{#tag:ref|Some rural communities were not impressed by the vivid red of Scott's design. A councillor in the [[Lake District]] said, "red might be the best colour for London, but they did not want that colour of Hades brought into the Lake District."<ref>"Red Telephone Kiosks", ''The Times'', 22 August 1936, p. 8</ref>|group= n}}

===1930s===
In 1930 the [[London Power Company]] engaged Scott as consulting architect for its new electricity generating station at [[Battersea]]. The building was designed by the company's chief engineer, [[Leonard Pearce]], and Scott's role was to enhance the external appearance of the massive architecture.{{#tag:ref|Scott was at pains to emphasise the limits of his contribution to the building and to ensure that due credit was given to Pearce and to the architectural practice Halliday and Agate which was responsible for the interior.<ref>Scott, Giles Gilbert. "Battersea Power Station", ''[[The Times]]'', 15 January 1934, p. 8</ref>|group= n}} He opted for external brickwork, put some detailing on the sheer walls, and remodelled the four corner chimneys so that they resembled classical columns.<ref name="dnb"/> [[Battersea Power Station]], opened in 1933 but disused since 1982, remains one of the most conspicuous industrial buildings in London. At the time of its opening, ''[[The Observer]]'', though expressing some reservations about details of Scott's work, called it "one of the finest sights in London".{{#tag:ref|The paper's architecture correspondent complained that the four chimneys looked like minarets – "though very beautiful minarets".<ref>"A Cathedral of Mechanism: The Battersea Power Station", ''[[The Observer]]'', 23 April 1933, p. 13</ref>|group= n}} In a poll organised by ''[[Architectural Review|The Architectural Review]]'' in 1939 to find what lay people thought were Britain's best modern buildings, Battersea Power Station was in second place, behind the [[Peter Jones (department store)|Peter Jones]] building.<ref>"Our Best Buildings: A Poll of Laymen", 
''[[The Guardian|The Manchester Guardian]]'', 9 June 1939, p. 12</ref>

[[File:Main UL building.jpg|thumb|[[Cambridge University Library]], opened in 1934]]
In [[Cambridge]], next to Clare College's Memorial Court, Scott designed the enormous [[Cambridge University Library|library]] for the entire [[University of Cambridge]]. He placed two six-storey courtyards in parallel with a twelve-storey tower in the centre, and linked the windows vertically to the bookstacks. The main reading room measured nearly {{convert|200|ft|m}} by {{convert|41|ft|m}} and {{convert|31|ft|m}} high, lit by 25 round-headed clerestory windows on each side.<ref name="timescam">"New Cambridge Library", ''The Times'', 22 October 1934, p. 15</ref> At the time of its opening in 1934, ''[[The Times]]'' commented that the building displayed "the same enjoyment of modelling in mass which is Sir Giles Scott's chief personal contribution to contemporary architecture."<ref name="timescam"/>

Scott was elected president of the [[Royal Institute of British Architects]] for 1933, its centenary year (having already been awarded the RIBA's prestigious [[Royal Gold Medal]] in 1925).<ref>"R.I.B.A. Gold Medal", ''The Times'', 23 June 1925, p. 18</ref> In his presidential address he urged colleagues to adopt what he called "a middle line": to combine the best of tradition with a fresh modern approach, to eschew dogma, and recognise "the influence of surroundings on the choice of materials and the technique of their use. … My plea is for a frank and common-sense acceptance of those features and materials which are practical and beautiful, regardless as to whether they conform with the formula of either the modern or the traditional school."<ref>"Modern Ideas in Architecture", ''The Times'', 21 June 1935, p. 14</ref>

From 1937 to 1940, Scott worked on the [[New Bodleian Library]], in Broad Street in Oxford. It is not generally considered his finest work. Needing to provide storage for millions of books without building higher than the surrounding structures, he devised a construction going deep into the earth, behind two elevations no higher than those around them.<ref name="archive"/> His biographer A S G Butler commented, "In an attempt to be polite to these – which vary from late Gothic to Victorian Tudor – Scott produced a not very impressive neo-Jacobean design".<ref name="archive"/> A later biographer, [[Gavin Stamp]], praises the considerable technical achievement of keeping the building low in scale by building underground, but agrees that aesthetically the building is not among Scott's most successful.<ref name="dnb"/> [[Nikolaus Pevsner]] dismisses it as "neither one thing nor the other".<ref>Pevsner, p. 253</ref>

===1940s===
Scott's search for the "middle line" caused him difficulties when he was appointed as architect for the new [[Coventry Cathedral]] in 1942. Pressured by the new Bishop of Coventry for a modern design and by the Royal Fine Arts Commission for a recreation of the old cathedral, he was criticised for trying to compromise between the two and designing a building that was neither fish nor fowl. Unable to reconcile these differences Scott resigned in 1947; a competition was held and won by [[Basil Spence]] with an uncompromisingly modern design.

After the [[Palace of Westminster#Commons Chamber|Commons chamber]] of the [[Palace of Westminster]] was destroyed by bombs in 1941, Scott was appointed in 1944 to rebuild it. Here he was hemmed in entirely by the surviving building, but was entirely of the view that the new chamber should be congruent with the old as anything else would clash with the Gothic style of [[Charles Barry]] and [[Augustus Pugin]]. This view found favour with [[Winston Churchill]] who observed "We shape our buildings and afterwards our buildings shape us".<ref>{{Cite Hansard |jurisdiction= United Kingdom|title=House Of Commons Rebuilding |url=https://hansard.parliament.uk/Commons/1943-10-28/debates/4388c736-7e25-4a7e-92d8-eccb751c4f56/HouseOfCommonsRebuilding |house=House of Commons |date=28 October 1943 |column=403 |speaker=Winston Churchill |position=Prime Minister}}</ref> In a debate on 25 January 1945, the House of Commons approved his choice by 121 to 21.<ref>{{Cite Hansard|jurisdiction= United Kingdom|title=House Of Commons (Rebuilding) |url=https://hansard.parliament.uk/Commons/1943-10-28/debates/4388c736-7e25-4a7e-92d8-eccb751c4f56/HouseOfCommonsRebuilding |house=House of Commons |date=25 January 1945 |column=1105}}</ref>

===Last years===
After the immediate rush for building work caused by war damage had died down, Scott put a new roof on the [[Guildhall, London|Guildhall]] in the City of London and designed modernistic brick offices for the Corporation just to the north. Despite having opposed placing heavily industrial buildings in the centre of cities, he accepted a commission to build [[Bankside Power Station]] on the bank of the [[River Thames]] in [[Southwark]], where he built on what he had learnt at Battersea and gathered all the flues into a single tower. This building was converted in the late 1990s into [[Tate Modern]] art gallery.

Scott continued to receive commissions for religious buildings. At [[Preston, Lancashire]] he built a Roman Catholic church, St Anthony of Padua on Cadley Causeway (1959),<ref>https://taking-stock.org.uk/building/preston-st-anthony-of-padua/</ref> which is notable for an unusually long and repetitive nave. His [[Our Lady of Mount Carmel and St Simon Stock|Carmelite Church in Kensington]], up the road from [[St Mary Abbots]] built by his grandfather, used transverse concrete arches to fill a difficult site (the church replaced another lost in the war). Scott created the design of the [[Trinity_College,_Toronto#Chapel|Trinity College Chapel]] in [[Toronto]], completed in 1955, a lovely example of perpendicular Gothic, executed by the local firm of George and Moorhouse and featuring windows by E. Liddall Armstrong of Whitefriars.

Scott remained working into his late 70s. He was working on designs for the Roman Catholic Church of Christ the King, [[Plymouth]], when he developed lung cancer. He took the designs into [[University College Hospital]], where he continued to revise them until his death aged 79.

===Burial and grave===
[[File:Scott memorial, Liverpool Anglican Cathedral.jpg|thumb|left|Memorial to Scott, inside Liverpool Cathedral, set into the floor beneath the central tower]]
[[File:Grave of Giles Gilbert Scott 1.jpg|thumb|right|Scott's grave at Liverpool Cathedral]]
Scott was buried by the monks of [[Ampleforth Abbey]]<ref>{{cite web|title=Scott, Sir Giles Gilbert|url=http://www.oxforddnb.com/templates/article.jsp?articleid=35987|website=Oxford Dictionary of National Biography|access-date=12 June 2014}}</ref> outside the west entrance of [[Liverpool Cathedral]], alongside his wife (Scott specifically requested that no body should be interred inside the building as he did not want it to become a mausoleum).<ref>Cotton, p. 154</ref> Although originally planned in the 1942 design for the west end of the cathedral to be within a porch, the site of the grave was eventually covered by a car park access road.<ref>{{cite web|title=Nowt marks the spot|url=http://www.liverpoolconfidential.co.uk/News-and-Comment/Nowt-marks-the-spot|website=Liverpool Confidential|access-date=12 June 2014|url-status=dead|archive-url=https://web.archive.org/web/20140714204511/http://www.liverpoolconfidential.co.uk/News-and-Comment/Nowt-marks-the-spot|archive-date=14 July 2014|df=dmy-all}}</ref> The road layout was changed, the grave was restored and the grave marker replaced in 2012.<ref>{{cite web|title=Work to start on the restoration of the Scott Memorial|url=http://www.liverpoolcathedral.org.uk/404/section.aspx/403/work_to_start_on_the_restoration_of_the_scott_memorial_|archive-url=https://web.archive.org/web/20140714190301/http://www.liverpoolcathedral.org.uk/404/section.aspx/403/work_to_start_on_the_restoration_of_the_scott_memorial_|url-status=dead|archive-date=14 July 2014|website=Liverpool Cathedral|access-date=12 June 2014}}</ref>

A requiem mass for Scott was celebrated by Father Patrick Casey at the Roman Catholic [[St James's, Spanish Place]], London, on 17 February 1960.<ref>"Requiem Masses", ''The Times'', 18 February 1960, p. 14</ref>

===Family===
In addition to his father and grandfather, other members of Scott's family who were architects included an uncle, [[John Oldrid Scott]], a brother, [[Adrian Gilbert Scott]] and son [[Richard Gilbert Scott]].