Govan Institute of Piping

The Govan Institute of Piping Sean McQueenie

Unit 1A, Brian McGinlay 201233663

Section 1 // Introduction & Brief

Section 2 // Govan & Site Details

Section 3 // Requirements & Investigations

Manifesto

Key Requirements

Wider Context

Location & History

Contemporary Overview

Govan’s Grain

Facilities & Amenities Statistics Demographics

Analysis of Context

Govan’s Fabric

Requirements

3

Intent Client Brief

4 4

7 8 9 10 11 12 13 14

Site Selection

Graving Docks Water Row

15 16

Water Row Analysis History

Current Uses Grain Fabric Considerations

Masterplan Highlights

17 18 19 21 23

24 24

PI Line Connections to Partick

Schedule of Accommodation Employment

Financing & Funding Workshop

27 28 29 30

Initial Research into Bagpiping

Anthropology of a Piper The Great Highland Bagpipe

31 32

Typological Analysis

Historic Settings Piping in Govan Historically Piping in Govan with GSPDA Piping Venues in Glasgow Celtic Venues in Glasgow Auditorium Form

33 34 35 36 37 38

Precedent Studies

Brochs, Castles & ‘Black’ Houses Performance Venues Waterfront Location

39 41 42

Section 4 // Research & Development

Section 5 // Final Design

Section 6 // Technical Solution

Initial Ambition

Siting

Environmental Considerations

Aspirations Learning Outcomes

45 45

46 47

Material Considerations

49 50 51 52 53 54

Detailed Design Resolution

Emerging Concepts

Volcanic Form Courtyard, Context & Massing

Development & Testing

Sketches & Thoughts

Auditorium Form

External Form Massing Roofscape Entrances

Location Plan Site Plan Curtilage Plans Detailed Curtilage Plans of entrances

Material Palettes Final Materials

Floor Plans

Auditorium Plan Sections Visuals

Physical Models

57 58 59 61

Acoustics Heating Lighting Ventilation

85 85 86 86

Structural Investigations 65 66

Precedent Studies Auditoria

Large Span Structures Considerations

67 75 76 80 81

Technical Resolution

Primary Structure Plan

Isometric of Structural Bay

Section CC

Detail Section, 1:200

Detail Section, 1:50 Details

Structural Summary

87 87 88 88

89 90 91 92 93 95 98

Section 1 // Introduction & Brief

Manifesto

Key Requirements

3

Intent Client Brief

4 4

Manifesto // Key Requirements From fish and food to trains and textiles; poets and politicians to ships and sugar, Govan is renowned as a world class exporter of produce throughout its history. However from initial analysis, it’s apparent that Govan lacks a forum to unite its disenfranchised and fragmented groups of residents.

Simultaneously, it desperately needs a greater variation and diversity of employment opportunities, and a platform to be vibrant again.

Piping is on the up across Scotland and the world. Both pipe bands and military training have been proven to provide young people with skills for life; promoting teamwork, commitment, self-esteem, a sense of discipline, fun and friendship and leading to employment opportunities afterwards.

While Glasgow already has a piping centre, it is not accessible for those from disadvantaged areas.

This architectural intervention therefore seeks to provide an outlet for creative talent while acting as a destination for locals and tourists alike, creating a distinct focal point while repairing the urban and economic fabric of the townscape. It sets out to create a special place in the burgh, an inspiring venue in which the local cultures can connect through encountering the history, performance and construction of bagpipes, and international calibre events.

The facility seeks to provide permanent homes for Govan Schools Drum and Pipe Association, programmatically providing spaces for rehearsal, recording and performance, with a dedicated workshop to teach carpentry skills to young children and adults through the making of bagpipes and drums.

By providing multiple avenues of employment, the facility will also address the myriad issues faced in the burgh, particularly regarding the economy, while brokering partnerships between local creative types and corporate investors, to secure sponsorship to fund apprenticeship programmes with an option to hire them once time-served. This diversity of skilled employment opportunities also taps into the lack of variety of jobs to stimulate locals. If Govan is anything, it’s resilient, robust and capable - Govanites are intelligent, industrious and entirely competent of fulfilling such roles.

With feet firmly planted in the present; a nod to the past and an eye on the future, every building should emulate the place which formed it. Govan is culturally and tectonically intense and varied. The Govan Institute of Piping shall attest to that.

A dedicated, world class bagpiping institute containing: • Performance space for hosting events such as the World Pipe Band Championships • Education, rehearsal and recording spaces • Dedicated home for Govan Schools Pipe and Drum Association • Greater variety of employment opportunities through workshop for building bagpipes • Associated infrastructure (hotel/accommodation) for festivals, providing reason for people to visit and then stay in Govan In order to achieve this, it must: • Be accessible to all (physically and financially) and band friendly • Be flexible and open, giving Govanites a platform for success to display their talent • Be of Govan, for Govan • Fulfil its civic responsibility The building will provide employment to produce talent in the fields of: Performing Arts Lighting engineering Sound engineering Music production Top grade performers Tutoring Bagpipe Workshop Carpentry Graphic design Marketing & sales Mechanical engineering Product design

Above: Initial intent Below: Initial auditorium proposal

Intent // Client & Process

Intent // Brief

Govan Schools Pipes and Drums Association (GSPDA) were formed in 2013 with the explicit aim of breaking down barriers in the community pertaining to religious and sectarian divides, with no religious or belief affiliation. They achieved this through making piping, the national instrument of Scotland, accessible to all regardless of background/environment/ upbringing, run by Iain MacPherson and Iain Watson, former Pipe Majors who led Strathclyde Police to several Grade 1 World Championship victories.

Piping Events – Building Requirements

Over 400 children have attended since the charity’s formation, with around 30% of members as Scottish by birth, displaying it’s strongly multicultural approach. Unfortunately, they were forced out of the Pearce Institute in 2015 because of other tenants and offices complaining, which has meant having to use school halls for practice and rehearsal, with associated stigmas and religious issues – the very issues they seek to remove. Their current aim is to expand their teaching and outreach through the network of schools in which they teach.

The majority of their reach is through social media and website, though they have had exposure in local and national media, such as an appearance on the BBC last year.

Piping Events – The Process For performances, bands tend to arrive 2 hours before. The following routine serves as a guide:

Arrive, unpack and sign in with competition jury

Initial tune up/sound check

Eat food and relax

Get changed

Final tune up/rehearsal Perform

Eat, drink, relax

Awards ceremony (if it’s a competition)

Continue to socialise Depart

Above: GSPDA in rehearsals Below: GSPDA at the Scottish Schools World Championships

Tune up, changing spaces time are highly important in all piping events.

Absorbent materials in performance spaces create a more desirable and mellow sound.

Glasgow’s bagpiping factories and venues are good but difficult to travel too, which is an issue for those from disadvantaged backgrounds, therefore it would be useful to include facilities in-house in order for members to experience the making and production of the instruments.

The cost involved in travelling to/putting on performance must be considered - the provision of catering takes pressure off bands if the cost is covered by ticket sales.

Cafe to encourage locals in without necessarily coming to a gig as there are very few places in Govan to socialise other than the Pearce Institute and cafe 13.

A destination Scottish-themed restaurant again encourages in locals and tourists alike, by providing a reason to visit the venue - there are currently very few Scottish restaurants in Glasgow.

External practice space and rooms can be hired by bands in lead up to events.

Multi-purpose spaces to host ceilidhs, Celtic music events, etc and aid revenue.

Offices which can perhaps host the Royal Scottish Pipe Band Association (RSPBA) for example.

Accommodation for pipers and guests traveling internationally for events.

(From meeting with Iain Watson of GSPDA on 15.11.17).

Section 2 // Govan & Site Details

Wider Context

Location & History

Contemporary Overview

Govan’s Grain

Facilities & Amenities Statistics Demographics

Analysis of Context

Govan’s Fabric

7 8 9 10 11 12 13 14

Site Selection

Graving Docks Water Row

15 16

Water Row Analysis History

Current Uses Grain Fabric Considerations

Masterplan Highlights

17 18 19 21 23

24 24

PI Line Connections to Partick

Wider Context // Location & History Scotland: Glasgow Scotland, the land of the Scots, derived from the name Alba, first used during the invasion of the Vikings, when Dal Riadan Scots, under Kenneth MacAlpin, and the Picts joined forces in resistance.

Glasgow, Scotland’s largest city and once the “Second City” of the British Empire is situated on the River Clyde (“Clota” in Latin), translating from “Glascu” in Latin as “Green Hollow.” It was first settled in over 2,700 years ago, meaning Govan is one of the oldest continually inhabited places in the world. The first settlers were a community based around metal working during the Bronze and Iron Ages.

Glasgow: Govan The name “Govan” is first mentioned in the 12th century “Historia Regnum Anglorum” as “Ouania” – a place which lay near the stronghold of the Strathclyde Britons at Dumbarton Rock. There are two versions about the origin of the name: one comes from folk etymology and is based on the Gaelic word “Gobha” meaning a smith or place for ironworkers. The other name for Govan is “Goban” which derives from a north British or Old Welsh dialect which translates as “Little Hill”. As Govan is relatively flat, the coining of the word might have been used for what was Govan’s most defining feature then - Doomster Hill, which stood adjacent to the present day Govan Road, Water Row, and the river itself.

(Alastair McIntosh, 2011 pg.1) Govan: Districts Historically, Partick was part of the parish of Govan, in the county of Renfrew.

Govan’s religious and settlement history predates that of Glasgow, having strong Pagan, Celtic and Gaelic ties since early Roman times. Tradeston, Kingston and Anderston sprang up during the 16th and 17th centuries when many Glaswegian Lairds owned land and plantations abroad, bringing trade and commerce up the River Clyde to Glasgow.

Govan: Boundary Govan was annexed by Glasgow in 1912, in order to boost the city’s population statistics.

Wider Context // Contemporary Overview The layout of Govan’s streets and spaces make them less accessible and obvious. It has visibly been scarred by the loss of heavy industry during the Thatcher years, it’s wide and straight but deserted roads a testament to that.

It has an awkward stance with the river. This theme of awkwardness presents itself in other areas of the burgh. At Govan Cross, there is an alien subway and bus station beached on an island, backing onto a faceless brick wall, which turns out to be the main shopping precinct.

Heading south on Orkney Street towards Ibrox, and in front of Riverside Primary, there is a vast wasteland which interrupts any sense of rhythm and punctures holes in residential neighbourhoods, with streets baron but for the occasional bus.

The majority of the “open spaces” are derelict industrial and residential zones.

The two parks are currently scary places to be, with Heris fencing and litter in water features, with local youths drinking and partaking in drug abuse in the parks. The river is not engaged with, never mind utilised or activated.

The only spaces for recreation are overrun with broken bottles, drinkers and drug users. These spaces are highly unsuitable for children.

The majority of spaces are reasonably to fairly clean and vandalism free. Public parks and spaces are reasonably well maintained, however poorly monitored, policed and Refuse collection and recycling seem good on the surface, Most residents, public groups and local authorities seem to take control and ownership of the area, reducing litter and taking pride in their appearance, although they are let down by certain elements of the neighbourhood and certain abysmal quality landlords which needs to be urgently addressed.

Many older buildings have been temporarily patched up, as there is a lack of local skilled craftspeople able and willing to repair the issues, which has led to the closure (and in some cases demolition) of many otherwise perfectly good tenements, churches and public buildings. The 1970/80s housing and industrial units are of shocking quality and repair. Newer buildings are better maintained. Many original warehouses are still standing with a strong element of character and reassurance that none of the 70s/80s builds can claim to possess.

Wider Context // Govan’s Grain The major employers in the area are the BAE Systems shipyard, Rangers Football Club (Ibrox) and Strathclyde Partnership for Transport (SPT) between the subway stations and Broomloan service depot. There are several small business and business “incubation” centres, most notably the former prison on Orkney Street, aimed at supporting new companies grow.

Industry in Govan has historically been the main economic driver of the area.

During the 1900s, employment was focused around the shipyards on the banks of the river. The BAE Systems yard still remains the main employer in the area, however a spine of light industry has formed along Helen Street due to the decline in Shipbuilding and its ideal location for transport links.

A cluster of community buildings, whose objectives all revolve around the improvement of the many social issues Govan faces, have collected around the Govan Cross Area. Many of these are historical buildings, which have adapted for the needs of the users, creating a focused centre of buildings with collective core aims and values.

Govan is well connected to other districts and the city of Glasgow by underground rail and bus networks, while being less than a twenty minute cycle from the city centre. It however lacks a clear and convenient overground route to Partick, and still feels somewhat dislocated from the city proper.

The majority of Govan’s building stock are private and social housing stock of varying ages and quality, from vernacular 4 storey sandstone tenements to contemporary sheltered accommodation. There is a great variety of housing types in Govan of varying ages and qualities. Only 1 in 3 homes are owned by residents, while most are owned by private landlords or housing associations.

There is a stark contrast of good quality social housing versus pockets of slum landlord. Most residents are proud of their patch of land, and take seriously the care, curation and attention they provide it, and the image they present.

Unfortunately some unsavoury characters have allowed their homes, gardens and streetscape to fall below acceptable standards which makes for a less secure and prosperous community. Lots of land exists in the area to provide extra housing and employment opportunities to address Govan and the wider nation’s need for increased housing and work. Some housing is more successful than others - the best are the original tenements, which are fantastic examples of housing, but require proper maintenance an repair techniques to restore them to their original glory. Mid to late 20th century flatted developments are of poor quality, with a more defensive and incarceration-like feel, using poorer quality materials and environmental design. Some of the more successful works are from the last decade, which are of much higher quality and aspirational value, of which the residents are proud.

Community and education facilities

Residential properties

Cultural and entertainment venues

Transport links

Wider Context // Facilities & Amenities There are several primary and secondary education establishments in Govan, though many are underpopulated and underfunded due to the consistently low achieving rates of attendant students. Many parents choose to send their children out-with Govan for education, while those who are forced to remain suffer with bleak prospects upon qualification. It is therefore imperative to recognise and address this with the Govan Institute of Piping, as offering apprenticeships in the workshop, or the opportunity to learn and play the national instrument at a high level, can stimulate the youth’s drive and development, in turn improving the local economy. Apprenticeships can also offer avenues of employment with larger engineering and shipping firms located locally, while piping offers opportunities for exposure on regional, national and international art scenes.

Commercial outlets, industrial premises

Civic pride in Govan is one of the strongest found in urban Scotland. The history, culture and heritage is well celebrated and known, although there could be more facilities to highlight this and engage external visitors. Local groups work hard to engage different groups, but could use more exposure and funding to help their causes. There is a strong sense of community, although there is still an underlying current of racism and anti-semetism in certain elements of the area.

Of the economically active, the majority are employees of larger companies, while the smallest percentage are self employed. This can cause a certain level of fear and unease amongst locals as many are financially dependent on firms located out-with the area, causing many Govanites to leave or commute away from Govan on a daily basis in search for better opportunities, a greater diversity of employment options, and improved financial stability.

Those who are economically inactive are mainly of working age, with many diagnosed with long term illnesses. Multiple levels of deprivation are proven to impact negatively on productivity, health and wellbeing. It is therefore vitally important to kick-start the economy by providing a more variegated job market and adequate training for employees, to allow them to develop to their full potentials, while allowing Govan to flourish once again.

Industrial premises

Wider Context // Statistics Most work dried up during and after the closure of shipyards. There are a few contractor units and small shipyards in the local area who could but don’t employ enough locals. Most locals travel elsewhere for meaningful work.

Local infrastructure lacks job opportunities. There is a minimal amount of skilled/apprenticeship positions in the area (Galgeal being one of the few and far between examples). Govanites are intelligent and industrious, but there is a distinct lack of opportunities to ply their trade. There is a stagnation of creative talent and not enough of a variety to support diversity. There is plenty of vacant land for local businesses to start up, but no impetus to draw them to the area. There is a critically high level of unemployment in the area (155% above the Glasgow average). Currently, the only employment route is through the service sector.

There are many shops, but most are hairdressers, tanning salons, tattoo artists and second hand stores. The main shopping precinct is full of rough edges and a poor public realm. The Pearce Institute is well maintained and used, but perhaps under-utilised as there doesn’t seem to be much engagement between the groups. This theme continues in the local churches, with a variety of users, which is a missed opportunity to unite and empower the community.

In general, areas are accessible to all abilities and age groups, but lack the footfall or vibrancy to make them viable. The existing facilities are not used to their full potential, are there is a poor awareness of who can use such facilities and when. Most locals tend to head out of Govan for their education, shopping and recreation. There are no physical or mental wellness centres in the area, unless residents travel to nearby Ibrox or Partick.

Wider Context // Demographics Govanites are particularly friendly, approachable and chatty. There is a positive vibe in the area, although pubs, closes and doorways are where most conversations take place thanks to a badly designed and overly vehicular public realm. There are not enough variation of spaces, although cafes are starting to spring up in the area. The market on Water Row is successful but could do with a dedicated covered area for poorer weather. The parks are utilised during summer months but foul weather causes most spaces to be under-utilised during autumn and winter. There are a mix of age groups and backgrounds mingling at the markets and park festivals, though it’s more common for white males to mingle in pubs than include any other demographic. Elderly women tend to shop together and visit hairdressers and attend church together. There are a lack of amenities and activities for the youth.

The common weal of Govan’s overwhelmingly positive and friendly nature quickly allies any fears of the area. Primary routes tend to be busiest during rush hours and weekends, while it falls almost silent during the working day.

Most spaces are overlooked by buildings that, though many are empty or faceless once off the main thoroughfare and are spread, disparate. There are several abandoned buildings and spaces, with a fairly high anti-social, crime and violent crime rate, particularly after dark. There seems to be a small element of racism and sectarianism from certain segments of the population which could be stamped out if the locals were provided with a forum to unite.

There is a strong sense of ownership and ability to effect change in Govan, though the area desperately needs local and national authorities to take heed and action. Authorities are aware of the problem but aren’t doing enough, quickly enough to address the issues within a clear and organised masterplan.

Govanites tend to feel shunned and ignored by Glasgow, but would be open to receiving help to reignite their spark. Govan currently lacks a forum for discussing its issues with the various social groups in the area. Govan Voices (magazine) and Sunny Govan (radio station) are representative of locals, providing a mouth piece for local news and issues.

graph that indicates the relative strengths of the place.

The diagram will show you at a glance, where your place has done well, and where there is room fo improvement. Where it has done well, the diagram will reach the edge of the circle. Where it has done poorly, it will touch the centre.

Wider Context // Analysis of Context The main issues Govan faces are: Poor and limited scope of employment prospects Sub-standard housing in several neighbourhoods Disconnect between various segments of the residents Lack of forum for discussion and taking action regarding local issues Lack of museum/facility showcasing Govan’s history to itself and the world Poorly policed, controlled and cleaned public spaces, particularly concerning parks and play areas Lack of health and wellness facilities.

Priorities for Govan include (but are not limited to): Improved range of employment routes and vocational education opportunities beyond the service sector and occasional shipyard positions, as we transition away from heavy industry Provision of public forum for all residents to discuss ideas, propose solutions and take actions A vehicle for public unity and platform to aid residents in seeking support and funding for public projects Better regulation of landlords to eradicate slum conditions; Improved ownership and policing of public spaces, particularly after dark Provision of health and wellbeing facilities Engagement with local creative types to: take ownership of downtrodden spaces Improve the public realm and facilitate strategic corporate partnerships to sponsor apprenticeships and local improvement works Pedestrianisation of Govan Road and significant reworking of the infrastructure/shopping hub at Govan Cross.

or

Wider Context // Govan’s Fabric There are 31 listed buildings in Govan, a testament to the quality of architecture and buildings in the burgh - many of Glasgow’s top architects, from Sir Rowan Anderson to John James Burnet, James Miller and John Honeyman built extensively in the area. The majority of the older buildings use a restrained palette of slate, sandstone - and to a lesser extent, brick - across a variety of styles from Scottish Baronial to Art Nouveau.

Left: A fine example of Scots Baronial architecture with the Cardell Halls Top right: Sir Rowand Andersons’ Pearce Institute Below right: The same architect’s Govan Old Church

Wider Context // Site Selection Sites were identified which can accommodate a bagpipe manufacturing workshop, rehearsal, recording and teaching spaces for GSPDA and various professional bands during festivals, while providing a world class bagpiping concert hall and facilities. In order for the building to be financially viable throughout the year, it is also proposed that it will contain a cafe for the general public to gather and meet regardless of events programme; a Scottish themed destination restaurant; and boutique accommodation for special guests or the previous years World Champions.

Site Selection Criteria The site must be accessible for the public and workshop alike, focused on the community, while providing plenty of space for outdoor rehearsal and events.

Graving Docks: Strengths

Strong industrial history and context

Currently vacant with strong links to industrial and residential areas

Visual links to industry and technology hubs

Slightly acoustically sheltered due to lower level of site Weakness’

Complex rhythm of water to land across site

Varying heights of access to site

Further away from town centre - not heart of town

Listed building (A) Opportunities

Enough remove from neighbours for loud events

Could kickstart waterfront redevelopment

Relation to industry and ease of access is useful for bagpipe

manufacturing and large events Threats

Listed building - requires sensitive design

Requires a strong programmatic response to encourage enough visitors

to make it economically viable given it’s a hinterland between Govan

and Glasgow Site area

Excluding docks: 55 ha

Including docks: 84.5 ha

Wider Context // Site Selection Water Row: Strengths

Heart of Govan

Current community hub of town

Historically significant in terms of civic realm

Located beside transport hub - Gateway to Govan

Visual link to Riverside Museum, Partick and industry Weakness’

Settled on by travelers - would need to relocate

Plays host to various events which would have to be accommodated Opportunities

Potential for physical, barrier free access from Partick

Strong linear site, fits well with process of piping

Large vacant area of land, ideal for hosting piping festivals Threats

Conservation area and host of key buildings - requires sensitive design

Town centre next to residences - noise pollution from piping events

could be an issue Site Area

West Side of Water Row: 12.7 ha

East Side of Water Row: 11.9 ha

The Graving Docks

Water Row

Water Row // History Water Row consisted of a number of cottages which sat in a gentle relationship to what was first a natural crossing or fording point of the river and later a sandstone slipway, now buried, offering flush access to the water.

By the early part of the 19th century, Govan was rapidly losing its rural appearance and assuming the character of a town with the development of new industries and factories, including Reid’s Dye Works and Pollok’s Silk Mill. Harland & Wolff acquired the Govan Old, Middleton and Govan New shipyards in 1912, and built an extensive range of workshops on the west side of Water Row. The Govan Shipyard closed in 1963 and a the workshops were demolished later.

By the early part of the 19th century, Water Row was rapidly losing its rural appearance as Govan assumed the character of a town with the development of new industries and factories. Town officials arranged for the deepening of the Clyde, the reclamation of the channels between the islands, and the construction of quays and docks adjacent to the site. This facilitated the development of shipbuilding as a major industry, particularly the Harland and Wolf warehouse on Water Row. During the inter war years Govan was the corpse of an industrial city, as the shipyards began to close, devoid of the spirit of industry. With the shipyards now cleared from Govan and Water Row, the site became a derelict monument of a past industry. Housing developments emerged along the banks of the river on the now abandoned land and communities were torn apart as the traditional tenements were also demolished. This contributed to many socio-economic issues in Govan as crime rates rose and mortality rates fell dramatically over the coming years.

Above: Iron Age sketch of Water Row Below: Water Row houses circa late 19th century

Above: Painting of Water Row, circa early 18th century Below: Water Row at the beginning of the 20th century

Water Row // Current Uses The site currently plays host to a car park on it’s eastern half, with travelers’ homes to the north west. The car park is used for the Saturday market on a weekly basis, with the rest of the western edge of the site overgrown. The underground rail network passes beneath, from Pearce Lane, running parallel to the boundary wall of Govan Old Church.

Above: Travellers’ housing currently on the northern edge of Water Row Below: Water Row’s previous use as a ship building yard, 1930s

Above: The Saturday Market which takes place on the east of Water Row Below: Water Row’s current use as a car park

Water Row // Grain By the early part of the 19th century, Water Row was rapidly transforming into an industrial town. Planners arranged for the widening and dredging of the Clyde, the reclamation of the channels between the islands, and the construction of quays and docks adjacent to the site. This facilitated the development of shipbuilding as a major industry, particularly the Harland and Wolf warehouse on Water Row. Post World Wars, the landscape changed again as the shipyards began to close.

Poor quality social housing was built along the river’s edge, while communities were torn apart and many residents moved to new towns. This contributed to many issues in Govan as crime rates rose and mortality rates fell dramatically over the coming years. The architectural language on Water Row is strong despite the variety of iterations and identity shifts it has went through. The former Linen Bank and YMCA buildings are superb examples of the strong and robust quality as is typical throughout the town.

Strict vertical and horizontal elements rule the facade, while high quality ashlar red sandstone blocks adorn the facades, with slate and lead roofing details. A blend of art nouveau and Victorian era tenement is evident throughout the town. The Pearce Street housing on Pearce Lane utilises red and black brick sympathetically. A style which is simultaneously contemporary, sympathetic, bold and robust is required to create a successful addition on Water Row. The site vernacular’s material choices reflect Govan’s history with a mix of blonde and red sandstone, brick and slate. Blonde sandstone adorns a highly decorative facade to one of Govan’s most important buildings, designed by leading Scottish architect Sir Rowan Anderson at the beginning of the 20th century. With nods to the Scottish Baronial style in the feature windows, and to Art Nouveau in the tracery, the building is exemplary in it’s exposition of craft and decor.

Above: Water Row, 1857 Below: 1933

Above: 1893 Below: 2018

Water Row // Grain Water Row has a complex context, with multiple primary and secondary routes of approach for both vehicles and pedestrians, combined with a border to the south of the busy Govan Road, the River Clyde to the north, an ‘A’ listed church and graveyard west, and further listed buildings to the south and east. Furthermore, housing to the east and west of the site require a respectful response in terms of both footfall and noise pollution from playing bagpipes.

The complexity is pronounced further by the plethora of strong build lines on site, a visible relic of bygone eras - the Old Church orientated almost directly north-south upon it’s historic foundations; Water Row’s buildings such as the Linen Bank orientated on the same plane as the historic Water Row cottages, themselves leading from further in-land to the fording point to Partick, while the more modern (1970’s built) council housing east of the site, which responds to the former docks, now filled in and left as stumps reaching in-land from the Clyde.

Build Lines

Water Row // Fabric Selection Water Row was chosen due to it’s civic heritage, central location in the heart of the community beside two gateways (transport hub and Govan Ferry), it’s locality to potential sales outlets, and to consolidate and regenerate the town centre.

Analysis The two key buildings on the site are the Linen Bank and 1 Water Row towards Govan Cross to the south, and the Old Church, to the west.

Designed by James Salmon & Son, J G Gillespie in 1899, the Linen Bank is a splendid example of a Glasgow-style building: 5-storey, 3 by 2-bay with canted corner bay. The ground floor displays a curved corner entrance, with a boldly sculptured trireme’s prow with BLB on sails between 2 winged “Winds” sitting on Corinthian capitals. Water Row elevation: 2 arched windows between columns with lively capitals by Johan Keller.

The Old Church, designed by Sir Rowan Anderson in 1888, now containing an exceptional collection of early Christian monuments. The Parish moved to Linthouse Parish Church in 2007. The church features a tall wide nave with wooden roof on engaged clustered columns with bell capitals. Internally, the walls are red brick with grey ashlar bands and narrow aisles between seating, clearly for a large capacity gathering. Small galleries are located at the rear and over the transept. The church is unusually ecclesiastical because Rev Dr John Macleod was a pioneer of Scots-Catholicism. The orientation is north south because its foundations are on the 1826 church moved to Golspie Street, itself on the site of a Celtic church.

The surrounding typology around Water Row mainly consists of solid typical Govan buildings with the Old Church, Pearce Institute and the Bank Building. They all have clearly defined vertical elements with proportions relating to the traditional tenement buildings of Govan. A contemporary style following these principles is to be adapted, creating a modern outlook on Govan’s past.

The surrounding buildings materials mainly relate to Govan’s past with solid blonde sandstone block taking dominance. A modern brick residential building adjacent to the Pearce Institute takes a contemporary approach with a colour which is sympathetic to the neighbouring buildings.

Above: Clyde elevation showing Water Row (left) to Govan Old Church (right) Above: The Pearce Institute Below: Govan Linen Bank (left) and YMCA building (right)

Above: Inside Govan Old Church

Above: Blonde Ashlar stone (left), and Pearce Lane housing’s red brick (right)

Above: Blonde sandstone (left) on the Pearce Institute, and Caithness paving found on Water Row (right)

Water Row // Considerations

Any scheme on Water Row has to address the complex issues faced on site, socially, politically, economically, industrially and aesthetically. It is clear from the above research that Govan has many complex issues with regards to education and jobs, while the Piping Institute must put a clear emphasis on public space for both Govanites and the wider public to meet, engage, discuss and heal.

Aesthetically, the scheme must acknowledge the rich tapestry of historic buildings from various eras and varied typologies of these works, while being sensitive, considerate and respectful towards the existing in all dimensions.

The scheme must also find solutions in it’s response to the site, in order to knit together the broken edges and awkward building lines presented to it. It must also reactivate the water’s edge, link Govan to Partick visually and physically, and protect the natural oasis of shelter found within the sanctuary of the Old Church’s grounds.

Most importantly, the site at the heart of Govan is a prime landmark location, and therefore must be treated as such.

Above shows a suggested schedule of events during the Pipe Band World Championships and other major festivals, between the Govan Institute of Piping and Glasgow Green, as part of the scheme’s ambition to reinvigorate use of the River Clyde.

Masterplan // Highlights The main issues Govan faces are: Poor and limited scope of employment prospects Sub-standard housing in several neighbourhoods Disconnect between various segments of the residents Lack of forum for discussion and taking action regarding local issues Lack of museum/facility showcasing Govan’s history to itself and the world Poorly policed, controlled and cleaned public spaces, particularly concerning parks and play areas Lack of health and wellness facilities.

Priorities for Govan addressed by the masterplan are: Improved range of employment routes and vocational education opportunities beyond the service sector and occasional shipyard positions, as we transition away from heavy industry Provision of public forum for all residents to discuss ideas, propose solutions and take action Improved ownership and policing of public spaces, particularly after dark Provision of health and wellbeing facilities Improve the public realm and facilitate strategic corporate partnerships to sponsor apprenticeships and local improvement works Pedestrianisation of Govan Road and significant reworking of the infrastructure/shopping hub at Govan Cross Introduction of a forum or community hub to bring together residents with local creative types to broker deals with authorities, government and corporations to bring commerce and improvement to the area Densifying under-used spaces to heal the urban patchwork by introducing more (and more varied) housing, employment opportunities, education, leisure and healthcare facilities The first phase would be to consolidate, make visible and improve provision of current facilities. Phase two looks at introducing more of these facilities to the area, while a third phase would focus on increasing the population and relieving the national housing shortage, to be designed as part of an international design competition involving other architects.

An alley of sporting and leisure facilities should be introduced along the water’s edge, re-activating the waterfront and demanding more from the city and the river (akin to Clydebank). Through a thorough and proper cleanse of the river, it can be opened up to water-sports and fishing, similar to projects seen in Scandinavia.

Section 3 // Requirements & Investigations

Requirements

Schedule of Accommodation Employment

Financing & Funding Workshop

27 28 29 30

Initial Research into Bagpiping

Anthropology of a Piper The Great Highland Bagpipe

31 32

Typological Analysis

Historic Settings Piping in Govan Historically Piping in Govan with GSPDA Piping Venues in Glasgow Celtic Venues in Glasgow Auditorium Form

33 34 35 36 37 38

Precedent Studies

Brochs, Castles & ‘Black’ Houses Performance Venues Waterfront Location

39 41 42

Sheet1

Govan Institute of Piping Schedule of Accommodation

Number

Unit

Totals by TypeNotes

Area

Education Spaces Tutor Pods Rehearsal Rooms Recording Studios Sound Booths Stores Total Education Spaces Area

6 4 1 1 2

20 50 100 10 10

120 For individual tutoring sessions up to quartet sized groups 200 100 10 20 450

Performers' Spaces (Back of House) Changing Rooms Tune Up Rooms Green Room Kitchen Stores Total Performers' (Back of House) Area

4 2 1 1 4

60 50 100 50 20

240 Includes WCs and Showers 100 100 50 80 Including kitchen and instrument stores 570

Guest Accommodation Bedrooms Dining/Function Rooms Kitchen Reception Administration Office Stores Total Guest Accommodation Area

20 2 1 1 1 4

40 100 50 20 20 10

800 2 persons per room including en-suite WC and shower 200 50 20 20 Also used as reception to performer's zone 40 Including kitchen stores 1130

Public Spaces (Front of House) Pre Foyer Main Foyer Box Office Cloak Room Teaser/Flexible Space History and Culture/Museum Bar/cafe Restaurant Kitchen Stores Main Auditorium Sound and lighting booth/rig access Total Public (Front of House) Area

2 1 2 2 1 1 1 1 1 4 1 1

150 400 20 20 20 100 200 150 100 10 500 20

300 400 40 40 20 100 200 150 100 (Including store and pantry) 40 500 20 1910

Administration and Staff Spaces Staff Offices Staff Rooms Security/Control Rooms Administration and Staff Area

4 1 1

30 50 30

2 2 1 1 2 2 1 2 10

30 20 50 5% net area 5 10 50 10 20

1 1 2 2 2 1 1 2

100 50 20 20 20 20 20 10

Service/Support Spaces Meeting/Seminar Rooms Bicycle storage Delivery Bays Plant Rooms and Service Copy/Print Areas Comms Cupboards Server Store First Aid Rooms WCs Total Service/Support Spaces Workshop Workshop Floor Shop Reed Rooms Curing Rooms Material Store Foreman Staff WCs Total Workshop Area Total Areas Total Net Area Balance Area Total Gross Area

120 50 includes lockers, WCs and small kitchen/prep area 30 200 60 40 50 Includes delivery space for plant room and workshop 250 10 20 50 20 200 700 100 50 40 40 40 20 20 20 330 5290 33.00% 7035.7 Page 1

1745.7

Requirements // Employment It is estimated the facility will create around 200 jobs across a range of employment opportunities in the following roles: Performance Arts Tutors Pipers Drummers Film Lighting Sound Workshop Foreman Reed Maker Blacksmiths Carpenter Apprenticeships Catering Managers Supervisors Chefs Matre De Baristas Waiters Support Manager Administration Music Business Apprenticeships Porters/receptionists Cleaners

Requirements // Financing Multiple funding sources are envisaged in order to establish and sustain the proposal:

•

• • • •

• • • • •

•

Cafe to encourage locals in without necessarily coming to a gig – there are currently very few places in Govan to socialise Multi-purpose spaces to host ceilidhs, Celtic music events, etc External practice spaces or rooms can be hired by bands in lead up to events Admin spaces to host RSPBA, Piping Live! and AGMs Piping service – people pay the organisation to supply piper(s) and drummers to events, meaning the pipers and organisation can make money Scottish themed restaurant (only a handful at present in all of Glasgow Accommodation Saturday morning tutoring “Sponsor a Piper” scheme “Bagpipe Amnesty” to source instruments for tutoring sessions, as Govan has lots of old pipers and former players from Kinning Park PB, 102nd BB, Singer Sewing PB, skipped a generation and now resurgence “Summer Camps” - Low cost tuition, £90 a week instead of £300+ for child-minding etc, which allows children to do something fun and meaningful over summer holidays

In addition, funding bodies available are: Creative Scotland Big Lottery Glasgow City Council Scottish Schools Pipes and Drums Trust

Above: A piper busks in Edinburgh’s Princes’ Gardens Below: Timber pipes with ivory and steel in McCallum’s Bagpipes workshop

Above: A selection of tops, tuning slides and ferrules Below: Reed room, McCallum’s Bagpipes

Requirements // Workshop McCallum Bagpipes Visit As one of the worlds leading bagpipe manufacturers, it was important to visit McCallum Bagpipes to understand the bagpipe making process, and understand the spatial requirements of including a similar sized workshop in the Govan Institute of Piping. The workshop would enable young persons to take up apprenticeships, learning advanced carpentry, metalwork and plastic-working skills. These apprenticeships would be translated into full time positions, and allow further specialisation, and potentially feed into apprenticeship programmes in the remaining local shipyards.

The pipes are made from plastic or Tansanian Blackwood. The timber is cut in Africa before being shipped to the workshop and spending 6 months curing before being cut, bored and turned.

Necks are made from plastic and steel, while reeds are made using Spanish or French cane, plastic or carbon fibre.

Given that the centre is aiming to provide disadvantaged local youths from all backgrounds an opportunity to play the national instrument at no cost, it is important for these youngsters to understand the process of manufacturing the instrument, and connect with it’s roots.

Above: The workshop floor in McCallum’s Bagpipes Below: Pre-cut Tanzanian Blackwood curing in the workshop

Below: Plastic pipes stored in the workshop

Initial Research // Anthropology of a Piper

Pipers come in all shapes and sizes. It was therefore important to investigate the proportions of individual pipers and how they relate to pairs, such as in tutorial situations; quartets for practice or competition; the ‘traditional’ band size of 12 members, to the current World Championship size of up to 40 members (13-17 drummers and 20-25 pipers, with Drum and Pipe Sergeants and Pipe Major).

Initial Research // The Great Highland Pipes Whilst historians can only speculate on the actual origins of the piob mhor, or great Highland bagpipe, it was the Highlanders themselves that developed the instrument to its current form, establishing it as their national musical instrument both in times of war and peace.

The original Highland pipes probably comprised a single drone with the second drone being added in the mid to late 1500’s. The third, or the great drone, came into use sometime in the early 1700s. In the Scottish Lowlands, pipers were part of the traveling minstrel class, performing at weddings, feasts and fairs throughout the Border country, playing song and dance music.

Highland pipers on the other hand, appear to have been more strongly influenced by their Celtic background and occupied a high and honoured position. It is considered that by the 1700s the piper had started to replace the harpist as the prime Celtic musician of choice within the Clan system.

As a musical instrument of war, the first mention of the bagpipes appears to date from 1549 at the Battle of Pinkie, when the pipes replaced trumpets to help inspire the Highlanders into battle. It is said that the shrill and penetrating sound worked well in the roar of battle and that the pipes could be heard at distances of up to 10 miles away.

Due to their inspirational influence, bagpipes were classified as instruments of war during the Highland uprisings of the early 1700s, and following the defeat of bonnie Prince Charlie at the Battle of Culloden in 1746, the government in London attempted to crush the rebellious clan system. An Act of Parliament was passed which made the carrying of weapons, such as those vicious bagpipes, and the wearing of kilts a penal offence. Although the Act was eventually repealed in 1785, it was the expansion of the British Empire that spread the fame of the great Highland bagpipes world-wide.

Often spearheading the various campaigns of the British Army would be one of the famous Highland regiments, the ‘Devils in Skirts’, and at the head of each regiment would be the unarmed solitary piper leading the troops into and beyond the ‘jaws of death’.

Above: The Great Highland Piper

Above: Sketch anatomy of the Great Highland Pipe Below: A drawing of The Great Highland Pipe in use, circa 18th century

Typological Analysis // Historic Settings Bagpipes were traditionally played in dramatic settings, whether it was through hills and glens, battles of clans; in and around castles; or in the theatre of war, upon the modern day battlefield, as recently as World War I.

Typological Analysis // Piping in Govan Bagpipes were first invented in the Middle East over 3,000 years ago. The “Oxford History of Music” references biblical documentation in Genesis and in the third Chapter of Daniel where the “Symphonia” in Nebuchadnezzar’s band is believed to have been a bagpipe. These early “Pan” pipes, without the bag or reservoir, were likely the second musical instrument to evolve. Musical history dictates that pipers have to take a back seat to percussion instruments.

These early pipes used materials ranging from hollow reeds and corn stalks to bamboo.

Govan Burgh Pipe Band, formed in 1883, were the first civilian pipe band - piping had formerly been of military formation. Their existence was also endorsed by an act of parliament. Under Pipe Major William Bremner, the band won the very first pipe band contest in 1885, organised and supported

by Rangers Football Club. It then changed name to Govan Police Pipe Band in the late 1890s.

In 1912, during Govan’s annexation by Glasgow, the band continued under the City of Glasgow Police. It was by this name that it won its first World Championship in 1920, under Pipe Major William Gray. This would be the first of many. Since then, including a change of name to the now world famous Strathclyde Police Pipe Band, they have won a total of 20 Worlds, with a 6-in-a-row streak in the 80s which is unrivalled.

(Source: www.glasgowpolicepb.org) Top: Govan Burgh Police Pipe Band circa 1885 Below: Strathclyde Police Pipe Band, circa 1970s with P/M Angus MacDonald

Typological Analysis // GSPDA The World Pipe Band Championships, or “Worlds” as it’s known amongst pipers, is the most prestigious event in bagpiping. Formerly organised by the Royal Scottish Pipe Band Association (RSPBA) and now by Piping Live! and held over two days in late August, this year’s edition attracted over 200 bands and 8000 musicians across 8 categories of competition. It is estimated that a record number - 35,000 - spectators attended this year, bringing roughly £12 million to Glasgow’s economy. Past winners have included bands from America, Canada, Australia, New Zealand, as well as Northern and the Republic of Ireland. Participation numbers across Glasgow and the rest of Scotland are on the rise, with record numbers (35,000) having attended this years World Championships, with over 8000 participants.

The origins of GSPDA came from recognising the need to promote positive interests and life skills for young people, a desire to foster stronger community relations through a local pipe band and a lack of state school provision which could achieve this. The desire was to ‘break the mould’ in all sorts of ways.

Free tuition is the key. This along with the provision of instruments and uniforms accounts for 90% of the funds. Without these things there is no way that young people in Govan would ever play or publicly perform our national instrument – private lessons are prohibitively expensive and few state schools in Scotland have a pipe band. Through their work, GSPDA was the only Glasgow state schools pipe band represented at the Scottish Schools Pipe Band Championships in 2016. The tutors teach young people from six different Govan primary and high schools (59 pipers and 41 drummers), aged 10-15 years, are 39% girls and 61% boys and include youngsters from Scottish, Nigerian, Chinese, Indian, Pakistani and eastern European backgrounds, showing its strong multicultural grounding. So far, the band itself has 16 members who have reached the standard to play together and march, with over 400 young musicians having passed through in it’s three year history.

(Source: www.theworlds.co.uk)

Typological Analysis // Piping Venues Glasgow Glasgow has two world class piping and teaching centres already, though they remain inaccessible for those from disadvantaged backgrounds in terms of tuition fees, and often even the travel costs associated with weekly sessions, while both have their disagreements in terms of teaching methods.

The Piping College on Otago Street (left) is a much smaller scale than the proposed Govan Institute of piping, tucked away in the middle of the West End. The stage and rooms are, upon investigation, too small for full bands to play, unless the temporary stage (below left) is set up, which is cold and poorly controlled environmentally.

The Piping Trust at Cowcaddens (right) is better linked to the city, with a destination restaurant, accommodation and a shop of it’s own, as proposed for the Institute in Govan. Given it’s location in a listed building next to a busy road, above an underground rail line however, noise pollution is an issue. Coupled with rehearsal rooms which are too small and cold, with a main stage which has too many uncontrollable elements acoustically, such as poorly located balconies, structure and edges, performances are hampered somewhat. Pipers also mentioned the time it takes to heat the spaces, as it can be extremely cold as they rehearse, then too warm during their main performances, which again effects the quality of performance.

The National College of Piping, Otago Street

The Piping Trust, Cowcaddens

Typological Analysis // Celtic Venues, Glasgow Shown here are the three most commonly used venues for piping in Glasgow: The City Halls, Glasgow Royal Concert Hall and Glasgow Green when used for the World Championships each August. While all venues are exemplary for general acoustical performance, interrogation into piping as a performance revealed flaws in each.

With the City Halls, the stage area is limited, as is access, therefore it is difficult for pipers to march on and off, meaning performances lose an element of dynamism. The traditional ‘shoe-box’ shape of the venue also reflects the acoustics of piping poorly.

While the Concert Halls are an improvement on the City Halls acoustically and formally, again, the end stage format is not appropriate for a full piping performance.

The World Championship’s stage is a much better layout, as it allows for a fully dynamic performance, though is limited for spectators to be able to see the pipes in full view as it’s mostly standing. While piping is an outdoor instrument by nature, a piping performance is also greatly influenced by moisture and the environment in which it’s played. Judges can pick up on slight flaws in the sound from one pipe band to the next, therefore it’s important to provide a suitable indoor venue where the environment can be fully controlled, and allow for more comfort, shelter and visual intimacy for the audience.

Typological Analysis // Auditorium Form Simplifying the above analysis, there are three general types of auditoria: the end stage; in the round and surround.

An end stage is the traditional format for musical performances, but as analysed above is shown to lack dynamism in a piping context.

In the round would be more dynamic, however acoustically causes too many reflections, something which was discussed early with the client and agreed to be eliminated, or controlled as best as possible.

A surround or vineyard hall is therefore the preferred shape as it maximises the dynamism and acoustic qualities while still providing intimacy for all seats, as no one seat is greatly farther away from the stage than any other. All corners must also line up, while no walls can be parallel, in order to negate unwanted lateral reflections.

Precedent Studies // Brochs, Castles & Black

Houses Given Govan’s historical ties to Dumbarton Rock, and the castle which sits atop, along with Govan’s strong links to medieval times, it was appropriate to study brochs, castles and traditional ‘black’ houses in order to understand where piping originated in the country; the dramatic settings in which they were played, as well as to tease out any information which may pertain to a design concept. The main elements and lessons are distilled as follows: Brochs Dense, inhabited walls. Cavern-like, with heating supplied usually by fire at a low level. Circular in plan for both defensive and inclusive purposes. Locally sourced materials, simple construction methods. Heavy and sheltered.

Castles Thick, impenetrable walls for defensive purposes. Archer-holes - slit windows which fan out internally, traditionally to allow arches a greater range of movement and scope, while also allowing in more light without becoming an inherent weakness. Battlements/crenelations, which were used for defense and views out. Most castles are layered - protective external skin; double layer of circulation; a series of courts for both hierarchy internally and as a final defense against attack; with the most important rooms sheltered at the core, much like a volcano. A tower or ‘keep’ - the highest and most protected element, usually surrounded by a moat, with turreted stairs - both an expression of circulation, and vantage points for arches. Usually surrounded by water or mountains for additional protection and to limit accessibility.

Traditional ‘Black’ Houses Single storey, locally source materials. Small openings to keep heat in, with pitched roof to deal with Scottish climate. White walls, black/dark roof, with all functions performed within the two rooms of the dwelling - one for cattle, one for humans.

A Variety of Scottish castle plans and images

Bastion forts

Scottish broch

Traditional ‘black’ house

Precedent Studies // Performance Venues The Hamburg Elbphilharmonie by Herzog & de Meuron perches on former dockland and shipbuilding shoreline, like Govan. It plays host to over 2,000 attendees at peak times, while drawing crowds from all over the world due to it’s unique landmark nature, while rejuvenating an otherwise downtrodden neighbourhood. The main auditorium, designed by Tokyo Nagata, has some of the world’s best acoustics despite its large volume. The auditorium is also a separate structure.

Learning outcomes: Landmark image Visibility (from and to) Separate acoustic structure inside main structure to prevent intra-molecular vibrational transfer

The Berliner Philharmonie, designed by Hans Scharoun, was the first symphony and vineyard halls of their kind when completed in 1963 and 1983 respectively. A social experiment to see if it was possible to design the perfect, intimate acoustic performance venue. Both venues comfortably host more than 1,000 guests for performances, yet have a feeling of intimacy and of a ‘full house’ regardless of how many are in attendance. The building was also on a difficult location on the outskirts of a major city, yet has been successful since it’s completion due to its unique nature, landmark imposition and iconography, and it’s ability to host thousands of guests without feeling crowded.

Learning outcomes: Landmark structure Handling of large crowds at busy times Intimacy and grandeur

Hamburg Elbphilharmonie (Herzog & de Meuron)

Berliner Philharmonie (Hans Scharoun)

Precedent Studies // Waterfront Venues The Lyric Theatre by O’Donnell + Tuomey nestles into a residential district in Belfast, while containing a variety of flexible rehearsal spaces for various sizes and types of groups.

Learning outcomes: Sympathetic to a complex contextual situation Diversity of programme Multiple approaches Building deals with water, land, urban contexts Adaptability The KKL Lucerne designed by Jean Nouvel, plays host to a symphonic hall, conference and culture centres, and various rehearsal and meeting spaces, combined with restaurants and cafes.

Learning outcomes: Situation on water’s edge, with water travel a viable method of transport to venue Separate acoustic structure within main building A wide variety of programmes accommodated under one roof

Lyric Theatre, Belfast (O’Donnell + Tuomey)

KKL Lucerne (Jean Nouvel)

Section 4 // Research & Development

Initial Ambition

Aspirations Learning Outcomes

45 45

Emerging Concepts

Volcanic Form Courtyard, Context & Massing

46 47

Development & Testing

Sketches & Thoughts

Auditorium Form

External Form Massing Roofscape Entrances

49 50 51 52 53 54

Initial Ambitions // Aspiration & Learnings In semester 1, the scheme focussed on providing an auditorium for the community, though lacked a solid site response and appeared too dull for its nature as a performance space and landmark building for the wider area.

This perhaps stems from the fact the building design was focussed design wise from the inside out, while it lacked dynamism and character due to its boxy nature and grey tones, as shown in the top left external image, and the plans to the right.

Going forward, it was proposed that the scheme would develop from the outside in as well as inside out, and address the multiple avenues of approach and complex contextual issues, while providing spaces for the public and more private spaces for practice and rehearsal, both internally and externally through an enrichment process of the brief.

Emerging Concepts // Volcanic Form The courtyard’s low rising nature is sympathetic to Pearce Street housing while allowing for the penetration of sunlight deep within the upper courts. The west and east blocks are stepped much like the battlements, or crenellations, of historic Scottish Castles and forts, where bagpipes were often played. The crenels are located so as to frame vistas of the church as visitors ascend the courtyard and explore the history of bagpiping and Govan above the education suite, connecting the graphic and physical visual links of the rich tapestry of history in the area.

Volcanic layers and lava flow

Sketch of Dumbarton Rock showing the inner layers of an extinct Volcano since the Ice Age eroded the exterior

Like striations in cooled lava flow, the Volcano rises from the courtyard in a series of stairs and plinths, so guests may ascend towards a performance with an added sense of grandeur through a sequence of lighter and larger external spaces. The Volcano then cascades down towards the Clyde on the north to meet the boats bringing visitors and performers to the venue from locations up and down the river.

Beginning at the eaves level of 1 Water Row and rising to meet the height of the church’s eaves in order to accommodate the trusses of the auditorium below, the roof of the ‘Volcano’ speaks of the drama of performance which it contains. The roof then continues to rise to its peak on the northern face to accommodate ‘Clyde View,’ a Scottish themed destination restaurant.

Volcanic flow/lava chambers Dumbarton Rock, which along with Govan, was the former seat of Strathclyde Kingdom

Emerging Concepts // Courtyard, Context, Massing The east of the courtyard responds to the angle of Water Row and how it relates to the ‘Volcano’, while the southern edge relates to the gable of the Pearce Institute, carved open to allow for vehicular access on Pearce Lane to the car park beneath the courtyard plinths. The western facade responds to the form of the church and its north-south orientation by gently countering it, with internal views angled towards the church and grounds - creating the sense of an oasis in which young pipers can practice outdoors in private - before returning to meet the ‘Volcano’s’ edge.

The back of house block again responds to both the ‘Volcano’ and the intricate nature of the Old Church’s buttressed walls. This allows for balconies on the upper floors overlooking the practice area and church grounds.

Finally, the back of house block is sympathetic towards the residences west of the site, and angled so as to allow clear, unobstructed views to the church from the river and north bank.

Site area Site Area= =14,000m2 14,000m2

Rational site = 8,500m2 Rational Site = 8,500m2 Existing Subway Line from Partick to Govan

Back of House Performance Hall

River Clyde

Sheltered ‘Oasis’ Main vehicular thoroughfare Public Face

Courtyard Extrusion Courtyard extrusion

Existing Build LinesExisting and Constraints constraints and build lines

The footprint of the proposal takes up the scale of the site.

Back of House

Back of House Performance Hall

Sheltered ‘Oasis’

Performance Hall

Sheltered ‘Oasis’

Public Face

Massing respectful to housing’s views and light exposure Massing

onse to BuildResponse Lines to build lines

Public Face

Highlighting Massing auditorium

The courtyard’s external face picks up on the geometries of the auditorium and the complex build lines of the surrounding buildings in Govan and on Water Row. The courtyard acts as a filter between the building and the burgh, while accommodating the Saturday market, weekly piping recitals and other such public events. A forum for all Govanites and the wider community to meet and engage socially, politically and industrially.

The inhabited walls of the courtyard are influenced by the rhythm of ‘served’ and ‘servant’ spaces historically found in castles and forts such as Dumbarton Rock, or Stirling and Edinburgh Castles: Protective of circulation spaces, with window reveals in key locations.

The elevations, particularly of the courtyard blocks, are evocative of the battlement and fortification elements on these traditional castles.

The courtyard edge itself is influenced by the ‘black’ houses, and laterally the dwellings which once stood on Water Row, with heights, material tones and openings acknowledging what once stood upon the site.

The auditorium must be a separate entity from the rest of the proposal to shelter performances against vibration from nearby underground trains and potential disruption from machinery or boating in the surrounding area.

Orientation of Views Visual connections to church, Clyde and Glasgow access to courtyard

Development & Testing // Sketches Every week for the past few months of both semesters, I have sketched options, tested solutions, studied architects and buildings, structural strategies, public spaces, materials, forms, typologies and styles out with the ‘final’ drafts brought to tutorials on a weekly basis. A small selection of these are illustrated here.

Development & Testing // Auditorium Form Since the project’s inception, I have went through almost 20 auditorium forms. Testing options in plan to maximise visual connections of the stage for the audience, and from performer to audience; maximising the seating capacity on a challenging site; orientating the auditorium in the correct direction to allow easy access for pipers on one flat, level surface, while accommodating all users with accessible entrances; and ensuring acoustic principles are met, chiefly the corners being equally spaced an in line, without any walls being parallel less it cause unwanted reflections.

Development & Testing // External Form Similarly, the external form of the auditorium block and courtyard fingers have developed over the past few months from semester one, with the external shape selected to best reflect the walls of the auditorium, evocative of the drama contained within, while fitting the build lines of the site and surrounding courtyard blocks. From the diagram below, the bottom right form was selected due to the others’ angles either being too soft or aggressive. The final scheme offers the best of solid and dependable while remaining non-threatening.

The box office remains at the southern and lowest area of the scheme in order to draw visitors from the north down into the courtyard, while also remaining tucked out the way visually and physically. The north eastern corner of the courtyard above the service yard is a fully glazed cafe area so patrons approaching from the north have a clear view of, and connection to, the activities taking place in the courtyard.

It is envisaged that of the 712 members of a full audience, two thirds shall approach from the southern stairs, be it from Govan, or further afield using public transportation via Govan Cross, or their own vehicles or bicycles, parking beneath the courtyard. The final third are predicted to arrive via the PI Line bridge from Partick, or the reactivated waterfront from residences located to the west and east of the Piping Institute.

Options for the external form of auditorium

Iterations of the scheme showing development of the siting and plan form

Development & Testing // Massing Following on from last semester’s modeling, and continuing the development of the scheme’s form in plan, massing models were made to understand the building’s heights, roofscape and levels in relation to itself and the context.

Left are the test models made during first semester, with additional ones made during the intervening months, as shown below.

A selection of massing and development models

Massing model, 1:1000

Development & Testing // Roofscape Beginning at the eaves level of 1 Water Row and rising to meet the height of the church’s eaves in order to accommodate the trusses of the auditorium below, the roof of the ‘Volcano’ speaks of the drama of performance which it contains. The roof then continues to rise to its peak on the northern face to accommodate ‘Clyde View,’ a Scottish themed destination restaurant.

This reflects the drama of performance below, while best suiting contextual constraints. The final roof form is a combination of the first and third options displayed here.

1.

Curved front to back with highest point in middle

2.

Curved front to back rising from water

3.

Curved front to back with lowest point in middle

4.

Curved east to west with highest point in middle

Development & Testing // Entrances 1

2

3

Main Entrance Both sets of entrances were tested in plan to ensure the correct entrance sequence for pipers from the water, and guests from the courtyard. A design similar to option 6 was chosen for the final main entrance as it represented the best solution to such a large volume of expected visitors - 712 if the auditorium is operating at full capacity. Certain of the earlier options were limited in terms of capacity due to their narrow width, while others felt overly assertive, forced or compressed, such as options 2 and 3, while the others resulted in a dilution of form from the overall concept.

Main Entrance Options

4

5

A walkway surrounds the building like a moat without touching it so visitors may experience and explore every aspect of the ‘volcano’ form as it rises from the water and land. Performers may dock their boats and ascend an access stair to stage level from the jetty area, much like Jean Nouvel’s KKL Lucerne.

6

Lower Entrance The piper’s entrance began as options 1-4, variations radiating out to the jetties and river, to allow for a public space to be used in pleasant weather to gather, sit, relax and enjoy the view, or used as a gathering area for bathing should the river be cleansed. These were viewed as loitering spaces however, which would risk becoming neglected and vandalised as they’re poorly overlooked. They are also in the shadow of a 30+ metre tall scheme, resulting in near constant overshadowing, consequently risking moss and dampness.

1

5

Piper’s Entrance Options 9

2

6

10

3

7

11

4

8

12

These large steps also had the detracting factor of being too obvious as a main entrance, when visitors from the north are supposed to enter the courtyard to join those arriving from Govan, before ascending the final steps into the Volcano.

It is envisaged that of the 712 members of a full audience, two thirds shall approach from the southern stairs, be it from Govan, or further afield using public transportation via Govan Cross, or their own vehicles or bicycles, parking beneath the courtyard. The final third are predicted to arrive via the PI Line bridge from Partick, or the reactivated waterfront from residences located to the west and east of the Piping Institute.

Resultantly, I decided to raise the whole approach walkway from the north over the river up one storey, additionally allowing for larger boats to pass underneath while clearly defining public away above private/performers. This also reduces traffic under the walkway, resulting in less chance of loitering or conflict and congestion between those arriving by boat and those enjoying the waterfront promenade.

Section 5 // Final Design

Siting

Location Plan Site Plan Curtilage Plans Detailed Curtilage Plans of entrances

57 58 59 61

Material Considerations

Material Palettes Final Materials

65 66

Detailed Design Resolution

Floor Plans

Auditorium Plan Sections Visuals

Physical Models

67 75 76 80 81

Siting // Location Plan 1:2000 @A3

1.

Curved front to back with highest point in middle

Siting // Site Plan 1:1000 @A3

C

B

B

A

A

C

Siting // Curtilage Plan Level 00 1:1000 @A3

Siting // Curtilage Plan Level 01 1:1000 @A3

Siting // Curtilage Plan Main Entrance 1:200 @A3

Siting // Curtilage Plan Northern Edge 1:200 @A3

Siting // Curtilage Plan Northern Approach 1:200 @A3

Siting // Curtilage Plan Upper Courtyard 1:200 @A3

Material Considerations // Material Palettes Black stretcher bond ‘Jedburgh Rustic’ brick was selected for the skin and floors of the ‘volcano’ as both a robust, ‘working-class’ material, and to reflect the rough textures found on lava landscapes, such as Dumbarton Rock, while creating a dense and cave-like atmosphere internally. It also reflects the blocks of Tanzanian Blackwood timber, which arrives pre-cut to bagpipe factories, before being cured, turned, rolled, beveled and refined for use as the chanter, blowpipe and drones on premium bagpipes, and additionally the cobblestones which paved Govan’s roads historically. Edenmill’s concrete brick is preferred as opposed to traditional clay bricks as it uses a rock composite similar to that of volcanic basalt.

Grecon’s Red Sandstone effect semi-dry-cast stone is used for stairs and way-finding within the ‘volcano’ as a transitional element between the cavelike atmosphere and the heart of the auditorium, which acknowledges the underlying Upper Old Red Sandstone of the Devonian period found at Dumbarton Rock, which would have originally lain horizontal before being forced upward by subsequent volcanic eruptions, and laterally the widespread use of red sandstone in Govan for workers’ housing due to its robustness and availability in the local area at the time of construction during the Victorian and Georgian Eras.

This stone is used as a way finding surface throughout the scheme internally and externally, as shown on the detailed curtilage plans. Conceptually, these stones imitate the red lava pouring forth from the auditorium within the volcano, while acting as a subtle yet clear red carpet for guests arriving from all directions. The black brick is also continued externally for visual contrast, and to mimic the cooled lava, as the fingers of basalt stretch out to meet Govan and Partick, while the red river flows above. A neutral, grey ‘Paxton Iron Shot Blasted’ brick is used at surface edges, as if lapping up the walls, imitating the more longer lying volcanic sedimentary base rock.

A semi-dry Portland stone from Grecon is used on the back of house and courtyard blocks externally and internally to provide haptic and visual contrast to the black brick, another subtle reference to the underlying complexities of Govan - light/dark, large/small, smooth/rough.

Caithness mixed riven ground surfaces denote vehicular routes to match existing. These materials were also carefully chosen for their robustness and weathering properties, while remaining difficult to vandalise.

Above: Material Testing 01 - Basalt brick, English sandstone, semi-dry white stone, Sila Larch

Above: Material Testing 02 - Castlerigg Raven Brick, Howlite Grey Brick, York Sandstone; Bath Yellow Stone Below: Staircase at Dumbarton Rock displaying Basalt and red sandstone - the foundations of Below: McCulloch’s Fossil Tree on the Isle of Mull - Basalt rock formations preserved the the Clyde Valley outline of the tree for millennia

Material Considerations // Material Palettes A natural, pure, cool, grey concrete lines the external walls of the auditorium to provide a contrast both visually and haptically to the auditorium, evocative of traditional ‘black’ houses in and around which piping was traditionally practiced, and additionally of the dwellings found on Water Row before they were removed for large scale shipping works. Timber, particularly durable, locally sourced Scottish Larch was considered, though was found to appear too porous and penetrable when compared to concrete, while not sufficiently aesthetically robust as is Govan’s fabric. The concrete is poured in-situ in order to achieve uniformity and provide structural support to the floors of the volcano, separate to the superstructure supporting the auditorium.

Zinc unites the proposal with consistency across roof cladding, imitating the lead roofing of the surrounding key buildings at a reduced cost and weight, while subtly referencing the striations in basalt rock formations. It is also a material common to the area on both historic and contemporary schemes.

Due to the relativity of the internal humidity (60-80% relative humidity) as typically encountered in roof truss applications, 2 coats of 30 micron (mm) red oxide primer is applied. Epoxy paints are not used due to their rough appearance. The red oxide primer must be applied after fabrication is complete, before delivery to site. A final finishing coat is then applied on site post-erection to repair any damage to the original primer incurred during construction, while priming unprimed surfaces such as bolts, welds and other connections.

While the roof is largely constructed from trusses due to the large spans and irregular structural grid required to allow for a column free, acoustically sound auditorium for (primarily to reduce unwanted early lateral and transverse reflections, or unnecessary reverberations beyond 2 seconds), the steelwork is exposed on the upper floors of the volcano as an homage to Govan’s reputation as a former world leader in quality of shipbuilding, rail and other heavy industrial works.

Above: Final Materials - Jedburgh Rustic and Paxton Iron Brick, Red Sandstone and White Portland semi-dry-cast stone Below: Pre-cut Tanzanian Blackwood delivered to McCallum’s Bagpipe Workshop

Above: Dumbarton Castle and Rock

Detailed Design // Floor 00 1:500 @A3 Key 1.

Box office 2. Security 3. Staff 4. Deliveries 5. Workshop 6.

Curing store 7.

Materials store 8. Reeds 9. Foreman 10. Shop 11. Reception 12. Staff 13.

Rehearsal pod 13b. Tutor bay 14. WCs 15.

Recording studio 16.

Service yard 17.

Receiving bay 18. Plant 19.

Comms room 20.

Circulation to car park 21. Reception 22. Cafe 23. Kitchen 24. Changing 25. Accommodation

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Detailed Design // Floor 01 1:500 @A3 Key 1. Cafe/Bar 2. Kitchen 3. Prep 4. WCs 5.

Access to car park 6.

History element 7.

First aid room 8. Auditorium 9.

Performer’s bridge 10.

Performer’s gathering space 11.

Tune up room 12. Accommodation

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Detailed Design // Floor 02 1:500 @A Key 1.

Main entrance 2. Lobby 3. Bar 4. WCs 5. Coats 6. Accommodation 7. Auditorium

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Detailed Design // Floor 03 1:500 @A3 Key 1. Cafe/Bar 2. WCs 3. Auditorium 4. Accommodation

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Detailed Design // Floor 04 1:500 @A3

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Key 1. Auditorium 2. WCs 3. Bar

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Detailed Design // Floor 05 1:500 @A3

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Service access Service gantry 2

Detailed Design // Floor 06 1:500 @A3

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Key 1. Restaurant 2. Kitchen 3. WCs

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Detailed Design // Floor 07 1:500 @A3

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Key 1. Restaurant 2. WCs

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Detailed Design // Auditorium Level 03, 1:200 @A3

Detailed Design // Section AA 1:500 @A3

Detailed Design // Section BB 1:500 @A3

Detailed Design // Section BB 1:200 @A3

Detailed Design // Section CC 1:500 @A3

Detailed Design // Auditorium Visual

Detailed Design // Physical Models Final design models were made to explore certain elements of the design in further detail, such as the massing of the blocks in relationship to each other; the ratio of rehearsal rooms and recording studio to tutor bays between, beneath the history trail above. The seating of the complex auditorium was studied in greater detail too to understand the differing layers of access for the public above pipers.

The rehearsal rooms are intimate spaces, while the journey through the historical elements, along with the experience of space within the recording studio, are imposing and

Final design 1:500

Ground floor, west lock showing rehearsal and recording rooms with tutor bays between 1:200

Auditorium seating and concrete skin 1:200

West side of seating (floor 02) showing patron’s access with piper’s entrance to stage below 1:100

Volcano 1:1000

Section 6 // Technical Solution

Environmental Considerations Acoustics Heating Lighting Ventilation

85 85 86 86

Structural Investigations

Precedent Studies Auditoria

Large Span Structures Considerations

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Technical Resolution

Primary Structure Plan

Isometric of Structural Bay

Section CC

Detail Section, 1:200

Detail Section, 1:50 Details

Structural Summary

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Environmental Strategies // Acoustics & Heating Acoustics In order for all attendees to have as similar an audio performance as possible, all walls are non-parallel, with corners located in line with each other, undersides of walls angled at 5 degrees from vertical where possible, acoustic cladding used to diffuse sound for a more mellow experience, and a large deflector placed approximately 15m above floor level to deflect some sound back towards the performers and crowd at all levels.

Visual Connection All seats are orientated in pitch to allow clear views of the stage, even when lifted above the piper’s entrance.

Acoustic Considerations Heating The ‘volcano’ element of the scheme is thermally massive with it’s concrete walls and floors, and brick outer skin. This helps to regulate heat during and after performances and rehearsal sessions, while the concrete acts as a more suitable acoustic buffer than steel decking, to limit noise transfer between the external environment and the auditorium.

The clients, GSPDA, specifically requested a heating source which would allow the auditorium to be kept at a consistent temperature regardless of how full or empty the space was, as temperature and moisture are the critical factors in the quality of a bagpiping performance. Thus it was decided that underfloor heating would be utilised, to keep the space heated at a consistent temperature. When the heating system is on, the thermally massive walls store heat, releasing it as the heating is switched off, to maintain a controllable and consistent temperature internally.

Heating Strategy

Environmental Strategies // Lighting & Ventilation Lighting Artificial lighting is crucial to the scheme’s success, as it allows for a fully controlled internal space. Limiting direct natural light eliminates the risk of the audience or performers experiencing unwanted and uncomfortable glare. In order to maintain a completely sealed acoustic environment, it was necessary to restrict lighting to artificial as natural light through glazing, even indirectly, can allow unnecessary noise to interrupt a performance.

A proportion of sunlight penetrates the shell at all but the warmest times of year, which aids way finding for guests from the courtyard, ascending stairs, to find the correct door which leads to their seat. This light, together with a change in flooring material, subtly guides guests on their journey through the building.

Natural and Artificial Lighting Provision

Artificial lighting is crucial to the auditorium as it is almost completely sealed from the outside world.

Ventilation A mechanical ventilation and heat recovery system is utilised in the auditorium in order to provide a completely ‘sound’ acoustic wrap, to limit the physical connection to the external world. Excess heat is extracted using extraction units located high on walls and in the ceiling. A heat exchanger is located within the truss work, with pipes surfacing on the roof of the volcano, work to exchange stale warm air for fresh, cool air, at a rate of 3 air changes/hour.

DDA Accessible entrances are located throughout the scheme, with a level access from courtyard to the lowest level of the auditorium for performers, patrons and, in the event of the space being utilised for ceilidhs, guests for such events.

Lifts are located in the corners of each block so that less able bodied visitors may experience the Institute in the same way as able bodied visitors.

Ventilation Strategy

Precedent Studies // Large Span Auditoria The Hamburg Elbphilharmonie by Herzog & de Meuron perches on former dockland and shipbuilding shoreline, like Govan. It plays host to over 2,000 attendees at peak times, while drawing crowds from all over the world due to it’s unique landmark nature, while rejuvenating an otherwise downtrodden neighbourhood. The main auditorium, designed by Tokyo Nagata, has some of the world’s best acoustics despite its large volume. The auditorium is also a separate structure.

Learning outcomes: Landmark image Visibility (from and to) Separate acoustic structure inside main structure to prevent intra-molecular vibrational transfer Non-regular structural grid is made possible by steel trusses

Hamburg Elbphilharmonie (Herzog & de Meuron)

Precedent Studies // Large Span Auditoria The Berliner Philharmonie, designed by Hans Scharoun, was the first symphony and vineyard halls of their kind when completed in 1963 and 1983 respectively. A social experiment to see if it was possible to design the perfect, intimate acoustic performance venue. Both venues comfortably host more than 1,000 guests for performances, yet have a feeling of intimacy and of a ‘full house’ regardless of how many are in attendance. The building was also on a difficult location on the outskirts of a major city, yet has been successful since it’s completion due to its unique nature, landmark imposition and iconography, and it’s ability to host thousands with ease.

Learning outcomes: Services are catered for under floor plates with hollow floors (timber flooring on structure) Handling of large crowds at busy times Complex internal shapes/section and plan resolved with concrete seating and steel truss roofing The Emirates Stadium, by Populous, was studied in order to understand large scale steel structures, cantilevers, support points and truss design.

Learning outcomes: Large span steelwork No apparent central support - edge trusses act as ring beam for loads to transfer from innermost points out to external walls which external ring of steel prevents structure buckling outwards Seating largely cast in concrete to deal with dense loads of masses of spectators

Berliner Philharmonie (Hans Scharoun & Edgar Wisniewski)

Emirates Stadium, London (Populous & HOK)

Technical Resolution // Structural Grid/Plan

1:200 @A3, shown dashed For heavier trusses, site assembly of individual elements is inevitable. Bolted connections are then the preferred method of joining the truss members.

Snug tightened, hot-dip galvanised Grade 4.6 bolts are recommended for steel trusses. As the holes are generally drilled 2 mm larger than the bolt shaft, a slip of 1 mm in each joint will occur resulting in considerable deflection of the truss. Camber of about 1/150 of the span is applied to make sure that the lower chord has a neat appearance (no sag).

Surface preparation Removing rust and grease from steel surfaces and roughening these are the main tasks of surface preparation. Sand blasting would be the best method but is often not available. Wire brushing (by power tool or manually), scrapers and hammers are the alternatives. Scale, rust and foreign objects are to be completely removed. After preparation, the surface should have a light metallic shine. The first coat of primer must follow immediately (within the same day).

Priming and Painting A paint system for steel protection consists of a primer or rust inhibiting coat and a protective or weather coat, often called finishing coat. For relatively humid indoor conditions (60 to 80 % relative humidity) as encountered in this roof truss application, the following priming systems is utilised: - 2 coats of 30 micron (mm) of red oxide primer.

Tar epoxy paints, which may be primer and finishing coat all in one, are not used for roof trusses due to their rough appearance.

The primer is preferably applied after all fabrication work is completed but prior to delivery to the site. The finishing coat is applied at site after erection where damaged primer is first repaired and the coverage of unprimed surfaces such as bolts and site welds are completed.

Steel work that is to be grouted in concrete such as anchors are not painted.

Technical Resolution // Structural Isometric Due to the relativity of the internal humidity (60-80% relative humidity) as typically encountered in roof truss applications, 2 coats of 30 micron (mm) red oxide primer is applied. Epoxy paints are not used due to their rough appearance. The red oxide primer must be applied after fabrication is complete, before delivery to site. A final finishing coat is then applied on site post-erection to repair any damage to the original primer incurred during construction, while priming unprimed surfaces such as bolts, welds and other connections.

While the roof is largely constructed from trusses due to the large spans and irregular structural grid required to allow for a column free, acoustically sound auditorium for (primarily to reduce unwanted early lateral and transverse reflections, or unnecessary reverberations beyond 2 seconds), the steelwork is exposed on the upper floors of the volcano as an homage to Govan’s reputation as a former world leader in quality of shipbuilding, rail and other heavy industrial works.

The roof of the whole scheme is supported by 14 trusses which rise from vertical cantilevers secreted within the double wall of the auditorium, to a central crown, which essentially acts as a single joint. The trusses are effectively spanning 50m, therefore are 5m deep at the crown/centre, tapering to 2m at the edges over the external walls.

The floors of the volcano surrounding the auditorium are spanning from the pre-cast reinforced concrete external walls of the auditorium, to a steel structure within the external walls, transferring the load to the foundations.

This allows the structure to essentially be broken into bays, as shown in the exploded isometric here.

The volcano sits on the water’s edge, therefore a retaining wall was utilised to prevent water ingress. The water is a false moat, as it is prevented from connecting to the river by a catch basin, secreted under the walkways. This allows for greater control over water levels up to the building edge, therefore reducing the risk of flooding further.

Technical Resolution // Section CC 1:500 @A3

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Technical Resolution // Section CC

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Technical Resolution // Section CC 1:50 @A3

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Technical Resolution // Detail 01 1:10 @A3

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0.8mm Black VM Anthra Zinc roofing and parapet detail

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50mm honeycomb backing panel

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75mm rigid PIR roof insulation

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2x 150mm rigid PIR roofing insulation

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Pre-cast concrete roofing slabs atop steel roof structure

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Steel Universal Column to Engineer’s specification

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70mm C-section steelwork supporting cladding to engineer’s specification

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100mm Kingspan Kooltherm K108 cavity board or equivalent

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Visqueen Zedex CPT High Performance DPC or equivalent

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50mm cavity

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102.5mm Edenhall Castlerigg Raven Brick external face

NB: 800mm rainwater channels are located at lower edges of roof.

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Technical Resolution // Detail 02 1:10 @A3 KEY 1

102.5mm Edenhall Castlerigg Raven Brick external face

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75mm screed with underfloor heating piping

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20mm Celotex rigid PIR acoustic insulation below screed

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120mm rigid PUR insulation

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130mm ‘holorib’ reinforced concrete floor onto permanent steel

formwork

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Ribs allow for light and servicing to be fixed directly

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170mm steel Universal Beam and wall plate to engineer’s specification

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In-situ reinforced concrete wall structure supporting outer floors

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Acoustic caulking

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100mm acoustic insulation to provide complete acoustic break and

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prevent intra-molecular transmission from outer skin to auditorium

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Stil Acoustics P16-C veneer perforated acoustic ceiling panels, C band

absorption rated or equivalent (3030x1200x20mm)

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50mm rigid PIR acoustic insulation

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12mm OSB panel

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100mm studwork to engineer’s specification

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Steel trusswork and column connection plate to engineer’s specification

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900x600mm minimum concrete vertical cantilever hidden in walls to

engineer’s specification

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Technical Resolution // Detail 03 1:10 @A3 KEY

Foundations

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Packing and substructure concealing ventilation and service channel

and supporting Audit 70 seating with cloth upholstered seat and back

Pile foundations are selected due to depth of poor load-bearing topsoil and nature of site as flood prone. Piles are also specified due to the uneven distribution of load from truss through floor and columns.

for absorption; veneer arm rests and back

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40mm hard wearing red carpet tiles

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75mm screed with underfloor heating pipes

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20mm Celotex rigid PIR acoustic insulation below screed

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50mm rigid PIR acoustic insulation

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12mm horizontal OSB panel

Composite floor slab:

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100mm horizontal studwork to engineer’s specification

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Stil Acoustics P16-C veneer perforated acoustic wall panels, C band absorption rated or equivalent (3030x1200x20mm)

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50mm rigid PIR acoustic insulation

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12mm vertical OSB panel

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100mm vertical studwork to engineer’s specification

“Holorib” is a steel sheet with rolled dovetail-shaped ribs. The concrete slab is self-supporting and must be reinforced accordingly. The sheet metal serves only as permanent formwork. Tests have shown that in this form of floor the adhesion between the sheet metal and the concrete is sufficient to generate a composite action between the metal and the concrete. The dovetail-shaped ribs are useful for fixing suspended ceilings and services - very helpful in buildings with many services.

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Rectangular hollow section steelwork to engineer’s specification

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Steel trusswork and column connection plate to engineer’s specification

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50mm rigid PIR acoustic insulation

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Stil Acoustics P16-C veneer perforated acoustic ceiling panels, C band absorption rated or equivalent (3030x1200x20mm)

A retaining wall is utilised at ground level in order to protect the scheme from flooding, while a catch basin/false river with tanking detail controls the water level lapping up the building.

Floors

Roof The roof is supported by 7 trusses, joining together at a crown measuring 4.5m in diameter, which acts as a giant node. The trusses span 50m, growing in thickness from 2m at the edge to 5m in the centre.

_End