Lewis, Will

WILLIAM LEWIS 2022 PORTFOLIO Master of Architecture / BA(Hons) Architecture Liverpool School of Art and Design

ABOUT ME I have recently finished a Master of Architecture degree at the Liverpool school of Art & Design having completed an undergraduate degree at the University of Liverpool.

Working between the degrees and during the summer I have amassed 2 years worth of experience as a part 1 Architectural Assistant at 3 different practices all of different scale and RIBA plan of work stages. I am now looking to work towards my part 3 and would be happy to relocate for the right opportunity.

The portfolio features work completed over 2 years during my Masters of architecture, if any information is required please contact me via: Email: will.lewis844@gmail.co.uk Phone: 07548663530

Contents March Year 2 Semester 2: Thesis design project: The Glasgow museum of slavery

1

March Year 2 Semester 1: Urban Design (Group): The Glasgow Mile

29

March Year 1 Semester 1: Urban Design (Group) -

March Year 1 Semester 2: Residential -

CV -

Glasgow Museum of

THE GLASGOW MILE

Slavery

- EXISTING MASTER PLAN

A recent awakening across the world through the Black Lives Matter movement has shed light on Glasgow’s involvement in the slave trade and shortcomings in accountability. Glasgow is the only transatlantic trading city not to have a memorial or museum dedicated to slavery. The Scottish Government are looking for a building to start a conversation and highlight the truth of Glasgow’s history and involvement in the slave trade. The museum is located in the city centre adjacent to ‘The Glasgow mile’ high-line a masterplan focused on restoring Glasgow to its former glory through culture led regeneration. ‘The Glasgow Museum of slavery’ aims to educate the city and wider population on Glasgow’s involvement in the slave trade, the journey to emancipation and the progress that has been made since. This is achieved through 3 separate moments, ‘the journey’, ‘the involvement’ and ‘the progress’ which leaves visitors invested, educated, and involved in Glasgow’s undeniable profit from the slave trade. The museum has an additional responsibility to support those whose lives have been affected by the slave trade giving back to a community that has been overlooked by the city for so many years. The museum occupies the negative space between existing buildings and a disused viaduct on a site surrounded by streets and buildings that once supported the slave trade within Glasgow.

The Glasgow Mile aims to strengthen and emphasise the existing cultural heritage of the city. This is achieved by connecting existing cultural buildings such as the O2 Academy, The Brigate and the citizens theatre along with new cultural buildings such as Galleries, comedy stops, performance schools and venues. The connection is made via a high-line which occupies a disused railway a piece of infrastructure that frequently scars the hearts of cities when no longer required. The high-line interacts with ground level utilizing existing adjacent buildings and stairs/ lifts at appropriate places. While promoting active travel the high-line uses existing rails to transform suiting either seasonal event such as a Christmas market or one time events such as TRNSMT Festival or the Glasgow mile. The scheme is designed alongside the Glasgow City Centre Strategic Development Framework ensuring the proposal aligns with the ambitions of the Glasgow City Council.

‘PEOPLE MAKE GLASGOW BUT WHO MADE GLASGOW’

SOUTH WEST ISOMETRIC

NORTH WEST ISOMETRIC

JOURNEY

APPROACH

ENTRANCE

JOURNEY START

PUBLIC SALE

American Civil War (1861–65) Collapse of cotton industry Increase in coal mining -All industries

-Ship building

-Cotton industry

-Mining industry

First steam engine in Glasgow

1775

1792

1779

American Revolutionary war and the end of the tobacco trade.

The first steam powered mill was built in Glasgow

1793

Glasgow Industry dominated by cotton trade

1800

1830

1862 shale extracted and refined commercially to produce oil for Glasgow homes

-Princes square shopping centre 1894 The first Mining strike

1842

1861

39 water-powered mills in Glasgow

1870

1894 8

-Barras market

Glasgow, produces eighty per cent of Scotland’s coal and all of Scotland’s malleable ironworks Mines Act sees withdrawal of women and children mines

Mechanisation of spinning cotton and opening of first cotton mill

-Vertical festival

7

6

4

5

Industrial revolution starts in Glasgow

107 Cotton mills in Glasgow

9

-Glasgow green

Cotton revenue overtakes Tobacco

-Debating gardens GLASGOW’S INDUSTRIAL PAST 2

“It can no longer be ignored and the amendment that I am moving today asks us to do three things: to acknowledge, apologise and to act,” 1

SUSAN AITKEN, LEADER OF GLASGOW CITY COUNCIL

10

Glasgow is the only transatlantic trading city not to have a museum or memorial to the slave trade

3

40 out of 79 lord provosts or mayors from Glasgow were connected to the Atlantic slave trade between 1636 and 1834.

-Museum site

Glasgow authorities have apologised for role in slave trade, saying its ‘tentacles’ are in every corner of city

-Key spaces

-Master plan site

1 2 3 4 5 6 7 8 9 10 11 12 13

EXISTING EVIDENCE OF SLAVERY IN GLASGOW

-High-line through site at 6m

-Listed building -Existing building

12

- Glasgow’s merchant past exhibition - Moment of public sale

14

- Cafe - Moment of death

11

- Route to emancipation - Emancipation - Education & Reasearch - Exhibition space 1 - Exhibition space 2 - Theatre - Rehearsal space - Changing room

14 - Theatre lobby

-Narrow existing entrances

-Bin store for existing buildings -Deep narrow space starved of light

- Exhibition of progress

13

-Total available area -Existing -Primary access

- Proposed

-Void -Key window on adjacent building

-Entrances to existing buildings

-Railway arches below high-line

-New routes directly onto high line

-Key views

-Access onto busy high-street

-Height above existing roof line

-High quality existing frontages

-High footfall along high-line

SECTION 1

JOURNEY

MERCAT BUILDING 2. ENTRANCE ATRIUM

3. JOURNEY START

Opening up the space beneath the viaduct to create public route through the site. Visual links between the museum and route mean that even if not visiting the museum pedestrians are still made aware of the topic displayed.

The entrance atrium is the first moment of the museum and informs the atmosphere. Visitors laughing and chatting as they walk in should instantly feel they need to be quiet and respectful understanding the grandeur of the moment represented throughout the museum.

Journey start is a long, thin, ramped corridor that becomes progressively darker. Visitors are split into single file symbolising the separation from family felt by enslaved persons as they are kidnapped from their homeland.

4. KIDNAPPED FROM HOMELAND

5. PUBLIC SALE

6. WALKWAY OF EXPOSURE

Based upon nautical architecture this space holds an exhibition to represent the treacherous journey and conditions an enslaved person would go through. A gutter around the room is the width of the sleeping conditions on slave ships and occupied by stone and glass pillars. These pillars represent the amount of people that would have occupied this space and the amount that did not survive the journey. (1/5 people died shown in glass)

This space focuses on the removal of humanity, occupants walk on a raised platform with a large window separating them from the main exhibition space. Information about the space will be above and below the window so visitors cannot always see who is looking at them creating an air of discomfort and over exposure.

Continuing the exposure from the space of public sale visitors continue up a ramped walkway above the main exhibition space.

7. LIVING CONDITIONS

8. DEATH

9. ROUTE TO EMANCIPATION

This space represents the conditions within plantations owned by Glaswegians which will be informed through the exhibitions. This is where you learn the identities of statues around the museum as plantation owners with wall perforations allowing views to them.

The death rate within Glaswegian run plantations is considered the highest with a life expectancy of 5 years after arriving. This space will represent those who died before emancipation a dark space with an exhibition to symbolise the catastrophic number of people killed during this infallible moment of ethical abandonment.

This space will feature exhibitions and information about the journey to emancipation within the city of Glasgow mainly following the story of Fredrick Douglas. Voids either side allow noise and light into the space of death below resembling the moment of rising up within society

10. EMANCIPATION

11. CAFE

12. GLASGOW SHIPPING HERITAGE

The end of the journey and celebration of the moment.

This is the first space that could be considered ‘happy’ with large quantities of Natural light and views around the city potentially highlighting particular areas that still show evidence of slavery in Glasgow. This is the highest point of the museum and represents a moment of equality with surrounding society.

Previously the space of reflection, I began to question what reflection is. It’s a moment where I want visitors to think about and converse about what they have just experienced and discovered. It is also an ideal moment halfway through the museum where visitors can rest.

With a glass panel in the floor creating a visual link to the kidnapped from homeland part of the journey .This is an exhibition about Glasgow’s ship building trade. This creates an unignorable link between Glasgow and the slave trade.

13. GLASGOW MERCHANT HERITAGE

16. EXHIBITION OF PROGRESS

This exhibition will show how Glaswegians and Glasgow profited from the slave trade. Similar to the Living conditions moment this exhibition utilises statues around the museum of merchants that sold enslaved people and their celebration within the city through street names and statues offering the reality behind their success.

The main exhibition space used for larger more impressive exhibitions. This space is surrounded by visual links to other moments within the museum. The final exhibition displays moments in Glasgow’s history where a step towards racial equality has been taken.

1 - Public through route created beneath high-line

27 - Exhaust 28 - Theatre control room

2 - Entrance lobby 3 - Journey start

29 - Buoyancy plenum

4 - Kidnapped from homeland

30 - Plant room 31 - Rehearsal space

5 - Public sale

32 - Dressing room

6 - Walkway of exposure 7 - Living conditions

33 - Theatre lobby

8 - Death

34 - Storage

9 - Route to emancipation

LONDON ROAD

10 - Emancipation 11 - Cafe 12 - Glasgow’s ship building past exhibition 13 - Glasgow’s Merchant past exhibition 14 - Exhibition space 1

Accommodation

Restaurant

15 - Exhibition space 2

LIFT

1

LIFT WC

16 - Exhibition of progress

WC

17 - Museum shop 18 - Education & research

14

Pub

19 - Public roof space adjacent to high-line

15

27

20 - Route between high-line and street level

27

Accommodation

21 - Cloak room

24

22 - Staff room

JAMES MORRISON ROAD

1. PUBLIC ROUTE BENEATH HIGH-LINE

Fire door

23 - Store 24 - Fire escape 25 - Fire fighting shaft

24

16

26 - Theatre ET STRE SALTMARK

25

Fire door

13 6

30

5

ET

24

WC

Fire door

7

Engineering consultant + ACCOMMODATION LIFT

LIFT

LIFT WC

WC

17

20

WC

11 24

23 31 27

32

27

24

Fire door

LIFT

32

LIFT 4

2

12

8

20 21 29 34

22

3 26

26

Museum signage Fire door

28

30

25 St. Andrews Court Student Accommodation 24

24 WC

30 34

22 33

1:200 BASEMENT -2

WC

ST. ANDREWS ST

1:200 BASEMENT -1

N

1

1:200 GROUND FLOOR

1:200 FIRST FLOOR PLAN

Statue of Frederick Douglass a key slavery abolitionist within Scotland marking museum entrance from street level. On the high-line the dialogue between the statues shows Fredrick Douglass shunning William of Orange from the city.

Statue of plantation owner William Orange removed from Glaswegian street and now marking museum entrance from street level.

Museum signage visible from high-line

SOUTH WEST ELEVATION

Large museum signage on High-line bridge the most dominant feature from street level

Passage/quote visible from street level to communicate museum footprint and ownership along entire space

Visually permeable panels into key exhibition space clad in steel drum panel continuing material language throughout building

Signage an sculpture visible from street Image of Frederick Douglass a key slavery abolitionist within Scotland

Entrance to museum under high line

SOUTH EAST ELEVATION

SECTION THROUGH HIGH-LINE

WALKWAY OF EXPOSURE

LIVING CONDITIONS

ROUTE TO DEATH

ROUTE TO EMANCIPATION

EMANCIPATION

GLASGOW’S MERCHANT PAST

PROGRESS EXHIBITION

STRUCTURAL STRATEGY

1 Water resistant barrier -

The Glasgow museum of slavery sits in the space between existing buildings with structure both above and below ground. The basement uses driven steel sheets to create a retaining wall so the internal space can be excavated, the space under existing structures will need to use jack piles to underpin retained foundations. The steel sheets then have poured concrete to create a flat structural face for the internal wall. Above ground the structure can be thought of as a table with self supported vaults sitting on top of steel columns, the walls between the columns are made up of block work. Floors have a plenum partition.

Mirror finish Steel deflector catch Glass reinforced concrete sill Boxing to support ventilation and deflector Glass reinforced concrete gutter Ventilation duct Wood boxing Plasterboard Air cavity Fire proof insulation Plasterboard 600mm Glaswegian Granite

600mm

V&A BOILER ROOM EXCAVATION, ARUP The main element to take from this scheme is the process of excavation between existing buildings. This required extensive secant piles which needed a vast amount of horizontal propping before the earth within the internal diagram could be removed The space below existing buildings utilises a piled raft with heave reducing tension piles to control deflections. The piles for the raft extend 32m within a grid of 8m x 9m. Each of these piles has a plunge column to support the 300mm thick gallery floor slab.

2

200mm in-situ concrete vault Vapour control layer 100mm Thermaroof TR27 roof insulation Water resistant barrier Self sealing zinc cladding Treated timber batten Double-glazed window

Mirror finish Open-able steel deflector Steel deflector catch Treated timber batten 75mm Insulation Glass reinforced concrete walkway

Boxing to support ventilation and deflector Steel I-Beam supporting walkway Ventilation duct Wood boxing Plasterboard

KIMBELL MUSEUM, LOUIS KAHN

DETAIL 1 - 1:20 2

These vaults are supported in each corner and act as beams, each barrel vault is actually composed of two curved beams, made in pre-stressed concrete.

As these vaults can span 35m with a break in the middle there is no doubt the vaults within the Glasgow museum of slavery will work sufficiently

1 3

Floor finish 200mm service duct 100mm screed 200mm concrete slab Treated timber batten Re-claimed brick Full fill insulation cavity 600mm Glaswegian Granite

ARCH MAINTENANCE SECTION - 1:20

DETAIL 2 - 1:20 Fire door

3

CLADDING Self sealing diagonal zinc shingles are angled slightly to create a dragon scale effect across the roof. Zinc ages elegantly and is a cheaper alternative to copper.

3

Concrete foundation capping

WATER RESISTANT BARRIER - Exhibition of progress

STONE VENEER

- Glasgow’s merchant past exhibition - Moment of public sale

Locally sourced Glaswegian Granite veneer tied back to internal lath as external finish.

- Cafe - Theatre

A thin water resistant membrane resists any liquid that penetrates the cladding.

WATER PROOFING AIR CAVITY

INSULATION

LATH

- Buoyancy plenum 7 - Plant room

CONCRETE VAULT INSULATION

Cast in situ the vaults act as beams supported in each corner over a 40m span much like in the Kimbell museum

by Louis Kahn.

100mm Insulation panel.

5

Driven steel sheet piles Poured concrete (150mm min) Water resistant barrier Air gap Insulation Reclaimed brick Plaster skim

Concrete foundation capping Driven steel sheet piles Poured concrete (150mm min) Water resistant barrier Air gap 150mm Insulation Reclaimed brick Plaster skim

The Thermaroof TR27 roof board by Kingspan can be can be curved to for a 2.5m radius. The vaults within the museum have a radius of 3m.

Lath and mortar layer as a base for stone veneer.

8 - Service shaft

8

DETAIL 3 - 1:20

NON STRUCTURAL WALKWAY STONE

Hemp reinforced concrete walkway forms the base for drainage and maintenance as well as a solid connection for the light deflection panels.

Locally sourced Glaswegian Granite acts as the wall structure and internal building finish.

The steel within this column supports the walkway only so is in reality very thin, boxing around the steel gives a more solid impression aesthetically.

Terrazzo is a composite material made up of marble chippings set into cement, poured in place or pre cast.

4

Driven steel sheet piles Poured concrete (150mm min) Water resistant barrier Air gap 150mm Insulation Reclaimed brick Concrete floor slab Blown insulation

BOXED STEEL I-BEAM FLOOR FINISH

7

Fire door

Terrazzo floor finish 200mm service space Screed layer 200mm concrete slab

Re-claimed brick Air cavity 100mm insulation 600mm Glaswegian Granite

VAULT BUILD-UP

1 2 3 4 5 6

1

Steel deflector with mirrored internal finish Treated timber batten Double-glazed window Glass reinforced concrete sill Glass reinforced concrete gutter Retained brick Self sealing zinc cladding Ventilation gap Wall plate Re-claimed brick Water resistant barrier Air cavity 100mm insulation board Vapour control layer Re-claimed brick Plasterboard

2

Fire door

The Kimbell’s structure is based on a consistent mathematical model. The basic plan is composed of sixteen cycloid vaults 35m x 6m that are arranged in three parallel units of six, four, and six in the Kimbell.

4

Self sealing zinc cladding Water resistant barrier 100mm Thermaroof TR27 roof insulation Thermally broken cladding tie Vapour control layer 200mm in-situ concrete vault

Driven steel sheet piles Poured concrete (150mm min) Water resistant barrier Air gap 150mm Insulation Reclaimed brick

4

6 SCREED LAYER

Sand Concrete Pile

The screed layer levels the floor ready for the chosen finish.

The screed layer additionally holds the underfloor heating used to warm exhibition spaces.

Blown insulation Concrete floor slab Concrete pile

CONCRETE FLOOR SLAB

SECTION 2

Reinforced concrete slab acts as the structural base for the floor.

DETAIL 4 - 1:20 TECHNICAL SECTION - 1:50

WINTER STRATEGY

ENVIRONMENTAL STRATEGY

1

SECOND FLOOR

Fresh air is brought into the building from above the high-line where it is naturally warmed/cooled by the ground temperature before being further warmed/cooled by a ground source heat pump. This air is then pushed into a plenum beneath seating to be distributed in the theatre. Air is warmed by occupancy and lighting to retain vertical movement via buoyancy support. This air is removed from the theatre via mechanical ventilation and exchanges heat with fresh air that is used within the exhibitions. The exhibition spaces are heated via underfloor heating and ventilation ducts and utilises the same occupancy/spotlighting to aid buoyancy as within the theatre before being removed via mechanical heating. There is limited opportunity for solar lighting within the museum due to the nature of the site so deflectors within the roof illuminate internal space. The museum uses many material choices to improve it’s overall environmental efficiency such as reclaimed brick and stone, locally sourced stone and retained structures. Large stone structures and extensive insulation allows the building to perform very efficiently in both summer and winter through thermal mass ensuring optimal control of the internal environment. The building additionally features rainwater collection to be used for grey water. As the museum does not generate energy the project comes with a promise to create photovoltaic canopies along the high-line that feeds into the national grid offsetting energy generated – energy used. The museum is also connected to the Glasgow district heating network meaning it can take advantage of existing heating infrastructure.

SUMMER STRATEGY

TARGETED SOLAR GAIN

4

5

LIMITED SOLAR GAIN Existing buildings to the South and limited fenestration block sunlight avoiding unwanted solar gain during summer. indirect short wave radiation from the sun heats the building through windows and the building fabric

3

LOCALLY SOURCED MATERIALS

RAIN WATER HARVESTING

6

Rainwater harvesting stores water in a tank to be used for as grey water throughout the building. Additionally this allows the building to release water collected at an appropriate time if necessary to aid drainage during heavy rain fall

Stone and concrete sourced locally reduces shipping distance and storage requirements lessening the emissions, energy usage and embodied carbon within the scheme.

Sun light targeted at a void beneath directly and indirectly warms air creating a vacuum at the top of the building sucking warm air up the building to be removed.

2

RETAINED STRUCTURES

Roof area (footprint) in square metres x annual rainfall in cubic metres.

By retaining large parts of the existing buildings demolition waste, and energy requirements in creating new structures, are reduced .

Divided by 12 = average monthly rainfall capture.

(1520 x 885) ÷ 12 = 112,100 litres per month

THERMAL MASS As direct sunlight is blocked thermal mass on the internal walls of the museum are cooled by convection currents created by the ventilation system encouraging a consistent cool temperature season wide.

2

1

2

2

1

2

7

7

ENERGY EXCHANGE

- INPUT

LIFT

7 6

- CONSUMPTION

WC

12

12

18 Solar power from high-line

Ground source heat pump (GSHP)

Combined heat and power

Hot water storage

Mechanical ventilation

13

11 12

12

9

27

Warm Air

Exhibitions

10

6

2

5 11

Central Heating

Air handling unit (HVAC)

5

4

Rainwater Storage

FIRST FLOOR

1 10

Hot water

Lighting

Heat recovery and air extraction

5

5

3

EMBODIED CARBON

3 4

9 10

8

10

3

7

LIFT 20

19

2

GROUND FLOOR

10

15

1

5

LIFT 9 - RETAINED STRUCTURE

Embodied carbon means all the CO2 emitted in producing materials. It’s estimated from the energy used to extract and transport raw materials as well as emissions from manufacturing processes.

4 6

3 1

SOLAR POWER

5

2

MECHANICAL VENTILATION

6

3

GROUND SOURCE HEAT PUMP

7

- MUSEUM SITE

- PROPOSED SOLAR CANOPIES

2

BUOYANCY PLENUM An air tight space beneath theatre seating provided with warm fresh air via mechanical ventilation.

WARM AIR SUPPLY TO REST OF BUILDING

8

AIR EXTRACTION

HEAT EXCHANGE Heat is exchanged between warm stale air being removed from the building and fresh air coming into the building before being expelled from, the building.

WARM AIR SUPPLY

1

10

UNDER FLOOR HEATING

2

11

BUOYANCY SUPPORT

3

Lighting, occupants and exhibitions further warm the air insuring it continues to move vertically where it can be extracted and recycled.

AIR EXTRACTION Air is extracted via non structural beams which support the drainage system and ventilation ducts. Heat from the warm stale are is recovered by the incoming fresh air before being expelled via the service shaft.

BUOYANCY AID

5

RESIDUAL COOL AIR During the summer the entrance lobby can be opened beneath the high-line to allow cool fresh air to enter the building, large openings spread the air through the museum .

4

BUOYANCY AID Air rising from the basement is further warmed by artificial light, natural light and occupants while being displaced by incoming cool air to further drive it vertically through the building via stack ventilation.

MECHANICAL COOLING Cool air expelled into the exhibition spaces spills into the cafe before sinking through the internal void. This sinking air further drives warm air upwards through the building

6

BUOYANCY AID Air rising through the cafe is further warmed by artificial light, natural light and occupants while being displaced by incoming cool air to further drive it vertically through the building via stack ventilation..

Air is warmed by occupancy, lighting and sunlight encouraging it rise through the building, if required warm air from the theatre can be used to further increase buoyancy.

Heat is distributed throughout the exhibition spaces via hydronic radiant under floor heating.

12

COOL AIR SUPPLY fresh air intake from above the high-line is cooled as it passes through the ground before it is further cooled via a plant room and distributed throughout the building.

Warm air is supplied within the exhibition spaces at ground level to encourage stale air to continue moving vertically through the building.

Air is removed via mechanical ventilation within the theatre roof and transferred to the service shaft to be extracted.

Air is then heated by the ground source heat pump before being distributed.

4

- HIGH-LINE SITE

9

Warm air is pushed beneath the theatre to a plant room on the other side of the building to be distributed throughout other floors.

Mechanical ventilation brings in fresh air from above the high-line to a plant room in the basement naturally gaining heat during the winter by passing through the ground.

1:200 SECOND FLOOR PLAN

BUOYANCY SUPPORT Warm air is expelled beneath seating into the theatre space and is further warmed by lighting and occupants encouraging buoyancy.

Solar energy is provided via solar canopies along high-line.

7

AIR EXTRACTION Air is either removed via mechanical ventilation within the Roof and transferred to the service shaft to be extracted or expelled via windows.

GLASGOW’S MUSEUM of SLAVERY 3

TYPE: Thesis project - Individual TIMESCALE: 17 weeks

A recent awakening across the world through the Black Lives Matter movement has shed light on Glasgow’s involvement in the slave trade and shortcomings in accountability. Glasgow is the only transatlantic trading city not to have a memorial or museum dedicated to slavery. The museum is located in the city centre adjacent to ‘The Glasgow mile’ high-line a masterplan focused on restoring Glasgow to its former glory through culture led regeneration. The museum occupies the negative space between existing stone buildings and is accessed via a new pedestrian corridor created below a disused railway (now occupied by ‘The Glasgow Mile’).

The immediate area surrounding the museum still retains evidence of slavery through street names and statues of former plantation owners. ‘The Glasgow Museum of slavery’ aims to educate the city and wider population on Glasgow’s involvement in the slave trade, the journey to emancipation and the progress that has been made since. This is achieved through 3 separate moments, ‘the journey’, ‘the involvement’ and ‘the progress’. The museum has an additional responsibility to support those whose lives have been affected by the slave trade giving back to a community that has been overlooked by the city for so many years.

- QR code to design report

PL

AC E

HO

LD

ER

‘PEOPLE MAKE GLASGOW BUT WHO MADE GLASGOW’

4

MOMENT OF REPRESENTATION TIME SPAN OF FOCUS 1775-1894 At the outset of the thesis brief creation it was known the project would be a museum, it was however unknown what it would represent. This time line was created to capture a powerful moment in Glasgow’s past that was missing representation. The research was mainly industry focused of which cotton, tobacco and shipbuilding came out as the most prominent. These industries have a known intersection with the slave trade but it was not mentioned within any of the research thus far. This is when a more direct search resulted in the discovery of ‘Glasgow’s hidden underbelly’.

-All industries

-Ship building

-Cotton industry

-Mining industry

American Civil War (1861–65)

American Revolutionary war and the end of the tobacco trade.

1775

The first steam powered mill was built in Glasgow

1779

1792

1793

Increase in coal mining

Collapse of cotton industry

First steam engine in Glasgow

1862 shale extracted and refined commercially to produce oil for Glasgow homes

Glasgow Industry dominated by cotton trade

1800

1830

1842

1894 The first Mining strike

1861

39 water-powered mills in Glasgow Mechanisation of spinning cotton and opening of first cotton mill

107 Cotton mills in Glasgow

Cotton revenue overtakes Tobacco

5

Mines Act sees withdrawal of women and children mines

1870 Glasgow, produces eighty per cent of Scotland’s coal and all of Scotland’s malleable ironworks Industrial revolution starts in Glasgow

1894

GLASGOW’S HIDDEN UNDER-BELLY Throughout all of my research previously into Glasgow’s history there was an unmentioned dark underbelly of the cities success. There is a key part of the cotton, tobacco and shipbuilding industry of the past that has failed to be taken accountability for within Glasgow. Unfortunately this hidden underbelly is Glasgow’s involvement in slavery and the lack of documentation and education of the cities dark past.

“It can no longer be ignored and the amendment that I am moving today asks us to do three things: to acknowledge, apologise and to act,” SUSAN AITKEN, LEADER OF GLASGOW CITY COUNCIL

Glasgow is the only transatlantic trading city not to have a museum or memorial to the slave trade 40 out of 79 lord provosts or mayors from Glasgow were connected to the Atlantic slave trade between 1636 and 1834.

Glasgow authorities have apologised for role in slave trade, saying its ‘tentacles’ are in every corner of city

6

SITE CONSTRAINTS

-High-line through site at 10m

-Narrow existing entrances

-Bin store for existing buildings

-Listed building

-Deep narrow space starved of light

-Existing building

-Retained existing buildings within scheme

7

NORTH WEST ISOMETRIC 8

The image shows the total area (30,000m2) that could be used within the existing buildings between the ground and lower roof line. Once this mass had been identified I began reductive massing depending on light, key views, connection and Building height/scale. These masses were then used to form a series of size parameters for use in finding a more refined form.

9

SOUTH WEST ISOMETRIC 10

EXISTING IN SECTION

8

9

-Existing 10

-Preoposed

EXISTING ELEVATIONS

Salt Market Street

7.00m

4.00m

6.00m

6.00m

7.00m

6.00m

6.00m

4.00m

1 2 3 4 5 6 7 8 9 10 11 12 13

7.00m

NORTH EAST ELEVATION

- Exhibition of progress - Glasgow’s merchant past exhibition - Moment of public sale - Cafe - Moment of death - Route to emancipation - Emancipation - Education & Reasearch - Exhibition space 1 - Exhibition space 2 - Theatre - Rehearsal space - Changing room

14 - Theatre lobby

9.00m

7.50m

7.50m

9.50m

9.50m

Salt Market Street

SOUTH WEST ELEVATION

11

12

13

2

1

7

6

4

5

3

14 11

SECTION 1

12

EXTERNAL VIEWS

1 2 3 4 5 6

- Exhibition of progress - Glasgow’s merchant past exhibition - Moment of public sale - Cafe - Theatre

- Buoyancy plenum 7 - Plant room

8 - Service shaft

8

7

13

2

4

1 3

5

6

SECTION 2

14

JOURNEY The museum utilises architectural design to symbolically represent the experience of a slave from the moment they are kidnapped to death/emancipation. The line following below is present in the floor plans later in the document to give an understanding to the locations of each image.

APPROACH

ENTRANCE

PROGRESS EXHIBITION

JOURNEY START

GLASGOW’S MERCHANT PAST

15

PUBLIC SALE

EMANCIPATION

WALKWAY OF EXPOSURE

ROUTE TO EMANCIPATION

16

LIVING CONDITIONS

ROUTE TO DEATH

MERCAT BUILDING

SECOND FLOOR

Restaurant 1

Pub 27 Accommodation

FIRST FLOOR

17

20

GROUND FLOOR

2 20 21 3 Museum signage Fire door

St. Andrews Court Student Accommodation

17

1 - Public through route created beneath high-line 2 - Entrance lobby 3 - Journey start 4 - Kidnapped from homeland 5 - Public sale 6 - Walkway of exposure 7 - Living conditions

LONDON ROAD

8 - Death 9 - Route to emancipation Accommodation

10 - Emancipation

LIFT WC

11 - Cafe 12 - Glasgow’s ship building past exhibition 13 - Glasgow’s Merchant past exhibition 24

JAMES MORRISON ROAD

15 Fire door

14 - Exhibition space 1 15 - Exhibition space 2 16 - Exhibition of progress

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17 - Museum shop 25

18 - Education & research

Fire door

19 - Public roof space adjacent to high-line

5 24

WC

Fire door

Engineering consultant + ACCOMMODATION

20 - Route between high-line and street level 21 - Cloak room

WC 24

23

22 - Staff room Fire door

23 - Store

LIFT

24 - Fire escape

4

25 - Fire fighting shaft 22

26 - Theatre

27 - Exhaust 28 - Theatre control room 29 - Buoyancy plenum 30 - Plant room 31 - Rehearsal space 32 - Dressing room 33 - Theatre lobby

ST. ANDREWS ST

GROUND FLOOR

N

18

34 - Storage

CLADDING WATER RESISTANCE INSULATION CONCRETE VAULT

SELF SUPPORTING CONCRETE VAULT

LOAD BEARING STONE WALLS

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STEEL STRUCTURE

DRIVEN STEEL PILE POURED CONCRETE INSULATION RECLAIMED BRICK PLASTER SKIM

6 7 LIFT

BASEMENT EXCAVATED

8

BASEMENT EXCAVATION

19

LIFT

LIFT WC

WC 18

14

27 24

13 30

LIFT 19

20 11

10 24

LIFT

12

LIFT 9

FIRST FLOOR PLAN

SECOND FLOOR PLAN

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600mm

200mm in-situ concrete vault Vapour control layer 100mm Thermaroof TR27 roof insulation Water resistant barrier Self sealing zinc cladding Treated timber batten Double-glazed window

Mirror finish Open-able steel deflector Steel deflector catch Treated timber batten 75mm Insulation Glass reinforced concrete walkway

Boxing to support ventilation and deflector Steel I-Beam supporting walkway Ventilation duct Wood boxing Plasterboard

ARCH MAINTENANCE SECTION 21

Self sealing zinc cladding Water resistant barrier 100mm Thermaroof TR27 roof insulation Thermally broken cladding tie Vapour control layer 200mm in-situ concrete vault

1

Steel deflector with mirrored internal finish Treated timber batten Double-glazed window Glass reinforced concrete sill and gutter Glaswegian Granite veneer cladding 50mm Lath Self sealing zinc cladding Ventilation gap Wall plate Re-claimed brick Water resistant barrier Air cavity 100mm insulation board Vapour control layer Re-claimed brick Plasterboard Thermally broken cladding tie 25mm mortar scratch coat

Fire door

2

Floor finish 100mm screed 200mm concrete slab

Re-claimed brick Air cavity 100mm insulation 600mm Glaswegian Granite

Fire door

3

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Statue of Frederick Douglass a key slavery abolitionist within Scotland marking museum entrance from street level. On the high-line the dialogue between the statues shows Fredrick Douglass shunning William of Orange from the city.

Large museum signage on Highline bridge the most dominant feature from street level

Passage/quote visible from street level to communicate museum footprint and ownership along entire space

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Visually permeable panels into key exhibition space clad in steel drum panel continuing material language throughout building

There was the potential lack of presence at street level due to the lack of external façades. This led to an exploration into how the entrances at either end of the site under the railway could be highlighted. The bridges above each entrance are the key features at street level, by placing signage along the bridges the museum presence becomes clear to both pedestrians and drivers. In addition to this statues, visible exhibitions a material dialogue further strengthen the impact at street level.

Statue of plantation owner William Orange removed from Glaswegian street and now marking museum entrance from street level.

Museum signage visible from high-line

Signage an sculpture visible from street Image of Frederick Douglass a key slavery abolitionist within Scotland

Entrance to museum under high line

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PROJECT REFLECTION The Museum of Slavery not only strengthens culture within Glasgow it brings a new cultural understanding of the cities heritage aligning with the ambitions of the master plan ‘The Glasgow Mile’. The proposal utilises architectural design to aid museum exhibitions as they explain Glasgow’s involvement in the slave trade. As mentioned Glasgow is the only transatlantic trading city not to have a memorial or museum dedicated to slavery, The Glasgow museum of slavery fills that gap. The design of the museum leads to an undeniable link between Glasgow and slavery educating upon a slaves journey, Glasgow’s profit from the slave trade, key figures in the journey to emancipation and the progress that has been made since. The impact of the museum will not only be felt within Glasgow but across a much wider span as visitors leave advocates for positive change and spread the museums message. Following project completion Glasgow will no longer be seen as a city hiding from their past rather a city acknowledging their history and pushing for social progression.

PERSONAL REFLECTION The progress of the project has been strong and consistent from initiation to current. Utilising an extremely constrained site with large existing elements has been a welcomed and enjoyable challenge. While at the time it was a difficult decision I look back at the movement from proposal 1 to proposal 2 as having a positive impact on the overall scheme and final result. There were definitely processes within the development that could be improved, I feel I have been too computer focused, sketching is definitely a personal strength that has not been utilised to it’s fullest. This project has been extremely enjoyable throughout, not only do I feel I have grown as a designer but due to the nature of the project a person. The ability to put yourself in someone else’s shoes has been key throughout the proposal and a skill I will take forward in life not just architecture. While it cannot be quantified I hope visitors to the museum would feel a similar level of enlightenment and leave feeling a responsibility to stand up for those who have been ill treated.

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THE GLASGOW MILE A CONCENTRATION OF CULTURE 29

TYPE: Masterplan - group work TIMESCALE: 4 weeks

CONTEXT The Glasgow mile is a master plan project and the final stage of a group assignment. The assignment is mainly made up of research into the social, political and economic context of the local area (Glasgow city centre). The research findings are then used to form a concept for a large scale masterplan that does not go past Riba stage 2 (‘The Glasgow Mile’). This masterplan and research is then used as a base for the individual thesis design shown later in the portfolio.

PROJECT

- QR code to design report

PL

AC E

HO

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ER

The Glasgow Mile aims to strengthen and emphasise the existing cultural heritage of the city. This is achieved by connecting existing cultural buildings such as the O2 Academy, The Brigate and the citizens theatre along with new cultural buildings such as Galleries, comedy stops, performance schools and venues. The connection is made via a high-line which occupies a disused railway, a piece of infrastructure that frequently scars the hearts of cities when no longer required.

The high-line interacts with ground level utilizing existing adjacent buildings and stairs/lifts at appropriate places. While promoting active travel the high-line uses existing rails to transform suiting either seasonal event such as a Christmas market or one time events such as TRNSMT Festival or the Glasgow mile.

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THE GLASGOW MILE

The Glasgow Mile aims to strengthen and emphasise the existing cultural heritage of the city. This is achieved by connecting existing cultural buildings such as the O2 Academy, The Brigate and the citizens theatre along with new cultural buildings such as Galleries, comedy stops, performance schools and venues. The connection is made via a highline which occupies a disused railway a piece of infrastructure that frequently scars the hearts of cities when no longer required. The high-line interacts with ground level utilizing existing adjacent buildings and stairs/ lifts at appropriate places. While promoting active travel the high-line uses existing rails to transform suiting either seasonal event such as a Christmas market or one time events such as TRNSMT Festival or the Glasgow mile.

A CONCENTRATION OF CULTURE

ARCH OCCUPANCY DEVELOPMENT

Dance Studio

Music Venue

Access to Walkway

Music Studio

WALKWAY DEVELOPMENT THE CITY OF CULTURE In 1990 Glasgow became the cultural capital of Europe the first in the UK. Over the course of the event 8.3 million people visited the city and saw a 32% jump in theatre/concert performances and a 40% percent jump in attendance at theatres, halls, museums

and galleries. The city proved that cultural and arts led regeneration can work. Thirty plus years later Glasgow is home to over 100 cultural organisations and in 2019 was listed as a top creative and cultural hub in the UK by the European commission.

THE CITY OF MUSIC By 2008 Glasgow was recognised as a UNESCO city of music another first of its kind in the UK. “The award recognises the rich musical heritage of the city. By being a city of music Glasgow has to remain; iconic, knowledgeable, accessible, supportive,

representative, promotional and unique. “Glasgow as a city continues to blaze a trail in exploring the possibilities of music as an essential tool for urban regeneration, improving quality of life and personal development.”

MASSING DEVELOPMENT

DESIGN INTENT

CONNECTING VENUES/ PERFORMANCE SPACES

CREATE A PEDESTRIANISED CORRIDOR THROUGH THE CITY

INCREASED FOOTFALL AND INVESTMENT TO THE BARRAS AREA

PEDESTRIAN FAVOURING CONNECTION ACROSS RIVER

INCREASED GREEN SPACES THROUGHOUT CITY CENTRE

IMPROVE WALK ABILITY ACROSS CITY

PROTECT AND EMPHASIZE EXISTING STREET ART

EMPHASISED CULTURAL AND MUSICAL REGENERATION

INITIAL RESPONSE SITE ANALYSIS

EARLY ZONING

USE PLAN

FRONTAGE QUALITY

12 8 10

B

9 -Disused rail way -Cultural buildings

-Key Cultural buildings

-Routes from site to key areas

-Key views

-Routes to site from key areas

-Derelict/unoccupied land

ACTIVE GREEN SPACE

-Mural frontages

KINETIC OPPORTUNITY

PERFORMANCE SPACE

-Existing buildings that interact at high line level

PUBLIC SPACE

PEDESTRIAN TO & FROM

DEVELOPMENT OPPORTUNITIES

IN-USE RAILWAY

PEDESTRIANISED RAILWAY MARKET SPACE

-Derelict/unoccupied land chosen as site

-Retained frontages

-Reclaimed frontages

-GREEN WALKWAY

-PROPOSED LEVEL CHANGE BETWEEN WALKWAY AND STREET

-CYCLE ROUTE

-LARGER SCALE ONE OFF PERFORMANCES

-PEDESTRIANISED ROUTE

-EATERY

-SMALL INDEPENDENT BUSINESSES

-MARKET SPACE

-LARGER SCALE ONE OFF ART DISPLAYS

-PERFORMANCE CORE

-CREATIVE CORE

-IMPLIED JOURNEY START POINT

-LARGER SCALE ONE OFF MUSIC EVENTS

-SHORT STAY RESIDENCY

-BARS

-MARKET SPACE

-MUSIC CORE

-BIKE RENTAL

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PRECEDENTS NEW YORK HIGHLINE

VICTORIA STREET, EDINBURGH

A 1.4 mile linear park that makes use of an abandoned railway in New York. This areal garden was designed

by James Corner Field Operations, Diller Scofidio + Renfro, and Piet Oudolf and completed in 2009 with phases opening after.

There are plenty of places to hop on and off the line and the garden helps to increase bio-diversity in one of the most densest cities in the world.

Victoria Street is one of Edinburgh’s most recognisable and picturesque locations, its elegant curve graced by a series of colourful shop fronts, making it a favourite choice of filmmakers and photograph enthusiasts alike. Constructed between 1829 and 1834, Victoria Street was one of several major improvements to the Old Town, designed to improve access around the city; previously, the only way to access the Lawnmarket and Edinburgh Castle from the Grassmarket was via an awkward and steep passageway. While Victoria Street relates to our project with the aim of improving pedestrian access through the city it also shows the effectiveness and interaction of dual height street fronts.

SUPERKILEN PARK Located in Copenhagen and designed by BIG this park has a mixture of intimate and large spaces across the linear area. Completed in 2012 this park represents the different communities that live in the surrounding district by having an item from each country.

It uses a mixture of hard and soft spaces and includes fast ways to actively travel by having a dedicated cycle lane that feels safe due to it not being near any cars.

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16 8 15 4

6

“HIGH-LINE” AXO’S

Mass interacting at two levels

Lifts

Art Gallery

Bar

Kinetic Markets

Archways Reclaimed

Under Pass

Staircase

Arches turned into commercial space

LEVEL CHANGE VISUALS

3

Site 1 Ariel

Site 1 Visuals

Site 2 Ariel

Site 2 Visuals

Site 3 Ariel

Site 3 Visuals

Site 4 Ariel

Site 4 Visuals

3 4

1

2

SECTION A - 1:100 Sculpture park and Art gallery

6 5 7

Existing

A

Art Gallery

Kinetic Market

Sculpture Park

MASTERMAP - 1:2000

SECTION B - 1:100 Workshop and Theatre

1. Museum

13. Connection to Glasgow Green

2. Rent a Bike

14. Proposed college building

3. Studio/office

15. Covered seating

4. Moveable market store

16. Citizens theatre frontage

Theatre

Workshop

5. Gallery

Existing adjacent buildings

6. Shop frontages

Existing cultural buildings

7. Sculpture garden

Site boundary

Shop front / Accommodation Dance School

8. Outdoor performance space 9. School of performing arts 10. Cultural workshop/storage 11. Theatre 12. Accommodation/offices

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CONCEPT The intentions of the masterplan were created based on significant points found in the research assignment of this module such as: • • • •

A lack of walkability in the city Declining key cultural buildings A lack of green space Poor connection between the North and South of the River Clyde

INTENTION

Connecting venues/performance spaces

Create a pedestrianised corridor through the city

Increased footfall and investment to the barras area

Increased green spaces throughout city centre

Pedestrian favouring connection across river

Improve walk ability across city

Protect and emphasize existing street art

Emphasised cultural and musical regeneration

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THE GLASGOW CITY DEVELOPMENT PLAN (CDP) The Glasgow City Development Plan (CDP) was a key document for any project in the city centre, it sets a 10 year vision for the nature and quality of development within the City. There are 4 key ‘outcomes’ highlighted within the plan; • • • •

A vibrant city centre A sustainable city centre A connected city centre A green & resilient city centre

ALIGNMENT The Glasgow City Development Plan (CDP) sets a 10 year vision for the nature and quality of development within the City. It sets out the spatial framework and development policies which support the Council’s Strategic Plan, which aims to establish a world class city that delivers economic prosperity for the people of Glasgow. The CDP advocates that development should take a holistic ‘placemaking’ approach to building a better city.

A CONNECTED CITY CENTRE

VIBRANT CITY CENTRE

ECONOMIC COMPETITIVENESS

The City Centre will be the sustainable heart of the City region, that links communities and places through a range of integrated, clean, healthy, and accessible travel options

The City Centre will be a vibrant, attractive centre for knowledge and innovation driving an inclusive growing Economy

Reinforce the Centre’s economic competitiveness and boost vibrancy to grow prosperity for all

IMPROVED PEDESTRIAN TRAVEL

CONNECTION ACROSS THE RIVER

RETAIN HERITAGE

A GREEN CITY CENTRE

Reduce traffic dominance and create a pedestrian and cycle friendly centre, with improved public transport, that is healthier and cleaner

Reconnect the Centre with its riverside and improve the connection across the river on a pedestrian scale

Repair, restore and enhance the urban fabric to reinforce the City’s distinctive character and celebrate its heritage.

The City Centre will be transformed through a connected network of green blue infrastructure that promotes health and wellbeing and moderates climate change

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KEY SITE ANALYSIS A sample of the research that significantly influenced the development of the proposal. To create a cultural, pedestrianised route across the city that does not require demolition of existing buildings identifying the disused railway, cultural buildings and derelict space is key.

KEY ELEMENTS

-Disused rail way -Key Cultural buildings

UNOCCUPIED SPACE

-Cultural buildings

KEY LINKS

-Derelict/unoccupied land

-Routes from site to key areas

-Derelict/unoccupied land chosen as site

-Routes to site from key areas -Key views

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USES

- GREEN WALKWAY

- LARGER SCALE ONE OFF PERFORMANCES

- CYCLE ROUTE

- EATERY

- PEDESTRIANISED ROUTE

- MARKET SPACE

- SMALL INDEPENDENT BUSINESSES

- PERFORMANCE CORE

- LARGER SCALE ONE OFF ART DISPLAYS

- IMPLIED JOURNEY START POINT

- CREATIVE CORE

- SHORT STAY RESIDENCY

- LARGER SCALE ONE OFF MUSIC EVENTS

- MARKET SPACE

- BARS

- BIKE RENTAL

- MUSIC CORE

- PROPOSED LEVEL CHANGE BETWEEN WALKWAY AND STREET - DISUSED RAIL CONVERTED TO HIGH-LINE - DEVELOPED SITES

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HIGH-LINE DEVELOPMENT The Glasgow mile is a master plan project and the final stage of a group assignment.

The assignment is mainly made up of research into the social, political and economic

DEVELOPMENT ALONG RAIL

ARCH DEVELOPMENT BELOW RAIL

Dance studio

Music venue

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Access to walkway

Music studio

HIGH-LINE VISUAL

ARCH VISUAL

DESIGN DEVELOPMENT VISUALS

The image on the left shows initial exploration into the energy on the high li exploring how pedestrians and cyclists can move within the same space a market in motion.

The right image explores how the bottom of the high-line may interact w ground level. As the existing structure includes a series of arches that co be transformed into bars, restaurants and other venues. These may then s out onto a square where people can be seen eating and drinking outside giv the street life. This also helps to increase footfall for potential businesses th occupy the archways.

MASSING

This series of sketches explores the mass of new volumes and how they fit in the existing context. It also gives an idea of how visitors may move througho the site, this is highlighted through red arrows.

SITE 1

SITE 2

SITE 3

The massing within the site responds to adjacent buildings and views. Site 1 is considered the start of the journey and acts as a receiving space for visitors.

Large open spaces are required within the Glasgow strategic framework as justification for the large ventral park

When massing for site two there was emphasis on creating a corridor between the gallery and shop fronts, reflecting the arches under the railway into the proposed mass allow light in and reduces the overall density of the proposal.

When entering a new space pedestrians tend to stall while figuring out their next movement. This massing proposal highlighted issues within our scheme, the green space is too large. Green space rarely generates money and has a running cost. Creating additional buildings to utilise this space is vital.

Bar

Art gallery 46

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Under pass

SECTIONAL DEVELOPMENT The proposed site for the thesis project sits between sites 2 and 3 within the Glasgow Mile. There was specific exploration within the master plan into how these sites were occupied.

A - SITE 2 SECTION

B - SITE 3 SECTION

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VISUALISATIONS

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