By Yanjun Liu
Master of Architectural Studies Urban Building Pathway
Mackintosh School of Architecture Glasgow School of Art
August 2017
3
CONTENTS • Abstract
05
• Introduction
07
• Chapter 1:
Background
Designer and Design Distinguishing Features
09
The Merits and Demerits of Hennebique Construction System
11
The Existing Situations of the Building
13
• Chapter 2:
The Intervention of the Lion Chambers
Context
17
Strategy
21
Design Methodology and Intervention
23
The Purpose of Intervention of the Building
75
• Chapter 3:
Solutions of Deteriorations
Structure
79
Exterior
83
Interior
93
• Conclusion
95
• Image References
97
• Bibliography
101
5
ABSTRACT
The Lion Chambers was built by Glasgow based architects James Salmon Junior and John Gaff Gillespie. The building was built between 1904 and 1907[Figure 01], which was one of first reinforced concrete building in the UK, the second entirely reinforced concrete building in Scotland. Because of the site plot restriction, the architects decided to use new innovated construction technique; the Hennebique reinforced concrete system. Unfortunately, most of the early reinforced concrete was latter discovered to have defects, especially regarding the reinforcement corrosion issue. The Lion Chambers started to reveal deterioration situation from 1966 when the building became the category A-listed building. Since 2010 the building stood in a completely empty and derelict state. Most of the researcher’s conclusion direct to the building can have further fifteen to twenty years’ life expectancy through repair and restoration methods. As a unique and early example of completely reinforced concrete building, the Lion Chambers deserves to be saved. In order to prove that the building still has the possibility of standing there more than twenty years, problems posed by early Hennebique reinforced concrete such as carbonation, condensation, cold-bridging, concrete painting off and water penetration must be addressed. By providing these problems with solutions to demonstrate that restoration of the building is not the building’s final fate and the only choice. The intervention of the building can contribute more values to the city.
7
INTRODUCTION
The Lion Chambers is an eight-story commercial building has been standing in Hope Street for one hundred and ten years. From the original stunning structural and unique architectural facade to today’s deterioration. The discussion of the restoration of the building has not been interrupted. However, the real protection of the building in addition to the previous scaffolding, current the wire net covered on each façade of the building and boarded up the windows still suffering from the water penetration. There are no additional protective measures to prevent the building’s continuing deterioration. As an important example of Glasgow style Art Nouveau and an early entirely reinforced concrete example of the high-rise building. People should pay attention to the future of the Lion Chambers. The building currently is continually suffering from severe deterioration. How can the Lion Chambers survive today? How to design the gap between new and existing of the Lion Chambers?
Fig. 1, View of North-west facade, 1911-1912
8
| CHAPTER ONE |
BACKGROUND - Designer and design distinguishing features
The Lion Chambers is located in the city centre and situated at the corner of Hope Street and Bath Lane. One of the building’s architects Salmon was the third generation of a well-established family of Glasgow architects, and a member of the Glasgow Art Club1 . The original owner William George Black was a lawyer, writer, and a member of the Glasgow Art Club, he commissioned Salmon for the construction of the Lion Chambers. The simple and straight-forward design language used on the bay-windows on Bath Lane, and the unique sculptures of the busts of judges on the front of the building constituted a distinctive feature of the building. It is the architect’s experiment for traditional Scottish architecture and is also a tribute to the Tudor style and Art Nouveau.
1. The Department of Decorative Art, Glasgow Museums and Art Galleries, The Glasgow Style 1890-1920. Glasgow Museums and Art Galleries, Glasgow, 1984, 46.
9
Fig. 2, Hennebique System
10
| CHAPTER ONE |
BACKGROUND - The merits and demerits of Hennebique Construction System
The site plot is only 46ft by 33 ft, (1,578 sq. ft, about 146 sqm), and the narrow Bath lane has the risk of traffic congestion if scaffolding is placed on the ground. A newly innovated construction technique, the Hennebique system, allows flying scaffolds to be cantilevered off each floor without the need to provide supporting ground scaffolding1. Therefore, due to the site restrictions and ‘Salmon was much more interested in explorin the possibilities of new materials’2, the Hennebiqe system was the best choice for the building at the time. The load capacity of the whole building completely relied on the continuous 21 columns, beams and floor slabs. The outside walls and inside floor slabs are 4inch (about 100mm) thick, this was to maximise to use of indoor space. On the flipside, there was no space left to install insulation.
1 ‘A Reinforced Concrete Office Building’, The Builders’ Journal and Architectural Engineer: Concrete and Steel Supplement, 11(1907), 2. 2 Stamp, Gavin. ‘Letters: Lion Chambers must be saved’, The Architects’ Journal, (1995): 201, 19.
11
Fig. 3, The Current Codition of the Lion Chambers
12
| CHAPTER ONE |
BACKGROUND - The existing situations of the building
Because the lack of thermal insulation and the persistent deterioration of the building, the condensation and cold-bridging effects causing structure, exterior and interior had severe deterioration. Such problems started to draw attention to the public since 1966. The outside of the building has been protected with scaffolding since 1998 was replaced with a wire net in 2001, there are currently no more effective measures to alleviate continually deterioration of the building. Currently, the poor condition of the building is till suffering from problems of carbonation, cracking, corrosion, water penetration and both outside and inside of the building’s renders spalling off.
13
Fig. 4, The Timeline of the Lion Chambers
14
| CHAPTER ONE |
Fig. 7, ‘Significant events relevant to the development of concrete and reinforced concrete in Scotland’. 1
1 land, 2013), 6
‘Historic Concrete in Scotland Part 1: History and Development’. (Edinburgh: Historic Scot-
15
Fig. 8, The Building is Located in the Heart of Glasgow.
16
| CHAPTER TWO |
CONTEXT - Why select a historical building?
Glasgow as a city has over 1800 listed historical buildings1. How can they protect the historical buildings and how can Glasgow re-use the historical building is a matter of concern and discussion. However, the statistics from the Historical Environment Scoltand and the Glasgow City Council shows that there are 2,462 buldings at risk in Scotland, 145 buildings at risk in Glasgow. While significant amounts of historical buildings are at risk, only 12% are under restoration in Glasgow. 2
1 ‘ Listed Buildings,’Glasgow City Council, accessed July 17, 2017, https://glasgow.gov.uk/index.aspx?articleid=17771. 2 ‘Buildings at Risk: Register for Scotland,’ last modified July 19, 2017, Historic Environment Scotland. http:// www.buildingsatrisk.org.uk.
17
Fig. 9, The Building is Situated in the Midway Between GSA and the Lighthouse.
18
| CHAPTER TWO |
CONTEXT - Why choose the Lion Chambers as an Artist & Design Centre?
The Lion Chambers located in the heart of Glasgow, while it is also situated between the Glasgow School of Arts and the Lighthouse. Selecting the Lion Chambers as an Artist and Design hub is an attempt to create a situation of tripartite confrontation among design, architecture and arts.
19
Fig. 10, The Initial Strategy Verses the Proposal Strategy.
20
| CHAPTER TWO |
21
STRATEGY
The original building divided the top floor as an art club, the ground floor for stationary shop and basement for print, the middle floors mainly worked as lawyer’s office space. The strategy for reuse of the building is to create an artists and designer’s hub in the city centre. In order to adapt to the function of the building, each floor as [figure 10] will match today’s requirements and life style. This kind of strategy mixes work, entertainment, social and leisure together to try to create a relaxed ‘home’ feeling and narrow the gap between different users.
Fig. 11, Table Showing Anticipated Service life of Defective concrete Buildings by Traditional Repairs.
22
| CHAPTER TWO |
23
DESIGN METHODOLOGY
In recent years a variety of feasibility studies have revealed the severe deterioration of the building, as well as some discussion about the future of the Lion Chambers. Most of the researches reach the same conclusion regarding which is the restoration of the building will become the most suitable and appropriate methods. The [fig. 11] shows the traditional repairs of fair faced building with balancing remedial options. The conclusion directing to that the best anticipated the building’s life could potentially reach up to twenty years. As a landmark building of Glasgow, the Lion Chambers deserves live in the city more than twenty years. It is hoped that the building can last larger than it might through purely restoration based interventions.
Fig. 12, Design Methodology of the Lion Chambers
Patched Windows
24
Transform
| CHAPTER TWO |
DESIGN METHODOLOGY - Design Language
In 1966 the building first appeared to deteriorate. Now the rotting windows are only covered by boarded panel, but this does not effectively block the water penetration and the continued deterioration. Transformed patched windows pattern through the extension, façade and inside aims to be provocative and subversive, questioning our preconceived notions of “restoration” of the Lion Chambers. Interweaving ‘old’ and ‘new’. It is hoped by doing so can entrust a mission to the building from mental and emotional to rouse people’s awareness not only pay attention to historical buildings, but also take action to protect them.
25
01 Design Philosophy
Beauty
Fig. 13, The Proposition of Colour Scheme.
Color scheme material study
01
02
01 Spaical Primary Colour. 02 Secondary Colour 03 Colour Scheme Origin 03
=:*)6 *=14,16/ 8)<0?)A A)62=6 41=
26
| CHAPTER TWO |
DESIGN METHODOLOGY - Color Scheme
The reinforced concrete is still the most important material of the building. Recycling of existing timber floor will be attempted, and sound-absorbing carpets will be placed where necessary. In order to off set the texture of the existing building structure and the beauty of the materialâ&#x20AC;&#x2122;s contrast, a small amount of brass will be put into the buildingâ&#x20AC;&#x2122;s detail.
27
Fig. 14, The Exploration of the Building Between Existing and Extension.
28
| CHAPTER TWO |
29
INTERVENTION - Overall
How to design the gap between new and existing part of the Lion Chambers? The design concept is based on the integration of “new” and “old”. In order to meet the artists and designers’ lifestyle and different requirements. Changing the temporary parking space to the new exhibition hall with about four levels heights will provide users with more possibilities. Not only as simply an exhibition hall, but also as a new event place, and an active hub for the artists and designers in Glasgow.
Fig. 15, Aerial view of the building shows differences with the archived drawings in Mitchell Library.
30
| CHAPTER TWO |
INTERVENION - Proposal drawings of the Lion Chambers
Because the archived drawings in Mitchell library has only found the initial version drawings in 1905, after comparison with the site inspection and google 3D map, it clearly reveals that the current building has some differences with the 1905â&#x20AC;&#x2122;s drawings. So all the proposal drawings are based on the initial drawings in 1905 and site inspection of outside.
31
Fig. 16, Initial Basement Floor Plan of the Building, 1905
32
| CHAPTER TWO |
Fig. 17, Proposal Basement Floor Plan of the Building, 2017
33
Fig. 18, Initial Ground Floor Plan of the Building, 1905
34
| CHAPTER TWO |
Fig. 19, Proposal Ground Floor Plan of the Building, 2017
35
Fig. 20, Initial First Floor Plan of the Building, 1905
36
| CHAPTER TWO |
Fig. 21, Proposal First Floor Plan of the Building, 2017
37
Fig. 22, Initial Second Floor Plan of the Building, 1905
38
| CHAPTER TWO |
Fig. 23, Proposal Second Floor Plan of the Building, 2017
39
Fig. 24, Initial Third Floor Plan of the Building, 1905
40
| CHAPTER TWO |
Fig. 25, Proposal Third Floor Plan of the Building, 2017
41
Fig. 26, Initial Fourth Floor Plan of the Building, 1905
42
| CHAPTER TWO |
Fig. 27, Proposal Fourth Floor Plan of the Building, 2017
43
Fig. 28, Initial Fifth Floor Plan of the Building, 1905
44
| CHAPTER TWO |
Fig. 29, Proposal Fifth Floor Plan of the Building, 2017
45
Fig. 30, Initial Sixth Floor Plan of the Building, 1905
46
| CHAPTER TWO |
Fig. 31, Proposal Sixth Floor Plan of the Building, 2017
47
Fig. 32, Initial Seventh Floor Plan of the Building, 1905
48
| CHAPTER TWO |
Fig. 33, Proposal Seventh Floor Plan of the Building, 2017
49
Fig. 34, Initial Roof Plan of the Building, 1905
50
| CHAPTER TWO |
Fig. 35, Updated Roof Plan of the Building According to Site Inspection and google 3D map, 2017
51
Fig. 36, As built facade.
52
| CHAPTER TWO |
53
Fig. 37, Proposal North and West Facade.
54
| CHAPTER TWO |
55
Fig. 38, Previous Exploration on North and West Facade.
56
| CHAPTER TWO |
57
Fig. 39, Proposal South and East Facade.
58
| CHAPTER TWO |
59
Fig. 40, The Fire Escape as an City Sculpture.
60
| CHAPTER TWO |
61
INTERVENTION - Fire escape
The fire escape as new addition to the existing building, breaks with tradition. The conventional fire escape design is changed into an art installation. The users can then meander through existing old building and new extension.
Fig. 41, The Viewing Bridge Connect to the Terrace, Exhibition and Existing Builing.
62
| CHAPTER TWO |
63
INTERVENTION - Viewing bridge
The viewing bridge connects to the existing old building and the extension new building. The viewing bridge connets through the exterior terrace to the interior open space, and up to one-bedroom boutique hotel and exhibition hall to create a natural blurring of exterior and interior. The inner courtyard facing terrace provides users with scarce moment of respite from the urban chaos of Glasgow.
Fig. 42, Overall View of the New Extension and Inner Courtyard.
64
| CHAPTER TWO |
65
Fig. 43, The Initial Typical Floor Plan Reveals the Thin Wall, 1907. Fig. 44, Proposal West Facade, 2017
existing wall existing structure proposal
66
| CHAPTER TWO |
67
INTERVENTION - Exterior
Because the wall had no space for thermal insulation, condensation and cold bridging have been affecting the building. Adding insulation insulation to the wall would increase itâ&#x20AC;&#x2122;s thickness and will occupy more space. However, the building will benefit more with this intervention, as compared to the continuous deterioration in its present state. It is assumed that condensation and cold bridging can be addressed under cooperation with engineers. The front wall facing hope street can stand out and be more distinct, The proposal to add insulation to the wall will add to about 800mm thickness as compared to the original 100mm thickness. This is an attempt to build a reÂŹlationship between the bust sculpture of judges and new feature wall. Adequate wall thickness allows varied angular windows to reflect illumination changing the way the building facade interacts with the city, making it look like a public sculpture. The timber window frames are more severely deteriorated than Bath Lane facade metal frames of the windows. This is one reason to explain why it has been changed to double-glazed window. By doing so, it is hoped that condensation and effects of cold-bridging can be halted.
Fig. 45, The Void Area From Third Floor to Six Floor, Section Study.
68
| CHAPTER TWO |
69
INTERVENTION - Interior
Artists and designers have a totally different lifestyle and work space requirements. There are only about 150 square meters of the initial floor. The middle levels were divided each floor into six small rooms, in the sense space will produce a sense of craziness and a sense of depression. In order to alleviate the narrow space experience, the proposition of each floor is to demolish non-load capacity partitions and merge the existing two private offices into one artist’s studio, or combine four small studios into one big spacious co-work open space. It is hoped that through the void area to eliminate the estrangement between level and level and finally it will forms a new spatial experience. Through ‘void’ area from Artist’s studio of third floor to co-working space of sixth floor attempt to blur boundaries between different functions, and it reveals relationships between the public and the private area, viewing and being viewed.
Fig. 46, The Proposed Spiral Staircase Connecting L5 and L6 Co-work Space.
70
| CHAPTER TWO |
71
Fig. 47, The Interior Perspective.
72
| CHAPTER TWO |
73
Fig. 48, 49Currrent Condition and Previous exploration of the facade. existing exploration
74
| CHAPTER TWO |
THE PURPOSE OF INTERVENTION OF THE BUILDING
A new building can be built every day, but the historical buildings once demolished are an irreversible loss, even if there are abundant funds available to re-construct it. It is a much better alternative to change a part of façade of the building in order to improve the function and compensate deficiencies of the building; in order to improve and create the value of the existing building, rather than to demolish the Lion Chambers itself. At the same time, consideration for the sustainable development of the building, “new” and “old” will blend into one, forming a new meaning for the city.
75
Fig. 50, 51, The Corrision on the Outside wall and overall condition of the building.
76
| CHAPTER THREE |
77
TECHNICAL SOLUTIONS
How to solve deterioration problems of structure, exterior and interior properly become the immediate need rather than leave the building neglected.
Fig. 52, The Carbon Fibre Reinforced Plastic system Can Apply to Floor Slabs, Columns and Beams.
78
| CHAPTER THREE |
79
STRUCUTURE
If the cold-bridging issue is not resolved properly, both outside and inside walls of the building will continually to saturated with rain water and water vapour, causing the penetrated reinforcing bars to rust, and the concrete face to spall off. Because the continued structures and the exterior walls are without any load capacity, in this particular case, any additional heavy material will definitely affect the load capacity. The first priority is to improve the structural strengthening without increasing too much load of the building. The Carbon Fibre Reinforced Plastic system (CFRP) has been tested that it is entirely corrosion resistant and can apply to beams and columns. The biggest advantage of this CFRP system uses ultra-lightweight material but extremely high strength and durable. [figure 52,] •
‘Plate bonding using carbon fibre
•
Carbon fibre wrapping
•
Carbon rod reinforcement replacement
•
Sprayed concrete placement’1
1 Source from: Concrete Renovations Ltd., https://www.concreterenovations.co.uk/services/plate-bonding/, (accessed May 27, 2017).
Fig. 53, Proposal Detail of Structure Strengthening.
80
| CHAPTER THREE |
Fig. 54, Proposal Detail in 3D Perspective View.
81
Fig. 55, Repair Methods on the Cracks of Concrete. Fig. 56, Deteriorated Concrete Afer Repaired.
82
| CHAPTER THREE |
83
EXTERIOR
The reinforcing bars rust causing the cracking and spalling of the concrete cover of the builidng. If there is no reinforcing steel in the carbonation zone, there is no need for removing carbonated concrete. Cracks with width from approximately 0.2mm up to 10mm can be solved by resin injection systems and thixotropic anchor grout systems. See the comparison of other buildingâ&#x20AC;&#x2122;s deterioration and after reparation. There is almost no different noticed.
Fig. 57, Deteriorated Timber Window Frame Mainly Caused by Condensation and Cold-bridging Effects.
84
| CHAPTER THREE |
After structure strength is resolved, the biggest problem of outer walls is a lack of thermal insulation. The reinforcement concrete became the perfect material to absorbs summerâ&#x20AC;&#x2122;s heat and releases it to the interior, while it absorbs winterâ&#x20AC;&#x2122;s cold causing condensation of vapour on the interior walls. The winter of Glasgow is extremely long, without thermal insulation, therefore, it is easy to cause condensation and cold-bridging effects. To solve this kind of problem, adding an insulation layer is very necessary. Even between the extremely narrow space and the maximum use of inside space, the function should always the primary consideration.
85
Fig. 58, Proposal Detail for the Exterior Wall.
86
| CHAPTER THREE |
Fig. 59, Proposal Detail in 3D Perspective Drawing.
87
Fig. 60, Proposition for the North Facade.
88
| CHAPTER THREE |
Fig. 61, Proposal Detail in 3D Perspective View.
89
Fig. 62, The Low Performance of Bitumen Coatings.
90
| CHAPTER THREE |
All the roof surfaces of the building were covered with bituminous felt only which has the worst performance in terms of waterproof performance according to Sika professional test [figure 62]. The 1991 report of the Lion Chambers’ condition noted that ‘windows on the north façade (in metal frames) were in better condition compared to timber window frames on other facades’ 1 the proposal of the windows is to use metal frame instead of timber frame of windows and change the single glass to double glazed glass for the sake of condensation. The basement had more serious water porous problem, so that apply waterproofing layer where it is necessary on interior.
1
Guida, A., Pagliucca, A., Dimitrijevic, B. ‘Reinforced Concrete Condition Assessment in
Heritage Building: Lion Chambers in Glasgow and Duni Theatre in Matera’. (Italy: GUES,
2011), 78
91
Fig. 63, The Interior Coating Spalling off Due to Condensation and Cold-bridging.
92
| CHAPTER THREE |
93
INTERIOR
Similar issues have been caused by condensation and cold-bridging. after the exterior issues have been resolved, the interior paint spalling off issue will be disappear. It will have a more spacious experience after the re-allocate of the function partition of the building. Therefore the sacrifice of the indoor dead space is negligible compared to the value of re-using the building. [Fig.57]
94
95
CONLUSION
Most investigation about purely restoration and preservation will keep the building maximum with 20 years life expectancy. To maximized the life of a building we should consider intervening with new technology to prolong the buildingâ&#x20AC;&#x2122;s life more than 20 years. Through the new technology and intervention design of the Lion Chambers can solve the existing problems of the building. In theory, intervention of the building can make the building standing on the Hope Street longer than purely restoration. Although the building can survive a maximum twenty years, the Lion Chambers deserves more flexible possibilities to living longer. The intervention of the Lion Chambers put forward urges closer investigation of at risk historical building, in hopes of achieving a deeper understanding of historical buildings that allows not only a rich dialogue between past and present but provides a deep questioning for the future of poor condition of historical buildings.
96
97
IMAGE REFERENCES
•
Fig. 1, T and R Annan and Sons, 1911, Digital Image. Available from: Canmore, Nation
al Record of Historical Environment, http://canmore.org.uk/collection/1361886 (ac
cessed May 21, 2017).
•
Fig. 2, Digital Image. Available from History of Innovation: 1892: Hennebique Method of
Reinforced Concrete. https://aehistory.wordpress.com/1892/10/05/1892-hen
nebique-method-of-reinforced-concrete/ (accessed May 21, 2017).
•
Fig. 3, Erhard, Jnn and Killer, Hermes. Studio Tom Emerson: Glasgow Atlas. Zurish: Stu
dio TOm Emerson, 2016.
•
Fig. 4, Created by the author.
•
Fig. 5, ‘Engineering timelines,’ http://www.buildingsatrisk.org.uk/details/897874. (ac
cessed May, 19, 2017).
•
Fig. 6, Cusack, Patricia. ‘Lion Chambers in Glasgow and Duni Theatre in Matera. (Italy:
CUES, 2011), 81.
•
Fig. 7, ‘Historic Concrete in Scotland Part 1: History and Development’. (Edinburgh: His
toric Scotland, 2013), 6.
•
Fig. 8, Created by the author.
•
Fig. 9, Ibid.
•
Fig. 10, Ibid.
•
Fig. 11, Guida, A., Pagliucca, A., Dimitrijevie, B. Reinforced Concrete Condition Assess
ment in Heritage Buildings: Lion Chambers in Glasgow and Dduni Theatre in Matera. (It
aly: CUES, 2011), 86.
•
Fig. 12, Created by the author.
•
Fig. 13, Ibid.
•
Fig. 14, Ibid.
•
Fig. 15, Digital Image. Available from: Google Maps, https://www.google.co.uk/
maps/place/Lion+Chambers/@55.8634462,-4.25961,513m/ data=!3m1!1e3!4m5!3m4!1s0x48884420be3aa015:0x30008d1837125746!8m2!3d55.86344
98
62!4d-4.2574213, (accessed May 27, 2017). (accessed January 21, 2017).
•
Fig. 16, 18, 20, 22, 24, 26, 28, 30, 32 and 34, archived drawing. Available from: Archived
Department of Mitchell Library, (accessed December 12, 2016).
•
Fig. 19, 21, 23, 25, 27, 29, 31, 33 and 35, created by the author.
•
Fig. 36 to 42, created by the author.
•
Fig. 43, ‘A Reinforced Concrete Office Building.’ The Builders’ Journal and Architectural
Engineer (1907): 11.
•
Fig. 44 to 47, created by the author.
•
Fig. 48, Digital Image. Available from: The Lion Chambers, Derelict Glasgow, http://www.
derelictglasgow.co.uk/derelict.lionchambers.html. (accessed March 21, 2017).
•
Fig. 49, created by the author.
•
Fig. 50, ‘Historic Concrete in Scotland Part 1: History and Development’. (Edinburgh: His
toric Scotland, 2013), 11.
•
Fig. 51, photo taken by the author, August 06, 2017.
•
Fig. 52, Digital Image. Available from: Concrete Renovations Ltd., https://www.concreter
enovations.co.uk/services/plate-bonding/, (accessed May 27, 2017).
•
Fig. 53, 54, created by the author.
•
Fig. 55, ‘Historic Concrete in Scotland Part 3: Maintenance and Repair of Historic Con
crete Structures’. (Edinburgh: Historic Scotland, 2013), 22.
99
IMAGE REFERENCES
•
Fig. 56, Digital Image. Available from: Concrete Renovations Ltd.,https://www.concreter
enovations.co.uk/services/concrete-repairs/, (accessed May 27, 2017).
•
Fig. 57, Tom, Donald. Febrary 08, 2011, Digital Image. Available from: Flickr, https://www.
flickr.com/photos/clearwood/sets/72157626010403714/ (accessed May 27, 2017).
•
Fig. 58 to 61, created by the author.
•
Fig. 62, ‘Waterproofing: Sika Solutions for Blow Ground Structures’. The Company’s
Commercial Brochure, 11.
•
Fig. 63. Guida, A., Pagliucca, A., Dimitrijevic, B. ‘Reinforced Concrete Condition Assess
ment in Heritage Building: Lion Chambers in Glagow and Duni Theatre in Matera’. (Italy:
GUES, 2011), 81.
100
101
BIBLIOGRAPHY
•
Guida, A., Pagliucca, A., Dimitrijevic, B. ‘Reinforced Concrete Condition Assessment in
Heritage Building: Lion Chambers in Glasgow and Duni Theatre in Matera’. (Italy: GUES,
2011). •
‘Historic Concrete in Scotland Part 1: History and Development’. (Edinburgh: Historic
Scotland, 2013).
•
‘Historic Concrete in Scotland Part2: Investigation and Assessment of Defects’. (Edin
burgh: Historic Scotland, 2013).
•
‘Historic Concrete in Scotland Part 3: Maintenance and Repair of Historic Concrete
Structures’. (Edinburgh: Historic Scotland, 2013).
•
‘Glasgow’s Historic Buildings: James Salmon Junior.’ The Architects’ Journal, (May 06,
1964): 1017-1018.
•
‘A Reinforced Concrete Office Building.’ The Builders’ Journal and Architectural Engineer
(1907): 11-12.
•
Stamp, Gavin. ‘Letters: Lion Chambers must be saved’, The Architects’ Journal, (1995):
201. •
Cusack, Patricia. ‘ Lion Chambers: A Glasgow Experiment’. Architectural History: Jour
nal of the Society of Architectural Historians of Great Britain, (1985): 198-211.
•
Lloyd, Robertson. ‘The Lion Chambers: Saving the Ruin’. (DiPdiss., Glasgow School
of Art, April, 2017)
•
‘Buildings at Risk: Register for Scotland,’ last modified June 17, 2014, Historic Environ
ment Scotland. http://www.buildingsatrisk.org.uk/details/897874.
•
‘Future Property Auctions: 170-172 Hope Street’. accessed July 09, 2017, https://wwwfu
turepropertyauctions.co.uk/property_details.asp?id=852448 •
Robertson, David. e-mail message to author, May 30, 2017.
•
Collin, David. e-mail message to author, December 05, 2016.
102
103
ACKNOWLEDGEMENT
I would like to express the deepest appreciation to my tutor Mark Baines, as well as David Collin, David Roberston, Liz Davidson and Fiona Sinclair, who gave me the great opportunity to do this wonderful project and helped me in doing a lot of research and I came to know about so many new things related to historical buildings. I am really thankful to them.