Conservation & Preservation of Historic Buildings BSV 09101
1.0 Introduction
The Kelvingrove Bandstand and Amphitheatre is a Catergory B listed bandstand situated in Kelvingrove Park, Glasgow. Part of the Arts & Crafts movement in design style it is a rare example of a covered bandstand which faces an elliptical amphitheatre. It is the only instance of this style which remains in Scotland today. Operational from 1925 until 1999, the building closed due to its continued deterioration, security as well as the health and safety risks it posed. Gaining a Category B listing by Historic Environment Scotland in January 2000 it was placed on the Buildings at Risk Register for Scotland in October 2002. In its heyday the amphitheatre could accommodate
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The entire tilled roof must be removed to enable access to the inner part of the building so that vital structural repairs can be carried out – they include new rafter timbers and walllplates. The canopy over the roof needs to be replaced as well as some of the iron cast guttering. Repair of the stage, walls and boarded celling are also required. Vast amounts of brickwork need to be repaired and re-painted. The iconic finial which rest on the top of the bandstand should be cleaned and restored to it’s original colour. The concrete seating in the amphitheatre has a large number of cracks which need to be attended to and the surviving benches on the lowers steps needs to be restored. Additional aisles must be added to comply with access regulations but the main centre entrance should remain to stay in keeping with the original layout facing Kelvin Way. The original pay boxes were poorly rebuilt around the 1970’s using inferior brick in a way which does not compliment the original design; they should be altered to restore the grand entrance which once stood. Where possible, existing materials should be re-used to retain the character of the original architectural style. If this is not possible then materials should be alike in both colour and …show more content…
In 1854, Sir Joseph Paxton was commissioned to provide a design for the park. Paxton had gained prominent status as a landscape gardener and architect following his work on the gardens at Chatsworth House in the 1920’s and the Crystal Palace exhibition for the Great Exhibition of 1851. Paxton’s real involvement with the design of the park remains unclear but there are many similarities on the design of Birkenhead Park in Liverpool - with an emphasis of carriage and pedestrian paths winding through clusters of trees - which he was commissioned to do in 1844. The rise of the public urban park in the mid nineteenth century Britain was brought about to improve the physical living environment of the poor, who with deteriorating health, had to endure overcrowding and unsanitary
The Station was a single story wood frame building of approximately 4500 square feet.. It was originally built in 1946 as a club for local military personnel who were on leave. Over the years it served as a variety of restaurants, bars and nightclubs. In 1972, a fire damaged the building and reopened in 1974. In 1991 it was converted into its final incarnation as a bar and showroom. The building was arranged with the bar, kitchen, dart room along with offices and storage on the east end of the building. The showroom and sunroom area comprised the west. There were four exits. The front door was only accessible through a corridor partially occluded by a small ticket booth and another 36 inch wide doorway in the middle of the corridor. This becomes a critical chokepoint when the fire breaks out.
The Hall's dome was 145 feet wide and set on a cylindrical base 200 feet wide. It seated 4,000 guests and had an enormous stage capable of supporting a full orchestr...
...n Alley." Historic Districts Council. Historic Districts Council, 14 Nov 2008. Web. 24 Nov 2013. .
...nstrument case to change during the hall's early years, when she was one of the only women in the orchestra. In 1997, a second renovation project was started to update Severance Hall and restore some of the original detailing in the concert hall, which included a $36 million restoration and expansion. The original organ was also restored and reinstalled in the concert hall. Severance Hall has undergone many changes over the years, but some of the most noticeable are alterations to the stage and acoustical shell. The renovated building reopened in January 2000, and it won the National Preservation Honor Award. The project architect was David M. Schwarz. The most significant aesthetic change was the replacement of the old shell with a new acoustical shell which would combine the acoustics of the old one with a decorative style that harmonized with the rest of the hall.
In his book Modern Civic Art, Robinson discussed various ways to beautify the city from avenues to small streets, the tenements, the administrative center, and the furnishings of the streets, comprehensive planning, parkways and so forth. Some of his ideas were only good on paper at that time but as the city evolved most of them have now come into fruition. He explained that the backyard should be as beautiful as the front of the house as well as the inside. (Robinson, 1903 p. 241)
Saunders, A 2000, Modern Australian Architecture & the Meaning of Gardens, viewed 21 November 2011, .
Landscape architecture has been around since the beginning of time, but it was not until Frederick Law Olmsted came along that the idea of integrating design into the landscape with plants, water, and structures that it turned into a thriving profession. To many, Olmsted is considered “a pioneer in the profession of landscape architecture, an urban planner, and a social philosopher, one of the first theoreticians and activists behind the national park and conservation movements” (Kalfus 1). Growing up, he did not ever graduate from formal schooling and just sat in on a few classes while at Yale in New Haven, Connecticut. Instead, he acquired his education from being out in the world through traveling and reading. He had a hard childhood. His mother died when he was just four years old and on his journeys around the world to Europe and China, he became sickly with seasickness, paralysis of the arm, typhoid fever, apoplexy, sumac poisoning, and at times suffered from depression. For many years he went on a journey within himself to find out whom he really was and what he wanted to do with his life, career wise. Frederick had one brother, John Hull, who died in 1857. This left Olmsted feeling empty and at loss of what to do. That was when Calvert Vaux came and filled the space in Olmsted’s life that his brother left. Vaux convinced Olmsted to enter the Central Park Commissioner’s design competition with their design entitled the “Greensward Plan.” With the success in that project, Olmsted figured out what he wanted to do with the rest of his life, which was to become a landscape architect. Olmsted practiced from the years of 1857 up until he retired in 1895. Olmsted’s two boys, adopted son John Charles and biological son Frederick La...
The Exhibition Hall built by Stephen Kemp, is the oldest and most unique hall on the fairgrounds; it was the first hall to be built (Wynn). Only used “from (1850-1860), the innovation octagon style was used for hou...
Kelvingrove Art Gallery and Museum in Glasgow, Scotland; a Victorian era museum established in 1901 to express the pride, wealth, and cultural ambitions of the industrial city of Kelvingrove, was in need of change in the late 1980’s to be more relevant to modern audiences. Starting in 1990, when Mark O’Neil joined the Kelvingore Museum, Mark was tasked with bringing innovation to the entire museum by the then director Julian Spalding. After an initial start by O’Neil into implementing some of Spalding’s radical innovative ideas, O’Neil was side tracked into a separate project at the St. Mungo’s Museum of Religious Life and Art. The St. Mungo’s work provided some insight and allowed experimentation with some of the innovative ideas Spalding wanted to use at Kelvingrove of using storytelling to organize themes within the museum. In 1993 with the work complete at St. Mungo’s O’Neil could was finally able to start on the needed change and find funding to bring about the change. Between 1994 and 1996 O’Neil developed and began implementing the storytelling concept when the Kelvingrove Museum submitted their request for funding for renovations to the museum. This initial request was rejected, which caused the O’Neil to totally reevaluate the approach taken in the change to the user experience as well as the approach to the application for funds. It took O’Neil and his staff two years to reevaluate and resubmit, but finally in 1998 they were approved for funding for renovations. During this reevaluation period for the funding O’Neil concluded that evaluation of a proposed change on the front end; to “Work out how to do it before you spend all the money on getting it wrong and it’s too late to fix it,” (Liedtka & Salzman, 2009, p....
With the Pantheon being built over 1700 years ago, it’s amazing that architects are still using features and techniques from this work of architecture in modern creations. The use of this type of classical architecture will continue to be used in works for public space due to its remarkable exterior appearance and it’s long lasting structural durability. When both Jesse hall and the Pantheon are compared it is possible to see their similarities from the types of domes that top each, their external facades, and their interior plan. While they share many similarities, the differences that Bell and Binder used in their creation make this work of architecture unique to many other public spaces.
The “superstar” museum gained this status by considering every important detail during its establishment and initial phases of conversion from royal palace to museum (Gombault, 2002). As the purpose of the building changed, each room addressed new functions with new requirements. Although the function of the Louvre is different from the building’s original intention, the building is still appears dignified and important enough to display priceless artifacts and painting (Steffensen-Bruce, 1998). This consideration was applied in designing the Met. The Met looked towards the South Kensington Museum (Victoria and Albert) and the “ideal role model” due to its extensive collections and international reputation (Heckscher, 1995). The Met found itself in a similar situation to the South Kensington, because it did not have a building or a collection to start with (Heckscher, 1995). When designing museums, architects strived to create monuments that “prepare and educate the mind of the visitor (Steffensen-Bruce, 1998).” Education is an essential function of a museum. Acquiring, preserving, and properly displaying materials, permits a museum to fulfill this duty (Steffensen-Bruce, 1998). For instance, lighting is a factor that affects the manner in which artwork is viewed and can be properly appreciated. When determining the proper lighting for the Louvre, Comte d’Angiviller, strongly believed that natural, overhead lighting was the most effective solution (McClellan, 1994, p. 72). The same determination impacted the decision to add skylights at the Met. During the initial phase, architects Vaux and Mould, added skylights to the upper floor, and windows to the lower floor that provided a natural light solution (Heckscher, 1995). Additionally, glass-roofed courtyards provided “unimpeded light” for displaying
This mid to late-19th century account of an early Victorian (English) public park illustrates the change of function and transformation of the Victorian public park from its original role as an upper-middle class observatory of Nature to its redefinition as this class' s social observatory of the lower classes. Between the years of 1840 and 1860, the public park's role in the eyes of England' s upper crust changed drastically due to the economic and political structure of Victorian England during this time and J.M. Milton's quote reflects this reality.
Public Spaces provide unique experiences and contribute to the identity of a city. Found as places like plazas, parks, marketplaces, within buildings, lobbies and many more. Public spaces are important to our society and therefore face more arguments in design and construction compared to private spaces.
Well that’s simple. It was designed way back in the 1800, for the public. The land, over 750 acres, was given from the New York State Legislator, in 1853, to create the first major landscaped park, in central Manhattan. The state held a competition of what design the park was going to have. Frederick Olmsted and Calvert Vaux won the competition in 1858. The park held up well at first. People respected the land. During the early 1900’s, the park took a great downfall. Instead of it begin known for its beauty, it was known for the illegal activity that was going on. Eventually the state got together and realized they were failing on their duties. Robert Moses, the park commissioner from 1934-1960, got approved from federal funding’s, to restore most structures. Again, after he left office, the depression was also in place, the park went back down a dark path. The people lost care in the park. In 1974, park funders got management together to raise more money to restore the park once again. Latter down the road Doug Blonsley started working with a woman, named Betsey, in 1993- 2008. The park hasn’t seen any better days, than the days of today. All it took is a little care and the park is looking better than it ever have in the last 150
Rawlinson, J. (2013). Music Festival Tourism Worldwide - International - June 2013. Retrieved 02 28, 2014, from Mintel Report: http://academic.mintel.com/display/643783/