0:00:05 > 0:00:11In 2002 Glasgow City Council decided it needed a new home for its transport collection.
0:00:11 > 0:00:17I can't wait. I've got to say it's going to be quite spectacular.
0:00:17 > 0:00:20It's been called an unbuildable building.
0:00:20 > 0:00:22We won't work on something quite like this again.
0:00:22 > 0:00:27It's taken almost nine years and cost over £70 million.
0:00:27 > 0:00:29It's definitely a bit fancier.
0:00:29 > 0:00:33It's been designed by one of the world's great architects.
0:00:33 > 0:00:36I don't know about inside but it's looking good on the outside.
0:00:36 > 0:00:41It'll hold thousands of objects from Scotland and around the world.
0:00:41 > 0:00:44It's a bit gallus. I think it fits into the Glasgow psyche.
0:00:44 > 0:00:50It's got to please half-a-million people that visited the old museum every year.
0:00:50 > 0:00:53There will be so many people through that door, it won't be true.
0:00:53 > 0:00:56We won't cope. But we'll have to.
0:00:57 > 0:01:01It's a visionary new home for the city's heritage.
0:01:01 > 0:01:04It's been a struggle at times but really enjoyable.
0:01:04 > 0:01:09But has Glasgow managed to create a new museum fit for the 21st century?
0:01:32 > 0:01:37After 25 years of transporting visitors back in time and around the world,
0:01:37 > 0:01:41Glasgow's Museum of Transport finally closed its doors,
0:01:41 > 0:01:46ready for its contents to be moved to a new purpose-built home.
0:01:46 > 0:01:48The climate of the much-loved building at the side
0:01:48 > 0:01:51of the Kelvin Hall couldn't be properly controlled
0:01:51 > 0:01:54and some of the vehicles were beginning to deteriorate.
0:01:54 > 0:01:57So the long journey to preserve, pack up
0:01:57 > 0:02:01and send the hundreds of objects on their way began.
0:02:02 > 0:02:04We had a bit of trouble with the weather.
0:02:04 > 0:02:08So a lot of things didn't get moved, too dangerous.
0:02:08 > 0:02:11Apart from that, it's going fine.
0:02:11 > 0:02:14It got closed here, they told us to go because it got too cold.
0:02:14 > 0:02:18And to dangerous for the vehicles as well. As well as us.
0:02:18 > 0:02:21Us last!
0:02:21 > 0:02:23Wrapping up the trams and buses and trains
0:02:23 > 0:02:28and cars took hundreds of people and years of careful planning.
0:02:28 > 0:02:32Moving them just half-a-mile down the road gave the city fathers
0:02:32 > 0:02:38the chance to take the collection to the old industrial heart of Glasgow. The River Clyde.
0:02:49 > 0:02:53It's been a hectic few years for the man whose vision is central
0:02:53 > 0:02:54to the Riverside.
0:02:56 > 0:02:59Project director since its conception in 2002,
0:02:59 > 0:03:02Lawrence Fitzgerald.
0:03:02 > 0:03:05This is where we'll welcome visitors into the museum.
0:03:05 > 0:03:09This is the main entrance, just off the events plaza.
0:03:09 > 0:03:13I think it's a fantastic response by Zaha Hadid, the architect, to our brief.
0:03:13 > 0:03:19What we asked for was a very flexible column-free space,
0:03:19 > 0:03:23and what they gave us was this fantastic building with this magnificent roof.
0:03:23 > 0:03:28This roof looks great, this wavy form. It's not just a fancy design.
0:03:28 > 0:03:30It's a fancy, clever design.
0:03:30 > 0:03:34With one big open space to fill, Riverside couldn't be laid out
0:03:34 > 0:03:39in rooms of cars or boats or bikes, like the Old Museum of Transport.
0:03:39 > 0:03:43So here the objects are organised by stories instead.
0:03:43 > 0:03:48What we've got here is a reconstructed Glasgow street.
0:03:48 > 0:03:51This will be a display of bicycles.
0:03:51 > 0:03:55There will be 3,000 objects in this museum
0:03:55 > 0:03:58but it's fair to say, more this size than...!
0:03:58 > 0:04:02What will be framed in that window is the Glenlee Tall Ship.
0:04:02 > 0:04:05What's the point of being down on the Clyde if you can't see it?
0:04:05 > 0:04:06I'll arm wave a lot if you like.
0:04:06 > 0:04:08There will be touch screens
0:04:08 > 0:04:10and down there's the South African locomotive.
0:04:10 > 0:04:14Ship models, audio-visual, as you say, or videos.
0:04:14 > 0:04:17We've got a bit of work to do on the handrails.
0:04:17 > 0:04:18We can flood this space.
0:04:18 > 0:04:25It's been designed so we can have radio-controlled model boats.
0:04:25 > 0:04:29Glasgow isn't cold and wet and horrible all the time. Honestly!
0:04:29 > 0:04:31I've been here long enough to know.
0:04:39 > 0:04:42A Glasgow crowd can be a tough audience to please
0:04:42 > 0:04:44but Riverside is for everyone.
0:04:44 > 0:04:48And it's been a real challenge to create a vibrant building
0:04:48 > 0:04:50for such demanding visitors.
0:04:50 > 0:04:53Transport museums have traditionally been about machines
0:04:53 > 0:04:57and cogs and wheels and how vehicles worked and were built.
0:04:57 > 0:05:01But the heart of Riverside are the stories behind the objects.
0:05:01 > 0:05:04Who were the people who used these trams and buses and trains
0:05:04 > 0:05:06as part of their everyday lives?
0:05:06 > 0:05:09A new exhibit, Subway War,
0:05:09 > 0:05:12gives today's visitors the chance to experience what it might have
0:05:12 > 0:05:15been like to ride the Glasgow underground during World War Two.
0:05:15 > 0:05:18The museum commissioned a one-shot,
0:05:18 > 0:05:23one-take film showing the entire journey during one wartime day.
0:05:23 > 0:05:27Visitors will be able to sit in one half of a real subway car
0:05:27 > 0:05:30and watch a 28-minute film projected to recreate
0:05:30 > 0:05:32the other half of the carriage.
0:05:32 > 0:05:35It required 60 people to perform in the film
0:05:35 > 0:05:38and Riverside went straight to some of its visitors for help.
0:05:38 > 0:05:40I got an email
0:05:40 > 0:05:44and I just happened to be looking at a photograph of my gran,
0:05:44 > 0:05:46who had passed away,
0:05:46 > 0:05:48and a message popped up...
0:05:48 > 0:05:52"Would you like to get a part in the museum film?"
0:05:52 > 0:05:55I thought, I'll phone them up and find out.
0:05:55 > 0:05:59And of course, Susie turned round and said, "Oh, it's the subway."
0:05:59 > 0:06:03I'm looking at my gran and I thought, "My gran worked on the subway for 33 years."
0:06:03 > 0:06:04I couldn't believe it. It's eerie.
0:06:04 > 0:06:08So far, I've done...
0:06:08 > 0:06:09I've lost count.
0:06:09 > 0:06:14I'm finding out although my character says inspector, an inspector wouldn't be wearing this.
0:06:14 > 0:06:19I'm really a conductor, but I don't want to be demoted so I'll say I'm still the inspector.
0:06:19 > 0:06:22'When we get on the subway,'
0:06:22 > 0:06:24the railway worker, Gary,
0:06:24 > 0:06:26who's coughing unsociably
0:06:26 > 0:06:28as he fumbles for his cigarettes,
0:06:28 > 0:06:31and I'm very disapproving.
0:06:31 > 0:06:36Even the museum's staff are getting in on the act.
0:06:36 > 0:06:39We've got extras that didn't turn up or we couldn't fill roles,
0:06:39 > 0:06:42we filled the gaps and it just happily happened to be
0:06:42 > 0:06:46that it came with a dashing uniform as well!
0:06:46 > 0:06:49As a visitor, you can just get on and off.
0:06:49 > 0:06:52You could sit for the 28 minutes, hear the whole play effectively
0:06:52 > 0:06:54or you can just sit for a couple of minutes
0:06:54 > 0:06:56and then get off and come back later on
0:06:56 > 0:06:58and it's just overheard conversations.
0:06:58 > 0:07:01It's been really, really good actually just to...
0:07:01 > 0:07:03you know, local people being involved
0:07:03 > 0:07:06in what's to be stuff for the next generation, I suppose, as well.
0:07:06 > 0:07:09For the boys to be part of it, because they're so small, is great.
0:07:09 > 0:07:15Many of the children in the subway film are also part of the museum's research panels.
0:07:16 > 0:07:19Our junior panel is two primary schools that we work with,
0:07:19 > 0:07:21Hyndland primary school
0:07:21 > 0:07:23and St Constantine's over in Govan.
0:07:23 > 0:07:26They've have been working with us since 2005
0:07:26 > 0:07:29and their role is to help and advise and to give us information.
0:07:29 > 0:07:32We take ideas to them and we test ideas with them,
0:07:32 > 0:07:35they do evaluation for us...
0:07:35 > 0:07:38all the things that we were then planning to put in Riverside.
0:07:38 > 0:07:43But by using the kids, they're giving us feedback from one of our audiences, which is schools.
0:07:43 > 0:07:46Five, four, three, two, one...
0:07:46 > 0:07:47and lights.
0:07:49 > 0:07:53Years of asking school children and community groups what they want
0:07:53 > 0:07:54has been a crucial part
0:07:54 > 0:07:58of the new approach to displaying the collection.
0:07:58 > 0:08:03For the curators, it's been vital for connecting with their visitors.
0:08:03 > 0:08:07We've got five key audiences for Riverside, which include teenagers
0:08:07 > 0:08:11but also our schools, families,
0:08:11 > 0:08:14which are a massive section of our current audience,
0:08:14 > 0:08:18sensory-impaired and under-fives,
0:08:18 > 0:08:23and every single display is tailored to one of those five audiences.
0:08:24 > 0:08:26We've worked with teenagers
0:08:26 > 0:08:29to try and find ways to make the displays relevant to them
0:08:29 > 0:08:33and to find out what they would be interested to come and see.
0:08:33 > 0:08:35Cos you'll come to a museum if there's something for you
0:08:35 > 0:08:37and if you feel you've got a place in it.
0:08:39 > 0:08:43Tram Dancing is a film about the teenagers of the 1950s
0:08:43 > 0:08:45travelling to the dancing.
0:08:45 > 0:08:49It cleverly mixes archive film with brand new reconstruction.
0:08:49 > 0:08:50From Charing Cross,
0:08:50 > 0:08:54you've got the Locarno and the West End and the Astoria.
0:08:54 > 0:08:57You've got the Albert Ballroom, the Berkeley, the St Andrew's Halls.
0:08:57 > 0:09:01Everyone went...chose the dance hall for a different reason.
0:09:03 > 0:09:07Riverside has used dozens of digital interpretations like this
0:09:07 > 0:09:12and interactive screens around the museum will show everything from close-up details of objects
0:09:12 > 0:09:15to games where you can race clipper ships.
0:09:15 > 0:09:19There are even screens where visitors will be able to tell the museum
0:09:19 > 0:09:22exactly what they think of it.
0:09:22 > 0:09:25One radical new display, is bound to get people talking.
0:09:25 > 0:09:30There is more of the adored car collection on show than ever before,
0:09:30 > 0:09:33but the vertical layout posed its own challenges.
0:09:33 > 0:09:38Museum technician Andy Howe is using the one-of-a-kind, purpose-built forklift
0:09:38 > 0:09:40to move the precious cargo almost 25 feet in the air
0:09:40 > 0:09:45onto what is known as a wall of cars.
0:09:45 > 0:09:48The conservation team have had every car out and had it weighed,
0:09:48 > 0:09:51they've found the centre of gravity of each car
0:09:51 > 0:09:54so they know which one can go at which level.
0:09:54 > 0:09:58You cannot put some of the older cars up there,
0:09:58 > 0:10:02it would have to be really careful about which ones go.
0:10:02 > 0:10:06So they were all tried and tested to see which would go,
0:10:06 > 0:10:08so that's what you're seeing.
0:10:08 > 0:10:12So it's not just down to, "Let's have a nice pretty design,
0:10:12 > 0:10:14"it's far, far more than that."
0:10:14 > 0:10:20Well, this is his second. and that's his first from that height.
0:10:20 > 0:10:23So...I think he was a bit concerned
0:10:23 > 0:10:25there was a camera pointing at him.
0:10:25 > 0:10:28But he did OK. He did. He did great.
0:10:34 > 0:10:38It's an Arrol-Johnston. 1922, it says here.
0:10:38 > 0:10:41So...please don't drop it!
0:10:51 > 0:10:56- Any idea how heavy these are? - About one ton.
0:10:56 > 0:10:57About a ton.
0:10:57 > 0:11:02So yeah, it's a good machine. It's built for this purpose.
0:11:02 > 0:11:06Especially designed for it, so it's good.
0:11:06 > 0:11:08Yesterday was the first day so it was a bit...
0:11:10 > 0:11:14I think kids will like it but...it's a new thing.
0:11:14 > 0:11:19Whether people won't enjoy not being able to look inside the cars...
0:11:19 > 0:11:23It's a new display so I don't know how the public will react at all.
0:11:25 > 0:11:28Anyone passing by the site of Riverside over the last years
0:11:28 > 0:11:32has seen the spectacular building rise from the ground.
0:11:32 > 0:11:36But it's been a long road travelled since Glasgow City Council
0:11:36 > 0:11:41decided to create a new home for its transport collection.
0:11:41 > 0:11:44They got more than 140 responses to the request for designs
0:11:44 > 0:11:47and whittled those down to an invited shortlist including
0:11:47 > 0:11:51some of the world's most renowned architects.
0:11:51 > 0:11:54Eventually, the design from award-winning Iraqi architect
0:11:54 > 0:11:57Zaha Hadid's practice was selected.
0:11:57 > 0:12:00The practice has a significant track record
0:12:00 > 0:12:03of spectacular buildings around the world.
0:12:03 > 0:12:05And for their first major UK building
0:12:05 > 0:12:09they took their inspiration from the city and the location itself.
0:12:09 > 0:12:15There's a meeting of two rivers and the idea that...
0:12:15 > 0:12:20of course there's a memory of the site to do with the shipyards,
0:12:20 > 0:12:24and...like the undulating roof there.
0:12:24 > 0:12:28We worked with this idea of landscape and topography
0:12:28 > 0:12:33so the idea of the two things, like a third river where the shed
0:12:33 > 0:12:40is literally bending or melting on the shores of these two rivers.
0:12:40 > 0:12:43There was a history for architecture in the city
0:12:43 > 0:12:48with the Mackintosh School and all these very beautiful designs
0:12:48 > 0:12:51which are very highly refined
0:12:51 > 0:12:54and had such an influence on the Continent at the time.
0:12:54 > 0:12:56So I think it's very exciting.
0:12:56 > 0:13:00One of the reasons we selected Zaha's was
0:13:00 > 0:13:05a softer more organic form and quite dynamic.
0:13:05 > 0:13:08It's not an overtly masculine building.
0:13:08 > 0:13:12Our visitors, contrary to what people might expect,
0:13:12 > 0:13:14the gender balance is pretty much 50/50.
0:13:14 > 0:13:17I think a lot of museums of technology or transport
0:13:17 > 0:13:21would tend to fetishise the technological
0:13:21 > 0:13:27and some other architects on our list may have indulged in that.
0:13:31 > 0:13:35Such a significant building requires many architects.
0:13:35 > 0:13:38Jim Heverin was project director.
0:13:38 > 0:13:39We weren't selected just because
0:13:39 > 0:13:41we're Zaha Hadid architects
0:13:41 > 0:13:45and somehow that's a perceived bling that would bring
0:13:45 > 0:13:47the Guggenheim effect to Glasgow.
0:13:47 > 0:13:52It's the fact we came up with the proposal that they found answered their brief.
0:13:52 > 0:13:56You present it, you win, and then you have to make it work
0:13:56 > 0:13:58and that's what you do for the next six years.
0:13:58 > 0:14:00Welcome, ladies and gentlemen,
0:14:00 > 0:14:04the Lord Provost is just about to cut the first sod
0:14:04 > 0:14:08of what will be Glasgow's fantastic new Riverside Museum.
0:14:08 > 0:14:10Lord Provost.
0:14:10 > 0:14:16With a design in place, ground was broken on the site in autumn 2007 and building began.
0:14:16 > 0:14:20It was just the beginning of almost four years of hard work
0:14:20 > 0:14:23for project manager Paul Jaffray and his team.
0:14:23 > 0:14:26It's like any project, you usually walk into a green field
0:14:26 > 0:14:29with maybe half a dozen plans that are quite sketchy
0:14:29 > 0:14:33and you start forming plans in your head right away.
0:14:33 > 0:14:36But sometimes it is quite daunting, I mean, you've seen the shape of this.
0:14:36 > 0:14:40An intake of breath and you think, "Oh, we have a challenge here."
0:14:40 > 0:14:43We started here in September 2007
0:14:43 > 0:14:48and there was an advanced package which was ground clearance,
0:14:48 > 0:14:51with the main building starting in March 2008.
0:14:51 > 0:14:53We pushed the materials to the boundary,
0:14:53 > 0:14:55something that's not usual for a building.
0:14:55 > 0:14:59We know how it goes together but here has been completely different.
0:14:59 > 0:15:03I think working with the design team to realise their vision
0:15:03 > 0:15:05has been quite an experience.
0:15:11 > 0:15:15One of the nice architectural features about this external glazed screen
0:15:15 > 0:15:18is that when you walk straight towards it,
0:15:18 > 0:15:20the steel members look nice and slim.
0:15:20 > 0:15:24But in fact, they are quite a large section of the steelwork,
0:15:24 > 0:15:29but the way they've been orientated by Zaha takes away the mass of steelwork.
0:15:29 > 0:15:34That steelwork is actually holding up the end of that roof.
0:15:38 > 0:15:41The remarkable roof is one of the most striking features of the whole building.
0:15:41 > 0:15:44Covered in tens of thousands
0:15:44 > 0:15:47of individually hand-crafted zinc panels,
0:15:47 > 0:15:51it's a level of detail that few people will ever get to see up close.
0:15:51 > 0:15:55Basically we've got five individual roofs here.
0:15:55 > 0:15:59They're connected by... There's four valley gutters running between them.
0:15:59 > 0:16:02Those are a couple of hundred metres long each,
0:16:02 > 0:16:05so we've got 800 metres of gutters running through here.
0:16:07 > 0:16:13All the zinc panels we've got here, we've got 24,000 panels in total, all individually hand-made
0:16:13 > 0:16:17in our workshop that we had set up down at the bottom.
0:16:19 > 0:16:23Each zinc panel was set out individually.
0:16:23 > 0:16:27Four corners were set out by engineer, every seam line straight from the architect's model.
0:16:27 > 0:16:30The architect was very demanding as well,
0:16:30 > 0:16:33but it was good that it ended up being best for everyone
0:16:33 > 0:16:36that he was, and we ended up with a fantastic building.
0:16:36 > 0:16:40With just a few months to go before Riverside opens,
0:16:40 > 0:16:43the building work is nearing completion.
0:16:43 > 0:16:48It's now over to Glasgow City Council to start filling the spectacular space.
0:16:48 > 0:16:52How does the man in charge feel the museum is shaping up?
0:16:52 > 0:16:57I'm constantly gobsmacked by it when I walk in and look around.
0:16:57 > 0:16:58I just think it's amazing.
0:16:58 > 0:17:04Just couldn't be happier. The happiest museum manager in Britain, if not the world.
0:17:09 > 0:17:12Now that things are moving on with the installation of the objects,
0:17:12 > 0:17:17it's the turn of some of the smaller exhibits to move to their new homes.
0:17:24 > 0:17:29One of the things with collections of transport objects,
0:17:29 > 0:17:32they have to be in the museum, they're largely static,
0:17:32 > 0:17:36so we wanted to get a bit of movement into some of the displays
0:17:36 > 0:17:40and the ship conveyor is one of those that allows
0:17:40 > 0:17:43ship models to pass and move along.
0:17:43 > 0:17:46Symbolically, they're moving down to the Clyde
0:17:46 > 0:17:51and you can see them from in the main hall of the exhibition,
0:17:51 > 0:17:56looking up, and you'll see them silhouetted and travelling down towards the Clyde.
0:18:04 > 0:18:08Even Riverside, with its huge open exhibition space,
0:18:08 > 0:18:10isn't big enough to hold a full-size ship.
0:18:10 > 0:18:13But just outside, on the River Clyde itself,
0:18:13 > 0:18:15will be the tall ship Glenlee.
0:18:16 > 0:18:20After 12 years' berth at Yorkhill Quay,
0:18:20 > 0:18:23the only Clyde-built sailing ship afloat in the UK today,
0:18:23 > 0:18:26will take pride of place on the water.
0:18:26 > 0:18:31The 245ft-long vessel will be run by the Clyde Maritime Trust,
0:18:31 > 0:18:34and lets visitors go from looking at models
0:18:34 > 0:18:36to climbing aboard the real thing.
0:18:54 > 0:18:57All I could have done differently is not be there.
0:18:57 > 0:19:00I remember reaching for the brake lever,
0:19:00 > 0:19:03the next thing I knew, I was just lying on the floor.
0:19:04 > 0:19:09Transport museums usually celebrate the craft and design of vehicles
0:19:09 > 0:19:12and rarely address how dangerous they can be.
0:19:12 > 0:19:16Riverside uses a very sophisticated installation
0:19:16 > 0:19:19to tell what happened to one motorcyclist.
0:19:19 > 0:19:22This is a story about a crashed motorcycle.
0:19:22 > 0:19:24The six screens looking around it,
0:19:24 > 0:19:28they're each looking in on the bike itself, the actual object.
0:19:29 > 0:19:32Other museums have featured that but what they've not done
0:19:32 > 0:19:36is actually featured the story and spoken to the people who were involved in it.
0:19:36 > 0:19:38Just in terms of a piece of research,
0:19:38 > 0:19:42this was incredibly difficult and ambitious for us to pull off.
0:19:42 > 0:19:45It was a very complex shoot for our film company,
0:19:45 > 0:19:49we wanted to set it in the first-person
0:19:49 > 0:19:53so that we see through each individual protagonist's eyes.
0:19:53 > 0:19:58Being able to get them talking personally about a single accident
0:19:58 > 0:20:03and seeing that and getting the personal details of that
0:20:03 > 0:20:06meant that we were able to make a much more engaging story.
0:20:06 > 0:20:09Perhaps you look at some of the other objects in the museum,
0:20:09 > 0:20:11our cars and motorbikes, perhaps,
0:20:11 > 0:20:15with a new perspective after you see this display.
0:20:22 > 0:20:26No transport museum in Glasgow could be complete without showcasing
0:20:26 > 0:20:29the city's massive heritage of locomotive building.
0:20:35 > 0:20:37And all the old favourites are in Riverside.
0:20:40 > 0:20:43At the start of the project, we were looking at
0:20:43 > 0:20:46what we had in the collection, what stories we wanted to tell,
0:20:46 > 0:20:50and it became obvious that one of the big things about Glasgow
0:20:50 > 0:20:54is the number of locomotives that they exported around the world.
0:20:54 > 0:20:59So we started to look at, could we get a locomotive back,
0:20:59 > 0:21:02one that was built in Glasgow.
0:21:03 > 0:21:05It's been under wraps for months now,
0:21:05 > 0:21:09and today the covers are finally coming off the star exhibit -
0:21:09 > 0:21:13the massive South African locomotive 3007.
0:21:13 > 0:21:19But it's had a long journey back to the city where it was built almost 70 years ago.
0:21:19 > 0:21:22It's taken us nearly the whole project. It was complicated.
0:21:22 > 0:21:28And eventually, we found a locomotive in Bloemfontein in the scrap yard,
0:21:28 > 0:21:31and then we started the whole process of bringing it back.
0:21:31 > 0:21:33And it just always amused me
0:21:33 > 0:21:38because Glasgow had this huge reputation and experience
0:21:38 > 0:21:41of transporting locomotives around the world
0:21:41 > 0:21:46and we had to bring one back, and it took a huge number of people a huge amount of time.
0:21:46 > 0:21:49Once home, it was displayed in the city centre.
0:21:49 > 0:21:53When it came into George Square it just looked amazing,
0:21:53 > 0:21:57but then it needed a huge amount of conservation work done to it.
0:22:01 > 0:22:06# You and I look good together... #
0:22:06 > 0:22:10If you come in through the south doors and walk in,
0:22:10 > 0:22:15one of the first things you're going to see is this massive locomotive.
0:22:15 > 0:22:19Jet black, with all the piping on it. It's absolutely stunning.
0:22:27 > 0:22:30It's getting close to opening day,
0:22:30 > 0:22:34and everyone is working around the clock to get things ready for the public.
0:22:35 > 0:22:38It's a really big day because it's the first time
0:22:38 > 0:22:43we get to really gauge people's reaction to the whole building.
0:22:46 > 0:22:51It will be nice to see how people move round the space and how they react to it.
0:22:51 > 0:22:53It'll be really exciting.
0:22:56 > 0:22:59Can't wait to not wear a high-vis jacket!
0:23:05 > 0:23:08A highlight of the old museum was a recreated Glasgow street,
0:23:08 > 0:23:12and on Riverside, they've gone bigger and better by including
0:23:12 > 0:23:17a number of shops and businesses which, for the first time, the public will be able to get into.
0:23:21 > 0:23:26One of these is the Cafe Rendezvous, a 1920s Italian cafe
0:23:26 > 0:23:28from Glasgow's East End,
0:23:28 > 0:23:30complete with some of its original interior.
0:23:34 > 0:23:35God! It's fabulous!
0:23:35 > 0:23:38For two very special visitors,
0:23:38 > 0:23:42this sneak preview of the new museum is an overwhelming experience.
0:23:42 > 0:23:47Alma and Giacomo donated the interior of their grandfather's cafe to Riverside,
0:23:47 > 0:23:51which had lain in storage for 26 years since the cafe closed.
0:23:54 > 0:23:57I'm just too emotional! Sorry.
0:23:57 > 0:24:00It was up and running in 1920s.
0:24:00 > 0:24:05We're not sure of an exact date, round about 1920s, 1922.
0:24:05 > 0:24:08But my grandfather came over here.
0:24:08 > 0:24:12The family made their own ice-cream and it was, as far as I'm concerned,
0:24:12 > 0:24:15it was the best ice-cream in the west of Scotland.
0:24:15 > 0:24:20And we had queues coming out every weekend.
0:24:20 > 0:24:24They would actually bring in their own tubs. "Can you fill that up?"
0:24:24 > 0:24:28And, I mean, masses and masses of ice-cream in this tub.
0:24:28 > 0:24:32I'm sure there's lots of people who would be able to tell you their own stories about it.
0:24:38 > 0:24:39SHE GASPS
0:24:40 > 0:24:42Oh, my God!
0:24:43 > 0:24:44Oh, my God!
0:24:44 > 0:24:48It's not everyone who can revisit such precious family memories
0:24:48 > 0:24:51and the brother and sister are the last generation
0:24:51 > 0:24:54who can remember the cafe as it was.
0:24:54 > 0:24:57Want to? Come on, yeah.
0:24:58 > 0:25:00SHE SNIFFS
0:25:00 > 0:25:02Ah, look at that.
0:25:06 > 0:25:08SHE GASPS
0:25:18 > 0:25:20Absolutely FABULOUS.
0:25:21 > 0:25:23I wish my mum was here to see this.
0:25:25 > 0:25:28This is brilliant. It brings back so many memories.
0:25:29 > 0:25:33I can remember the people sitting here, chatting away...
0:25:34 > 0:25:35..quite the thing.
0:25:36 > 0:25:38All the winters...
0:25:39 > 0:25:41..sharing an ice drink.
0:25:43 > 0:25:46- Oh, it's brilliant.- You got a fazzoletto there?- Yeah.
0:25:46 > 0:25:49I was there the day they took it all out.
0:25:49 > 0:25:51We sat in the seats and everything.
0:25:51 > 0:25:54- Played in between these chairs in the morning.- Yeah.
0:25:54 > 0:25:57The first thing you'd see when you walked into the shop is,
0:25:57 > 0:25:59you'd see my mum behind the counter.
0:25:59 > 0:26:02We used to sit behind that counter on top of a milk crate,
0:26:02 > 0:26:07behind the counter, so I could pick away at the sweets.
0:26:07 > 0:26:10If my nonno was here, he'd be the proudest man on this earth.
0:26:10 > 0:26:16And the fact that it's in this new museum down by the riverside,
0:26:16 > 0:26:18who would've thought?
0:26:20 > 0:26:24It's not one single person does anything like this, basically.
0:26:24 > 0:26:27It's not a painting, it's not one single hand, it's many hands.
0:26:27 > 0:26:34People sometimes are quite efficient, they're a little bit enthusiastic
0:26:34 > 0:26:39but on this one, a lot of them, because they come from Glasgow and around the area,
0:26:39 > 0:26:44they understand that for them, this is something they'll be taking their children to.
0:26:44 > 0:26:46And that for their lifetime, this is something
0:26:46 > 0:26:51they'll be looking back on that was a unique opportunity and they made the most of it.
0:27:00 > 0:27:04Nervous? It's all right.
0:27:13 > 0:27:16I like the streets, it makes you feel like you're back in time.
0:27:20 > 0:27:24They've made great use of the space with the cars on the wall.
0:27:25 > 0:27:27It looks amazing.
0:27:30 > 0:27:34It's all yours, over to you now. Have a ball. Enjoy it. Thank you.
0:27:43 > 0:27:47Someone said earlier it looks like a kind of a traffic-jam downstairs. It does!
0:27:56 > 0:28:00I'm tempted to come in one day and go like that, kind of...
0:28:00 > 0:28:03and see if anyone starts poking me, saying, "That's dead real-looking."
0:28:08 > 0:28:11I've loved every minute of it, genuinely.
0:28:11 > 0:28:15Been told off for touching things, we only did that.
0:28:16 > 0:28:18Can we get a receipt?
0:28:34 > 0:28:38The museum is brilliant. Super.
0:28:44 > 0:28:47Subtitles by Red Bee Media Ltd
0:28:47 > 0:28:50Email subtitling@bbc.co.uk