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