Riverside Museum Glasgow, Scotland by deviillz

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									                                  Riverside Museum Glasgow, Scotland

The Riverside Museum is derived from its context. The historic development of the Clyde and the city of
 Glasgow is a unique legacy. Located where the Kelvin joins the Clyde, the museum’s design flows from
    the city to the river; symbolizing a dynamic relationship where the museum is the voice of both,
connecting the city to the river and also the transition from one to the other. The museum is situated in
very context of its origins, with its design actively encouraging connectivity between the exhibits and the
                                              wider environment.



  The building, open at opposite ends, has a tunnel-like configuration between the city and the Clyde.
   However, within this connection between the city and river, the building diverts to create a journey
away from its external context into the world of the exhibits. Here, the internal path within the museum
 becomes a mediator between city and river, which can either be hermetic or porous depending on the
   exhibition layout. Thus, the museum positions itself symbolically and functionally as open and fluid,
 engaging its context and content to ensure it is profoundly interlinked with not only Glasgow’s history,
  but also its future. Visitors build up a gradual sense of the external context as they move through the
                                       museum from exhibit to exhibit.



   The design is a sectional extrusion, open at opposing ends along a diverted linear path. This cross-
  sectional outline could be seen as a cityscape and is a responsive gesture to encapsulate a waves on
 water. The outer waves or ‘pleats’ are enclosed to accommodate support services and the ‘black box’
exhibits. This leaves the main central space column-free and open, offering greatest flexibility to exhibit
                                   the museum’s world-class collection.



   Zaha Hadid says: “Through architecture, we can investigate future possibilities yet also explore the
  cultural foundations that have defined the city. The Riverside Museum is a fantastic and truly unique
  project where the exhibits and building come together at this prominent and historic location on the
  Clyde to enthuse and inspire all visitors. The design, combining geometric complexity with structural
ingenuity and material authenticity, continues Glasgow’s rich engineering traditions and will be a part of
                               the city’s future as a centre of innovation.”



 The form of the roof structure is roughly z-shaped in plan with structural mullions at each end that not
  only support the roof, but also allow the glazed end façades to be supported without the need for any
 secondary members. In section the roof is a series of continuous ridges and valleys that constantly vary
   in height and width from one gable to the other with no two lines of rafters being geometrically the
same. Generally the cross section is a pitched portal frame with a multi pitched rafter spanning between
   the portal and a perimeter column. There are also curved transition areas where the roof changes
                                          direction in plan.



The rafters themselves are not straight in plan but a series of facets that change direction in each valley.
  To accommodate these changes in line and to facilitate the connection of any incoming bracing and
 other members, the rafters at the ridges and valleys are joined at the surface of a cylindrical ‘can’. The
   majority of these ‘cans’ were truly vertical in the preset geometry of the roof, however where the
relative slopes either side of the ridge or valley would have generated inordinately long oblique cuts the
                    ‘cans’ were inclined to bisect the angle between adjacent rafters.



 The diameter of most of the ‘cans’ was able to be standardised but, in cases of extreme geometry or
 where the sheer number of incoming members dictated, a larger diameter had to be used to allow all
the incoming members to be welded directly to the ‘can’ wall. The most complicated valley connection
      had 10 incoming members that necessitated the use of a 1.0m diameter ‘can’ over 1.5m tall.



  By using vertical ‘cans’ in the valley positions a standard connection between the tops of the tubular
 support props and the roof structure was designed. This consisted of a thick circular base plate to the
‘can’ with a blind M24 tapped hole in its centre, thus allowing an 80mm diameter tapered shear pin to
                                  be bolted directly to the base of the ‘can’.

								
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