Issue 38 Summer web 23 - Flipbook - Page 10
Simon says: “The team worked wherever we could. This
frequently happens on projects and it’s something we
have become adept to. Ideally, the base build would be
finished and there would be a handover of a dust free
site. Unfortunately, these unforeseen delays meant we began
working on a building site. The team were fantastic and
worked carefully around the building works still going on.”
The use of the limestone provided a unique challenge
regarding access to the plinths for future maintenance.
So a bespoke sliding system was then developed and
integrated into the subframe, to allow this.
Materials must be selected carefully for use in a museum,
where a high footfall means daily wear and tear on the
displays. Simon says: “The client was keen on the look of
blackened steel for the AV housings and graphics frames,
which is a very popular finish to metal at the moment.
However, unfortunately it wouldn’t last in a museum
environment. It’s not a protective covering, it’s more like
colouring the metal. This means it’s still open to the
elements and even greasy fingerprints on the blackened
steel will make it rust. We wanted to create the effect our
client was after but ensure it would remain crisp and sharp
for many years. The team sourced a powder coated metal
with a dead matt finish to it. We wanted to give our client
options to make sure there was longevity in all the
materials they used.”
Materials
As installation took place, durable engineered stone,
similar to quartz, was used for the front fascias of the
display plinths. Dekton is a derivative of quartz but is even
more durable and able to withstand the demands of a busy
museum environment. The Dekton used for the fit-out
was manufactured as an excellent visual match for
original limestone.
Simon says: “Dekton is a really new product and has not
been out that long. The price is still high due to its new
presence on the marketplace but it will end up taking the
place of Quartz.”
Stained glass success
One of the greatest successes of the project saw the team
work closely with Glasgow Life to create giant frames for
the large stained-glass windows which make up part of
the museum’s collection.
Limestone was used prominently when the museum first
opened and planning conditions dictated that it must be
used again for the front fascias in the North Gallery. It was
important to the client that the stone used was the closest
possible match to the original limestone used in the fabric
of the building. The quarry used for the original build was
located on the south coast in Portland, near Weymouth,
and had since been closed.
The design phase was extensive to allow the windows,
which were up to seven metres high, to be supported
correctly and back lit, with light sheets behind to allow
light to come through the glass. The design needed to be
sympathetic to the windows, protect the glass and allow
the museum staff to easily remove and replace objects
where needed.
Simon says: “The quarry had been closed but was
re-opened so we could match the stone. It was required
for the building, and we were then able to cut some of the
stone to use in our part of the build.
The team also worked closely with Glasgow Life
Conservation on the frames and lightboxes housing the
stained-glass objects, to ensure ventilation and installation
requirements were met, for the priceless artefacts in the
collection.
Local community
As part of our commitment to the project, BECK made a
donation to the local community by supporting the
Glasgow’s Artist in Residence (AiR) project. AiR supported
artists in areas around the Burrell Collection, such as the
city’s Greater Pollok and Newlands/Auldburn wards.
The AiR project placed artists into all areas of Glasgow,
to work collaboratively with communities and deliver
inspiring art projects.
After bringing communities together during the heart of
the pandemic, these residencies then pivoted to find new
ways of working and continuing to support local people.
In Greater Pollok, the Artists distributed over 100
sculpture kits, for people to make artworks at home during
lockdown. The artworks were then brought together in a
collaborative display.
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