KELVINGROVE BANDSTAND & AMPHITHEATRE Kelvingrove Park, Glasgow
Conservation Management Plan Simpson & Brown Architects July 2012
Front cover The bandstand and amphitheatre looking south in January 2012. S&B Contents Page
1.0 EXECUTIVE SUMMARY 3
2.0 INTRODUCTION 5 2.1 Aims 5 2.2 Study Area 5 2.3 Heritage Designations & Policies 5 2.4 Structure of the Report 7 2.5 Adoption & Review 8 2.6 Limitations 8 2.7 Project Team 8 2.8 Acknowledgements 8 2.9 Abbreviations 8
3.0 UNDERSTANDING THE BANDSTAND & AMPHITHEATRE 11 3.1 Introduction 11 3.2 Kelvingrove Park: a philanthropic context 11 3.3 Two bandstands 13 3.4 The bandstand design 16 3.5 The pay-boxes 20 3.6 A possible Miller connection 21 3.7 Theatre type bandstands 23
4.0 THE BANDSTAND & AMPHITHEATRE IN 2011 25 4.1 Description of the bandstand 25 4.2 Condition assessment of the bandstand 27 4.3 The amphitheatre 28 4.4 The pay-boxes 29 4.5 The gates and railings 29
5.0 ASSESSMENT OF SIGNIFICANCE 31 5.1 Introduction 31 5.2 Social Significance 31 5.3 Architectural, Aesthetic and Artistic Significance 32 5.4 Historical Significance 33 5.5 Archaeological Significance 33 5.6 Summary Statement of Significance 34
6.0 GRADING OF SIGNIFICANCE 35 6.1 Introduction 35 6.2 Elements of Outstanding Significance 35 6.3 Elements of Considerable Significance 35 6.4 Elements of Moderate Significance 35 6.5 Neutral Elements 35 6.6 Negative Elements 35
7.0 RISKS & OPPORTUNITIES 39 7.1 Introduction 39 7.2 Conservation and the Existing Fabric 39 7.3 Maintenance 39 7.4 Use 40 7.5 Statutory & Non-Statutory Constraints 40 7.6 Archaeological Issues 40 7.7 Safety, Vandalism & Security 40 7.8 Public and Disabled Access 41
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 1 7.9 Management 41 7.10 New Work & Alterations 41 7.11 Setting & Boundaries 41 7.12 Effects on the Environment & Climate Change 42 7.13 Interpretation & Understanding 42 7.14 Management of Information 42
8.0 CONSERVATION ISSUES & POLICIES (AIMS & OBJECTIVES) 43 8.1 Introduction 43 8.2 Conservation 43 8.3 Conservation and the Existing Fabric 44 8.4 Maintenance 54 8.5 Use 55 8.6 Statutory & Non-Statutory Constraints 55 8.7 Safety, Vandalism & Security 56 8.8 Disabled Access 57 8.9 Management 57 8.10 Workmanship & Advice 57 8.11 New Work & Alterations 58 8.12 Setting & Boundaries 60 8.13 Effects on the Environment & Climate Change 60 8.14 Interpretation & Understanding 60 8.15 Management of Information 61
APPENDIX I Listed building report 63 APPENDIX II Glossary 65 APPENDIX III A3 Drawings 67
Figure 1 The rebuilt pay-boxes on Kelvin Way.
2 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 1.0 EXECUTIVE SUMMARY This conservation management plan provides an overview of the historical development of the building, followed by an assessment of the significance of the overall site and its components. From this understanding of the heritage significance of the place, a discussion of the key issues relating to the site and a set of policies have been produced to guide future use, development and management of the building and its various parts. These enable the significance to be retained, revealed, enhanced or, at least, impaired as little as possible in the future. They will not simply suggest constraints on future action, but will introduce flexibility by identifying the areas of the site which can be adapted or developed. In summary, Kelvingrove Park Bandstand and Amphitheatre is a category B listed building located on Kelvin Way, Kelvingrove Park, Glasgow. The bandstand building and its amphitheatre and original pay-boxes were built at the same time, after designs of 1924, and the secondary pay-boxes on Kelvin Way, begun after designs of 1925. All four of the pay-boxes were demolished after the 1960s and the pair on Kelvin Way rebuilt in brick, reusing some of the original masonry elements. The bandstand was closed in the late 1990s and became derelict and vandalised. The building is important for its social, historical and aesthetic associations. The overall level of significance for the building is considerable, but with a number of features being of moderate and neutral significance. Elements of considerable significance should be retained and respected as part of any future redevelopment of the building, but can be altered sensitively. It would be beneficial for the overall significance of the building if negative elements were removed.
Figure 2 1954 view of the west elevation from the north showing the ironwork on the stage canopy. ©Newsquest (Herald & Times). Licensor www.scran.ac.uk.
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 3
Figure 3 View from the south looking north.
Figure 4 View from the south looking north east at the rear elevation.
4 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 2.0 INTRODUCTION 2.1 Aims This conservation management plan aims to inform the conservation, repair, use and alteration of Kelvingrove Park Bandstand and Amphitheatre. It has been commissioned by Glasgow Building Preservation Trust. 2.2 Study Area
Figure 5 Study area of the conservation management plan. Edited map reproduced by permission of the Trustees of the National Library of Scotland. To view this maps online, see http://www.nls.uk/
2.3 Heritage Designations & Policies 2.3.1 Listed Buildings Kelvingrove Park Bandstand and Amphitheatre is a category B listed building complex (HB Number: 46592). See Appendix I. As a category B listed building complex, it is recognised by Historic Scotland as a site of regional or more than local importance, or a major example of a particular period, style or building type which may have been altered. Category B listed buildings make up approximately 51% of all listed buildings.
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 5
Figure 6 Site plan.
6 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 2.3.2 Conservation Area Kelvingrove Park Bandstand and Amphitheatre are located within the Park Conservation Area, designated by the Glasgow City Council. An appraisal has yet to be written for area.1
Figure 7 Park Conservation Area, and adjacent conservation areas, with the location of the bandstand and amphitheatre circled. Glasgow City Council
2.3.3 Sites and Monuments Record The site is not located within an area identified as being of archaeological interest by the West of Scotland Archaeology Service on their Sites and Monuments Record. 2.4 Structure of the Report This conservation management plan follows the guidelines set out in the Heritage Lottery Fund’s Conservation Management Planning (April 2008) document, (which supersedes the Heritage Lottery Fund Conservation Management Plans Checklist, Conservation Management Plans Model Brief and Conservation Management Plans: Helping your application (2004)). It also follows Historic Scotland’s document Conservation Plans: A Guide to the Preparation of Conservation Plans; The Conservation Plan 5th Ed. (The National Trust of Australia, 2000) by James Semple Kerr; and The Illustrated Burra Charter: good practice for heritage places (Australia ICOMOS, 2004) by M Walker
1 http://www.glasgow.gov.uk/en/Business/Planning_Development/PlanningPolicy/Conser vation/ Appraisals.htm (accessed 25/01/12)
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 7 and P Marquis-Kyle. Reference is also made to the British Standard BS 7913 – Guide to the principles of the conservation of historic buildings (1998). 2.5 Adoption & Review This conservation management plan is intended to be adopted by Glasgow Life, the intended end user of the building, and Glasgow City Council, who will continue to own the building. It is important that it is also adopted by all other stakeholders and consultants to aid in the sensitive and appropriate management and use of this historic building. 2.6 Limitations It is possible that further information will become available after the completion of this report. Any new information should be acknowledged by the stakeholders and incorporated into future revisions of the conservation management plan.
2.7 Project Team John Sanders Partner, Simpson & Brown Architects Nicholas Uglow Architectural historian, Simpson & Brown Architects
2.8 Acknowledgements Simpson & Brown gratefully acknowledges the assistance provided by the following: The Friends of Kelvingrove Park The Royal Commission on the Ancient & Glasgow Building Preservation Trust Historic Monuments of Scotland The Mitchell Library, Glasgow Shona Simpson Page\Park Architects All photographs (January 2012) and drawings in this report are by the authors unless stated. 2.9 Abbreviations
GBPT – Glasgow Building Preservation RCAHMS – Royal Commission on the Trust Ancient & Historical Monuments of Scotland NLS – National Library of Scotland S&B – Simpson & Brown Architects OS – Ordnance Survey
8 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan
Figure 8 View of west (principal) elevation from the amphitheatre.
Figure 9 The pay-boxes on Kelvin Way from the south looking north.
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 9
Figure 10 Elevation illustrations.
10 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 3.0 UNDERSTANDING THE BANDSTAND & AMPHITHEATRE 3.1 Introduction An understanding of how the building has reached its present form will help determine the importance of various elements of the site, which will then inform policies, or guidelines for management and alterations. 3.2 Kelvingrove Park: a philanthropic context The history of Kelvingrove Park is an important context for understanding the bandstand, its location and design.2 In 1851, the Glasgow architect Charles Wilson presented an initial design to the Council which prompted them to purchase the Kelvingrove House estate. This land was to the east of the River Kelvin, around the foot of Woodlands Hill, which was being developed simultaneously by Wilson (Figure 11).
In 1854, Sir Joseph Paxton (1803-1865), was commissioned to provide a design for the park. Paxton was famous by this date as a landscape gardener and architect, following his work on the Duke of Devonshire’s gardens at Chatsworth House since the 1820s, and the Crystal Palace exhibition building for the Great Exhibition of 1851.3 Paxton worked on many park designs throughout Britain during his career, and his last professional act was laying out the park at Figure 11 1858 First edition OS map, showing the West End Dunfermline, Fife.4 The Park. Reproduced by permission of the Trustees of the National Buildings of Scotland Library of Scotland. To view this maps online, see comments that work had http://www.nls.uk/ begun on the West End
Park, as it was initially known, in 1853, but that Paxton’s real involvement remains unclear, especially as many of his design proposals were not implemented.5
The rise of the public urban park in the mid nineteenth century was based on several social factors. Edwin Chadwick’s statistical study of the urban poor in the early 1830s connected the physical living environment of overcrowded and insanitary inner city
2 The Buildings of Scotland: Glasgow and the ‘Site history’ of the Inventory of Gardens and Designed Landscapes provide an overview, sufficient for the purposes of this conservation management plan. Williamson, E. Riches, A. Higgs, M. The Buildings of Scotland: Glasgow (Yale University Press, New Haven & London: 2005) 281 onwards. And Historic Scotland The inventory of gardens and designed landscapes (included in 2006)
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 11 housing, with deteriorating morals and health, and he campaigned for the provision of public parks as part of the remedy.6 Legislation in 1842 to improve conditions followed a parliamentary commission, and for example mandated minimum building standards and the provision of proper sewerage. In 1844, the city of Liverpool commissioned a park design from Paxton for Birkenhead, claimed as the first purpose designed public park in the country. There are many similarities between the West End Park and Birkenhead Park, especially in the separation of carriage drives and pedestrian paths, snaking through pleasantly arranged clumps of trees (Figure 12).
Figure 12 1844 Design for Birkenhead Park by Sir Joseph Paxton. From Bergdoll, European Architecture 1750-1890 p244
There was a political component to the equation, that the disaffected urban poor and working classes could be a powerful force in political unrest. This was made especially clear in 1848, the so-called Year of Revolutions. It is no coincidence that Britain largely escaped the uprisings of 1848, because living conditions for the urban poor had already begun to improve, based on the work of Chadwick, and including the provision of public parks.
The designs of early public parks followed the fashionable style of private landscapes in the early nineteenth century with features designed to appear natural, and intended to act on the emotions. Bergdoll concludes that;
this adaptation of English picturesque gardens to public welfare was a direct response to the faith that nature was essential to urban health and a morally
3 Kenworthy-Browne, J. ‘Paxton, Sir Joseph (1803–1865)’, Oxford Dictionary of National Biography (Oxford University Press, 2004 [http://www.oxforddnb.com/view/article/21634, accessed 23 Jan 2012]) 4 Kenworthy-Browne ‘Paxton’ 5 The Buildings of Scotland: Glasgow 281 6 Bergdoll, B. European Architecture 1750-1890 (Oxford University Press: 2000) 245
12 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan uplifting agent, a worthy rival in short to the temptations of the pub or the barricades.7
The purchase of Kelvingrove Park in 1851 was therefore entirely in the context of these developments in thinking. 3.3 Two bandstands After 1865, Kelvingrove Park was expanded to include land to the west of the Kelvin, the site of the present bandstand. The University of Glasgow, required to move from its Renaissance buildings on the High Street, acquired the Gilmourhill House estate and sold the land that they did not wish to develop to the City Council.8 The 1st revision Ordnance Survey map (surveyed 1896), shows that this area had been developed with paths and drives similar to those of the earlier park development to the east of the Kelvin. There was a carriageway continuing Radnor Street from the south, passing through a circus of flowerbeds, and continuing to the north to meet University Avenue (Figure 13). Situated near the circus, is an octagonal bandstand. If nature was considered ‘a morally uplifting agent’, then music was considered in the same way, and nineteenth century parks were often provided with bandstands of this type.9 This bandstand is also shown on a photograph of 1904, with a pagoda-style roof, and surrounded by a fenced enclosure and seating Figure 13 1896 First Revision OS map showing the (Figure 14). The photo also shows extension of the park westwards. Reproduced by the Macfarlane Fountain in the permission of the Trustees of the National Library of centre of the circus.10 Scotland. To view this maps online, see http://www.nls.uk/ The building of the present bandstand in 1924 seems to have been connected with the creation of Kelvin Way from c.1913. The 2nd Revision Ordnance Survey map c.1910, shows the north south carriage way much as it was fifteen years previously, but by the 3rd Revision of 1932, both the old bandstand and the circus have been replaced by the present bandstand and its amphitheatre to the east (Figure 15).11
7 Bergdoll European Architecture 245 8 Smith, J. G. & Mitchell, J. O. The Old Country Houses of the Old Glasgow Gentry (2nd ed Glasgow: 1878) entry for Gilmourhill House (http://gdl.cdlr.strath.ac.uk)
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 13
Figure 14 1904 View from the University of Glagow, showing the old bandstand in the bottom left. ©University of Glasgow. Licensor www.scran.ac.uk.
There is an unfortunate gap in the map evidence between the 2nd and the 3rd Revision, 1910 to 1932, and Kelvin Way may have been created specifically for the exhibition in 1911. However it is certain that the old bandstand had been dismantled by 1913, as in that year the bronze statue of Lord Kelvin by Shannon was unveiled in the same location, retaining the existing layout of paths.12 There was certainly Figure 15 1913 the unveiling of the statue of Lord more activity in 1913, as in the Kelvin, on the site of the old bandstand. ©University of same year, the bridge to the Glasgow. Licensor www.scran.ac.uk. south gate was rebuilt, changing the alignment of the road, and replacing an iron truss structure of the 1880s.13
9 Bergdoll European Architecture 245 10 Whether the fountain was connected to a specific Macfarlane, or supplied by the iron founders Walter Macfarlane & Co. to the city, is at present unclear. 11 The Inventory of gardens and designed landscapes vaguely suggests that the development of Kelvin Way dates from the late 1890s, but this cannot be the case. 12 The Buildings of Scotland: Glasgow 282 13 The Buildings of Scotland: Glasgow 628
14 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan Kelvin Way was certainly complete by 1925 when the Dean of Guild drawings location plan for the new pay-boxes shows the wide boulevard as complete (Figure 16). A photograph from the same year shows the bandstand complete with the Kelvin statue in the location of the old bandstand (Figure 17). In the same year that the bandstand was submitted to the Dean of Guild, at least two other municipal buildings for Figure 16 Location plan for the secondary pay- Kelvingrove Park were also boxes. 1925/231/1. Glasgow City Council designed, including ladies WCs and a bowling & tennis pavilion. This indicates that there was significant investment made that year on the facilities of the park, of which the bandstand was one component. There were already bowling greens with a pavilion to the west of Kelvin Way, and the 1924 building was for the new greens and tennis courts to the east of Kelvin Way. Interestingly though, the maps show another set of tennis courts to the south of the Kelvin with a pavilion in 1932. By the late 1940s, the facilities were rebalanced, with this tennis court turned into an outdoor dance arena, also used for roller-skating.14 The pavilion for the latter does not survive, though the 1924 bowls and tennis pavilion remains. All of this activity is evidence of the popularity of Kelvingrove Park for recreation in the early twentieth century, and the investment made into the facilities by successive councils.
Figure 17 1925 view from the University of the new bandstand. Note the absence of trees between the bandstand and the river. ©University of Glasgow. Licensor www.scran.ac.uk.
14 Photos on SCRAN show the dance arena in use from the late 1940s.
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 15 3.4 The bandstand design The other drawings submitted to the Dean of Guild Court show the building essentially as it stands at present. There are two notable differences, in the roof and the pay-boxes (Figure 18). The roofing material is noted as red asbestos cement slates, and is crowned with ornate ironwork brattishing and finials. This was intended to be an inventive and interesting roof design which was probably considered to be suitable for a one-off park building which could be seen from all sides and was to be a focal point associated with entertainment.
Figure 18 1924 design drawing 4 by Glasgow Corporation Parks Department. 1924/88/4. Glasgow City Council
It was intended to use a new material but in a way which looked back to the middle of the previous century to the High Victorian Gothic movement. Diagonal slates, which the tiles would have been imitating, with high colour contrast, to the rest of the building and decorative iron brattishing were all motifs from this movement. Had the roof been completed to this design, it would have connected stylistically to the hood moulds and label stops around the windows to make a more consistent Neo-gothic bandstand. It is interesting that these elements were not actually detailed in the design drawings. Either between design and construction or at some point very early in the life of the building, the decision was taken to change the roof detail to tiles. Red tiles are the expected roof covering for a park building of this date and style. The detailing with alternate buck-and-doe ridge tiles, Arts & Crafts style terracotta finials, and mitred hips, is consistent with 1920s traditional construction, used in mass house construction in the same period.
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Figure 19 The bandstand from the south west showing the roof as completed and the area of repair to the south west corner.
Figure 20 Design drawing 1 for the roof structure by Glasgow Corporation Parks Department, originally in colour. 1924/88/1. Glasgow City Council
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 17 They are not details associated with later alterations. The other park buildings of the same year have the same roof coverings. The repair to the tiles at the south west corner does not use the original mitred detail (Figure 19). The most technically demanding part of the design is hidden, and was carefully worked out by the Public Parks Department engineers. They designed a bespoke girder which is also the proscenium arch within the stage. It passed onto steel columns, surrounded by concrete (Figure 20). This beam also supported the roof structure which covers the stage. Though the technical structure of the roof was carefully worked out before construction, it is clear that the technical drawings (drawing 1-3, Figure 20, Figure 21, Figure 22) and the architectural drawing of the elevations (drawing 4, Figure 18) were by different draftsmen. Also, the roof details in drawing 1 (Figure Figure 21 Design drawing 2 for the proscenium 20) and drawing 3 (Figure 22) are structure by Glasgow Corporation Parks different, and it appears that Department, originally in colour. 1924/88/2. Glasgow City Council
Figure 22 Design drawing 3 for the proscenium structure by Glasgow Corporation Parks Department, originally in colour. 1924/88/3. Glasgow City Council
18 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan drawings 2-4 were completed before a structural engineer resolved the technical difficulty of the roof in drawing 1.
The detail had to be changed during building, and the iron structure of the canopy had to be concealed by a timber facia below the level of the gutter. The gutter is therefore higher on the stage canopy than the rest of the building, resulting in an unfortunate discontinuity in the eaves line (Figure 23). The domed ventilator flèche at the centre of the ridge is different to the design shown on the original drawings. Although the dome and cast iron finial remain similar to the design drawing, the cornice and the box below it with tapered sides are much larger in plan dimensions than they are shown on the drawings. The finial would have been painted and the dome clad in metal sheeting. Early photographs show seams or welts on this roof indicating that the dome was clad with copper or lead. Below the level of the dome was to be a moulded cornice. The design drawing shows a strong setback below the cornice which is quite similar in proportion to the setback at the main eaves level. The design of this element is quite roughly drawn and it is possible that the design was changed in construction to create a much wider base for the ventilator. There might have been a technical reason that the ventilator should be larger. It is, however, quite possible that this entire ventilator flèche was decorative. This type of flèche is associated with buildings like public halls and churches. These large spaces were designed for large gatherings of people and needed natural ventilation, to reduce internal condensation. In this case though, ventilation was hardly an issue at the open part of the bandstand and the changing rooms were relatively small rooms with windows and so would not have needed a ventilator of this size. The retention of the detail of the sloping side of the ventilator flèche suggests that this was a Figure 23 The west elevation showing the change made during construction discontinuity of the eaves line. but some of the details, such as the thin and long louvers, and the felt shingle-effect strips to one side, indicate that alterations have been made. The history of this particular element will not be understood until this part of the building is opened up for repair. It should be apparent from the dates of timbers and their jointing whether it has been altered.
The Dean of Guild drawings also show decorative ironwork at the front of the canopy, which can be seen on early photos, until its removal at some point after the
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 19 1950s (Figure 24). This element of the design differs from the ironwork that was installed quite significantly.
Both the flèche and the elaborate ridge ironwork can be understood as designed elements intended to make the bandstand noticeable from a distance. As the bandstand sits away from the road and low down on the riverbank, the only part of the building which could make an impression was the roof. The flèche is the centrepiece of the whole design and visually locates the building in the landscape. The ridge brattishing would also have been seen in silhouette against the sky by the audience.
Figure 24 1954 view of the west elevation from the north showing the ironwork on the stage canopy. ©Newsquest (Herald & Times). Licensor www.scran.ac.uk.
3.5 The pay-boxes The other notable divergence between the original designs and the present structure is in the pay-boxes. Originally in the 1924 drawings, there was a pair of pay-boxes to the north and south of the bandstand, with half octagonal elevations to the riverside, intended to be the principal entrance. Photographic and map evidence shows that pay-boxes were built to this design, though the drawings show that the roofs were intended to be half octagonal, but were built as pyramidal roofs.
By 1925 it had been decided to have an entrance from Kelvin Way and there are Dean of Guild drawings from that year showing elegantly proportioned arrangement of gates and pay-boxes. The Neo-gothic hood moulds and label stops are very similar to those on the bandstand, but the roofs have a low ogee profile rising to finials, finished in asphalt, and are more Scots Renaissance in their design then Neo-gothic (Figure 25). The new pay-boxes flanked a pair of gates with an iron gate pier at the centre. The lower pair of pay-boxes was demolished at some point after the 1960s, perhaps at the same time that the upper pair on Kelvin way were rebuilt.
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Figure 25 1925 design drawing by Glasgow Corporation Parks Department. 1925/88/4. Glasgow City Council
3.6 A possible Miller connection Various documents commissioned over the last decade for the restoration of the bandstand, comment that it may have been designed by the prominent Scottish architect James Miller (1846-1947). The earliest document examined for this conservation management plan is dated 2003 and it states that;
the building has often been attributed to one of Glasgow’s foremost commercial architects, James Miller.15
After this strong assertion, however, it continues that Miller’s work may only ‘have proved an inspiration’. The paragraph concludes commenting that the original drawings only credit Glasgow Corporation Parks Department. All of the subsequent documents between 2003 and the present (2011) seem to have been based on this
15 McInnes Gardner et al. Kelvingrove bandstand and amphitheatre feasibility study (2003) 1
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 21 suggested attribution though none of them, provides a source. However, the evidence examined for this conservation management plan, does not support the connection with Miller.
The evidence of the drawings submitted to the Dean of Guild in 1924, held in the Mitchell Library collection, shows that the designs were indeed the work of the Glasgow Corporation Public Parks Department. The four drawings for the bandstand are identical to other drawings by the Public Parks Department for Kelvingrove Park of the mid 1920s. They are on the same prepared linen – opaque white or tracing blue – the drawing conventions and the lettering of the titles are the same, and all the drawings are signed by E. Matthews. Most of the drawings are of fairly Figure 26 Botanic Gardens Station, designed by rudimentary draftsmanship, and Miller c.1894. ©Royal Commission on the Ancient leave many of the details to be and Historical Monuments of Scotland; SC686323. resolved by the council’s contractors. Licensor www.scran.ac.uk. Also, the incompatibility between the engineering and architectural drawings is not characteristic of Miller’s office.
The style of the designs themselves is in contrast to the sort of designs that Miller’s practice was producing in the mid 1920s. His output in this period was rather eclectic, and ranged for example from the Voysey and Lutyens style Kirkoswald Village Hall (Richmond Memorial Hall) (1925), to the Imperial Neo-classical Union Bank of Scotland, St. Vincent Street (1924).
Though there are slight similarities between the bandstand and some of Miller’s work, this similarity is only because the designs are in the same late Arts & Crafts style. For example, the Botanic Gardens station building on the Great Western Road, included similar details like half timbered gables (Figure 26). However, compared to Miller’s other work, the bandstand is not a design which is good enough to be by his office. It lacks the coherence of a really polished work and is not bold enough in overall concept. Miller did design the Sunlight Cottages for the Glasgow Exhibition in 1901, and it is possible that this is where the misunderstanding over his designing the bandstand could have begun.16
By the mid 1920s, the architectural style of the bandstand had become a fairly ubiquitous type and was stylistically conservative. Given the bold and utterly modern developments of the 1920s in architecture and design, particularly on the European continent, the style may seem surprising. However, Glendinning et al. argue that the First World War had denigrated Scotland’s sense of national identity
16 The Buildings of Scotland: Glasgow 282
22 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan and imperial confidence.17 Glasgow, as one of the key cities of the empire was particularly badly affected and in its post war municipal architecture, like the Kelvingrove Bandstand, was seeking to reassure, with conservative designs that looked back to a more secure identity in the past, without recourse to the exuberant imperial Neo-baroque style.18 The other building designs that were submitted to Dean of Guild in the same year as the bandstand, including the bowling & tennis pavilion, and ladies WCs, are in the same reassuring conservative style.
3.7 Theatre type bandstands The bandstand represents a shift in bandstand design that was occurring across Britain in the 1920s, from the open platform type, circular or octagonal in plan, to the theatre type. There are numerous examples of theatre type bandstands built in the same period which demonstrate the shift. Simpson, in her 2008 student conservation management plan for the Kelvingrove Park Bandstand, discusses the Ross bandstand, Edinburgh, which survives. She also discusses the Pittencrieff Park band kiosk and band pavilion, Dunfermline, and Baxter Park bandstand, Dundee, both of which have been demolished.19 All three examples were built in the 1920s or 1930s and were of theatre type, with the Ross Bandstand in Edinburgh replacing an octagonal plan iron bandstand of the same name, mirroring the same development at Kelvingrove Park (Figure 27). Historical photographs show the various types of entertainment held at the bandstand, including dancing, theatrical and variety shows, none of which would have been possible in the previous type of structure.20 The architectural style of the Ross Bandstand, built in 1935,21 is however a classical modernist style, more advanced than Kelvingrove Park Bandstand.
This replacement of octagonal bandstands for theatre type bandstands in this period, suggests that there must have been a change in the type of performances, perhaps from musical concerts to more variety type shows. Perhaps it also represents a change in the type of music being played, from robust pre First World War brass band or orchestral light music, to music requiring more sympathetic acoustic conditions, provided by a theatre type bandstand. This need for improved acoustic may also relate to the increase in intrusive traffic noise, with the advent of the internal combustion engine, electric tram and steam lorry, all significantly louder than horse-drawn vehicles.
The seating in the Kelvingrove Park Bandstand amphitheatre is interesting, as the first eight terraces have fixed benches, in the centre area only. The rest of the audience either brought their own folding chairs, or hired them. These folded chairs appear to have been stored under the bandstand, and stacks of them remain. It is not known whether there were different ticket prices for fixed or removable seats.
17 Glendinning, M. et al. A history of Scottish architecture: from the Renaissance to the present day (Edinburgh University Press: 1997 ) 385 18 Glendinning A history of Scottish architecture 386 19 None of Simpson’s sources are disclosed, and the information has not been discovered by the authors of this conservation management plan to be readily available. 20 See SCRAN 21 Simpson, S. MSc. student conservation plan: Conservation plan: Kelvingrove Park bandstand and amphitheatre (unpublished, University of Dundee: 2008) 14
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 23 It is assumed that the Kelvingrove Park Bandstand was used consistently for performances of music and perhaps drama and variety from its opening, and it finally closed due to poor condition in the late 1990s. It was clearly a popular venue, and photographs show sizable audiences in the amphitheatre. However, one of the most interesting roles that the bandstand played in more recent times, was as a termination point for political marches and demonstrations, notably including anti poll tax demonstrations in the early 1990s. Since the closing of the bandstand, the campaign to return it to use has primarily been led by the Friends of Kelvingrove Park with the support of contemporary popular music groups such as Franz Ferdinand and Belle and Sebastian.
Figure 27 1952 view of the Ross Bandstand, Edinburgh, built from 1936 ©Newsquest (Herald & Times). Licensor www.scran.ac.uk.
At the time of writing, Glasgow Building Preservation Trust in partnership with Glasgow City Council, Glasgow Life and the local community, is taking forward a development proposal to repair and upgrade the building and it is hoped that a viable economic model for the future of the bandstand will be realised.
24 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 4.0 THE BANDSTAND & AMPHITHEATRE IN 2011 4.1 Description of the bandstand The bandstand is a nominally Glasgow School Arts & Crafts building. It has a tiled roof with tiled ridges, harled walls above a brick base. At the centre of the ridge is a large ventilator with sloping sides, a domed roof and a Victorian pattern iron finial. The size and appearance of this ventilator is possibly largely decorative.
The building is set at the base of an amphitheatre of shallow steps. The lower steps have benches with timber slatted upper sides and three iron brackets each.
The building faces the amphitheatre with its open side facing west. To the east, the building backs onto the River Kelvin. There is a path between the building and the river. There are also three trees which are taller than the surrounding trees and may have been planted immediately behind the bandstand to provide its context. The river plays an important part in the view of the bandstand and would have been part of the open air parkland quality of the experience of watching music when the bandstand was designed. The design is a balance of focus on the performers and on the stage part of the bandstand, focus on the bandstand itself as a relatively small building within Kelvingrove Park and the way that the attention of the audience could be drawn to other elements of the park including the trees, parkland context and the River Kelvin.
When seen from the west the bandstand occupies about one third of the view eastwards from the auditorium. The spaces to the north and south in this view are towards trees and the River Kelvin. These open spaces are an important part of the design and an integrated approach is important to this restoration and reinstatement. It seems that the bandstand was intended to have larger trees immediately behind it but more open areas for the audience to watch the river and the north and south of the bandstand.
The bandstand has a cross shaped plan comprising a main block running north- south, with projections to the east and west. The main block has an open side facing the auditorium to the west forming the west arm of the cross. A canopy with a low pitched roof extends out over the stage. To the east it is a narrower projection than the stage. This eastern block is set with its roof at a lower level and is not visible from the auditorium. The building is clearly intended to be seen from the west and it is the west side, including the stage, which is most significant.
The design of the rest of the building, apart from the stage, is consistent and is well detailed. This consistency of design was probably considered necessary because the building can be seen from other parts of the park in the context of the river and paths.
The stage area roof is projected out on metal brackets. The part that cuts into the central north-south running block has chamfered sides and a curved boarded ceiling presumably to help project sound out into the auditorium. The stage had a shallow rake. Along the front line of the building is a wide arch with ionic columns at either end. On this line, the stage is supported by a rail on three brick piers. These brick piers are not intended to be seen. The iron rail supports the front end of timbers. These timbers are not continuous with the timbers further west. The difference in
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 25 these timbers suggests that the western part of the stage has been rebuilt. The front edge of the stage is built of modern brick which is different in size and finish to the original brick plinth around the base of the building.
Around the back of the stage, the walls are boarded vertically in timber up to a moulded dado. There were windows between the dado and the cornice which lit the dressing rooms. Above the cornice, there is a coomb boarded horizontally, which was designed to project sound from the stage into the amphitheatre.
The remainder of the building is elegantly designed with a cornice formed by the cast-iron profiled gutter. This sits at the front edge of an extended boarded eaves articulated by moulded timber brackets. There is a frieze course of a terracotta moulded cornice and one row of bricks below it. The main wall is a harled with the harl brought to a smooth edge at the windows and corner bands. There is a tall plinth course of brick which is red brick and has been painted a different red colour relatively recently. Below the paint layer, this brick is the same colour as the lower part of the cornice below the frieze.
To the east side of the building, the lower frieze band is taken up over the edge of the windows which have brick voussoirs. The window joinery is painted red which may be the original colour, and should be investigated. At plinth level there are openings both on the east side of the main block and also on the north and south sides of the block that projects eastwards towards the river.
This east block has been designed with some care so that it looks good from the path next to the river. At the head of the half timbered gable, is a terracotta finial above the moulding on the bargeboard. Some parts of this moulding are missing and should be reinstated. There is various evidence for earlier colours on this bargeboard which is very unlikely to have been white as it is now. Some dark greens and red are evident. The original colours should be researched. These same colours are likely to have been taken over the "timber" elements of the half timbered gable with the panels between probably being a lighter colour such as off-white or grey.
The main part of the wall below has a wide doorway, between the ground and principal storey of the bandstand, flanked by two window openings. This is a half- level door which opens onto the half landing of the bifurcating stair within. This was intended for the loading and unloading of large items like instruments and scenery from the back of a vehicle. The flanking windows have the same hood mould detail as the windows on the main block but they are brought down to label stops because they do not continue the frieze band. The joinery should be repaired, restored and repainted according to its original colours.
It is probable that the render was painted from the start. The off-white/grey colour used on this side and surviving above the windows may be close to the original colour. It is likely to be closer to the original colour than the white used on the more accessible parts further down. The brickwork has been painted other colours than red, including a blue. It is probable that this brickwork was originally left unpainted and similar to the brickwork of the voussoirs and label stops.
26 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 4.2 Condition assessment of the bandstand The building is in very poor condition and a comprehensive scheme of conservation works will be needed.
These works will include overhauling and repainting the iron finial following paint research to determine the original colour. The ventilator flèche is largely decorative and it should be treated as a decorative feature although it might be possible to conduct the extracts for soil vent pipes or extract fans from toilets into this ventilator. The original detailing of the roof dome should be determined. This is likely to have been of a material such as lead or copper. Both can be subject to theft in non-domestic buildings and so a material which is long lasting and has a similar appearance would be appropriate. A material which looks better than the current black felt is needed and it should include the details associated with lead and copper, such as welts on a copper roof or lead roof which articulate the shape of the dome. The upper edge of the rectangular or square plan part of the ventilator flèche should be investigated in detail. It is possible that this originally had a moulded profile which has been lost during later repairs. The ventilator is clad with lead. The lead may be serviceable once paint has been removed. Repair in situ to this lead is preferable to wholesale replacement.
The entire tiled roof will need to be stripped so that comprehensive repairs can be made to the sarking and structure of the roof. There should be a preference towards fitting new rafter timbers, next to the original ones and bolting between them rather than wholesale replacement. It is likely that most of the timber wallplate will need to be renewed. It is also likely that the substrate for the tiles - which is probably timber sarking - will need to be renewed. The ridge tiles should be salvaged. For the most part they look intact. They should be reinstated with an alternate "buck and doe" arrangement which has been disrupted in a fairly recent repair immediately north of the ventilator. Most of the ridge tiles appear to be intact but if any are cracked they should be fitted together using a resin. This is preferable to replacement.
It is hoped that a sufficient number of the original tiles can be salvaged to allow at least some of the pitches to be retiled using the existing tiles. The preference would be to retile using original tiles on the main west facing pitch with the north and south hipped ends being the next choice. The original details at the hip was for mitred hips with lead soakers. The detail used in the repair at the south west corner is incorrect and should not be used as a source for reinstatement design.
The shortfall of tiles on the other pitches should be made up of red tiles to match the original colour and size of the existing tiles as closely as possible.
The roof over the canopy was probably a sheeted metal such as copper or lead. It should be replaced either in the original material or with a long-lasting membrane which has the appearance of copper or lead. The large loud speaker horns should be retained.
The flashings around the ventilator and in the pitched valleys where the eastern block meets the main block should be made in lead. The pitched valleys should be made in lead to Lead Contractors' Association standard detailing.
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 27 The gutters are profiled cast iron. This is a fairly standard profile and it should be possible to match it. An accurate match for this profile is important. Each of the gutters can be taken down at the time the roof is stripped. Where possible, lengths of original gutter should be salvaged and reused. An accurate match should be made for missing lengths. The surviving gutters could be used at the base of the pitches where the original tiles have been salvaged with new gutters cast to the same profile on the other pitches. The pitches to the north and south of the east block have had profiled gutters fitted to the eaves boards and these probably matched the profile of the gutters surviving elsewhere.
The walls should have existing paint removed. The render should be repaired where it is cracked. Timber soffits should be repaired where timber has decayed. Paint should be removed from the brick at the base. The stage and walls around it including the boarded ceiling should all be repaired. An alternative solution should be found for the brick front to the stage which is poor quality and detracts from the overall appearance of the building. Steps or ramps might be appropriate here. The history of the colours should be investigated and all colours should be reinstated, according to this research. It is possible that the colours on the columns and brackets on the stage side of the building were different to other colours on the building. Signs should be removed. External joinery should be repaired and painted the original colour. All external pipes for rainwater should be cast iron and painted same colour as the rest of the external metal work.
4.3 The amphitheatre There are various figures quoted for the seating capacity of the amphitheatre, but 2500 seem to be the most commonly quoted figure. The amphitheatre is made from 31 steps. The steps are cast concrete, roughly square in section, about 250 mm high and 300mm deep. The steps return at the eastern end to form much steeper stairs. At this point there is no space for benches of chairs. Between each concrete band and the rise to the step above is a c.650mm band of ground which is now mossy but might originally have been red gravel.
There are three principal aisle paths, one on the centre line. The aisles are formed by concrete poured into the gaps between the step and the riser behind. They are about a metre wide. The position of the existing aisles is important because they connect with gates in the railings. It is important to maintain the cohesion of the design of the whole amphitheatre, and so more aisles could be added and they all might need to be altered to meet modern regulations.
The steps are not in particularly good condition. They have been repaired in many different campaigns but also are cracked and many have lost their surface. The need for repair depends on the eventual use of the building. It might be wise to concentrate repairs only on the central axial path to the west bandstand or on this path and the two diagonal paths. The significance of the auditorium is in its layout and relationship to the bandstand and the land behind it. As long as this is legible then it does not really matter too much about the actual condition of the full length of each concrete step. They need to be safe where the public use them. Concrete can be patched or remade to the same profile.
28 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan Benches for the audience are on the lowest eight tiers only. They are each made of four timber slats and about 2.5m long set on timber blocks fitted to the head of three iron brackets per bench. Each bracket is the shape of an upside down horseshoe so that each bench has six points of support. It is worth repairing and retaining the benches as a record of the way that the auditorium was used. The surviving benches are in fairly poor condition but are relatively easy to repair. Missing slats of the timber seat should be reinstated and the iron supports should be wire-brush repainted. If possible, some treatment should be applied to the slats to discourage lichen growth.
4.4 The pay-boxes The brick pay-boxes are a rebuilding of earlier booths on this site. The original 1925 pay boxes on the west side facing Kelvin Way were demolished probably in the 1970s and rebuilt using a modern brick of poor appearance. The carved masonry hood moulds and label stops were salvaged and have been recycled from the original pay boxes but, unfortunately, they have been used in a way which does not understand the original design. The label stops are in the wrong relationship with the hood moulds. The roof design has not been replicated and the current pay boxes simply have monopitch roofs.
The condition of the pay boxes is fair, but they are of poor appearance because they have been reconstructed in an unattractive brick, lacking the finesse of the original designs. The ogee roof profiles, topped with finials, were key to the success of the design which advertises the presence of the bandstand towards Kelvin Way. However, these were not reconstructed in the rebuilding and the pay boxes are no longer good pieces of architectural design. The roofs should be rebuilt and the external walls could be plastered to conceal the poor quality brick work.
4.5 The gates and railings The auditorium is surrounded by a hedge and a fence. The fence seems to have been in position from the start. There are gates and gaps in the hedge leading to an access path down the steps of the auditorium at 45 degrees to the stage. The main gate, however, is due west of the bandstand. There are two modern booths on either side of an elegant pair of Glasgow School iron gates.
The gates are a good quality design. The current arrangement between two ticket booths is the original one. The gates are currently painted black but have been painted green in the past. A full colour sample analysis is needed both to the gates and all the surrounding railings and some understanding of the livery colour of the painting on the gates and railings throughout the park is needed. The centre of the central pier and some horizontal members have been fitted which should be removed since they are not part of the original design. The central pier is built as a rectangular cage in plan. This is probably so that the gates could stand open at 90 degrees when opening eastwards. In their current arrangement they have been opened outwards to the west.
Significant repairs are required where vertical standards have eroded through. The gate should be taken to a workshop, overhauled, the most significant rust removed
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 29 and all iron surfaces repainted. It is not necessary to replace all of the elements that have been lost by rusting. It is, however, important to complete the design of the gates to include all of the lines of standards where they run through vertically.
The handrail inside the gate is not original. It need not be retained. At the head of the amphitheatre is a single cast iron post with fluted cornice and stop chamfered sides. This free-standing post matches the gate and corner posts in the railings surrounding the amphitheatre. This indicates that these railings have been part of the amphitheatre since it was completed in 1925. There are fixing points possibly for further gates to either side of the central post and it is possible that there were double gates on either side of this central post between it and the railings.
The finials of the railing standards appear to have been cut off, but this design is suggested on the original design drawing. At the gates to the north west and south west sides of the amphitheatre the gate piers are the same, the gates match the railing but have Glasgow School art nouveau style finials on the meeting stiles.
The north western gate is in poor condition and needs to be overhauled particularly at the hinges to the southern of the two gates.
To the north and south of the bandstand the same railing design continues. There are gates at the south east and north east corner with the same pier and gate detailing. Many of the standards within the western of the two gates are missing and should be reinstated. There are wider gates set at the midpoint of the lengths of railings to the north and south of the bandstand. The detail of the piers and meeting standards is the same as the other gates. In the run of railings to the south of the bandstand there are a number of missing standards which should be reinstated and also a number of standards which are bent out of shape which should be overhauled. The railings on the north side of the bandstand are in slightly better condition but still require a full overhaul.
30 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 5.0 ASSESSMENT OF SIGNIFICANCE 5.1 Introduction The Burra Charter provides the following definition of cultural significance: ‘Cultural Significance means aesthetic, historic, scientific, social or spiritual value for past, present or future generations. Cultural significance is embodied in the place itself, its fabric, setting, use, associations, meanings, records, related places and related objects.’ The following assessment of the heritage value of the Kelvingrove Park Bandstand and Amphitheatre is based upon an analysis and understanding of the historical development of the site, including the tangible documentary and physical evidence, as well as intangible historical, and social associations. The assessment of significance establishes the importance of the bandstand as a place of cultural heritage. In order to establish parameters for appropriate and sensitive ongoing use of the building and site, whilst respecting the historic fabric, the grading of significance will help to identify key elements of the building, as well as those which may be of an intrusive nature – that is, those that adversely impact upon the appreciation of elements of greater significance and should be removed or changed. Each element of the building and the site overall has been graded according to its significance as an individual item within the overall context of the site. This information informs policies, or guidelines, which should to be met to ensure that in any future changes to the building, appropriate respect is paid to the site and its components.
5.2 Social Significance Social value represents the strong or special association of the site with a recognisable community or cultural group for social, spiritual or cultural reasons. Undoubtedly the bandstand is most significant for its social associations. The history of the use of the bandstand means that many people have been in the audience at performances and political meetings, and the history of the bandstand’s closure in the last ten years has caused local and regional groups of people to champion the cause of its revival. The bandstand and amphitheatre have great significance as a social landmark in the West End, the city of Glasgow as a whole, and reaching wider into the towns and countryside that surround the city. Before the closure of the bandstand in the late 1990s, audiences came from well beyond the boundaries of the city to attend events. The evidence of the annual Glasgow Doors Open Day is that the bandstand remains a site of great interest for the public. Additionally, the fact that the bandstand is a well known and liked venue for performances in the largest city in Scotland increases its social significance. It was one of the focuses of Glasgow’s rich cultural life, and one of the major attractions of Kelvingrove Park itself. This focus would be recovered with its repair and reuse. Politically, the bandstand has been the termination point of many political marches, rallies and demonstrations throughout the twentieth century, including in recent times the Campaign for Nuclear Disarmament (CND), and the Anti-Poll Tax Marches led by Tommy Sheridan. The bandstand was a natural termination point for these
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 31 marches as it provided a good venue for speeches. Since the closure of the bandstand, temporary stages have been needed in Kelvingrove Park. The decline and closure of the bandstand, and the various attempts to return it to use in the last twenty years has become a rallying call to several groups of people in the city. The Friends of Kelvingrove Park have championed its restoration and maintained their energy. The cause for restoration has become an emotive issue, and passionate desires have been expressed in support of particular models of future use and restoration. The cause of the bandstand has appeared in the local and national press on several occasions and this shows the strength of feeling associated with its restoration.
5.3 Architectural, Aesthetic and Artistic Significance The importance of the site in terms of its contribution to an understanding of the architectural development of the site and broader context locally, regionally, nationally or internationally. Aesthetic value includes aspects of sensory perception such as consideration of the form, scale, colour, texture and material of the fabric; the smells and sounds associated with the character of the place and its use.
The bandstand and amphitheatre are a pleasing example of a once ubiquitous type of park architecture, which has largely vanished from public parks in Scotland. Of the theatre type of bandstand, few examples survive, though admittedly a limited number were ever built. The colour scheme of the building, its ironwork, masonry details and the half timbered gable all constitute the architectural character of this building and are significant when taken as a whole. The purely architectural qualities of the bandstand are of only moderate significance compared with the value of the bandstand in the context of the landscape, including the physical setting in the natural topography of the riverbank, and the landscaped amphitheatre. The demolition of all of the pay boxes and the poor-quality rebuilding of the pair on Kelvin Way, has diminished this architectural significance, but some of this significance could be recovered. The trees, shrubbery and general planting are all integral to this setting. However, all of the these elements need to be managed better in the future and there may need to be some removal and replacement, for example the three trees to the east may need to be heavily pruned or removed and replanted. The amphitheatre itself, its railings and gates also contribute to the landscape setting of the bandstand, and its significance. The setting itself is aesthetically very pleasant, with the eastern backdrop of the River Kelvin, and the rest of Kelvingrove Park, rising up Woodlands Hill to the houses on Park Terrace. The passage of the sun during the course of a day changes the way that this long view appears and it is especially attractive late in the day, lit by the setting sun in the west. These views from within the amphitheatre into the landscape, are as important as the views of the bandstand from the landscape. The view of the block of toilets to the north is particularly prominent from the amphitheatre and negatively affects the significance of the site. The building of the bandstand is also important in the history and development of Kelvingrove Park, as it is clearly part of a programme of investment and improvement of public facilities in the mid 1920s. The evolution of the park
32 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan following the three Glasgow exhibitions, the last in 1911, is also significant, as it seems to have determined the location of the new bandstand and amphitheatre. The Inventory of designed landscapes and gardens states that the combination of the buildings and statues with the landscape across Kelvingrove Park, make it of outstanding importance architecturally. Furthermore, the inventory states that the park has outstanding scenic qualities, partly due to the views from within the park, and outstanding as a work of art, with all of the previous elements combined.22 The bandstand and amphitheatre are part of this characterisation of the park, and many of the aesthetic qualities of the park, apply to the bandstand itself.
5.4 Historical Significance Historical significance encompasses the importance of the relationship of a site to the evolving pattern of our cultural or natural history, or has a strong or special association with the life or works of a person, or group of persons, of importance in our cultural or natural history. A site may have historical value because it has influenced, or has been influenced by, a historical figure, event, phase or activity, or as the site of an important event. For any given place the significance will be greater where evidence of the association or event survives in situ, or where the setting is substantially intact, than where it has been changed or evidence does not survive. However, some events or associations may be so important that the place retains significance regardless of subsequent treatment.
As the building type is evidence of a transition in the type of entertainment popular at the time, it has some historical significance. There was clearly a change after the First World War in public entertainments, which rendered the old style bandstands largely obsolete, and required the building of new theatre type bandstands. The bandstand may also be understood as a reflection of post war values. Particularly for Glasgow, the loss of imperial confidence in the city can perhaps be interpreted in the conservative style of the building. Historically, the bandstand may be significant, because it was the venue for performances by notable musicians or performers. The use of the bandstand as the termination of political marches has also meant that important people in local and national politics have appeared at the bandstand. Both of these aspects of historical significance need further research to fully understand their contribution to the overall significance of the building.
5.5 Archaeological Significance
The Inventory of gardens and designed landscapes states that there is no known archaeological significance of the site.23
22 Historic Scotland The inventory of gardens and designed landscapes 23 Historic Scotland The inventory of gardens and designed landscapes
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 33 5.6 Summary Statement of Significance
This conservation management plan has examined the historical development of the building and has determined that the building is of considerable overall significance and should be respected for its social, architectural and historical associations. The bandstand and amphitheatre are most significant for their social associations. In their 87 year history, thousands of people have sat in the audience for performances. Many more visitors to the surrounding park have seen the bandstand and amphitheatre, and its setting and location have enhanced their experience. In social historical terms, it is highly significant that the bandstand and amphitheatre have hosted political rallies, especially CND and Anti-Poll Tax Marches. It is also of significance that following the closure of the facility, local groups galvanised in support of its return to use. Aesthetically, the bandstand and amphitheatre are most significant for their setting in the landscape. The way the bandstand and amphitheatre are set into the rise of the bank of the River Kelvin is particularly attractive and contributes to the aesthetic appeal of the park. This includes views into the bandstand from the park, and views from the amphitheatre, into the park. The bandstand and amphitheatre are a good example of a charming conservative style of architecture that increased after the First World War, once ubiquitous in municipal settings across the United Kingdom, and now largely disappeared. Therefore, it is an example of a type of building that is becoming rare. Additionally, it is a largely intact example, especially in its boundary hedges, fences and gates. Historically, the bandstand is significant as a signifier of changing habits exacerbated by the effects of the First World War, as performances by bands in traditional band- stands seems to have become less popular. This is why the mid-1920s bandstand, which replaced the earlier cast-iron structure, was a more multi-purpose facility with dressing rooms and a proscenium-type stage, to accommodate different types of performance, not just concerts by bands. It is likely that additional socio-historical research will reveal performances by significant artists in the history of the bandstand.
34 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 6.0 GRADING OF SIGNIFICANCE 6.1 Introduction The various elements of the building have been assessed and graded to assist with the future conservation and management of the site and its elements. Grading of the individual elements of a site is based on the contribution each element makes to each component of significance, (i.e. historic, archaeological, architectural and aesthetic, landscape, social and spiritual etc) whether it be at a local (Glasgow), regional (Scotland), national (United Kingdom) or international level.
6.2 Elements of Outstanding Significance A building or element of international importance, or a fine, intact (or little altered) example of a particular period, style or type that embodies the importance of the building or site overall.
6.3 Elements of Considerable Significance A building or element of national (Scotland or United Kingdom) importance, or a good example of a particular period, style or type with a high degree of intact original fabric that contributes substantially to the importance of the building or site overall.
6.4 Elements of Moderate Significance A building or element of local (Glasgow) importance, or an element that contributes to, but is not a key element to the importance of the building or site overall.
6.5 Neutral Elements An element which neither contributes, nor detracts from the importance of the building or site overall.
6.6 Negative Elements A building or element which detracts from the overall significance of the building or site overall.
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 35
Figure 28 Significance plan.
36 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan
Figure 29 Significance plan of the amphitheatre.
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 37
Figure 30 View looking north east across the auditorium during an anti Poll Tax rally in the 1980s. This shows that even with the auditorium full, the WCs block is very conspicuous.
38 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 7.0 RISKS & OPPORTUNITIES 7.1 Introduction Following the historical analysis and identification of the cultural significance of the Kelvingrove Bandstand and amphitheatre and their elements and setting, this section assesses the particular issues, problems and sensitivities that affect the site. In summary, they have been identified as follows: • Conservation and the Existing Fabric • Maintenance • Use • Statutory & Non-Statutory Constraints • Safety, Vandalism & Security • Public & Disabled Access • Management • New Work & Alterations • Setting & Boundaries • Effects on the Environment & Climate Change • Interpretation & Understanding • Management of Information Policies that respond to this assessment of risks and opportunities are identified and discussed in section 8.0 following. 7.2 Conservation and the Existing Fabric Kelvingrove Bandstand and amphitheatre are category B listed and recognised as important buildings on a more than local/regional level. There is now an excellent opportunity to conserve and maintain the existing fabric in order to enhance a valuable heritage asset in Glasgow. It is important to retain the overall significance of the buildings during any proposed work on the site. However, it is recognised that some changes will be required to the bandstand and amphitheatre to enable them to meet modern equality regulations and the needs of performers. These changes will largely be to the interior and back- stage areas, but as these have been identified as being of neutral significance, as they are in very poor condition at present, there is low risk that significance will be affected by sensitive alteration. The significance of the amphitheatre has been identified as moderate. Much of this derives from its siting, overall form and relationship to the bandstand itself, and not from the details. Provided these remain relatively unaltered, the amphitheatre can sustain some modifications. Extensions to the building present a risk to its significance. The most significant part of the bandstand is its location in the landscape. If insensitively designed, any extensions to the volume of the building could seriously affect this connection and therefore the significance of the whole building and amphitheatre. Generally, the east elevations are less significant than the west, and could sustain small-scale extension. 7.3 Maintenance The bandstand has not been well maintained, and there is a risk that this could happen again in the future. If it and the amphitheatre are repaired, a maintenance plan should be written and adopted. This should take into account future changes in management with the transfer of operations to Glasgow Life. This document will reduce the risk of no maintenance.
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 39 7.4 Use The Kelvingrove Bandstand and amphitheatre are currently derelict and not used. There remains a risk that if a long-term use is not assured with Glasgow City Council, the condition will continue to deteriorate and it will be lost altogether. 7.5 Statutory & Non-Statutory Constraints The Kelvingrove Bandstand and amphitheatre are category B listed. Listing gives a building statutory protection against unauthorised demolition, alteration and extension. Listed Building Consent from Glasgow City Council will be required prior to any programme of conservation and alteration works for the listed buildings. Additionally, Scottish Ministers must be notified of any planned alterations or interventions to listed buildings owned by the Council. Any new building which affects the Park Conservation Area will also require consent. Some otherwise permitted development rights are restricted in conservation areas and require planning permission. Statutory protection is a positive step for the protection of valuable heritage assets. It emphasises the importance of the buildings in a regional and national context. The bandstand is an important building in the centre of Glasgow and it is to continue to be protected with the aim to restore and enhance the building. 7.6 Archaeological Issues Whilst this area is not known to have been developed in earlier times, there is a small risk that archaeological investigations find features that are of greater interest than expected, with a resulting delay in development, and increased costs. Advice from the Glasgow City Council archaeologist and other archaeology professionals will help ensure that the proposed investigations are appropriately planned and this risk mitigated. 7.7 Safety, Vandalism & Security There are no outstanding health and safety issues. The usual precautions taken and legislated for with regards the future building project will apply. There is an ongoing risk of vandalism as with any public building. However there is a greater risk in Kelvingrove Park than in other urban centres, because the building is not on a well-frequented road, or well lit at night. This leaves it particularly vulnerable to vandalism and lead theft. It will be possible to mitigate some of these risks with appropriate protections, however any vandalism that does occur should be dealt with appropriately, with due consideration for minimising impact on the historic fabric. If the building is repaired, it is possible that security will become an issue, but there will be an opportunity to investigate the installation of security systems. During any works to the building, it will be particularly important to ensure that the site is kept secure, with such works often presenting numerous methods of access, for example via scaffolding, temporary access arrangements, and with security mitigated by general disruption and increased activity. Ultimately, the enhanced activity and variety of use of the completed project will help to ensure that the wider area is both more secure and better appreciated. The derelict appearance of the bandstand and amphitheatre do not at present enhance appreciation or instil respect.
40 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 7.8 Public and Disabled Access At present, there is an issue with Equality Act compliant access to both the bandstand and amphitheatre.24 There is an opportunity to increase public access to both, balancing the significance of the fabric, and principles of conservation with equal access. Reasonable alterations to historic fabric will be sufficient. 7.9 Management The bandstand and amphitheatre are currently owned by Glasgow City Council. The entire site will remain in their direct ownership. The asset has not been well managed in recent years because it has fallen out of use and is currently at risk. It is intended that this risk be mitigated with the bandstand and amphitheatre being managed in the future by Glasgow Life whose general vision of service includes improving culture, sport and learning in the city, primarily by publicity, and improved programming at venues. 7.10 New Work & Alterations This study has been commissioned as part of a wider study into opportunities for the development of the bandstand and amphitheatre. Only minor development within the study area is proposed. There is a risk of extensions to the bandstand impacting on the landscape setting of the building, especially affecting the views from the amphitheatre across the River Kelvin, and vice versa. Although this risk is present, it also offers an opportunity to improve the facilities of the bandstand for modern performance. The rear elevations are of lesser significance compared to those facing the amphitheatre. There is therefore the opportunity to create an extension or extensions that improve the asset, if carefully and appropriately designed. Bringing the facilities up to date will be attractive to users and help to ensure the long term future for the building. There is also an opportunity to improve the toilet block to the north, but the associated risk is that this could compromise the significance of the amphitheatre and bandstand if not designed well. There are also specific opportunities in restoration of the building. Elements that could be reinstated include the brattishing and finials on the roof, and the ironwork on the stage canopy. External paint colours could also be reinstated as suggested on historic photographs and drawings. One of the other opportunities is altering or rebuilding the pay-boxes to improve their appearance, while retaining the historic fabric. Ideally, they should be returned to something approaching the original 1925 design. The interior colour schemes in the bandstand should be investigated and could be restored. 7.11 Setting & Boundaries The setting and boundary of the bandstand and amphitheatre have not changed significantly since they were built. The boundary hedges have grown as have the mid twentieth century trees on the banks of the Kelvin. The only significant alteration to the setting is the toilet block which as previously discussed presents an
24 Equality Act 2010 replaced the Disability Discrimination Act 1995 and amendments. See http://www.legislation.gov.uk/
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 41 opportunity for improvement, especially in the context of the Kelvingrove Park and the Park Conservation Area. 7.12 Effects on the Environment & Climate Change The reuse of the existing buildings retains the energy embodied in their original construction. Any proposed structures should be designed to complement the existing buildings, but also incorporate energy efficient technologies and environmentally sound materials. If the toilet block were to be demolished, there is an opportunity to ensure that building materials, interior fixtures and fixings are salvaged for re-use elsewhere, ensuring that loss of their embodied energy is minimised and material sent to landfill is limited. Climate change, in particular increased rainfall, will continue to cause challenges to the existing library building as water ingress has proven to be the main cause of material failure in the building. In repairing gutters and rainwater goods, the likelihood of increased rainfall should be taken into account in designing replacements. Larger gutters or a greater number of conductor pipes would both help to increase the provision for increased rainfall. 7.13 Interpretation & Understanding There is an opportunity for the site to provide a stronger interpretative role for the local community and visitors, whilst complementing nearby historical attractions. The bandstand could have an interpretation panel which presented the history and importance of the building and site. It is important that this is well designed, because it might be at risk from vandalism and weathering. There is also a risk that the poor location of interpretation on the site could render it useless if it is not easy to find, or detract from the significance of views, and thus location of interpretative material needs to be considered carefully. It is possible that repairing the bandstand may offer the opportunity to provide specialist training in conservation work. Conservation professionals are committed to ongoing training and teaching of students and colleagues during involvement in such projects. 7.14 Management of Information This conservation management plan aims to aid in the conservation, repair and revival of the Kelvingrove Bandstand and Amphitheatre by providing a thorough understanding of the history, significance and issues. The plan is to be adopted by Glasgow City Council and Glasgow Life, the future tenants of the building if applicable, as well as consultants and contractors working on the building. It will be the responsibility of the council or building manager to ensure that the conservation management plan is disseminated to all relevant stakeholders for their information.
42 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 8.0 CONSERVATION ISSUES & POLICIES (AIMS & OBJECTIVES)
8.1 Introduction A project of repair, restoration and sympathetic alteration is being developed for the bandstand and amphitheatre. These recommendations are in the form of guidelines and provide parameters for the nature of such a project. The site is of considerable significance. The key features of this site identified as being of heritage value and significance should be protected and managed through the implementation of appropriate conservation policies based upon recognised good practice. There are a number of reasons for the preservation of a building and its setting. In the cultural context, historical – for the information or evidence of the past embodied in the structure – aesthetic – for its value as a work of design – and social reasons – for the values embodied in both the tangible and intangible attributes, to the local and wider community. Nearly all buildings are built with the intention that they should look well, in addition to being sound and useful. The beauty of a building, or a work of architecture, may depend on the formal qualities of its design. Unlike historical authenticity, which once lost can never be regained, the formal beauty of a work of architecture may be recovered, through restoration and by careful alteration. The aim of this conservation management plan is to inform the conservation, repair and reuse of the Kelvingrove Park Bandstand and Amphitheatre on the basis of good conservation practice. This section of the conservation management plan establishes policies to guide the care of the site as a whole based on previously discussed issues in this report. The policies aim to inform the management and use of the building in accordance with its assessed level of significance. Adoption and implementation of the policies by the managers, designers, conservators, specialist contractors, architects and end users of the building will enable the retention and enhancement of significance of the building for the future.
8.2 Conservation A firm resolution to act in a conservation-led way must be taken from the beginning to ensure the principles of ‘informed conservation’ are key elements of its future. These base policies should encourage the protection and enhancement of the significant elements of the site and the reduction of risk to important fabric and character within the building. Policy 1 – Strategy A clear strategy for the use, conservation and management of the site should be established as a framework for the making of individual decisions
Policy 2 – Resolution A conservation-led approach to the future repair, conservation and management of the building should be adopted by all interested parties, based on an understanding of its significance.
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 43 Policy 3 – Vision Through active and informed conservation, enhancement and interpretation, Kelvingrove Park Bandstand and Amphitheatre should be put back into use as an outdoor entertainments venue. It should regain its rile as a focal point in the revived Kelvingrove Park.
8.3 Conservation and the Existing Fabric
Policy 4 – Work of Considerable Significance Works of considerable significance should be retained, repaired and restored. These parts of the building may be changed, with care, to make them suitable for a new use. However, alterations must be considered on a case by case basis to determine the appropriateness of the proposal and the need for mitigation.
Policy 5 – Work of Moderate Significance While there should be a general presumption against change, areas of lesser significance should be regarded as being capable of being altered, providing such alteration can be justified and providing it is planned and executed with appropriate consideration, skill and care.
Policy 6 – Neutral Elements Elements of neutral significance may be altered for good reason, subject to appropriate consideration, skill and care.
Policy 7 – Negative Elements Negative elements detract from the heritage value of the building and should be removed as the opportunity arises and the original layout and fabric made good as far as possible. The significance of Kelvingrove Park Bandstand and Amphitheatre should not be put at risk and good conservation principles should be followed when considering alterations. Conservation principles for works to historic fabric should be sufficiently flexible to achieve an appropriate balance between the need to protect the significance of the building and the need for it to live, be used and ‘earn its keep’. Policy 8 – Conservation Principles i. In general, all work should be carried out in accordance with the British Standard Guide to the Principles of Conservation of Historic Buildings BS7913:1998. The definitions of terms used in this conservation management plan are those set out in BS7913. ii. Minimum intervention – No change should be effected without proper consideration, justification and good reason. iii. Repair should be preferred to replacement. iv. Repair should use like-for-like techniques and materials. Materials should be salvaged and re-used where possible. v. Priority should be given to maintaining and enhancing the integrity of the historic fabric over other regulations and requirements.
44 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan vi. New work should not be intrusive, and should be of the highest quality in terms of design, material and workmanship, whether it is in matching or contrasting style. vii. Adequate historical research, investigative opening-up, recording and sampling should be carried out before and during work (as necessary) to inform good design and technical solutions. viii. The design of repair works should be undertaken with a thorough knowledge of traditional construction history and practice. ix. Repair work should be designed to be carried out safely and consideration should be given to safety issues arising from the continued maintenance of the building. x. It is essential that conservation work is carried out by experienced tradespeople. The work should be designed, specified and inspected by a suitably experienced architect. A large part of the success of any project is in the understanding of the task and sharing of experience between all professionals and all the tradespeople involved. xi. Whether in repair, restoration or alteration, new work should not draw attention unnecessarily, but should be identifiable to a discerning eye. xii. Particular attention should be paid to matters of detail to help preserve and enhance fabric and character including, for example, specific choice of materials, detailed location of services, methods of fixing, etc. xiii. Fabric or spaces to be altered or removed should be adequately recorded before works, following relevant guidelines and the record lodged with an appropriate public archive, such as the RCAHMS. xiv. Detailed design development should precede implementation of all on-site works. xv. Any compromises proposed to the above principles should flow from an options analysis and should be fully justified and agreed by all interested parties. Harm could result from differing approaches or standards in different parts of the building, such as changes in appearance or character. A holistic approach is important. Reference should also be made to the findings of the condition inspections. 8.3.1 The Architecture of the exterior As part of the assessment of the appearance of the building, it should be noted that this is a single period building. There is a reasonable understanding of the aesthetic intention behind the building. There is no important subsequent phase of alterations, and this building looked its best soon after completion. Policy 9 – Intactness & composition Kelvingrove Park Bandstand and Amphitheatre should be considered as a whole, including all building components and the context of the building. This will ensure that component elements and spaces, and the relationships between them, are protected and enhanced where possible. There is some evidence that the rendered parts of the walls were painted, and it is possible to make a conservation argument to reinstate this colouring both over original render and render repairs.
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 45 This work should be carried out with considerable care, according to careful paint sampling and specifying materials and techniques that are reversible. The original colour on exterior windows and doors should be researched. Colours should be reinstated during repair and alteration works. Policy 10 – Exterior Restoration Restoration may be appropriate where there is sufficient evidence. Any repair and restoration of missing elements should be based on detailed examination of the relevant parts of the existing structure and information in archival sources. The specification of materials in building restoration should match the existing in terms of quality, materials, colour, and finishes.
8.3.2 Replacement Elements Replacement elements should match as closely as possible the original element in that position. Care should be taken in considering whether such elements should be replaced to match the change in specification. There is a balance to be struck here. It is considered good conservation practice to match existing materials like for like on a very local basis within a building. However, it could also be considered that all interventions during a major period of repair should be to a single specification which would aid understanding for the specification of further repair projects in the future. In areas for render repair the earliest form of render on that surface should be replicated. Policy 11 – Replacement Elements Replacement of external materials should be on a like for like basis to match the evidence of the specific materials that are being replaced.
8.3.3 Missing Elements Some elements are clearly missing from the exterior of the building. The physical inspection has suggested other elements which might be missing. Policy 12 – Reinstatement of Missing Elements The elements which should be reinstated to the exterior are: i. Cornice to the ventilator ii. Louvers to the ventilator iii. Original roof hip detail (altered at the south west corner) iv. Decorative iron cresting on stage canopy v. Timbers on benches vi. pay-boxes on Kelvin Way
8.3.4 Roofs & Gutters The roofs are tiled with red tiles rising to a tile ridge. This is probably the original material even though it is different to the material described on the original
46 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan proposals/design drawings. It was also intended to have metal crested ridging but this appears to have not been carried out. The detailing at the hips is intended to be as neat and crisp as possible. It uses lead soakers to protect the joints where the tiles meet. This original detail has not been followed in the repair to the south west hip of the main block. Policy 13 – Roofs The roofs should be repaired so that they have their presumed original appearance of red tiles with red ridges. The hips should be mitred over lead soakers. Rainwater goods should follow the original pattern. Junction details should be upgraded to current standards. It is likely that the existing roof will be stripped and re-tiled. A percentage of original tiles will be capable of re-use. In general, the original tiles should be used on the most significant sides, facing west as the highest priority, and on the north and south hips as the second priority. There will be a difference between tiles which have been weathered and have been salvaged through re-use and new tiles which have been chosen to match the original rather than the weathered colour. This will give the roofs a patchy appearance. This is unfortunate but is a result of correct conservation practice. Generally roof tiles will weather so that the difference between old and new tiles is less stark over a period of about 10 years. The dome and sides of the ventilator were clad with lead. There are lead soakers at the mitred hips. Some lead used at the verge of the east gable. Policy 14 – Lead and Copper Flashings In repair and reinstatement, leadwork and copperwork should be detailed to a standard well established for historic buildings work and maintained by members of the relevant trade association, such as the Lead Contractors Association. This will involve lead flashings at junctions between flat roofs and tiled surfaces. There is a higher than normal risk of lead and copper theft from this building. At the time of writing this conservation management plan lead and copper theft is a common crime in Central Scotland. For this reason it might be necessary to depart from normal conservation advice which would be to replace materials with the original material on the building. Some consideration could be given to long life materials designed to imitate lead, particularly on the ventilator. The soakers under the hips should be code 4 lead because they are held in place by the tiles and will not be visible. The flat roof over the stage is relatively hidden from view because it is low pitch and because the metal decoration should be reinstated to the front edge of the stage. A material could be used on this deck which is longer lasting and looks more like lead than the current felt covering even if it is a substitute for lead.
Policy 15 –Gutters All gutters and downpipes should be overhauled, wirebrushed and repainted. Where existing external ironwork is split or corroded it is appropriate to replace the cast iron elements. These elements will probably need to be specially made to match the existing cross-section profile exactly. It is possible that the original pattern can be found in the archives of one of the firms that still retains traditional casting patterns. Joints should be caulked.
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 47 8.3.5 Windows The arrangement and character of windows is an important element in the architecture of the building. A judgement needs to be made for each window element but, in general, retention of existing fabric is preferable to replacement. Policy 16 – Windows Window frames and original glass should be retained where possible. Original colours should be used for painting external joinery.
8.3.6 Doors The doors are generally a traditional design using a standard late 19th century or Edwardian character, construction and design. Some doors have been lost but should be reinstated according to the design shown on the original design drawings. Inspection was restricted to the exterior joinery at the time of writing this conservation management plan. Policy 17 – Doors Non-original doors to the exterior should be replaced with doors to match the original pattern or the evidence of the design drawing. All external joinery should be painted the original colour as established by microscope paint section analysis. It is possible that a shutter will be needed to protect the stage side from unauthorised access. The design and detailing of this shutter will need considerable care. It is important to the west side of the bandstand that the two half arches which mark the transition from flat ceiling to the bandstand and the vaulted ceiling of the area of the orchestra/back of stage should remain visible. The column should also remain visible.
This suggests that a shutter should be on or behind this line. It would be unfortunate if a shutter damaged or distracted from the line of the arched proscenium truss. It might be difficult to hide a shutter behind the arch due to the position of the steelwork which supports the stage ceiling cantilever. The shutter would be less intrusive to the structure if it was made from demountable pieces stored elsewhere, or could be recessed into the walls to the north and the south. The stage itself is less significant than the vault because these materials have been renewed during the life of the building and are in poor condition.
8.3.7 Setting and landscaping The bandstand building is most visible in views from across the River Kelvin to the east. It is seen in the context of trees and parklands.
The landscape of the amphitheatre survives to a sufficient extent to be repaired and restored, and for sensitive alterations based on existing detailing. The most important landscape element is the auditorium to the west of the bandstand, because it is associated with the principal elevation. Landscape elements around the other faces of the building are also significant. Alterations may need to be made to form access for disabled and service access on the east and or west side. Landscaping should be integrated with the design of external lighting.
48 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan The amphitheatre is an oval shape with 31 tiers or steps focused on the west side of the bandstand. Policy 18 – Amphitheatre The amphitheatre is significant and should be repaired. Adaptations should be carefully detailed to be in the spirit of the existing landscape as far as is practical. Although the structure and physical survival of the amphitheatre is important, this policy does not prevent changes. It is most important that the bandstand and amphitheatre find a productive use. It would not be worth preventing or restricting change to the physical nature of the amphitheatre if this restricted the use, flexibility, and financial viability of the bandstand. It would also be important to adapt the amphitheatre to provide access for as much of the amphitheatre area as possible. This will inevitably require changes to the steps. The changes to the steps might involve the introduction of barriers. Barriers and steps should be designed according to the policy for their character and design of interventions.
It should be noted that the amphitheatre may need to meet audience expectations and requirements at the start of the twenty-first century which were not needed in 1925. There might be a need for amplification, sound control, and shelter, for instance. These requirements could have a considerable impact on the amphitheatre. Where there will be a large visual impact on the amphitheatre, such as the provision of a canopy for shelter, there can be no possibility of hiding a shelter discretely within the landscape. To a certain extent, a park is a place where a confident contemporary structure can be provided. In this case, it is probably more likely that a contemporary shelter structure would be successful in visual terms than a structure which attempts to minimise visual impact by blending into its surroundings.
The original seating was at the eastern and lowest part of the amphitheatre only. The seat to the steps behind were portable chairs which could be hired. Some of these chairs survive in storage underneath the stage but are in poor condition. At least one of the folding seats under the bandstand should be overhauled and retained on site as a historical record, and others could be used elsewhere in Kelvingrove Park.
The distinction between fixed and unfixed seating is of interest historically. It has historical and social significance. If further fixed seating is to be fitted it should not follow the design of the current seating but should be clearly of different design so that the extent of original seating can be made clear by interpretation.
Policy 19 – Amphitheatre seating The fixed benches should be retained and repaired.
Policy 20 – Amphitheatre surfaces The concrete steps and paths should be repaired. Other loose concrete material and previous repair should be brushed away where severely damaged. Consider landscape treatment of auditorium associated with proposed use.
Originally the pay boxes were to the north and south of the bandstand. These pay boxes survived until the 1960s. Within two years of the construction of the bandstand, new pay boxes were designed and built next to Kelvin Way due west of
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 49 the bandstand. These were in a different and more elegant design to the original pay boxes. They were built of brick with shallow ogee roofs and baroque finials. They were low structures, presumably only tall enough for someone to collect entrance money whilst seated. These pay boxes have been demolished and rebuilt in the same site but with different materials. Some detail of hood moulding and label stops has been retained and reused in the new building. The rebuilding of the pay boxes is unfortunate because it has been carried out in poor quality materials and has a poor appearance which is not in the spirit or quality of the gates. The current appearance detracts from the overall significance of the site. Policy 21 – Pay-boxes The appearance of the brick pay-boxes should be improved, either by rebuilding them to look like the originals designed in 1925, or altered possibly by rendering the brick and altering the roof shape according to the evidence of the original drawings. In this case, the position of the label stops should be altered to match the position relative to the hood mouldings of the similar detail on the bandstand. If demolished, the original hood mouldings and label stops should be salvaged for reuse in the replacement buildings.
The original gates and railing survive around the amphitheatre. There are various parts where the railings are damaged. The gates to the north and south of the bandstand are a record of the original entrance points to the amphitheatre. The gates and railings to the west have been altered at the time that the new western pay boxes were built in 1925-6. The gates to the west are an elegant late Glasgow School design. Immediately next to most of the railings is a hedge cut to roughly the same height.
Figure 31 The central ironwork post of the Figure 32 The south west gate from Kelvin gates from Kelvin Way. Note green paint Way and the hedge. trace.
50 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan
Figure 33 View from the south of the railings and the hedge to the east of the pay-boxes on Kelvin Way.
Policy 22 – Gates and railings Gates and railings should be wire-brushed, repainted and have the missing parts restored. The north-west gates should be repaired. Original paint colours should be investigated and reinstated, or a similar credible colour, on all metalwork across the site. Glasgow City Council should be consulted regarding compatibility with metalwork colours across Kelvingrove Park. The building has been subject to flooding from the River Kelvin from time to time. This has led to a deterioration of chairs and other materials stored at low level. It is unlikely that flood prevention works can be carried out to protect the building. It is necessary to ensure that the structure at low level is sufficiently robust to withstand damage from flooding. All trees within a conservation area are significant. Trees within a designed landscape or urban park setting are additionally important because they form the structure of the landscape. As well as aesthetic significance, the trees have ecological significance and tree roots can help provide physical support at slopes and riverbanks. Management decisions about trees, including retention and removal, must be carefully judged according to a number of considerations. These considerations include; . What is the significance of the tree, or group of trees, relative to other trees within the landscape? . How does the tree contribute to the current character of the setting of the bandstand? . How does the tree relate to the various phases of history of Kelvingrove Park - the first phase of mid Victorian character planting, a phase around the
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 51 Edwardian period of the first maturity of Kelvingrove Park, or the later 20th century phase of management by felling and planting? . Is the tree designed to be in this position or self-seeded? . What is the ecological significance of the tree? . Does the tree present a physical threat to a building or feature of significance, for instance by root damage or by leaves blocking gutters? . Does the tree enhance or intrude upon significant views within the park, either towards the bandstand or outwards from the amphitheatre? . Could the loss of the tree be justified given the context of recent loss of trees within the Park Conservation Area? There is a tree management survey for Kelvingrove Park in the Kelvingrove Park Management Plan 2011 – 2016. It identifies trees within the compartment covering the river corridor to the east of Kelvin Way and extending from the Kelvin Way to Eldon St, and comments that the willows are over mature with some, particularly near the bandstand, experiencing scaffold limb failure and crown degradation.25 The recommendations are: Short term (years 1-3) – ‘initiate a crown reduction regime for the declining willows’. Medium (3-10 years) and Long term (10-30 years) – ‘continue reduction regime of willows’
Figure 34 The bandstand viewed from across the River Kelvin 1964. ©Newsquest (Herald & Times). Licensor www.scran.ac.uk.
25 Glasgow City Council, Land & Environmental Services Kelvingrove Park Management Plan 2011 – 2016 (http://www.glasgow.gov.uk/NR/rdonlyres/963DF2B6-7D5B-46A8-9A51- 710713FEE455/0/KGMP.pdf Accessed 7th March 2012) 89
52 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan A design intention which could be interpreted from the character of the buildings now is that the west side of the bandstand was intended to be flanked by views into the landscape to the north and south. The view west from the amphitheatre is divided into thirds with the bandstand occupying the central third. It is possible that the trees immediately to the east of the bandstand are not self-seeded but were planted in order to emphasise or frame the views to the north and south of the bandstand when seen from the amphitheatre. Policy 23 – Landscape and setting The trees in the area between the bandstand and the River Kelvin should be examined by a specialist consultant. The trees were probably planted after the 1964 photograph, and the design intent may have been to create a backdrop to the bandstand, with more open views to either side. This should be repaired and reinstated. The hedges around the amphitheatre should be retained and maintained to existing height.
8.3.8 The Architecture of the Interior Access to interiors was restricted at the time of writing this conservation management plan, due to the asbestos used in the original wall construction. It is understood that the interiors have little remaining fabric and therefore neutral significance.
Figure 35 North dressing room. Page\Park Figure 36 The bifurcating staircase looking down and east at the blocked half-level loading door. Page\Park
The significance of the interiors of the building ranges from moderate to neutral. None of the interiors are as important as the exteriors of the bandstand. In any
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 53 conservation project there will be a need to alter and adapt the interior spaces in order to provide a viable future use to the building which helps to continue the preservation of the most significant aspect. Policy 24 – Interiors The interior can be altered without affecting the overall significance of the site. Alterations to the interior should be recorded before and during the building works.
8.4 Maintenance The building is in very poor condition and it has been sealed off with a fence. The auditorium is open to the public but is not in good condition and has been vandalised. The condition of the building is so poor that urgent works are unlikely to be particularly productive, however, some action could be helpful in allowing the building to dry. The main purpose of urgent work at roof level would be to protect the fabric from immediate leaks. There is some risk of arson and some attempts at starting fires in this building are evident. Policy 25 – Emergency works Urgent work could include clearing out gutters and covering the hole in the south roof pitch of the eastern block, and the hole above the canopy to the stage by fixing down tarpaulins. Clearance of trees and other materials from the roof is required. Within the stage area, removal of saturated timber and other timber which is clearly beyond salvage would allow better ventilation.
It will be essential as part of the ongoing management of the building to develop a maintenance plan for the site. Immediate appropriate repair and ongoing maintenance will arrest and prevent further decay of the building fabric. Policy 26 – Maintenance & Management Plan A maintenance schedule and budget for ongoing maintenance should be established. This should be revised on completion of the project to ensure that it is appropriate for the care of the building in use. A log book and maintenance record should be kept of changes to the structure and of future maintenance to monitor what has been done and when. The purpose of the log book is to encourage regular maintenance. There are a number of actions and issues that should be addressed in the maintenance and management plan. They include the following: The circumstances and works where is it appropriate to seek advice from suitably qualified and experienced professionals. Annual inspections for maintenance and basic maintenance tasks such as checking the roofs for cracked or blistered felt, damaged tiles, checking and clearing guttering, rainwater heads, downpipes, rainwater gullies and gratings. Regular inspection of services by suitably qualified contractors, including electrical, gas, heating, fire and other safety appliances, lightning conductor system and plumbing. Regular repainting as required.
54 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan Minor repairs should be carried out as and when needed. Maintenance and management of any proposed new elements should be included and the plan updated accordingly to include them. Quinquennial inspections should be commissioned. They should be carried out by a conservation accredited surveyor or architect. Establish a detailed list of items to be inspected and maintained and how often these should be done – urgent, annual and long term actions, including exterior and interior of the building, surrounding area and associated landscaping, its fittings and fixtures. Allocate budget and resources and responsibilities for the building between owner, tenant and users to ensure mutual care of the building. At time of writing, a management and maintenance plan had been completed by Page\Park Architects. The project has secured key funding from the Landfill Communities Fund (LCF), and the Regulator ENTRUST, with certain obligations regarding maintenance (see management and maintenance plan). ENTRUST has proposed a lease of 45 years with burdens put on Glasgow City Council’s interest in the property. To satisfy ENTRUST, Glasgow City Council will be obliged to demonstrate that it is paying for the ongoing maintenance of the bandstand. Additionally, the Council should not receive the benefit of any increase in the value of the bandstand when the lease reverts back to them. The overall obligations are as follows: 1. To maintain the property for public use. 2. To report back to ENTRUST when the lease terminates. 3. To provide all supporting information required by ENTRUST in order to enable ENTRUST to determine whether GCC at that date of termination is uniquely benefiting and if it is, the level of that benefit which is repayable by GCC to ENTRUST. 4. An obligation to pay it secured over the property by way of a Standard Security over GCC’s interest in the property. See management and maintenance plan for full details.
8.5 Use Policy 27 - Use An appropriate use and user group for the building should be sought. This new use and user group should be able to secure funding for the conservation, repair and maintenance of the building.
8.6 Statutory & Non-Statutory Constraints 8.6.1 Statutory & Non-Statutory Designations, Policy & Guideline Documents As discussed previously in, Kelvingrove Bandstand and Amphitheatre is category B listed. The listed building report is included in this report at Appendix I.
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 55 The following documents will apply to the site and surrounds and should be consulted during the redevelopment process: Historic Buildings and Ancient Monuments Act 1953 (As Amended, 2011) Town and Country Planning (Scotland) Act 1997 Planning etc (Scotland) Act 2006 Planning (Listed Buildings and Conservation Areas) (Scotland) Act 1997 (As Amended, 2011) Scottish Historic Environment Policy (SHEP) July 2009 Scottish Planning Policy February 2010 Historic Scotland Guidance Note: ‘Managing Change in the Historic Environment BS 7913 Guide to the principles of the conservation of historic buildings Planning Advice Note (PAN) 65 – Planning and Open Space Planning Advice Note (PAN) 78 – Inclusive Design Glasgow City Council – Glasgow City Plan 2 (Adopted December 2009) Glasgow City Council – DG/DES3 Design Guidance for Listed Buildings and Properties in Conservation Areas
Policy 28 - Listed Building Consent Listed building consent must be obtained prior to works being carried out. Although it might not answer specific questions raised as part of a Listed Building Consent applications, the conservation management plan should be used as a tool to assist in this process.
8.6.2 Scottish Planning Policy 23: Planning and the Historic Environment This document applies the provisions of the following pieces of legislation relevant to this site: Planning (Listed Buildings and Conservation Areas) (Scotland) Act 1997; the Ancient Monuments and Archaeological Areas Act, 1979; the Town and Country Planning (Scotland) Act, 1997; and Planning etc (Scotland) Act, 2006. It is an explicit recognition of the need for informed conservation, to understand the significance of historic sites and the potential impacts that any proposed development might have.
8.7 Safety, Vandalism & Security The building is currently in poor condition. Policy 29 – Condition It is important that the building is made safe to facilitate conservation and maintenance works as soon as possible. In making safe the building and carrying out urgent works to stabilise fabric, care must be taken to not damage existing historic fabric in anticipation of conservation and repair works to follow.
Policy 30 – Security The building should be maintained as secure in the short term until work can progress on site. Security of the site should be revised as appropriate during the progress of works and on completion to protect the finished structure and provide
56 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan security to occupants. An appropriate security system will be needed for the completed building.
8.8 Disabled Access At present, there is no disabled access provision to the building or amphitheatre. The listing of a building does not in itself preclude further access improvements. However, where a solution to improve access conflicts with the need to preserve the heritage value of a property, discussions should be held with the local authority. Policy 31 – Physical Access Reasonable adjustments should be made to the bandstand and amphitheatre to enable physical access. The conservation and significance of the bandstand should be considered when designing interventions to improve access for disabled persons.
It is anticipated that access will be needed for performers and for audience members. Access to stage level might need to be provided from the eastern side. It is possible that this will involve changes to ground levels. Careful assessment of the visual impact from the east, across the River Kelvin, should be included in any design proposals.
The front wall below the stage has been rebuilt using bricks which are not as attractive as the original bricks. This provides an opportunity to change this element of the building and possibly to add a form of access to stage level. Access should be clearly an addition to the existing building and should remain visually legibly so. It should not attempt to look like part of the original structure.
8.9 Management Good management of the building and site will be important for the future of the building fabric and as a key feature in Kelvingrove Park. Policy 32 – Management A management strategy must be clearly set out to create an understanding of roles and responsibilities between the owners of the building, managers, tenants and users to ensure the wellbeing of the building for the future.
Policy 33 – Conservation management plan Owners, tenants and users should be aware of the conservation management plan to ensure that the building is managed and maintained according to best conservation practice. This conservation management plan should be a core document to enable the sensitive and appropriate reuse of the site and for its ongoing management.
8.10 Workmanship & Advice Inexperienced or amateur workmanship can cause irreversible damage to historic fabric, no matter how well intentioned. Relevant professional skills that may be employed at the site in the future might include surveyors, structural engineers,
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 57 conservation architects, masons for pointing and harling, roofers, leadworkers, blacksmiths and joiners. Policy 34 – Professional Advice Suitably qualified and experienced professional advice should be employed on a consultancy basis as needed.
Policy 35 – Skilled Workmanship Appropriate professional or craft skills and experience should be used in all work including inspection, maintenance and repairs. All contractors and consultants should have relevant historic environment qualification and experience. Earlier inappropriate repairs and materials should be reversed, providing doing so will not cause further irreversible harm to the significant fabric.
Policy 36 – Advice and the Conservation Management Plan The conservation management plan is designed to provide a framework to inform the future management, use, protection, repair and conservation of the building and it should be adopted by the owner, manager and end users. It is not expected that the conservation management plan could ever be sufficient in detail to provide for every eventuality or answer every question that might arise in the future. It should not be used as a substitute for professional conservation advice. Any professional conservation advice sought should use the conservation management plan as a guide.
8.11 New Work & Alterations Additions and alterations to the exterior of the building might not be required. However, if considered necessary to increase the size of the building, small-scale extensions might be possible on the east elevation set into the internal angles between the main north-south block and the lower block that projects to the east. Extensions to any other elevation or to the roof would not be appropriate. This is for a variety of reasons, such as maintaining the connection of the bandstand with the wider landscape by protecting views from the auditorium to the north and south of the bandstand into the park on the east side of the River Kelvin. Any extensions that compromised views would not be in the best conservation interests of the building. The most significant point in time in the history of the building was when it was originally completed. Alterations that compromise this original design in scale, location or appearance are not in the best interests of the building. There are several qualities about the existing exterior which could influence the design of an extension: . The existing building form comprises a group of simple volumes with gabled and hipped ends. The interplay of rectangles and roof forms is part of the aesthetic of the building. A new building could be considered to the west of the amphitheatre without affecting the significance of the building. New buildings should avoid affecting the outline of the buildings when viewed from the surrounding park. . The predominant material of the existing building is brick and render. The rendered faces to the south east walls were less important than the open west side.
58 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan . Building materials are likely to be the main difference between the existing buildings and new construction. Materials that could be derived from the bandstand building include: . Brick and terracotta band courses. . Painted timber window frames and door frames. . Painted render . Painted metal gutters and down pipes Materials such as concrete tiles, UPVC gutters or windows are all considered to be of too poor quality to be used on this site. A contemporary palette of materials is not excluded but it must be of high quality. The detailing of any new buildings will depend on the material chosen. If the new buildings contain detailing which refers in any way to the mouldings and other architectural form of the existing building, this detail must be handled very carefully. If details are to be repeated as a reference to the existing building, then they should be repeated accurately to avoid the unsatisfactory approximation generally associated with pastiche. Accurate reproduction would include choice of the same timber sections, the same moulding profiles, joint positions and widths and the same colours. Policy 37 – Additions It is possible to add or alter the exterior of the building. Such work has to be carried out with considerable skill and care, and to a high standard of design. Additions are possible on the east elevation of the building exterior, but would not be appropriate on the west elevation. They should be justified in terms that the alterations provide a sustainable future use which protects the parts of the building which have higher, considerable significance. It is possible to design new buildings for the site to the north west of the amphitheatre, in association with the existing public toilets building. New buildings would not compromise the overall significance of the bandstand building or landscape. It is also possible that new buildings could be constructed over the amphitheatre to provide shelter. The design for a new building should be high quality, as is appropriate for the context of a category B listed building in the Park Conservation Area, but need not match the existing bandstand or WCs building in detailing, proportion, massing or materials. Policy 38 – New buildings and structures New buildings should be of high design quality.
Policy 39 – Physical Evidence and Building Recording A photographic survey should be undertaken before and during alterations. A general programme of building recording should be developed in consultation with Historic Scotland, Glasgow City Council and the West of Scotland Archaeology Service, as required. Assessment and recording should be carried out by an experienced archaeologist or buildings historian. The results should be made publicly available i.e. by submission to the RCAHMS.
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 59 8.12 Setting & Boundaries Proposals should seek to improve on the physical and visual connection between the buildings and the surrounding landscape. Policy 40 – Setting The primary west-facing elevation of the bandstand should be respected as a key feature in Kelvingrove Park. An alteration or addition project, situated to the rear of the building, should include the design of new landscaping that would improve the setting and appreciation of the historic building, as well as providing access to the site from the surrounding area.
It is considered that there is low chance of any archaeological deposits in the vicinity of Kelvingrove Park Bandstand and Amphitheatre. Policy 41 – Archaeological Potential Prior to any works proposals for the site, discussion should be undertaken with the Glasgow City Council archaeological service provided by WOSAS, to assess any possible archaeological implications of work within the site.
8.13 Effects on the Environment & Climate Change Conservation and repair work, as well as new construction, will have some potential impact on the environment through choices of materials, design and siting of structures and choice of services for the building. Policy 42 – Environmental Impact All work to the existing building and any new structures should be designed and managed to minimise adverse impact on the environment.
Policy 43 – Maintenance To maintain optimum energy efficiency for the building and any new structures, ensure that all heating and other services are regularly maintained and kept in good working order. Through climate change, it is likely that there will be an increase in rainfall in particular. Policy 44 – Climate Change Design and specification of repairs and new structures should take into account the possibility of increased rainfall and wind, particularly in the detailing of outlets from flat roofs, provision of overflows and the size of rainwater pipes.
8.14 Interpretation & Understanding Interpretation and encouragement of heritage skills training on the site will help those directly involved in the project, as well as users in the future, to understand the conservation and repair project and to appreciate the building and how it has been developed for the community.
60 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan In the first instance, consideration should be given to raising awareness and appreciation of the importance of the building and its significance and current condition. The positioning and design of interpretative material within the site should be considered by the design team. Information contained in the interpretative material should include history of the development of the site and identification of important social history associated with the site. The presentation should be low maintenance, resistant to vandal damage, visually engaging and clearly legible and understandable by people of all reading abilities. Policy 45 – Interpretation An interpretation plan should be commissioned for Kelvingrove Park Bandstand and Amphitheatre to enhance its visitor use once repaired and restored. This study could explore the best ways that the history of the building and the overall conservation and repair project can be presented to the public to improve understanding of the site.
Policy 46 – Heritage Skills Training A heritage skills training programme could be developed as part of the conservation programme for Kelvingrove Park Bandstand and Amphitheatre, to help in the development of local specialist heritage conservation skills. This could include skilled training in joinery, roofing and painting.
8.15 Management of Information Adopting the conservation management plan establishes a formal arrangement and allows policies within the plan to help protect and enhance what is important. It places an onus on all parties to use the plan as a basis for decision making. Policy 47 – Adoption This conservation management plan should be adopted by the proposed end user, Glasgow Life, the owner of the building, Glasgow City Council, and all relevant stakeholders. It should be used to help guide the conservation, use and development of Kelvingrove Park Bandstand and Amphitheatre. This conservation management plan is a dynamic document and it should be reviewed every ten years to maintain its reliability. Policy 48 – Updating the Conservation Management Plan The plan should be updated, preferably by the original author, every ten years or when further information becomes available. Any new material for the project in the future should be kept so that it is accessible with the conservation management plan.
Policy 49 – Archiving & Dissemination A copy of the conservation management plan should be kept on site in a secure, but accessible location for ready reference when required by staff and users. A copy should also be lodged in a suitable public archive, such as the Mitchell Library and the RCAHMS.
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 61 A copy should be made available to all consultants and occupants working on or in the building, now and in the future. A copy could also be maintained for ready access on the owner and/or manager’s website.
A digital copy will be maintained by the author, Simpson & Brown Architects.
Policy 50 – Further Building Research Archival research and consultation has been carried out for this study. More detailed study may be possible if another research source becomes available in the future. If further research is carried out in the future on the Kelvingrove Park Bandstand and Amphitheatre, any new information should be used to inform ongoing management of the building and to update the conservation management plan.
Further research into the social importance of the building is desirable. Aspects of research could include interviews with people who used the building. It could include reference to the bandstand’s role as a termination point for political marches in Glasgow, its role in the history of leisure in Glasgow. It could also be examined in the context of other lost bandstands in Glasgow and other Scottish cities, an exercise that has been attempted partially in previous studies. The conservative inter-war architectural style of the bandstand is also interesting, and could be examined in the context of other buildings of similar conservative design.
62 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan APPENDIX I Listed building report
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 63 64 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan APPENDIX II Glossary
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 65 66 Kelvingrove Park Bandstand and Amphitheatre Conservation management plan
APPENDIX III A3 Drawings
Kelvingrove Park Bandstand and Amphitheatre Conservation management plan 67