1 00:00:00,160 --> 00:00:03,440 Jackie Ogilvie: Underneath, we don't have a lot to show you. It 2 00:00:03,440 --> 00:00:06,740 is the stories. It's the stories that we need to keep telling. 3 00:00:06,800 --> 00:00:10,915 I'm a great believer for history, especially recent 4 00:00:10,915 --> 00:00:14,275 history. We need to keep telling the stories or the stories die. 5 00:00:14,275 --> 00:00:18,760 Yes. So if I can do my wee bit to tell the stories and keep 6 00:00:18,760 --> 00:00:22,620 that continuity going and make sure that people still remember 7 00:00:22,840 --> 00:00:25,480 the greatness of this wonderful city Yeah. I think that's a 8 00:00:25,480 --> 00:00:27,305 privilege for me to be able to do that. Yeah. 9 00:00:27,305 --> 00:00:28,845 Niall Murphy: I can't remember. About that. 10 00:00:28,905 --> 00:00:30,925 Jackie Ogilvie: But it's the story. It's everyone's story. 11 00:00:31,225 --> 00:00:34,105 Other than that, I take you to a car park. I take you down to an 12 00:00:34,105 --> 00:00:37,450 old tunnel. I mean, the building itself is wonderful. 13 00:00:37,590 --> 00:00:40,710 Yep. However, once you go down underneath, it's it's a little 14 00:00:40,710 --> 00:00:43,895 bit less Yep. Yep. Architecturally divine. You you 15 00:00:43,895 --> 00:00:44,135 you 16 00:00:44,135 --> 00:00:46,295 Niall Murphy: you realise that when when you're doing a tour 17 00:00:46,295 --> 00:00:49,515 and it's it's the human stories people connect with. 18 00:00:49,575 --> 00:00:50,075 Jackie Ogilvie: Absolutely. 19 00:00:53,350 --> 00:00:55,910 Niall Murphy: Hello, and welcome to the 3rd series of If 20 00:00:55,910 --> 00:00:59,350 Glasgow's Walls Could Talk . I'm Neil Murphy, director of Glasgow 21 00:00:59,350 --> 00:01:02,885 City Heritage Trust. And for this series, I'm joined by co 22 00:01:02,885 --> 00:01:06,485 host, writer, and editor Fay Young. We're looking forward to 23 00:01:06,485 --> 00:01:10,590 sharing 10 fantastic stories with you. Glasgow's Walls are 24 00:01:10,650 --> 00:01:12,190 endlessly full of stories. 25 00:01:12,410 --> 00:01:16,730 And where better to begin than Glasgow's central station? Right 26 00:01:16,730 --> 00:01:20,455 in the heart of the city, it's the only station in the UK to 27 00:01:20,455 --> 00:01:23,815 run guided tours, and it's revealing more and more of the 28 00:01:23,815 --> 00:01:27,590 social history hidden throughout this wonderful building. We're 29 00:01:27,590 --> 00:01:31,110 about to meet Jackie Ogilvie, one of the very talented guides 30 00:01:31,110 --> 00:01:33,210 who brings these stories to life. 31 00:01:33,430 --> 00:01:36,730 Fay Young: Yes, Neil. And that's an intriguing story in itself. 32 00:01:37,415 --> 00:01:41,095 Jackie spent most of her working life as a banker, but in the 33 00:01:41,095 --> 00:01:43,915 last few years, she's discovered her love for history, 34 00:01:44,455 --> 00:01:48,900 storytelling, and generally unearthing treasures. She's 35 00:01:48,900 --> 00:01:51,940 going to lead us through underground passages down to the 36 00:01:51,940 --> 00:01:56,685 hidden Victorian platform, and on the way, we'll be able to 37 00:01:56,685 --> 00:02:00,605 explore her great personal achievement, the new museum 38 00:02:00,605 --> 00:02:04,930 where she spent a remarkably productive and often very moving 39 00:02:04,990 --> 00:02:09,950 lockdown. But first, let's hand over to Jackie to tell us how 40 00:02:09,950 --> 00:02:10,850 all this began. 41 00:02:11,555 --> 00:02:14,055 Jackie Ogilvie: So the origin of the tour is our man, Paul. 42 00:02:14,115 --> 00:02:14,615 Niall Murphy: Paul. 43 00:02:16,275 --> 00:02:19,255 Jackie Ogilvie: Back in the day, 10 years ago, he wanted to do 44 00:02:19,530 --> 00:02:24,410 tours of the station. Paul is a great reader and, really into 45 00:02:24,410 --> 00:02:26,970 the history of the station. Right. And he was really keen to 46 00:02:26,970 --> 00:02:31,025 do tours. Boss supported, but a little bit cautious. 47 00:02:31,025 --> 00:02:34,625 So to try it out because none of this you have to remember back 48 00:02:34,625 --> 00:02:37,020 in the day. Nothing none of this has been done before. 49 00:02:37,100 --> 00:02:37,500 Niall Murphy: Yeah. You were 50 00:02:37,660 --> 00:02:40,480 Jackie Ogilvie: we were breaking new ground Yes. And back then. 51 00:02:40,700 --> 00:02:44,220 And they they approached Glasgow City Council through Doors 52 00:02:44,220 --> 00:02:44,540 Open Day 53 00:02:44,860 --> 00:02:45,020 Niall Murphy: Right. 54 00:02:45,180 --> 00:02:47,885 Jackie Ogilvie: And they took a 100 tickets for tours of the 55 00:02:47,885 --> 00:02:52,205 station. Part of the tours on those particular days was on the 56 00:02:52,205 --> 00:02:58,100 roof of the station. And we put the tickets on the website and 57 00:02:58,100 --> 00:03:02,580 bought an excess of 80,000 applications. And as you can 58 00:03:02,580 --> 00:03:05,745 imagine, the tour started right after that because it was quite 59 00:03:05,745 --> 00:03:07,685 clear there was an appetite. I did. 60 00:03:08,145 --> 00:03:10,785 So very much Paul's baby. He's been here. 61 00:03:10,945 --> 00:03:12,465 Niall Murphy: Did it operate with us on their website? 62 00:03:12,465 --> 00:03:16,450 Jackie Ogilvie: Yes. It it it not the website on on on Glasgow 63 00:03:16,450 --> 00:03:20,210 City Council for 3 days, but but needless to say, the 2 have gone 64 00:03:20,210 --> 00:03:25,035 after that. So Paul's been the constant. Myself, personally, 65 00:03:26,135 --> 00:03:29,335 I've been a tour guide here now for just coming up for 5 years. 66 00:03:29,335 --> 00:03:29,640 Right. 67 00:03:29,640 --> 00:03:32,440 Okay. Loved it. Love every minute. My husband keeps saying 68 00:03:32,440 --> 00:03:37,480 he can't believe somebody's paying me to talk. So so it's 69 00:03:37,480 --> 00:03:41,055 always always quite, quite good to come in and and feel that you 70 00:03:41,055 --> 00:03:42,255 can chat away with it. 71 00:03:42,255 --> 00:03:44,675 Somebody tell me to be quiet. It's quite good. 72 00:03:44,815 --> 00:03:45,847 Fay Young: Are you interested in history I would say I was 73 00:03:45,847 --> 00:03:46,340 interested in history to a degree 74 00:03:50,900 --> 00:03:52,820 Jackie Ogilvie: I like to think and I've got to watch. I don't 75 00:03:52,820 --> 00:03:57,295 get emotional, but my mother was a great storyteller And she grew 76 00:03:57,295 --> 00:04:01,935 up in the city centre of Edinburgh and lived during the 77 00:04:01,935 --> 00:04:05,440 war on Castleway North on the steps just at the Esplanade. 78 00:04:05,740 --> 00:04:10,220 Mhmm. And so she used to tell us all the stories about the city 79 00:04:10,220 --> 00:04:12,700 centre of Edinburgh, and and there were fantastic stories 80 00:04:12,700 --> 00:04:13,520 about and I would listen. 81 00:04:13,675 --> 00:04:16,575 And I grew up with that and I think that has been come 82 00:04:16,715 --> 00:04:20,955 embedded in me. I was always interested to degree in history 83 00:04:20,955 --> 00:04:25,750 and especially in Scottish history. I worked as a banker 84 00:04:25,750 --> 00:04:29,990 for most of my working life and then took care of retirement 85 00:04:29,990 --> 00:04:34,375 redundancy. And I became a tour guide on the open top buses for 86 00:04:34,375 --> 00:04:37,755 a bit of fun. I wanted to do something different, something 87 00:04:39,380 --> 00:04:41,060 I've always dealt with people. 88 00:04:41,300 --> 00:04:44,500 I'm a, you know, so it was I wanted to continue that, but I 89 00:04:44,500 --> 00:04:47,700 wanted to do something for me. And I I I just discovered that I 90 00:04:47,700 --> 00:04:51,875 loved it. I just loved it and it kinda got me in really Yeah. 91 00:04:51,995 --> 00:04:55,195 More seriously into the background of especially this 92 00:04:55,195 --> 00:04:56,650 wonderful city. Yeah. 93 00:04:56,650 --> 00:05:00,010 There's just so much that a lot of the locals just don't know. 94 00:05:00,010 --> 00:05:00,510 Niall Murphy: Yes. 95 00:05:00,570 --> 00:05:02,650 Jackie Ogilvie: So to be able to share that was was a joy. 96 00:05:02,650 --> 00:05:05,985 Fay Young: And did you have to do some training for the the bus 97 00:05:05,985 --> 00:05:06,385 tours? 98 00:05:06,385 --> 00:05:09,425 Jackie Ogilvie: Yes. When you become a tour guide with city 99 00:05:09,425 --> 00:05:12,710 sightseeing, the the the red buses that that tour the city. 100 00:05:13,490 --> 00:05:16,690 They put you through your yellow badge for your tour guiding. So 101 00:05:16,690 --> 00:05:19,330 you the Scottish tourist boat. Sure. 102 00:05:19,330 --> 00:05:23,215 So you get I think a yellow badge means a particular city. 103 00:05:23,355 --> 00:05:28,580 You have a green badge, which is multiple cities, and then you 104 00:05:28,580 --> 00:05:30,980 have your blue badge, which is the whole of Scotland, and 105 00:05:30,980 --> 00:05:34,100 that's the qualification levels. So they put you through, I think 106 00:05:34,100 --> 00:05:37,495 it was 6 or 9 weeks training, which was was great in getting 107 00:05:37,495 --> 00:05:41,655 all the information, but also getting help on structuring your 108 00:05:41,655 --> 00:05:45,220 tours as well and what people were looking for, and how to 109 00:05:45,220 --> 00:05:48,020 engage them. It was always a great foundation for me doing 110 00:05:48,020 --> 00:05:51,460 the tours. That's what gave me the the skills to get with you. 111 00:05:51,460 --> 00:05:52,100 Fay Young: Yeah. Yeah. Yeah. Yeah. 112 00:05:52,100 --> 00:05:54,225 Niall Murphy: It's a definite art to it. I mean, I know from 113 00:05:54,225 --> 00:05:57,505 having done various work in the site, I've got to do one along 114 00:05:57,505 --> 00:06:00,465 the Clyde for the BBC's coast program once. Yeah. That was a 115 00:06:00,465 --> 00:06:01,265 tough gig. Yeah. 116 00:06:01,265 --> 00:06:04,390 Because there was, like, nothing left. So you're basically asking 117 00:06:04,390 --> 00:06:07,430 people to kind of visualize in their head what was once there. 118 00:06:07,430 --> 00:06:07,590 Jackie Ogilvie: Yes. 119 00:06:07,590 --> 00:06:10,010 Niall Murphy: And it wasn't until we got to the Clydeport 120 00:06:10,070 --> 00:06:13,055 building, which is amazing Yeah. That everyone suddenly really 121 00:06:13,055 --> 00:06:15,135 parked up. It's like, oh, thank god. A piece of architecture 122 00:06:15,135 --> 00:06:16,815 that we actually talk about. Yes. 123 00:06:16,815 --> 00:06:16,975 Yeah. 124 00:06:16,975 --> 00:06:19,410 Jackie Ogilvie: And I think that that's quite comparable to the 125 00:06:19,410 --> 00:06:22,950 station because, Neil, you've done the tour. Yeah. Underneath, 126 00:06:23,170 --> 00:06:27,345 we don't have a lot to show you. It has the stories. It's the 127 00:06:27,345 --> 00:06:29,025 stories that we need to keep telling. 128 00:06:29,025 --> 00:06:33,105 I'm a great believer for history, especially recent 129 00:06:33,105 --> 00:06:36,440 history. We need to keep telling the stories or the stories die. 130 00:06:36,440 --> 00:06:40,920 Yes. So if I can do my wee bit to tell the stories and keep 131 00:06:40,920 --> 00:06:44,875 that continuity going and make sure that people still remember 132 00:06:45,095 --> 00:06:48,135 the greatness of this wonderful city, I think that's a privilege 133 00:06:48,135 --> 00:06:59,085 for me to be able to do that, the building itself is 134 00:06:59,145 --> 00:07:00,105 wonderful. Yep. 135 00:07:00,105 --> 00:07:02,905 However, once you go down underneath, it's it's a little 136 00:07:02,905 --> 00:07:03,225 bit less 137 00:07:03,465 --> 00:07:03,945 Niall Murphy: Yep. Yep. 138 00:07:04,025 --> 00:07:06,350 Jackie Ogilvie: Architecturally divine. You you you 139 00:07:06,350 --> 00:07:08,510 Niall Murphy: you realize that when when you're doing a tour 140 00:07:08,510 --> 00:07:11,730 and it's it's the human stories people connect with. 141 00:07:11,950 --> 00:07:14,510 Jackie Ogilvie: Absolutely. And there's so many things that and 142 00:07:14,510 --> 00:07:17,865 I'll I'll show you later on when we're we're going through. There 143 00:07:17,865 --> 00:07:21,545 are things that you always hear. People start to tell their 144 00:07:21,545 --> 00:07:22,505 stories. Mhmm. 145 00:07:22,505 --> 00:07:24,160 It triggers memories with them. 146 00:07:24,160 --> 00:07:24,320 Niall Murphy: Yes. 147 00:07:24,320 --> 00:07:26,240 Jackie Ogilvie: And then they start to tell their stories. And 148 00:07:26,240 --> 00:07:28,800 if that's what happens when you're here and and it's 149 00:07:28,800 --> 00:07:31,600 continuing Yeah. Then You can you can you 150 00:07:31,600 --> 00:07:32,480 Niall Murphy: can get proper dialogue. 151 00:07:32,480 --> 00:07:34,605 Jackie Ogilvie: Absolutely. Absolutely. And emotionally, you 152 00:07:34,605 --> 00:07:38,925 know, it can it can go from quite a cold tour and then 153 00:07:38,925 --> 00:07:42,310 something that triggers somebody, you know, or a group 154 00:07:42,310 --> 00:07:45,990 to have memories and then suddenly it becomes very emotive 155 00:07:46,150 --> 00:07:46,310 Niall Murphy: Yeah. 156 00:07:46,470 --> 00:07:49,030 Jackie Ogilvie: And then very, very personal Yes. To the people 157 00:07:49,030 --> 00:07:51,735 that are on the tour. So so before we 158 00:07:51,735 --> 00:07:55,415 Fay Young: start the tour, if we could just spend a moment 159 00:07:55,415 --> 00:08:00,150 looking at what is around us Yeah. Because I suppose, like 160 00:08:00,150 --> 00:08:03,750 most people, when I come here, I'm on my way to catch a train 161 00:08:03,750 --> 00:08:04,550 and I Yeah. 162 00:08:04,550 --> 00:08:06,870 Jackie Ogilvie: I think I've really I I I it's running and 163 00:08:06,870 --> 00:08:09,625 then I hurry. Yeah. I I tell you what 164 00:08:09,625 --> 00:08:09,865 Niall Murphy: I what 165 00:08:09,865 --> 00:08:13,065 Jackie Ogilvie: I tell my customers when they come on. So 166 00:08:13,065 --> 00:08:18,840 on the 1st August 18 79, central station opened their doors. She 167 00:08:18,840 --> 00:08:22,920 was built, of course, by the Caledonian railway company, and 168 00:08:22,920 --> 00:08:25,320 it was built on a site of a small village. A small village 169 00:08:25,320 --> 00:08:30,575 called Grahamston, which has been forgotten. But I'll tell 170 00:08:30,575 --> 00:08:32,915 you I can tell you more about that later on. 171 00:08:33,215 --> 00:08:36,560 When we first opened our doors, she wasn't the size she is 172 00:08:36,560 --> 00:08:40,640 today. She was we had 8 platforms. Where our platform 9 173 00:08:40,640 --> 00:08:45,095 is today, that was our platform 1. And where platform 9 is, if 174 00:08:45,095 --> 00:08:48,855 you look at the green pillars with a huge rivets sticking out 175 00:08:48,855 --> 00:08:51,995 them, that's the border. That was the original station. 176 00:08:52,360 --> 00:08:57,320 From from the green pillars out to Union Street. So that was the 177 00:08:57,320 --> 00:09:01,515 original station. 8 platforms. Couple of years later, platform 178 00:09:01,515 --> 00:09:05,055 9 was added because well, this had been a bit of an experiment 179 00:09:05,115 --> 00:09:08,235 and passenger transport was growing at a pace no day 180 00:09:08,235 --> 00:09:13,920 predicted. And then, we were doing fine, but passenger 181 00:09:13,980 --> 00:09:15,820 transport was growing and growing. 182 00:09:15,820 --> 00:09:19,785 So in the initial build of central station in 18/79, the 183 00:09:19,785 --> 00:09:24,745 west side of the village of Grahamston, that survived. Saint 184 00:09:24,745 --> 00:09:27,625 Columba's Gaelic Church was the most famous building of that 185 00:09:27,625 --> 00:09:32,280 until 1901 when we decide it's time to build an extension. So 186 00:09:32,280 --> 00:09:34,920 when we start our extension, the rest of Grahamstown is 187 00:09:34,920 --> 00:09:39,275 demolished. We take the stops, which the stops have come in 188 00:09:39,275 --> 00:09:42,795 here much further forward than what they do to just in the 189 00:09:42,795 --> 00:09:45,520 middle of the concourse, really, that's where the trains would 190 00:09:45,520 --> 00:09:49,360 have come to back in the day. And remember, people have this 191 00:09:49,360 --> 00:09:52,485 romantic notion that central station back in the day was a 192 00:09:52,485 --> 00:09:55,845 beautiful beautiful place and it was atmospheric, but it was a 193 00:09:55,845 --> 00:09:59,365 dirty, filthy place to come because you were coming in and 194 00:09:59,365 --> 00:10:03,030 the the smoke, all the stirring them up was coming in. 195 00:10:04,210 --> 00:10:10,945 The glass was black with the smoke caked on. So when we 196 00:10:10,945 --> 00:10:14,785 started our extension, we pushed we pushed them back. Stops for 197 00:10:14,785 --> 00:10:18,030 the trains really went back to where they are today, roughly, 198 00:10:18,410 --> 00:10:23,050 and we added on some platforms at the west side. We also built 199 00:10:23,050 --> 00:10:26,915 a brand new bridge. For those of you who frequent Glasgow, I'm 200 00:10:26,915 --> 00:10:30,915 quite sure you'll all have seen the supports for our original 201 00:10:30,915 --> 00:10:31,235 bridge. 202 00:10:31,235 --> 00:10:33,890 They stick out the Clyde. You can't miss them if you're down 203 00:10:33,890 --> 00:10:36,610 on the Broomielaw, you'll see them or if or if if you happen 204 00:10:36,610 --> 00:10:39,705 to be on a train leaving on the east side, you'll see them 205 00:10:39,865 --> 00:10:42,825 sticking out the river. And they just well, they just won the end 206 00:10:42,825 --> 00:10:46,025 of the road, so we left them. We built our bridge which doubled 207 00:10:46,025 --> 00:10:49,510 our capacity, but The problem that it gave us was when it was 208 00:10:49,510 --> 00:10:53,030 completed, the only place we could add our extra platforms on 209 00:10:53,030 --> 00:10:56,415 that we needed was the west side, and our numbering of the 210 00:10:56,415 --> 00:10:59,855 platforms was not what we needed. So we had to reverse it 211 00:10:59,855 --> 00:11:01,015 in 1906 . 212 00:11:01,135 --> 00:11:04,415 Once the extension was complete. Right. So we we reversed the 213 00:11:04,415 --> 00:11:09,890 numbering. So if you see an old photograph of central station 214 00:11:09,890 --> 00:11:14,210 and 8 or 9 are over on the east side, it's just old. It's not 215 00:11:14,210 --> 00:11:14,575 wrong. 216 00:11:14,655 --> 00:11:19,935 Yeah. Yeah. The roof is original. Glass replaced in 217 00:11:19,935 --> 00:11:24,035 1998. So, she's a longitudinal ridge and furrow. 218 00:11:24,990 --> 00:11:27,710 People will just think she's just full of girders, which is 219 00:11:27,710 --> 00:11:33,338 right, and it plays absolute havoc with our Wi Fi. That's 220 00:11:33,338 --> 00:11:37,125 right. It's just it's just birthday cake. It's just getting 221 00:11:37,125 --> 00:11:39,610 caught. We keep getting told it's very good, but it's not. 222 00:11:39,690 --> 00:11:43,390 And I think it is the girders interfere with it. Right. Okay. 223 00:11:44,090 --> 00:11:48,375 So longitudinal ridge and furrow roof is is the technical term 224 00:11:48,375 --> 00:11:50,455 for it. And that sounds quite technical. 225 00:11:50,455 --> 00:11:53,255 It's really, really simple. Yeah. Because at Garden Street 226 00:11:53,255 --> 00:11:56,560 is north. Out onto the tracks is south, she's running 227 00:11:57,020 --> 00:11:58,140 longitudinal. Yeah. 228 00:11:58,140 --> 00:12:01,200 And if you look up and see, you'll see ridges and furrows 229 00:12:02,060 --> 00:12:03,260 just in where it says on the 230 00:12:03,260 --> 00:12:04,328 Niall Murphy: tin. Absolutely. 231 00:12:04,328 --> 00:12:04,835 Jackie Ogilvie: So she is 232 00:12:04,915 --> 00:12:05,305 Niall Murphy: I love this room. It is. 233 00:12:05,305 --> 00:12:05,760 Jackie Ogilvie: It's an incredible It's really dramatic 234 00:12:05,760 --> 00:12:14,980 and powerful. Absolutely. And 2 sections. The architect for the 235 00:12:14,980 --> 00:12:19,225 original build was a man called Robert Rowand Anderson, and he 236 00:12:19,225 --> 00:12:24,105 did the original build. When it came to the extension, a former 237 00:12:24,105 --> 00:12:27,065 railway architect, James Miller, was awarded the contract for 238 00:12:27,065 --> 00:12:27,565 here. 239 00:12:27,900 --> 00:12:31,020 I'm a big big fan of James Miller and there's so many so 240 00:12:31,020 --> 00:12:34,300 many buildings in Glasgow by this man. At the time, it was 241 00:12:34,300 --> 00:12:38,595 Glasgow's most prolific architect. Yes. But he doesn't 242 00:12:38,595 --> 00:12:40,915 get talked an awful lot about. I think some of that was 243 00:12:41,235 --> 00:12:41,955 Niall Murphy: It's a shame. 244 00:12:41,955 --> 00:12:42,995 Jackie Ogilvie: It's a it's a it's a shame. 245 00:12:42,995 --> 00:12:44,115 Niall Murphy: He should be better known. 246 00:12:44,115 --> 00:12:45,895 Jackie Ogilvie: Oh, absolutely better now. 247 00:12:46,035 --> 00:12:48,110 Niall Murphy: Yeah. His his interventions in this station 248 00:12:48,110 --> 00:12:50,190 are really interesting. I've been working with Donald 249 00:12:50,190 --> 00:12:52,190 Matheson, the Yeah. Color data where we're gonna be his 250 00:12:52,190 --> 00:12:52,690 engineer. 251 00:12:52,910 --> 00:12:54,430 Jackie Ogilvie: So of course, they went they went to school 252 00:12:54,430 --> 00:12:54,930 together. 253 00:12:56,655 --> 00:12:58,175 Niall Murphy: Connection back in Perthshire. So that was it. 254 00:12:58,175 --> 00:12:58,575 Right? That's 255 00:12:58,575 --> 00:12:59,935 Jackie Ogilvie: very impressive. To school together. 256 00:12:59,935 --> 00:13:02,115 Niall Murphy: So the things like the the huge pocks 257 00:13:02,335 --> 00:13:02,495 Jackie Ogilvie: Yeah. 258 00:13:02,655 --> 00:13:05,130 Niall Murphy: And the torpedo rim, this is what we was called, 259 00:13:05,190 --> 00:13:08,970 which is where you chose that. I just think these are amazing 260 00:13:09,350 --> 00:13:11,510 because they're designed to make you flow through 261 00:13:11,510 --> 00:13:12,970 Jackie Ogilvie: a station like a river. 262 00:13:13,125 --> 00:13:15,125 Niall Murphy: But it's still massive. I mean, for the United 263 00:13:15,125 --> 00:13:15,605 States and 264 00:13:15,605 --> 00:13:16,005 Jackie Ogilvie: Canada, you 265 00:13:16,005 --> 00:13:18,565 Niall Murphy: can see what's happening in stations there. But 266 00:13:18,565 --> 00:13:19,945 those ideas back here. 267 00:13:20,005 --> 00:13:22,485 Jackie Ogilvie: Yeah. If you look around at our internal 268 00:13:22,485 --> 00:13:25,960 buildings, we don't have any corners. That was James Miller's 269 00:13:25,960 --> 00:13:30,540 idea. Let it let everything flow through and it's just soft and 270 00:13:30,745 --> 00:13:33,225 you're you're going through. So and again, that's something that 271 00:13:33,225 --> 00:13:36,025 people don't realize, but we don't actually have any severe 272 00:13:36,025 --> 00:13:36,525 cornerstone. 273 00:13:37,145 --> 00:13:41,000 So then in 1901, we've moved all the bits back. We've provided on 274 00:13:41,000 --> 00:13:43,720 our platform. And then at that point, we have to reverse our 275 00:13:43,720 --> 00:13:47,080 numbering of our platforms because we were going west to 276 00:13:47,080 --> 00:13:52,915 east. We had to turn that around and go east to west to fit in 277 00:13:52,915 --> 00:13:55,660 the extra platforms that we were adding Yeah. In the extension. 278 00:13:55,660 --> 00:13:56,300 So that 279 00:13:56,300 --> 00:13:58,560 Fay Young: was a simple idea, actually. Yes. And it's just 280 00:13:58,620 --> 00:14:00,620 renumber it. Just renumber them. Yeah. 281 00:14:00,620 --> 00:14:02,540 Niall Murphy: I wondered about one thing, and I wonder whether 282 00:14:02,540 --> 00:14:06,475 you could this one. This has puzzled me for years. The dome 283 00:14:06,475 --> 00:14:10,955 over Champagne Central, because James Miller did the all the 284 00:14:10,955 --> 00:14:13,620 great liners. He did the interiors. He was the only one 285 00:14:13,620 --> 00:14:15,620 of the only architects to admit to actually do in this. 286 00:14:15,620 --> 00:14:18,340 Yes. So we've seen it's beneath architects to be involved in 287 00:14:18,340 --> 00:14:20,725 kind of liner design, which amazes me. Yeah. Of 288 00:14:20,725 --> 00:14:21,965 Jackie Ogilvie: course, he had the anchorline building 289 00:14:22,165 --> 00:14:22,525 Niall Murphy: He did. 290 00:14:22,725 --> 00:14:23,845 Jackie Ogilvie: In in Saint Vincent Place. 291 00:14:23,845 --> 00:14:26,885 Niall Murphy: And Lusitania, the interiors on the Lusitania. So 292 00:14:26,965 --> 00:14:29,930 but he worked with Oscar Patterson quite a bit, the great 293 00:14:29,930 --> 00:14:33,290 Glasgow stained glass artist. And I was told that that dome 294 00:14:33,290 --> 00:14:36,865 was originally stained glass, but it's now it's a plaster dome 295 00:14:36,865 --> 00:14:39,505 inside. And I wondered at some point if that changed. And 296 00:14:39,505 --> 00:14:44,960 before, Grand Central was kind of, you know, recreated and kind 297 00:14:44,960 --> 00:14:49,360 of regenerated, there in each of those windows, there was in the 298 00:14:49,360 --> 00:14:52,495 kind of the central pane of the kind of, you've kind of got the 299 00:14:52,495 --> 00:14:54,975 upper panes with the kind of the grids in them. 300 00:14:54,975 --> 00:14:58,015 The central pane had a piece of stained glass from Oscar 301 00:14:58,015 --> 00:15:00,815 Patterson in them. When it was refurbished, they were all 302 00:15:00,815 --> 00:15:03,920 removed because I remember them being there and I've no idea 303 00:15:03,920 --> 00:15:04,880 what happened to them. And it's 304 00:15:04,880 --> 00:15:07,440 Jackie Ogilvie: a late I I apologize because I am not aware 305 00:15:07,440 --> 00:15:09,125 of that. I wasn't aware of that. 306 00:15:09,285 --> 00:15:11,045 Niall Murphy: So I just I'd always wonder whether that had 307 00:15:11,045 --> 00:15:13,205 continued up and say, don't because he did all these 308 00:15:13,205 --> 00:15:16,485 fabulous domes elsewhere. Yes. It's been lovely. And I wondered 309 00:15:16,485 --> 00:15:20,230 whether it might be removed from the 2nd World War. You wouldn't 310 00:15:20,230 --> 00:15:21,750 want light shining up when 311 00:15:21,990 --> 00:15:23,670 Jackie Ogilvie: Possibly. Possibly. The one that tried 312 00:15:23,670 --> 00:15:24,790 Niall Murphy: to move to the city. 313 00:15:24,790 --> 00:15:26,310 Jackie Ogilvie: Well, during World War II, of course, we 314 00:15:26,310 --> 00:15:30,655 painted our our glass black. Yeah. In 19 sixties, they tried 315 00:15:30,655 --> 00:15:33,215 to remove it, found it very difficult because it wasn't just 316 00:15:33,215 --> 00:15:36,920 black paint. It was, in fact, the baked on tar from all the 317 00:15:36,920 --> 00:15:42,840 the the trains. And it wasn't until 1998 that they replaced 318 00:15:42,840 --> 00:15:46,015 all the glass in the station as a renovation project. 319 00:15:46,315 --> 00:15:50,075 So people, when they come into the station today, accept that 320 00:15:50,075 --> 00:15:54,880 Central Station is a very light and airy place. Back then, it 321 00:15:54,880 --> 00:15:59,280 was a dirty, filthy, dark and very dark place. Very dark. And 322 00:15:59,280 --> 00:16:00,905 that was really up till 1998. 323 00:16:01,045 --> 00:16:02,325 Niall Murphy: It's amazing. Yeah. 324 00:16:02,325 --> 00:16:04,405 Jackie Ogilvie: Isn't that you have to say This is not this is 325 00:16:04,405 --> 00:16:08,940 not a 100 years ago. This is just very recent. So and of 326 00:16:08,940 --> 00:16:11,100 course, there's renovations going on just now. 327 00:16:11,100 --> 00:16:11,600 Niall Murphy: Yes. 328 00:16:12,300 --> 00:16:14,780 Fay Young: Yeah. Yes. You are struck by the light and and 329 00:16:14,780 --> 00:16:15,760 that's reflected 330 00:16:17,045 --> 00:16:17,845 on the floor as 331 00:16:17,845 --> 00:16:18,965 well, isn't it? 332 00:16:18,965 --> 00:16:21,125 Niall Murphy: Yeah. I think this is 19 eighties, the flooring. 333 00:16:21,125 --> 00:16:24,085 Right. So because it wasn't wasn't like this originally. Oh, 334 00:16:24,085 --> 00:16:24,325 no. 335 00:16:24,325 --> 00:16:27,650 The station has changed quite a bit. So there's a ramp up at the 336 00:16:27,650 --> 00:16:31,810 back, which was for taxis. And so taxis were Central Central 337 00:16:31,810 --> 00:16:34,825 Station Hotel, was to come through the back around the back 338 00:16:34,825 --> 00:16:38,345 of the torpedo route, and then out that wee arch, which is now 339 00:16:38,345 --> 00:16:41,485 a pedestrian arch. So can can be different nowadays. 340 00:16:41,625 --> 00:16:46,460 Jackie Ogilvie: And and and is, Carriage Drive was originally 341 00:16:46,520 --> 00:16:51,000 created in the original station from the affluent members of 342 00:16:51,000 --> 00:16:54,115 society in Glasgow. They didn't really want to mix with the 343 00:16:54,115 --> 00:16:58,115 riffraff on the concourse. So they would come up, they would 344 00:16:58,115 --> 00:17:01,850 come up carriage drive off Hope Street, and it's like people 345 00:17:01,850 --> 00:17:04,970 will remember it because we all used it. Pick up our grannies or 346 00:17:04,970 --> 00:17:09,210 our aunties or whatever. At where platform 15/14 or 15 are 347 00:17:09,210 --> 00:17:09,710 today. 348 00:17:09,875 --> 00:17:12,835 So you would come up as a kind of spiral that comes up and you 349 00:17:12,835 --> 00:17:16,195 would come up to 14 and 15. And then we were offered and told we 350 00:17:16,195 --> 00:17:20,400 were getting a link to Glasgow Airport. So we brought 14 and 15 351 00:17:20,400 --> 00:17:23,520 which had been sitting far out. We brought them in ready for 352 00:17:23,520 --> 00:17:28,065 that and we're still So so and carriage drive is still in use, 353 00:17:28,285 --> 00:17:31,645 but only for emergency vehicles and and business access. Oh, 354 00:17:31,645 --> 00:17:31,885 that's sweet. 355 00:17:31,885 --> 00:17:34,630 We can take a real look at the Classic. Absolutely. It's quite 356 00:17:34,630 --> 00:17:37,270 interesting piece of architecture as well. So the 357 00:17:37,270 --> 00:17:40,410 concourse in itself, when you're here, there's lots to see. Mhmm. 358 00:17:40,710 --> 00:17:44,775 Most most people focus on the board, which is quite sad when 359 00:17:44,775 --> 00:17:50,535 all this beauty is around them. Mhmm. You'll also notice that 360 00:17:50,535 --> 00:17:55,320 there are no pillars on the concourse. And again, the idea 361 00:17:55,320 --> 00:18:00,680 for that was that we wanted this flow. The load bearing for the 362 00:18:00,680 --> 00:18:04,785 roof, which as you can imagine, is quite substantial, are the 363 00:18:04,785 --> 00:18:06,405 pillars that run along the side. 364 00:18:06,705 --> 00:18:07,025 Niall Murphy: Right. 365 00:18:07,025 --> 00:18:09,265 Jackie Ogilvie: So all of the crisscrosses that you see in the 366 00:18:09,265 --> 00:18:14,190 girders creates a weight, spreading the weight and taking 367 00:18:14,190 --> 00:18:17,970 it out to the ends, and then it's the pillars at the side 368 00:18:18,030 --> 00:18:21,855 that actually bear the load. And the same as behind the the 369 00:18:21,935 --> 00:18:25,375 behind the torpedo, you'll see pillars again exactly the same. 370 00:18:25,455 --> 00:18:30,400 Niall Murphy: As well. Fascinating. I had no idea. I 371 00:18:30,400 --> 00:18:32,400 just think it's such an evocative space. It's my 372 00:18:32,400 --> 00:18:33,440 favorite space in 373 00:18:34,160 --> 00:18:37,955 Jackie Ogilvie: Yes. And I don't I I defy anyone in Glasgow to 374 00:18:37,955 --> 00:18:41,155 not have a story about Central Station. Mhmm. Most people have. 375 00:18:41,155 --> 00:18:43,895 And most people have a love for Central Station. 376 00:18:44,115 --> 00:18:44,755 Niall Murphy: Very much. 377 00:18:44,755 --> 00:18:46,435 Jackie Ogilvie: Queen Street Station, they can spend what 378 00:18:46,435 --> 00:18:50,310 they like on us. She'll never have the kudos that Central 379 00:18:50,310 --> 00:18:50,950 station has. 380 00:18:50,950 --> 00:18:53,190 Fay Young: Why do you think that is? I mean, it's it's is it 381 00:18:53,190 --> 00:18:56,745 because it's the main arrival point for Glasgow for people 382 00:18:56,745 --> 00:18:58,605 coming from elsewhere? 383 00:18:59,865 --> 00:19:02,960 Jackie Ogilvie: Sure. Let me move over the south. I'm I'm not 384 00:19:02,960 --> 00:19:05,920 really sure why that is, but everybody you speak to on the 2 385 00:19:05,920 --> 00:19:11,335 tells you that it is, you know, that it is central Yeah. That 386 00:19:11,335 --> 00:19:12,955 pulls at the heartstrings. Yeah. 387 00:19:13,095 --> 00:19:13,575 Niall Murphy: Yeah. Yeah. 388 00:19:13,575 --> 00:19:15,335 Jackie Ogilvie: Queen Street is just a way to get to Edinburgh 389 00:19:15,335 --> 00:19:17,650 and back. Yes. Well, it is. It is. It is. 390 00:19:17,650 --> 00:19:18,670 Yeah. It is. A 100%. 391 00:19:18,670 --> 00:19:21,490 Niall Murphy: It's it has gotten better with its new extension. 392 00:19:21,630 --> 00:19:21,790 Yeah. 393 00:19:21,790 --> 00:19:25,075 Jackie Ogilvie: It's nice of it. Really? To me. Central's got the 394 00:19:25,075 --> 00:19:25,715 history. Absolutely. 395 00:19:25,715 --> 00:19:27,735 And it's something you make some more money. 396 00:19:28,115 --> 00:19:28,275 Niall Murphy: And yet 397 00:19:28,275 --> 00:19:29,415 Jackie Ogilvie: Queen Street's older. 398 00:19:29,475 --> 00:19:30,675 Niall Murphy: Yeah. I know which is really nice. 399 00:19:30,675 --> 00:19:32,995 Jackie Ogilvie: Which is really true. And Queen Street has its 400 00:19:32,995 --> 00:19:38,040 own history. Yeah. She was built on on the the the Bell's quarry 401 00:19:38,040 --> 00:19:40,680 or or Yes. And the Crack on House quarry quarry as it was 402 00:19:40,680 --> 00:19:40,920 known. 403 00:19:40,920 --> 00:19:44,935 Right. Built there when the sandstone quarry was exhausted. 404 00:19:45,875 --> 00:19:48,595 The city then went out to Giffnock to Bishopbriggs and 405 00:19:48,595 --> 00:19:51,930 they Yes. Sands more blonde sandstone. And the majority of 406 00:19:51,930 --> 00:19:54,050 the blonde sands when they built George Square came from 407 00:19:54,330 --> 00:19:54,450 Niall Murphy: Yeah. 408 00:19:54,570 --> 00:19:56,890 Jackie Ogilvie: Underneath where Queen Street Station was built. 409 00:19:56,890 --> 00:19:57,790 Fay Young: Yeah. Yeah. 410 00:19:58,010 --> 00:19:58,658 Jackie Ogilvie: So there you go. That's fascinating. So she has 411 00:19:58,658 --> 00:19:58,675 her own She does. But it's not as good as central. I know. 412 00:19:58,675 --> 00:19:59,175 I know. 413 00:19:59,255 --> 00:19:59,575 Niall Murphy: Fascinating. 414 00:19:59,575 --> 00:20:01,655 Jackie Ogilvie: So she has her own history She does. Which is 415 00:20:01,655 --> 00:20:04,135 not as good as central. I know. Well, I mean, 416 00:20:04,135 --> 00:20:05,415 Niall Murphy: I'm really interested by the fact that 417 00:20:05,415 --> 00:20:08,180 you've kind of really zeroed in on the history and you make so 418 00:20:08,180 --> 00:20:11,140 much of the history here too. Yeah. Are there any other 419 00:20:11,140 --> 00:20:14,260 stations in the UK that kind of mainline stations that do that 420 00:20:14,260 --> 00:20:15,155 to the same degree? 421 00:20:15,315 --> 00:20:17,735 Jackie Ogilvie: No. This is the only, at the moment. 422 00:20:17,795 --> 00:20:18,035 Niall Murphy: Right. 423 00:20:18,035 --> 00:20:19,875 Jackie Ogilvie: I will I will just put that in there with 424 00:20:19,875 --> 00:20:24,780 caveat. At the moment, we are the only network rail station in 425 00:20:24,780 --> 00:20:29,500 the whole of the UK that does tours. But I know that, the 426 00:20:29,500 --> 00:20:32,460 London Underground do take you down underneath them to old 427 00:20:32,460 --> 00:20:35,215 abandoned stations, but that's the London Underground. But 428 00:20:35,215 --> 00:20:38,975 network rail, we are the only station that does formal tours 429 00:20:38,975 --> 00:20:42,995 like this and we're the only one that has a formal museum. Right. 430 00:20:43,880 --> 00:20:44,700 At the moment. 431 00:20:45,000 --> 00:20:45,500 Niall Murphy: Right. 432 00:20:45,640 --> 00:20:48,440 Jackie Ogilvie: That may change in the future. Plans are afoot 433 00:20:48,440 --> 00:20:51,960 to maybe able to keep expanding that because it is such an 434 00:20:51,960 --> 00:20:52,920 interest in it. 435 00:20:52,920 --> 00:20:53,160 Niall Murphy: Yes. 436 00:20:53,160 --> 00:20:55,465 Jackie Ogilvie: And it's Yeah. You know, people want 437 00:20:55,465 --> 00:21:00,185 Fay Young: it so And is is there any sort of pattern? What kind 438 00:21:00,185 --> 00:21:06,390 of people are most interested or can you touch hearts and raise 439 00:21:06,390 --> 00:21:07,690 curiosity and 440 00:21:08,070 --> 00:21:10,650 Jackie Ogilvie: So we get a lot of railway enthusiasts Right. 441 00:21:11,030 --> 00:21:14,395 Who come. But the majority of the people who come on our tour 442 00:21:14,535 --> 00:21:18,295 are Glaswegians because Glaswegians love their city and 443 00:21:18,295 --> 00:21:20,695 they want to hear about their city and they want to tell hear 444 00:21:20,695 --> 00:21:24,380 the stories and they want to tell Tell. Their story as well 445 00:21:24,380 --> 00:21:27,180 to share it with other people. So when they come on the tour, 446 00:21:27,180 --> 00:21:27,980 we do a lot of that. 447 00:21:27,980 --> 00:21:31,805 We do a lot of, you know, exchanging, of stories and it's 448 00:21:31,805 --> 00:21:34,865 just it's just wonderful. And it's mostly mostly Glasgow. 449 00:21:35,005 --> 00:21:37,550 There's a lot of people who come from a lot of other places too. 450 00:21:37,550 --> 00:21:41,010 I don't want to to make it that. We get them a lot of Scottish, 451 00:21:41,710 --> 00:21:42,850 from all over Scotland. 452 00:21:46,035 --> 00:21:49,315 Paul has done a fabulous job in in bringing it alive and 453 00:21:49,315 --> 00:21:53,255 bringing it from just a guy that wanted to do some tours of his 454 00:21:53,395 --> 00:21:56,860 beloved station to to being the the business venture that it 455 00:21:56,860 --> 00:21:57,500 really is today. 456 00:21:57,500 --> 00:21:59,120 Niall Murphy: Uh-huh. Yes. 457 00:21:59,180 --> 00:22:00,960 Fay Young: Right? And a model for others. 458 00:22:01,260 --> 00:22:02,940 Jackie Ogilvie: Oh, yes. Very much so. Very 459 00:22:02,940 --> 00:22:03,900 Niall Murphy: much so. Uh-huh. 460 00:22:04,060 --> 00:22:06,195 Jackie Ogilvie: We're not perfect, We're absolutely not 461 00:22:06,195 --> 00:22:09,795 perfect. But but, yeah, we could do it elsewhere. Network Rail 462 00:22:09,795 --> 00:22:13,315 could recoup some of the you know, make some money out of it. 463 00:22:13,315 --> 00:22:18,360 Yeah. Do you want to move on? 464 00:22:18,360 --> 00:22:19,660 Fay Young: Yes, please. Yes. 465 00:22:21,785 --> 00:22:23,865 Jackie Ogilvie: So we've just come up now from the main 466 00:22:23,865 --> 00:22:27,785 concourse. We're heading up towards where the platforms 14 467 00:22:27,785 --> 00:22:33,320 and 15 are. Just before the police, British Transport Police 468 00:22:33,320 --> 00:22:36,495 Office on our right hand side just ahead of us. And we're just 469 00:22:36,495 --> 00:22:41,695 looking at the joining point, if you like, of the old and the 470 00:22:41,695 --> 00:22:45,930 new. With platform 9 here is you can see the green pillars. 471 00:22:46,310 --> 00:22:49,590 These green pillars with all those fabulous rivets sticking 472 00:22:49,590 --> 00:22:53,595 out, which is just wonderful. Yeah. And that's the border. 473 00:22:53,595 --> 00:22:57,035 That would have been the original 18/79. Extension came 474 00:22:57,035 --> 00:23:02,400 along and this is from platform 9 out to Hope Street and all the 475 00:23:02,400 --> 00:23:03,440 way down to Argyle Street. 476 00:23:03,440 --> 00:23:08,095 That was the new part of the station. And you can tell by the 477 00:23:08,095 --> 00:23:12,815 roof. And street gutters in the original, arch gutters in the 478 00:23:12,815 --> 00:23:16,170 extension. Again, this is us talking about Rob Rowand 479 00:23:16,170 --> 00:23:19,710 Anderson for the original and James Miller for the extension. 480 00:23:20,090 --> 00:23:22,270 So he created the extension here. 481 00:23:22,905 --> 00:23:26,105 I think I mean, engineers tell me that these arches are 482 00:23:26,105 --> 00:23:30,365 stronger, maybe a bit cheaper because how much finer they are. 483 00:23:30,690 --> 00:23:34,550 I think Jimmy Miller was just saying, this is my bit. 484 00:23:34,610 --> 00:23:35,170 Niall Murphy: I think you're right. 485 00:23:35,170 --> 00:23:37,250 Jackie Ogilvie: Because I did this. He wanted it to be 486 00:23:37,250 --> 00:23:37,730 distinct. 487 00:23:37,730 --> 00:23:39,825 Niall Murphy: Yeah. I think so. I think they're a lot more 488 00:23:39,825 --> 00:23:43,425 elegant than the Very much so. I really like them because they're 489 00:23:43,425 --> 00:23:46,085 so handsome. Straws are chunky and strong. 490 00:23:46,145 --> 00:23:49,370 Yes. And you know they're doing a job. Yes. These are much more 491 00:23:49,370 --> 00:23:50,430 delicate by comparison. 492 00:23:50,490 --> 00:23:51,690 Jackie Ogilvie: Yes. Absolutely. I really like 493 00:23:51,690 --> 00:23:53,263 Niall Murphy: them too. I really like the contrast Yes. 494 00:23:53,290 --> 00:23:55,695 Jackie Ogilvie: In this. It is. It is wonderful. And the block 495 00:23:55,735 --> 00:23:57,515 the big blonde pillars here. 496 00:23:57,815 --> 00:24:00,615 Niall Murphy: Yes. Yeah. The whole way that it's kind of the 497 00:24:00,615 --> 00:24:04,650 one connection to the other is so elegant beyond. Yes. It's So 498 00:24:04,650 --> 00:24:04,970 really nice. 499 00:24:04,970 --> 00:24:05,450 It was a 500 00:24:05,450 --> 00:24:06,170 Fay Young: huge arch windows 501 00:24:06,170 --> 00:24:08,810 Jackie Ogilvie: prize. Yeah. But people come through here all the 502 00:24:08,810 --> 00:24:12,090 time and they they don't even notice it. And then once once 503 00:24:12,090 --> 00:24:15,035 once you've seen it, you can't unsee it. Uh-huh. 504 00:24:15,055 --> 00:24:17,695 Uh-huh. You will wait a minute. We'll wait a minute. 505 00:24:17,695 --> 00:24:18,255 Fay Young: I wish you'd not 506 00:24:18,415 --> 00:24:20,255 Jackie Ogilvie: How come I've never seen that before? 507 00:24:20,255 --> 00:24:21,075 Fay Young: Yeah. Absolutely. 508 00:24:23,055 --> 00:24:25,120 Niall Murphy: So and then you got the helienmens umbrella as 509 00:24:25,120 --> 00:24:25,600 well, which 510 00:24:25,600 --> 00:24:26,000 Jackie Ogilvie: is Yeah. 511 00:24:26,240 --> 00:24:28,340 Niall Murphy: Again, really elegantly handled. 512 00:24:29,040 --> 00:24:30,000 Jackie Ogilvie: Absolutely. That's 513 00:24:30,000 --> 00:24:33,455 Niall Murphy: such a huge bridge in the, you know, the heart of 514 00:24:33,455 --> 00:24:35,635 the city. And it could be quite, 515 00:24:36,975 --> 00:24:37,895 Jackie Ogilvie: ugly. Thank 516 00:24:37,895 --> 00:24:40,335 Niall Murphy: you. It's probably near really beautiful. You did. 517 00:24:40,335 --> 00:24:41,635 Jackie Ogilvie: That was William Arnold. 518 00:24:41,760 --> 00:24:42,240 Niall Murphy: Yes. That 519 00:24:42,560 --> 00:24:45,280 Jackie Ogilvie: just like and was responsible for that. So 520 00:24:45,280 --> 00:24:50,085 this is carriage drive here. So this is just in front of the BTP 521 00:24:50,145 --> 00:24:55,585 police office here and the old road that came up. As I said 522 00:24:55,585 --> 00:24:58,305 earlier, this is where you would have come up, no charges, it was 523 00:24:58,305 --> 00:25:02,050 great. You came up here, you picked up your granny right off 524 00:25:02,050 --> 00:25:04,370 the train and straight back down. 525 00:25:04,370 --> 00:25:08,455 So in the original days, the taxis on the trip would come up 526 00:25:08,455 --> 00:25:11,655 or your car would come up and you would drive down the back of 527 00:25:11,655 --> 00:25:15,630 where today we've got Marks and Spencers in boots and out onto, 528 00:25:16,490 --> 00:25:21,610 right out onto Gordon Street. Today, restricted access for 529 00:25:21,610 --> 00:25:25,535 emergency vehicles, access that we need as a station to operate. 530 00:25:26,155 --> 00:25:29,835 And above the arch, you can see the coat of arms 531 00:25:29,915 --> 00:25:30,035 Niall Murphy: Yeah. 532 00:25:30,155 --> 00:25:34,270 Jackie Ogilvie: Of the Caledonia and Railway Company. Carved 533 00:25:34,270 --> 00:25:37,790 stone. That's beautiful. And the sad thing about this arch being 534 00:25:37,790 --> 00:25:39,150 tucked away in here now is Yeah. 535 00:25:39,150 --> 00:25:39,470 Niall Murphy: That is 536 00:25:39,790 --> 00:25:43,105 Jackie Ogilvie: nobody gets to see that anymore. But we have a 537 00:25:43,452 --> 00:25:48,545 on the the the tour, we have a mural of the coat of arms. And 538 00:25:48,545 --> 00:25:52,880 it's lovely, but it's nothing like what you can see today. Of 539 00:25:52,880 --> 00:25:54,320 course you do. You never saw it. 540 00:25:54,320 --> 00:25:57,120 And if you really started looking. We have the cathedral 541 00:25:57,120 --> 00:26:02,565 windows out onto Hope Street again. This was we believe maybe 542 00:26:02,565 --> 00:26:07,285 James Miller was influenced by, Isambard Kingdom Brunel when he 543 00:26:07,285 --> 00:26:11,060 had designed his Bristol Temple Meads. Bristol Temple Meads 544 00:26:11,060 --> 00:26:16,205 became known as the cathedral to the, to the steam train. So to 545 00:26:16,205 --> 00:26:17,185 the Iron Horse. 546 00:26:17,965 --> 00:26:20,605 Right. I did not Which, of course, is the steam train. And 547 00:26:20,605 --> 00:26:23,565 these beautiful cathedral windows, again, they let so much 548 00:26:23,565 --> 00:26:24,205 light in. 549 00:26:24,205 --> 00:26:24,605 Niall Murphy: It really 550 00:26:24,845 --> 00:26:29,030 Jackie Ogilvie: But again, people just walk past them and 551 00:26:29,030 --> 00:26:32,490 just take them for granted. Yes. Because we don't have that on 552 00:26:32,630 --> 00:26:40,015 the east side. Yes. Engineering, is a big part of central station 553 00:26:40,015 --> 00:26:40,655 as well. 554 00:26:40,655 --> 00:26:44,950 The buffers here, we have some original and we have some 555 00:26:44,950 --> 00:26:49,910 modern. If you go to platform 14/15, you're up there. You'll 556 00:26:49,910 --> 00:26:52,950 see a very different set of buffers than what we've got here 557 00:26:52,950 --> 00:27:00,165 at platform 10 and 11. Original from, we believe, the extension. 558 00:27:01,010 --> 00:27:01,510 Right. 559 00:27:02,050 --> 00:27:09,190 In 1906. These buffers here can stop a 400 ton train travelling 560 00:27:09,410 --> 00:27:15,995 at 12 miles per hour within 7 feet. Wow. They are powered by 561 00:27:15,995 --> 00:27:22,120 water. Problem with water is it's got quite a high freezing 562 00:27:22,120 --> 00:27:22,620 temperature. 563 00:27:23,000 --> 00:27:26,285 Uh-huh. So they have their own central heating system to ensure 564 00:27:26,285 --> 00:27:31,405 that they don't freeze. However, back in the late 19 nineties I 565 00:27:31,405 --> 00:27:34,705 think the late 19 nineties, apologies if that date is wrong, 566 00:27:35,080 --> 00:27:37,420 Somebody turned off the heating. 567 00:27:37,720 --> 00:27:39,800 Niall Murphy: Not during that really bad winter. Yes. 568 00:27:39,800 --> 00:27:42,520 Jackie Ogilvie: Oh my goodness. I've chosen the worst time to do 569 00:27:42,520 --> 00:27:48,305 it. So, yes, they turned them off and they froze and they were 570 00:27:48,765 --> 00:27:51,585 some of them cracked. Right. So the plant had to be repaired, 571 00:27:51,780 --> 00:27:54,120 But the majority of them are still original. 572 00:27:54,420 --> 00:27:56,740 I believe it was the front parts that cracked. So 573 00:27:57,060 --> 00:27:57,560 Niall Murphy: Right. 574 00:27:58,340 --> 00:28:00,515 Jackie Ogilvie: But an incredible piece and it really 575 00:28:00,735 --> 00:28:01,775 is. The the Clyde 576 00:28:01,775 --> 00:28:03,935 Niall Murphy: for a silver is like minus 27 or something. 577 00:28:03,935 --> 00:28:05,775 Glass gets ridiculous. Yes. 578 00:28:05,775 --> 00:28:07,615 Jackie Ogilvie: Couldn't have picked a last year to turn off 579 00:28:07,615 --> 00:28:08,115 heat. 580 00:28:08,575 --> 00:28:11,880 Niall Murphy: Now we're gonna step through a door and Jackie, 581 00:28:12,340 --> 00:28:17,115 who will be taking us behind the scenes, will take us down a set 582 00:28:17,115 --> 00:28:21,995 of escape stairs that will take us all the way below to the 583 00:28:21,995 --> 00:28:25,580 mysterious vaults that are at the heart of the station below 584 00:28:25,580 --> 00:28:26,640 the main concourse. 585 00:28:28,700 --> 00:28:33,345 Jackie Ogilvie: So we've arrived just outside, the museum. We're 586 00:28:33,345 --> 00:28:37,345 now 2 floors down from the concourse. Mhmm. So I'm not 587 00:28:37,345 --> 00:28:40,220 gonna say 2 floors down from street level because we're not 588 00:28:40,300 --> 00:28:43,420 Niall Murphy: probably about street level now. Yeah. Which is 589 00:28:43,500 --> 00:28:44,700 But we're 2 floors down 590 00:28:44,700 --> 00:28:47,740 Jackie Ogilvie: to the concourse. So yeah. It's built 591 00:28:47,740 --> 00:28:52,845 up and and also Hope Street's on on a bit of a slope. When I 592 00:28:52,845 --> 00:28:56,525 first came here, one of the things that I really wanted to 593 00:28:56,525 --> 00:29:00,480 get was one of the old departure boards. They resonate with the 594 00:29:00,480 --> 00:29:02,820 people of Glasgow because of a certain generation. 595 00:29:03,120 --> 00:29:07,415 I always say it's anybody over 27, but that's just because I'm 596 00:29:07,475 --> 00:29:12,835 including myself with it. So anybody who came in and 597 00:29:12,835 --> 00:29:16,260 frequented the station pre 1986 would remember these because 598 00:29:16,260 --> 00:29:19,620 this is how you found your way to your train. We didn't have 599 00:29:19,620 --> 00:29:22,660 electronic boards. Nobody had electronic boards. It wasn't 600 00:29:22,660 --> 00:29:23,220 just central. 601 00:29:23,220 --> 00:29:27,425 Nobody had electronic boards back then. So I was keen to get 602 00:29:27,425 --> 00:29:31,205 them. And difficult to come by, well, there's plenty of them, 603 00:29:31,585 --> 00:29:37,080 but those that have them want to keep them. So until the Haughey 604 00:29:37,080 --> 00:29:40,200 family who own Glasgow Salvage and Paisley Mhmm. They very 605 00:29:40,200 --> 00:29:43,015 kindly offered me this middle one on loan, and I grabbed it 606 00:29:43,015 --> 00:29:44,055 with both hands. 607 00:29:44,055 --> 00:29:48,055 Then Irene, who lives in the West End, her daughter contacted 608 00:29:48,055 --> 00:29:50,295 me to say that Irene had a couple of them lying in her 609 00:29:50,295 --> 00:29:56,130 garage. Did I want them? Irene's late mother and herself had 610 00:29:56,270 --> 00:30:00,005 purchased these from British Rail when we changed over. So at 611 00:30:00,005 --> 00:30:03,045 that point, British Rail was selling pieces off so the public 612 00:30:03,045 --> 00:30:06,165 could come in and buy bits. I mean, they were selling all 613 00:30:06,165 --> 00:30:06,665 sorts. 614 00:30:07,280 --> 00:30:12,020 Departure boards were very, very, very, very in demand, 615 00:30:12,320 --> 00:30:17,125 shall we say. They sold well. They paid £7 and £7.50, and I've 616 00:30:17,125 --> 00:30:21,605 got all the original paperwork for them as well. So I then 617 00:30:21,605 --> 00:30:26,250 wanted to display them. I wanted to hopefully evoke some of these 618 00:30:26,250 --> 00:30:28,830 memories and the emotions that these bring. 619 00:30:29,450 --> 00:30:32,650 And our wonderful station joiner, Greg, he created this 620 00:30:32,650 --> 00:30:37,005 all from old photographs because Greg is just a young man and 621 00:30:37,005 --> 00:30:41,325 wasn't born in by 1986. So so this is this is just it's just 622 00:30:41,325 --> 00:30:45,550 wonderful. And people love it. People who come just love it 623 00:30:45,550 --> 00:30:49,390 because, again, it takes them back in time to maybe when they 624 00:30:49,390 --> 00:30:52,130 were young, waiting in the station to get on their train. 625 00:30:54,085 --> 00:31:00,325 So during the tours, a number of months ago, a lady, probably 626 00:31:00,325 --> 00:31:03,400 last year, There's a lady on Paul's tour. 627 00:31:03,940 --> 00:31:09,460 And as I said to you just a moment ago, emotions come when 628 00:31:09,460 --> 00:31:12,405 you see these things that bring back your memories of when you 629 00:31:12,405 --> 00:31:17,045 were younger and maybe better times. And a woman was on the 630 00:31:17,045 --> 00:31:21,370 tour, and she was she was very, you know, emotive at this point. 631 00:31:21,510 --> 00:31:23,990 And she said to Paul, I've got something, and I'm gonna bring 632 00:31:23,990 --> 00:31:28,895 it in for you. Mhmm. And what she handed in was a 36 inch 633 00:31:28,895 --> 00:31:29,715 wooden ruler. 634 00:31:29,775 --> 00:31:36,120 Mhmm. Now it's no ordinary 36 inch wooden ruler because this 635 00:31:36,280 --> 00:31:39,640 belonged to a man called Sandy Moffat. Mhmm. And Sandy Moffat 636 00:31:39,640 --> 00:31:43,100 back in the day was Glasgow Central Station's sign writer. 637 00:31:43,160 --> 00:31:43,660 Right. 638 00:31:43,815 --> 00:31:46,615 One of Glasgow Central Station sign writers. So there is a 639 00:31:46,615 --> 00:31:49,735 really good chance he is the man that painted by hand all of 640 00:31:49,735 --> 00:31:51,015 these boards and he used the ruler. 641 00:31:51,175 --> 00:31:51,735 Niall Murphy: Isn't it? 642 00:31:51,735 --> 00:31:54,900 Jackie Ogilvie: This ruler here. Yeah. And I just love that story 643 00:31:54,900 --> 00:31:55,140 because 644 00:31:55,220 --> 00:31:55,620 Niall Murphy: You can see the 645 00:31:55,780 --> 00:31:57,860 Jackie Ogilvie: you can see the things back. Yeah. Yeah. You can 646 00:31:57,860 --> 00:32:00,660 see all the lines where he's used it. The ruler, it's 647 00:32:00,660 --> 00:32:01,160 fantastic. 648 00:32:04,785 --> 00:32:05,185 Niall Murphy: Here we go! 649 00:32:05,185 --> 00:32:05,345 Fay Young: Ooh! 650 00:32:06,385 --> 00:32:06,625 Jackie Ogilvie: Welcome to the museum 651 00:32:07,165 --> 00:32:11,405 Jackie Ogilvie: This is what I spent my 652 00:32:11,405 --> 00:32:12,145 time doing. 653 00:32:13,230 --> 00:32:15,310 Niall Murphy: I think it's fantastic. You've done such a 654 00:32:15,310 --> 00:32:16,850 phenomenal job with this. 655 00:32:17,950 --> 00:32:20,030 Jackie Ogilvie: This is what I spent my time doing during the 656 00:32:20,030 --> 00:32:20,530 lockdown. 657 00:32:20,670 --> 00:32:21,170 Niall Murphy: Uh-huh. 658 00:32:22,945 --> 00:32:24,865 Jackie Ogilvie: When I first came here, I was asked to create 659 00:32:24,865 --> 00:32:28,085 a museum, but it was just an empty room, completely empty. 660 00:32:29,265 --> 00:32:33,010 There were about 1 or 2 bits and pieces lying about in the 661 00:32:33,010 --> 00:32:38,530 station. And then we started to pull them together. In my 662 00:32:38,530 --> 00:32:43,125 previous roles, one of the key points of my role when I worked 663 00:32:43,125 --> 00:32:48,085 in banking was networking. When I came to Network Real, I was 664 00:32:48,085 --> 00:32:50,660 really at a disadvantage because I didn't know anybody. 665 00:32:50,720 --> 00:32:54,240 Mhmm. So I made it my business to start networking Mhmm. 666 00:32:54,400 --> 00:32:56,960 Because I couldn't do what was that I'd been asked to do 667 00:32:56,960 --> 00:33:00,875 without Yeah. A lot of people's help. One of the first people 668 00:33:00,875 --> 00:33:04,955 that I contacted was Norry Gilliland a lovely young man who 669 00:33:04,955 --> 00:33:07,855 wrote Glasgow's forgotten village all about the Grahamston 670 00:33:07,995 --> 00:33:08,495 story. 671 00:33:09,440 --> 00:33:14,100 And we met here. And he told me about these boards, which detail 672 00:33:14,480 --> 00:33:19,325 so much of Grahamston's story. And he said he'd use them to 673 00:33:19,325 --> 00:33:23,165 launch his book at the Mitchell library and he said I think 674 00:33:23,165 --> 00:33:26,430 they're just lying in a cupboard somewhere you know not getting 675 00:33:26,430 --> 00:33:30,990 you you may want to ask. So I met with Duncan Donan. Duncan 676 00:33:30,990 --> 00:33:35,275 Donan is the man who's in charge of all the museums and libraries 677 00:33:35,275 --> 00:33:36,415 in in Glasgow. 678 00:33:36,795 --> 00:33:42,310 And he very very kindly arranged for these boards to be gifted, 679 00:33:42,690 --> 00:33:46,530 down to ourselves, and it's just wonderful. When I first got 680 00:33:46,530 --> 00:33:49,170 them, I I kinda was saying to people, and this saved me an 681 00:33:49,170 --> 00:33:52,285 awful lot of work. It didn't save me an awful lot of work. I 682 00:33:52,285 --> 00:33:55,485 would never have done as much work as this. You know? 683 00:33:55,485 --> 00:33:59,665 I wouldn't have done half of this. This is a fabulous 684 00:34:00,220 --> 00:34:01,360 fabulous addition. 685 00:34:01,420 --> 00:34:01,900 Niall Murphy: It really is. 686 00:34:01,900 --> 00:34:03,740 Jackie Ogilvie: And it's wonderful that it's been brought 687 00:34:03,740 --> 00:34:06,940 out the cupboard and everybody's been able to see it. Yeah. I 688 00:34:06,940 --> 00:34:10,685 just like that it's we brought it from the depths of the 689 00:34:10,685 --> 00:34:14,145 archives and the Mitchell Library to them. So, yes. So so 690 00:34:14,660 --> 00:34:15,860 Norrie's boards were wonderful. 691 00:34:15,860 --> 00:34:18,440 And again, the the maintenance team and the station, they, 692 00:34:18,820 --> 00:34:22,100 created the boards and and did did all of this to try and 693 00:34:22,100 --> 00:34:25,295 display them as best we could. And of course, there's 2 two 694 00:34:25,295 --> 00:34:28,835 buildings left from Grahamston. There's lots of stories about 695 00:34:28,975 --> 00:34:32,880 cobble streets down underneath, and shop fronts and all the rest 696 00:34:32,880 --> 00:34:35,860 of it. That's not true. Sadly. 697 00:34:36,080 --> 00:34:42,855 Sadly. It's not true. It's not true. However, what was what is 698 00:34:42,855 --> 00:34:45,735 the Rennie Mackintosh Hotel opened in about 1800. So we 699 00:34:45,735 --> 00:34:48,695 don't have any 1600s at Grahamston stuff. 700 00:34:48,695 --> 00:34:53,890 We have 1800s opened originally as a Duncan's Temple and then 701 00:34:53,890 --> 00:34:58,445 down just round the corner and onto Argyle Street, we have the 702 00:34:58,445 --> 00:35:02,125 Grant Arms, and they are both roundabout 1800s, but they are 703 00:35:02,125 --> 00:35:04,685 original. Grahamston buildings, and that's really all that's 704 00:35:04,685 --> 00:35:05,585 left of Grahamston. 705 00:35:05,645 --> 00:35:06,100 Niall Murphy: Yes. 706 00:35:06,100 --> 00:35:07,300 Jackie Ogilvie: Yeah. Because everything else 707 00:35:07,620 --> 00:35:08,600 Niall Murphy: We helped with 708 00:35:08,820 --> 00:35:09,620 Jackie Ogilvie: with the Yes. They did. 709 00:35:09,780 --> 00:35:11,700 Niall Murphy: Conservation of it. So so there was a lot 710 00:35:11,700 --> 00:35:13,515 Jackie Ogilvie: of conservation done down on that building 711 00:35:13,515 --> 00:35:14,795 during lockdown, wasn't it? 712 00:35:14,795 --> 00:35:15,435 Niall Murphy: Yeah. It was. Yeah. 713 00:35:15,435 --> 00:35:17,355 Jackie Ogilvie: Because I was concerned at first, and then I 714 00:35:17,355 --> 00:35:19,435 realized it was actually somebody doing something to keep 715 00:35:19,435 --> 00:35:19,555 it. 716 00:35:19,675 --> 00:35:21,400 Niall Murphy: Great to get up close because I had to inspect 717 00:35:21,400 --> 00:35:21,880 it also. 718 00:35:21,880 --> 00:35:23,660 Jackie Ogilvie: And they do celebrate it. Yeah. 719 00:35:23,880 --> 00:35:25,480 Niall Murphy: They've done a fantastic job on it. 720 00:35:25,480 --> 00:35:28,200 Jackie Ogilvie: So a really interesting completely away from 721 00:35:28,200 --> 00:35:32,445 architecture, but a really interesting story about the 722 00:35:32,445 --> 00:35:37,485 Grant Adams. Part of Scottish legal system is a thing called 723 00:35:37,485 --> 00:35:44,270 the Moorov doctrine. Yes. The Moorov doctrine is where so in 724 00:35:44,270 --> 00:35:46,590 Scotland, you must have corroboration. We're not like 725 00:35:46,590 --> 00:35:47,730 England down south. 726 00:35:47,825 --> 00:35:51,525 You must have a corroborating witness for any crime to have 727 00:35:51,665 --> 00:35:56,280 been committed except. So back in the day, above the Grant 728 00:35:56,280 --> 00:36:00,680 Adams up here, there's a tailors. And the tailor employed 729 00:36:00,680 --> 00:36:04,125 young women seamstresses, lots of them. And they came and they 730 00:36:04,125 --> 00:36:08,785 went and they came and they went. And the young lady went to 731 00:36:09,485 --> 00:36:13,600 the police because he was being inappropriate with her. 732 00:36:13,600 --> 00:36:16,400 And they said, well, do you have any witnesses? No. We don't have 733 00:36:16,400 --> 00:36:20,305 any witnesses. And then another young lady went to the police 734 00:36:20,305 --> 00:36:22,645 and said he was being inappropriate. Mhmm. 735 00:36:22,785 --> 00:36:27,990 Mhmm. And several then went And it went to the high courts the 736 00:36:27,990 --> 00:36:31,670 courts of land and they introduced what was called the 737 00:36:31,670 --> 00:36:36,635 Moorov doctrine. He was Moorov was the man's name. He was the 738 00:36:36,855 --> 00:36:41,415 tailor. And it was where you had so now in Scotland, whilst we 739 00:36:41,415 --> 00:36:45,730 look for corroboration normally under the more of doctrine, what 740 00:36:45,730 --> 00:36:49,170 you can have is this is a very simple explanation, by the way. 741 00:36:49,170 --> 00:36:52,210 I'm not a legal mind at all. But this is a simple is that you can 742 00:36:52,210 --> 00:36:55,805 have multiple people telling you the same thing with the same 743 00:36:55,805 --> 00:36:59,165 details about the same person. And that becomes that whilst 744 00:36:59,165 --> 00:37:02,370 they went there when each crime was committed, they are telling 745 00:37:02,370 --> 00:37:04,930 you that the same thing has happened. And that's called the 746 00:37:04,930 --> 00:37:08,870 Moorov doctrine. And that all happened in the Grant Arms. 747 00:37:08,930 --> 00:37:09,170 Niall Murphy: I'm off 748 00:37:09,170 --> 00:37:10,955 Jackie Ogilvie: the Grant Arms. So Yeah. Yeah. 749 00:37:10,955 --> 00:37:13,395 Niall Murphy: Yeah. That's a Yes. Yeah. Another weak story. 750 00:37:13,395 --> 00:37:14,935 Scottish Scottish legal precedent, 751 00:37:15,075 --> 00:37:15,315 Jackie Ogilvie: which 752 00:37:15,315 --> 00:37:17,475 Niall Murphy: is, yeah, really, really interesting. 753 00:37:17,475 --> 00:37:17,930 Jackie Ogilvie: Yes. 754 00:37:18,010 --> 00:37:19,930 Niall Murphy: I think that's again, that's a world first, 755 00:37:19,930 --> 00:37:20,410 that one. 756 00:37:20,410 --> 00:37:24,110 Jackie Ogilvie: Yes. It is. Yeah. Absolutely. But then, 757 00:37:24,330 --> 00:37:26,945 Glasgow is always a a leader. 758 00:37:26,945 --> 00:37:32,145 Cutting edge city. Absolutely. Always. Always. Always. 759 00:37:32,145 --> 00:37:35,590 So one of the things that I thought you might be interested 760 00:37:35,590 --> 00:37:43,515 in is our station masters. Station masters of Glasgow 761 00:37:43,655 --> 00:37:50,200 Central Station was a very prestigious job, very 762 00:37:50,200 --> 00:37:53,100 prestigious. I mean, to be a station master anyway was good, 763 00:37:53,400 --> 00:37:56,200 but to get central station, ah, you made it. You've done it. 764 00:37:56,200 --> 00:37:56,955 You were right at the 765 00:37:56,955 --> 00:38:01,135 top of the tree. So when I started, I thought it might be 766 00:38:01,135 --> 00:38:04,195 quite good to try and find out more about the station masters. 767 00:38:04,255 --> 00:38:08,180 I was kind of half hearted going into it. Just touching and 768 00:38:08,180 --> 00:38:10,740 looking and finding. And if something landed on my lap, I 769 00:38:10,740 --> 00:38:11,480 was okay. 770 00:38:11,540 --> 00:38:18,035 And then so what I didn't know was about a man here called, we 771 00:38:18,035 --> 00:38:20,755 have a photograph in the museum of him, and his name is Thomas 772 00:38:20,755 --> 00:38:26,900 Allison. He was here from 1903 to 1919. That man there took the 773 00:38:26,900 --> 00:38:28,660 station through the 1st World War. 774 00:38:28,660 --> 00:38:29,160 Niall Murphy: Wow. 775 00:38:29,540 --> 00:38:32,525 Jackie Ogilvie: That must have been quite some job. Yeah. And 776 00:38:32,525 --> 00:38:34,845 remembering back in the day, the station master would have been 777 00:38:34,845 --> 00:38:40,020 responsible for everything in the station. So took it through 778 00:38:40,020 --> 00:38:41,500 the world war. So I knew about Thomas Allison. 779 00:38:41,500 --> 00:38:44,020 I knew where he was buried. I knew he'd lost one of his sons 780 00:38:44,020 --> 00:38:46,980 in one of the wars. Knew a bit about him. I've got his work 781 00:38:46,980 --> 00:38:49,755 history. Knew all about that. 782 00:38:49,815 --> 00:38:54,215 So I thought, I know a bit about him. And then I also knew about 783 00:38:54,215 --> 00:39:02,110 a man called I got told about a man called John Gibson. John 784 00:39:02,110 --> 00:39:06,765 Gibson was here for a year, only a year. He was station master, 785 00:39:08,105 --> 00:39:12,665 and he died up in the tracks. He was responsible for shunting 786 00:39:12,665 --> 00:39:17,090 work, supervising shunting, and he it was a very dense fog. 787 00:39:17,470 --> 00:39:20,430 Add to that all the steam and the steward and the muck for the 788 00:39:20,430 --> 00:39:24,515 steam locals, and he stepped out of the way of 1 engine right 789 00:39:24,515 --> 00:39:27,475 into the track of another. And he was killed up on the tracks. 790 00:39:27,475 --> 00:39:30,780 Right. He died the following day. But my grandfather's name 791 00:39:30,780 --> 00:39:31,680 was John Gibson. 792 00:39:31,980 --> 00:39:32,480 Niall Murphy: Right. 793 00:39:33,020 --> 00:39:35,600 Jackie Ogilvie: Not the same John Gibson. My brother's name 794 00:39:35,980 --> 00:39:36,860 is John Gibson. 795 00:39:36,860 --> 00:39:37,360 Niall Murphy: Right. 796 00:39:37,485 --> 00:39:39,965 Jackie Ogilvie: Guess what? I was hooked. Yeah. I can imagine. 797 00:39:39,965 --> 00:39:40,365 Oh no. 798 00:39:40,365 --> 00:39:43,565 I need I need to do more. So I then found out about Robert 799 00:39:43,565 --> 00:39:47,350 Scorgi a man who I have his walking cane all inscribed. And 800 00:39:47,410 --> 00:39:52,850 he was here between 1922 and 1937 and I started digging a 801 00:39:52,850 --> 00:39:58,085 little bit more I subscribed to old newspapers to do some 802 00:39:58,085 --> 00:40:02,920 research and I now have I then ended up with every station 803 00:40:02,920 --> 00:40:06,360 master from George Farquharson when we opened our doors right 804 00:40:06,360 --> 00:40:11,635 through to 1944, a man called Thomas Tinning in 1944. Thomas 805 00:40:11,635 --> 00:40:15,475 Tinning came, and and it almost came out it almost came to an 806 00:40:15,475 --> 00:40:18,780 end, and I couldn't get any information about him. I saw his 807 00:40:18,780 --> 00:40:22,300 appointment, didn't see anything else, and really struggled to 808 00:40:22,300 --> 00:40:24,880 find anything else during my research. 809 00:40:26,025 --> 00:40:29,145 I think he was I thought he was kind of maybe found out that he 810 00:40:29,145 --> 00:40:32,665 might be buried in Lanark, but, hey ho, I'm not sure. And it 811 00:40:32,665 --> 00:40:35,980 really became quite demoralizing because everybody else didn't 812 00:40:35,980 --> 00:40:40,060 know how well we stayed here or anything. But when I was doing 813 00:40:40,060 --> 00:40:44,035 more research and more research, I so I kind of parked it. But 814 00:40:44,035 --> 00:40:47,635 one of the things I found out was that Thomas Allison, the man 815 00:40:47,635 --> 00:40:51,555 I thought I knew so much about, just a wee tiny snippet in the 816 00:40:51,555 --> 00:40:55,030 newspaper, and I saw a wee bit about him that he traveled back 817 00:40:55,030 --> 00:40:59,210 to his father. His father owned a farm in West Lothian. 818 00:41:00,565 --> 00:41:05,925 The farm was called Parkhead Farm. I went to Parkhead Primary 819 00:41:05,925 --> 00:41:10,425 School Uh-huh. Which is built on Parkhead Farm in West Lothian. 820 00:41:11,430 --> 00:41:12,650 Niall Murphy: It's a small world. 821 00:41:12,790 --> 00:41:16,410 Jackie Ogilvie: I think there is greater power. Yeah. Absolutely. 822 00:41:16,550 --> 00:41:19,345 It was meant to be. I think it was meant to be. 823 00:41:20,305 --> 00:41:23,905 It was I I could not believe. He was born less than a mile from 824 00:41:23,905 --> 00:41:26,385 where I was born. Yeah. So I was born in the house, not in in the 825 00:41:26,385 --> 00:41:30,650 hospital. So I I was absolutely taken aback, but still 826 00:41:30,950 --> 00:41:34,090 frustrated with the, Thomas Tinnings thing. 827 00:41:34,150 --> 00:41:38,635 And then last October 2023, I went and hollered and came back 828 00:41:38,635 --> 00:41:41,915 to an email, an email from a gentleman who lives in 829 00:41:41,915 --> 00:41:44,235 Inverness. And he says, Jackie, I'm coming down. I don't know 830 00:41:44,235 --> 00:41:47,040 where everybody gets my email with it. It must be floating 831 00:41:47,040 --> 00:41:50,160 about in the system somewhere. I'm coming down to do the tour 832 00:41:50,160 --> 00:41:50,640 on Wednesday. 833 00:41:50,640 --> 00:41:54,660 And I just wonder if you would like some stuff that I've got. 834 00:41:55,120 --> 00:41:59,025 It belonged to my grandfather. My grandfather used to be the 835 00:41:59,025 --> 00:42:03,205 station master of Glasgow Central Station, and his name 836 00:42:03,745 --> 00:42:09,280 was Thomas Timming. Oh my heavens above. I was jumping up 837 00:42:09,280 --> 00:42:09,940 and down. 838 00:42:10,160 --> 00:42:13,875 And they all thought I was mad. But this is something that so 839 00:42:13,875 --> 00:42:18,755 what I now have and I have it on display here is a photograph an 840 00:42:18,755 --> 00:42:24,180 etching of Thomas Tinning man with the top hat there. I also 841 00:42:24,180 --> 00:42:29,745 have his gold watch. I also have newspaper cuttings telling me 842 00:42:29,745 --> 00:42:36,760 more about the story of this man and he was I believe he was the 843 00:42:36,760 --> 00:42:38,700 last station master. 844 00:42:39,080 --> 00:42:39,580 Niall Murphy: Right. 845 00:42:39,640 --> 00:42:42,680 Jackie Ogilvie: After that, it became station manager. So was 846 00:42:42,680 --> 00:42:42,920 it a 847 00:42:42,920 --> 00:42:45,080 Fay Young: very different culture when you had a station 848 00:42:45,080 --> 00:42:45,805 master? How always 849 00:42:45,805 --> 00:42:48,525 Jackie Ogilvie: the relation with the rest of it? Yes. If you 850 00:42:48,525 --> 00:42:52,125 look at any of the photographs of station masters, they were 851 00:42:52,125 --> 00:42:55,880 quite stern looking, you know, and very, very authoritarian. 852 00:42:56,820 --> 00:43:00,420 And they they wore a long black coat, a top hat, and they 853 00:43:00,420 --> 00:43:04,265 usually had a walking cane. There's Robert walking cane. 854 00:43:04,265 --> 00:43:06,905 So so we have a walk and they would strut about, but they were 855 00:43:06,905 --> 00:43:10,640 responsible for everything. So you think about the station 856 00:43:10,640 --> 00:43:13,760 today, we have Drew Burns, who's our network rail. He runs the 857 00:43:13,760 --> 00:43:17,920 station. He's responsible for the security of the station, the 858 00:43:17,920 --> 00:43:21,105 efficient running of the station. Then we have Kat McGee, 859 00:43:21,105 --> 00:43:24,885 who is she's the ScotRail manager for the station. 860 00:43:25,425 --> 00:43:28,465 She manages the trains. We have an Avanti manager. We've got all 861 00:43:28,465 --> 00:43:32,130 the so the train operating companies are very They have 862 00:43:32,130 --> 00:43:32,870 Niall Murphy: their managers. 863 00:43:33,090 --> 00:43:35,910 Jackie Ogilvie: Right. So they have their own managers. Drew 864 00:43:36,050 --> 00:43:39,445 manages the station itself, the building, the infrastructure, 865 00:43:39,665 --> 00:43:42,625 and the security of the station, and all the maintenance that 866 00:43:42,625 --> 00:43:47,230 goes along with it. Whereas back in the day, stationmaster would 867 00:43:47,230 --> 00:43:50,750 have that, plus all the trains, plus all the shunting, plus all 868 00:43:50,990 --> 00:43:53,490 everything. Everything that would have been underneath. 869 00:43:54,145 --> 00:43:55,925 So quite incredible. Mhmm. 870 00:43:56,145 --> 00:43:58,065 Fay Young: I'm just looking at that board there. 871 00:43:58,065 --> 00:44:01,045 Jackie Ogilvie: The I know. The vital statistics at the station 872 00:44:01,105 --> 00:44:06,290 and and 111,000 passengers every day. Yep. That's That's amazing, 873 00:44:06,290 --> 00:44:09,890 isn't it? So I've just confirmed what our our statistics are just 874 00:44:09,890 --> 00:44:13,685 now. So we're back up to maybe about on average daily, about 80 875 00:44:13,685 --> 00:44:18,005 to 90,000, which which is good because we were way, way down 876 00:44:18,005 --> 00:44:21,620 post COVID. I was gonna say. So the weekends tend to be very 877 00:44:21,620 --> 00:44:23,940 busy. Right. You know, we're we're back up to where we were 878 00:44:23,940 --> 00:44:30,075 at the weekends, but not so much, not so much through the 879 00:44:30,075 --> 00:44:32,795 week. Still needing to get up a wee bit further. Working from 880 00:44:32,795 --> 00:44:35,835 home is the the Yeah. Frustration for us. A real 881 00:44:35,835 --> 00:44:37,350 problem for the city centre. 882 00:44:37,350 --> 00:44:38,310 Fay Young: It is. It is. I 883 00:44:38,310 --> 00:44:40,070 Niall Murphy: mean, it's it's it's like a catch twenty three. 884 00:44:40,070 --> 00:44:42,390 Glasgow's got a really good commuter network. So it means 885 00:44:42,390 --> 00:44:45,195 you can work from home relatively easily. Yes. And 886 00:44:45,195 --> 00:44:46,475 that's gone against the city center. 887 00:44:46,475 --> 00:44:48,955 All those people who would have come into the city center, a lot 888 00:44:48,955 --> 00:44:51,770 of them are now working from home. Yes. And that is putting 889 00:44:51,770 --> 00:44:55,130 the city center kind of, the economy of the city center under 890 00:44:55,130 --> 00:44:55,630 pressure. 891 00:44:55,770 --> 00:44:58,410 Jackie Ogilvie: Absolutely. And and and the rail was just part 892 00:44:58,410 --> 00:45:02,355 of it. Yeah. This is a kilt. A kilt made from the kilt. 893 00:45:02,355 --> 00:45:04,455 Niall Murphy: Made from railway tickets. Love it. 894 00:45:06,195 --> 00:45:07,540 Fay Young: Fabulous. Very nice. 895 00:45:08,020 --> 00:45:10,600 Niall Murphy: That is fabulous. Great fun. 896 00:45:11,780 --> 00:45:15,960 Fay Young: But isn't it weird the effect of COVID and 897 00:45:16,020 --> 00:45:21,145 lockdown? What was your work like here? What what were you It 898 00:45:21,145 --> 00:45:21,625 was like 899 00:45:21,625 --> 00:45:25,650 Jackie Ogilvie: a ghost town when we came in to begin with. I 900 00:45:25,650 --> 00:45:30,530 missed it dreadfully. I missed the interaction. Mhmm. The human 901 00:45:30,530 --> 00:45:31,590 the human points. 902 00:45:31,810 --> 00:45:35,145 Yeah. I mentioned to you earlier, I've always worked with 903 00:45:35,145 --> 00:45:38,345 people. Yeah. People are what make me get up in the morning. 904 00:45:38,345 --> 00:45:38,505 Yeah. 905 00:45:38,505 --> 00:45:41,625 People coming on the tour help me get through my day, make my 906 00:45:41,625 --> 00:45:45,510 day better for meeting them. And I really, really miss that. 907 00:45:45,810 --> 00:45:49,730 Mhmm. And I came back to work and I thought I think I was 908 00:45:49,730 --> 00:45:54,105 given the the option to to retrain, to to do some of the 909 00:45:54,105 --> 00:45:59,005 stuff that was going on upstairs and or work on with the museum. 910 00:45:59,145 --> 00:46:03,680 And I am so glad that the option that I was you know, I took the 911 00:46:03,680 --> 00:46:05,060 option to work in the museum. 912 00:46:05,280 --> 00:46:08,400 It was the right decision for me and for the station and the 913 00:46:08,400 --> 00:46:13,155 tours. I'm glad I did that. The museum just started to come 914 00:46:13,155 --> 00:46:16,515 together. And it is that I have to say at times at the 915 00:46:16,515 --> 00:46:19,740 beginning, I kept thinking, I don't know how I had all these 916 00:46:19,740 --> 00:46:23,900 ideas, lots of ideas, but bringing them to fruition was a 917 00:46:23,900 --> 00:46:28,685 challenge, to say the least. And getting things done, getting the 918 00:46:28,685 --> 00:46:31,725 pieces that you needed to fill this room, I mean, to begin 919 00:46:31,725 --> 00:46:33,265 with, it was very empty. 920 00:46:33,485 --> 00:46:37,150 And then I started doing re extra bits, you know, and then 921 00:46:37,150 --> 00:46:40,190 something would come. I think when the penny dropped, I 922 00:46:40,190 --> 00:46:45,375 thought we could absolutely do the museum. The clocks. Mhmm. 923 00:46:45,375 --> 00:46:48,015 The big clocks that we have, which were they're not that old, 924 00:46:48,015 --> 00:46:51,695 maybe 50, sixties at the very oldest because because the the 925 00:46:51,695 --> 00:46:53,950 face is covered with perspex, not glass. 926 00:46:54,110 --> 00:46:57,070 Mhmm. So that allows us to age it much younger than we would 927 00:46:57,070 --> 00:46:59,870 have liked it to have been. But we had all these clocks and we 928 00:46:59,870 --> 00:47:05,455 managed to get the I say we. I just nagged and nagged, and I 929 00:47:05,455 --> 00:47:10,160 was the pusher, and and got the maintenance team, Our 930 00:47:10,160 --> 00:47:15,120 maintenance team in central station, they've helped me do my 931 00:47:15,120 --> 00:47:18,020 job. Without them, we wouldn't have a museum. 932 00:47:18,235 --> 00:47:21,055 It would be a pile of old stuff in the middle of the room. So 933 00:47:21,275 --> 00:47:25,275 the museum is as much theirs as mine. And they managed to help 934 00:47:25,275 --> 00:47:29,310 get the clocks working. And then I went off for a few days. And I 935 00:47:29,310 --> 00:47:29,790 came back. 936 00:47:29,790 --> 00:47:33,630 And they had put them up. And I was extremely emotional coming 937 00:47:33,630 --> 00:47:38,485 in. Because at that point, I thought this is a big step 938 00:47:38,485 --> 00:47:42,805 forward. Then getting the boards for Grahamston, then the 939 00:47:42,805 --> 00:47:45,880 railings. We found these railings, which Railway Heritage 940 00:47:45,880 --> 00:47:51,020 believed them to be probably original to 1901, 1906. 941 00:47:52,440 --> 00:47:55,015 And And we found them just leaning up against the wall 942 00:47:55,075 --> 00:48:00,710 somewhere in the station. Heavy as well. Well, because on your I 943 00:48:00,710 --> 00:48:03,030 kept thinking everything else has been everything else has 944 00:48:03,030 --> 00:48:06,150 gone. Everything else has gone to the scrappy to get money for 945 00:48:06,150 --> 00:48:09,445 it or whatever. I'm speculating it. 946 00:48:09,925 --> 00:48:14,405 Probably not, but everything had gone, and these were still 947 00:48:14,405 --> 00:48:18,060 there. And I couldn't understand why. And then we tried to move 948 00:48:18,060 --> 00:48:23,020 them. And we realized. And it took 3 men and a huge, big 949 00:48:23,020 --> 00:48:26,105 trolley to bring these from where we found them in one of 950 00:48:26,105 --> 00:48:30,905 the corridors to here and they are just and then the guys again 951 00:48:30,905 --> 00:48:33,500 they put them up here They frame the clocks. 952 00:48:33,500 --> 00:48:38,380 They absolutely, you know, they just yeah. They set that off. 953 00:48:38,380 --> 00:48:40,835 Niall Murphy: They're so elegant. So they're really, 954 00:48:41,215 --> 00:48:44,095 Jackie Ogilvie: really accordion. And and I've had 955 00:48:44,095 --> 00:48:46,815 people on the tour who do this for a living. You know, they do 956 00:48:46,815 --> 00:48:49,680 iron work, and they said, what is there is very, very 957 00:48:49,680 --> 00:48:53,200 difficult. It's very intricate for Iron work to achieve. 958 00:48:53,200 --> 00:48:53,600 Niall Murphy: Yeah. 959 00:48:53,600 --> 00:48:55,705 Jackie Ogilvie: Yeah. As a very skilled person, it's nice. 960 00:48:55,865 --> 00:48:59,405 Fay Young: Yeah. Such pride in producing something. Absolutely. 961 00:48:59,625 --> 00:49:03,705 Jackie Ogilvie: Yep. So lots of bits and pieces, some which we 962 00:49:03,705 --> 00:49:08,300 know what they are, some not so much. A lot of telecom stuff, a 963 00:49:08,300 --> 00:49:11,180 lot of blueprints and, you know. 964 00:49:11,180 --> 00:49:14,075 Niall Murphy: But then telecom stands. So why, John will 965 00:49:14,075 --> 00:49:16,555 Logie Baird , you know Absolutely. Had had, you know, 966 00:49:16,555 --> 00:49:20,555 did his experiment from Central Station Hotel because you had 967 00:49:20,555 --> 00:49:23,050 the straight run all the way down to London. Yes. So he 968 00:49:23,050 --> 00:49:25,370 could, you know, he could prove it, and then he could they could 969 00:49:25,370 --> 00:49:27,130 get the message back saying it was working 970 00:49:27,130 --> 00:49:30,270 Jackie Ogilvie: or not. I think it was 1926 he sent from London 971 00:49:30,410 --> 00:49:34,255 to Glasgow Central Station Hotel the very first television 972 00:49:34,315 --> 00:49:37,675 signal. Yeah. And it was on in black and white. It was on a 973 00:49:37,675 --> 00:49:38,895 very small screen. 974 00:49:38,955 --> 00:49:42,750 Yes. But it was the first. Yes. And I just wonder what would 975 00:49:42,750 --> 00:49:43,950 make of what we've got today. 976 00:49:43,950 --> 00:49:45,170 Niall Murphy: I know. Yeah. Absolutely. 977 00:49:45,790 --> 00:49:48,110 Jackie Ogilvie: Yes. I do wonder what it would make of what we've 978 00:49:48,110 --> 00:49:52,175 got today. It's quite interesting. One of the things I 979 00:49:52,235 --> 00:49:56,555 also did when I came here, and this was really instigated by 980 00:49:56,555 --> 00:50:00,010 Susan Holden, who was the station manager at that time was 981 00:50:00,010 --> 00:50:05,050 to engage with we wanted to to make this a Glasgow museum, a 982 00:50:05,050 --> 00:50:11,515 Glasgow to bring people in, and and work with us. So Glasgow 983 00:50:11,515 --> 00:50:14,255 School of Art was a natural choice. 984 00:50:14,970 --> 00:50:20,650 So I contacted Glasgow School of Art. Now I'm a great believer in 985 00:50:20,650 --> 00:50:26,405 why things happen. It seems to just sometimes be fate. Mhmm. I 986 00:50:26,405 --> 00:50:29,685 phoned Glasgow School of Art, and I was speaking to I can't 987 00:50:29,685 --> 00:50:32,665 remember if it was a press office or or it was somebody, 988 00:50:33,510 --> 00:50:35,750 you know, in the offices, and I was saying, look. 989 00:50:35,750 --> 00:50:38,310 Here's what we're thinking about doing. We would like to do a 990 00:50:38,310 --> 00:50:42,145 piece, maybe a couple of murals or a piece of art for the 991 00:50:42,145 --> 00:50:47,825 museum, for, you know, the tour, and and who do you think? When I 992 00:50:47,825 --> 00:50:51,790 was on the phone to them, a young man called Paul Maguire 993 00:50:52,330 --> 00:50:56,650 happened to be in the room at the same time. He heard the 994 00:50:56,650 --> 00:51:00,705 conversation and he said, I'll take that. Thank you very much. 995 00:51:01,245 --> 00:51:04,925 And the rest, they say, is history because Paul and I have 996 00:51:04,925 --> 00:51:12,350 now worked on the 2 murals here. We have plans afoot to do much 997 00:51:12,350 --> 00:51:15,465 more. So that will hopefully be coming. Tell you about that when 998 00:51:15,465 --> 00:51:21,605 we go down to the Victorian platform. So in the museum here, 999 00:51:22,150 --> 00:51:25,590 the mural, the projection onto the wall was created by 20 3rd 1000 00:51:25,590 --> 00:51:27,930 year students who were 3rd year in 2019. 1001 00:51:28,550 --> 00:51:33,045 Right. And I just said to them, I've got a big white wall. Gonna 1002 00:51:33,045 --> 00:51:36,645 fill it, please. Something about the station. It was a very loose 1003 00:51:36,645 --> 00:51:40,530 brief, but that was the first time, these group of students 1004 00:51:40,530 --> 00:51:41,890 had ever had a real customer. 1005 00:51:41,890 --> 00:51:45,090 It was giving them great experience for going out into 1006 00:51:45,090 --> 00:51:49,065 the real world. So I had a budget. I had, you know, a kind 1007 00:51:49,065 --> 00:51:52,345 of a spec of what I wanted Yeah. And where the location and what 1008 00:51:52,345 --> 00:51:54,905 you could deal with and you're the subject matter. And that 1009 00:51:54,905 --> 00:51:59,610 allowed them to to almost create a contract and deal Yeah. 1010 00:51:59,850 --> 00:52:04,730 A customer. I was their customer. And they did it. And I 1011 00:52:04,730 --> 00:52:07,865 think it's wonderful. I think it's absolutely wonderful. 1012 00:52:08,085 --> 00:52:12,585 And the music, I think, is just, just fabulous. Yes. 1013 00:52:14,940 --> 00:52:19,040 Fay Young: Reading the reports of of how this work developed, 1014 00:52:19,100 --> 00:52:22,735 there seemed to be a real emotional connection with the 1015 00:52:22,735 --> 00:52:29,220 work, with, especially the wartime memories, and, Paul 1016 00:52:29,220 --> 00:52:31,800 Maguire, seemed to be really 1017 00:52:32,580 --> 00:52:36,795 Jackie Ogilvie: Paul Maguire, I think his piece when we talk 1018 00:52:36,795 --> 00:52:44,300 about the 1st world war, I think his piece there it just I don't 1019 00:52:44,300 --> 00:52:47,500 know what to say because I just think it really it nails it. It 1020 00:52:47,500 --> 00:52:50,860 absolutely nails it. It personalises what we're talking 1021 00:52:50,860 --> 00:52:54,105 about. It kind of makes it more real to the people of Glasgow. 1022 00:52:54,105 --> 00:52:55,145 Should we go and have a look at it? 1023 00:52:55,145 --> 00:52:56,525 Yes. Of course. Come on. 1024 00:53:00,062 --> 00:53:03,022 Fay Young: The door opens and closes as we move from the 1025 00:53:03,022 --> 00:53:10,497 museum into a really different space. It's dark and silent, and 1026 00:53:10,497 --> 00:53:14,432 we're standing in front of a wall where the names of the 1027 00:53:14,432 --> 00:53:20,952 fallen flicker in white on black. These are the names of 1028 00:53:20,952 --> 00:53:26,907 the 17,000 soldiers who died in the First World War. It's a very 1029 00:53:26,907 --> 00:53:32,902 simple display which constantly changes with the names of the 1030 00:53:32,902 --> 00:53:38,922 fallen alongside their street addresses, and that's what seems 1031 00:53:38,922 --> 00:53:43,197 to stir very powerful emotions in the people who stand here and 1032 00:53:43,197 --> 00:53:47,392 look. 1033 00:53:47,895 --> 00:53:52,935 So when we came when I came here, we did have, like, the 1034 00:53:52,935 --> 00:53:57,210 stretcher and the World War I wheelchair and what have you, 1035 00:53:57,210 --> 00:54:02,750 but that was it. There was nothing here except the history 1036 00:54:03,335 --> 00:54:06,855 of at the beginning, the very early days of World War I, this 1037 00:54:06,855 --> 00:54:09,515 was used as a temporary mortuary. 1038 00:54:09,815 --> 00:54:12,830 It would be a bit of a mixture of soldiers who were brought 1039 00:54:12,830 --> 00:54:20,235 home because of repatriation, which only lasted for a very 1040 00:54:20,235 --> 00:54:24,235 brief time, I believe. But there would be a huge amount of 1041 00:54:24,235 --> 00:54:27,775 soldiers who would arrive here who were coming home sick, 1042 00:54:28,150 --> 00:54:33,470 alive, but died en route but they would arrive here. Very 1043 00:54:33,910 --> 00:54:37,370 really, Paul and I both had a really strong feeling about 1044 00:54:38,585 --> 00:54:42,425 creating something here. I didn't know what we wanted. I 1045 00:54:42,425 --> 00:54:46,605 knew how I wanted to feel, but I didn't want I didn't know. 1046 00:54:48,230 --> 00:54:50,950 I'm not an arty person. I actually didn't even know what 1047 00:54:50,950 --> 00:54:53,750 was available. And then when Paul Maguire came along, and he 1048 00:54:53,750 --> 00:54:57,935 started talking about, you know, a moving mural, a line. You 1049 00:54:57,935 --> 00:55:00,655 know, this this kind of thing. And this was new to me. 1050 00:55:00,655 --> 00:55:03,615 I I didn't know you could have done something that's as 1051 00:55:03,615 --> 00:55:07,810 creative as this. And and I'll never forget the 1st day he 1052 00:55:07,810 --> 00:55:11,350 showed me because we were sat there on a couple of wee stools, 1053 00:55:12,290 --> 00:55:14,865 and he had his laptop. And he showed me it. And and I showed 1054 00:55:14,865 --> 00:55:18,885 it on just on a small screen. And whenever I saw it, I I knew 1055 00:55:19,105 --> 00:55:20,065 I knew then Mhmm. 1056 00:55:20,145 --> 00:55:24,610 It was exactly what we needed and exactly the right thing to 1057 00:55:24,610 --> 00:55:29,250 be here, which was just it was just wonderful. And so huge, 1058 00:55:29,250 --> 00:55:32,615 huge thanks to Paul Maguire. And we're going to do some more work 1059 00:55:32,615 --> 00:55:36,535 with them. And we've already got stuff in the pipeline. So but 1060 00:55:36,535 --> 00:55:37,895 I'll tell you about when we get there. 1061 00:55:37,895 --> 00:55:40,620 Niall Murphy: It's just The street names? Yes. Funny, it's 1062 00:55:40,620 --> 00:55:43,020 not the individual names. It's the street names. Because you 1063 00:55:43,020 --> 00:55:44,160 recognize the streets. 1064 00:55:44,300 --> 00:55:46,620 Because the streets you walked at so you have a kind of 1065 00:55:46,620 --> 00:55:48,460 connection with the streets, and then you're thinking that 1066 00:55:48,460 --> 00:55:52,045 somebody who is so young lost their life. I I just find that 1067 00:55:52,045 --> 00:55:53,425 really emotional and 1068 00:55:54,045 --> 00:55:56,865 Jackie Ogilvie: Yeah. I I think it makes it makes it our list. 1069 00:55:56,925 --> 00:56:00,680 Yeah. Our city's list as opposed to an anonymous list. 1070 00:56:00,680 --> 00:56:03,740 Niall Murphy: I have seen my own street in this. Oh, right. Oh, 1071 00:56:03,960 --> 00:56:05,055 that's my street. 1072 00:56:05,055 --> 00:56:06,295 Jackie Ogilvie: And it changes all the time. 1073 00:56:06,415 --> 00:56:07,715 Niall Murphy: So young would have died. 1074 00:56:08,335 --> 00:56:14,950 Fay Young: It's it's so simple, but the silence is also really 1075 00:56:14,950 --> 00:56:19,590 effective, isn't it? Just seeing Very much. The names standing 1076 00:56:19,750 --> 00:56:21,670 Jackie Ogilvie: And that just runs all the time. It's on a 1077 00:56:21,670 --> 00:56:27,775 loop. And it just from the 7 it's a database of the 17,696 1078 00:56:30,070 --> 00:56:33,030 that lost their life, and and then it just pulls them out 1079 00:56:33,270 --> 00:56:36,230 Right. At random. It's a random program that just brings 1080 00:56:36,230 --> 00:56:36,790 different ones. 1081 00:56:36,790 --> 00:56:40,725 Yeah. So you could stand here all day. I see my surname on it. 1082 00:56:40,725 --> 00:56:42,965 I've only seen it a couple of times, and I'm down here all the 1083 00:56:42,965 --> 00:56:45,945 time. So it's different people all the time coming through. 1084 00:56:46,085 --> 00:56:48,580 Some names do come up. You see them. They do come up more 1085 00:56:48,580 --> 00:56:48,980 often. 1086 00:56:49,060 --> 00:56:51,880 Niall Murphy: And Watson, Saint Andrews Road, Pollockshields . 1087 00:56:51,940 --> 00:56:54,180 Jackie Ogilvie: But yeah. But all the addresses are the 1088 00:56:54,180 --> 00:57:00,035 Glasgow addresses. So when we're coming down here, you have to 1089 00:57:00,035 --> 00:57:02,755 remember in the station that so good trains would come into the 1090 00:57:02,755 --> 00:57:06,550 station quite a lot back in the day. Goods would come in, and 1091 00:57:06,550 --> 00:57:09,610 then the goods would need to be dispersed across the station 1092 00:57:09,910 --> 00:57:13,610 across the city. And of course, that was done by horse and cat. 1093 00:57:13,865 --> 00:57:21,145 Central station has its own stables. So here we have part of 1094 00:57:21,145 --> 00:57:25,900 the old stables. So along at the end there, you can see wooden 1095 00:57:26,840 --> 00:57:30,620 slatted bits there. So apparently that would open and 1096 00:57:31,215 --> 00:57:36,735 they would put down the feed the horse feed for the horses rather 1097 00:57:36,735 --> 00:57:39,850 than bring it through all the corridors and bring it down. 1098 00:57:39,930 --> 00:57:42,090 They would just drop it down, and then that would allow them 1099 00:57:42,090 --> 00:57:42,970 to feed the horses. 1100 00:57:42,970 --> 00:57:49,405 So Right. This is some of the stables. And it's always quite 1101 00:57:49,405 --> 00:57:52,705 difficult to because you're looking at this smaller room, 1102 00:57:53,885 --> 00:57:56,605 but there's been so many additions that have been added 1103 00:57:56,605 --> 00:58:00,820 on and done, And so so this is probably not exactly what the 1104 00:58:00,820 --> 00:58:03,380 stables would have looked like back then, but they've been 1105 00:58:03,380 --> 00:58:06,260 adapted to the needs of the station as as the station's 1106 00:58:06,260 --> 00:58:07,195 needs have changed. 1107 00:58:09,755 --> 00:58:11,995 Niall Murphy: Okay. So it's that floor above this concrete 1108 00:58:12,795 --> 00:58:13,915 Jackie Ogilvie: Yes. Which is 1109 00:58:13,915 --> 00:58:16,830 Niall Murphy: fascinating too. So that would 1110 00:58:16,830 --> 00:58:19,150 Jackie Ogilvie: be because that's the base of the low 1111 00:58:19,150 --> 00:58:23,085 level. So that's a more modern wall, because what the low 1112 00:58:23,085 --> 00:58:27,325 level's been renovated and redone when numerous times going 1113 00:58:27,325 --> 00:58:30,370 through. So this is, believe it or not, the green corridor. 1114 00:58:31,330 --> 00:58:34,530 We're we're very, very creative in the railway when we're giving 1115 00:58:34,530 --> 00:58:40,585 names to places. And just for for anybody listening in, it's 1116 00:58:40,585 --> 00:58:42,125 painted top to bottom. 1117 00:58:42,345 --> 00:58:47,530 Good morning. So all these cables, they're supplying. So 1118 00:58:47,530 --> 00:58:52,110 some of them are power. Yeah. Some of them are technology. 1119 00:58:53,185 --> 00:58:57,585 Yeah. Right. But miles upon miles upon miles. Miles. And the 1120 00:58:57,585 --> 00:59:00,145 reason that they are all on the surface is because they're all 1121 00:59:00,145 --> 00:59:00,950 post filled. 1122 00:59:01,030 --> 00:59:03,830 When the station opened her door, she was just lit by gas. 1123 00:59:03,830 --> 00:59:06,070 Yeah. She was heated by steam. We had with no appetite 1124 00:59:06,070 --> 00:59:10,315 whatsoever for electricity. So that's why when you see all the 1125 00:59:10,315 --> 00:59:13,595 cabling, it's not always as visible as it is in this 1126 00:59:13,595 --> 00:59:16,575 particular corridor, but it is all on the surface. 1127 00:59:18,160 --> 00:59:20,400 Fay Young: It's the nervous system, isn't it? Of the 1128 00:59:20,400 --> 00:59:20,900 station. 1129 00:59:22,320 --> 00:59:25,765 Jackie Ogilvie: I wouldn't like there to be a fuse blown in any 1130 00:59:25,765 --> 00:59:26,825 of them. I let them. 1131 00:59:32,315 --> 00:59:34,080 Niall Murphy: Here we go. Thank you. 1132 00:59:36,700 --> 00:59:39,180 Jackie Ogilvie: So of course, we're now we've emerged from a 1133 00:59:39,180 --> 00:59:42,400 wee door on the side that you've maybe all passed a 1000 times, 1134 00:59:42,645 --> 00:59:46,325 and we're now in the low level platform 16 and 17. Come on, 1135 00:59:46,325 --> 00:59:49,445 let's head through and we'll get down another set of seats. Can I 1136 00:59:49,445 --> 00:59:52,560 just get everybody to tuck into the left? And that lets people 1137 00:59:52,560 --> 00:59:54,660 running for the train get get passed. 1138 00:59:56,960 --> 01:00:00,445 Niall Murphy: So next, Jackie takes us through the small door 1139 01:00:00,445 --> 01:00:04,045 in the otherwise ordinary corridor that takes you down to 1140 01:00:04,045 --> 01:00:08,870 the low level platforms. And through this door, you get into 1141 01:00:08,930 --> 01:00:12,770 a very compressed space and you have to lower your head to step 1142 01:00:12,770 --> 01:00:16,555 under a beam. And then you're at the top of the steel stair 1143 01:00:16,615 --> 01:00:21,335 overlooking this kind of vast, dark, open space. And as you 1144 01:00:21,335 --> 01:00:25,580 descend into it, gradually, you get to see things like these 1145 01:00:25,580 --> 01:00:30,140 enormous iron clasp columns that you realize are supporting this 1146 01:00:30,140 --> 01:00:34,605 kind of huge heavy station above. And this right in the 1147 01:00:34,605 --> 01:00:38,145 depths of the station is what is going to be the Victorian 1148 01:00:38,285 --> 01:00:38,785 platform. 1149 01:00:42,205 --> 01:00:43,410 This is is a treat. 1150 01:00:43,630 --> 01:00:44,610 Fay Young: Oh, she's in. 1151 01:00:45,950 --> 01:00:47,330 Jackie Ogilvie: I need to lock in stone. 1152 01:00:47,790 --> 01:00:48,930 Niall Murphy: Thank you very much. 1153 01:00:48,990 --> 01:00:50,535 Jackie Ogilvie: Just mind your heads on the second door. We 1154 01:00:50,535 --> 01:00:52,215 could down the bottom of the stairs and go left. 1155 01:00:52,215 --> 01:00:54,555 Fay Young: I would. Look at that. 1156 01:00:54,615 --> 01:00:57,115 Niall Murphy: I know. Fabulous columns. 1157 01:00:59,550 --> 01:01:02,350 Jackie Ogilvie: So this bit, the view from the top of the stairs 1158 01:01:02,350 --> 01:01:08,005 here, to me Mhmm. This is the most impressive. And so many 1159 01:01:08,005 --> 01:01:11,605 people walk right past this as they're coming down to the 1160 01:01:11,605 --> 01:01:15,785 Victorian platform and their eagerness to get down. To me, 1161 01:01:16,310 --> 01:01:20,970 when people stop here, they're usually engineers or architects. 1162 01:01:21,270 --> 01:01:22,310 Engineers are architects. 1163 01:01:22,310 --> 01:01:24,390 Niall Murphy: Just the scale of the engineering is something 1164 01:01:24,390 --> 01:01:24,870 else. 1165 01:01:24,870 --> 01:01:28,555 Jackie Ogilvie: See that there? Uh-huh. That there? That big bit 1166 01:01:28,555 --> 01:01:33,115 of that column and that big lump of concrete Yep. Is holding up 1167 01:01:33,115 --> 01:01:33,835 central station. 1168 01:01:33,835 --> 01:01:35,435 I know. It's amazing, isn't it? 1169 01:01:35,435 --> 01:01:38,490 Niall Murphy: I mean, it's so huge, and it's it's the fact 1170 01:01:38,490 --> 01:01:40,810 that they went all the effort to make it a classically detailed 1171 01:01:40,810 --> 01:01:44,835 column as well. It's quite something. It's beautiful, and 1172 01:01:44,955 --> 01:01:45,195 yeah. 1173 01:01:45,195 --> 01:01:48,555 Jackie Ogilvie: It is beautiful. So this is very atmospheric down 1174 01:01:48,555 --> 01:01:55,270 here. The Victorian platform was used right up until 1964. Steam 1175 01:01:55,270 --> 01:01:57,910 trains would have come through here, and then in 'sixty four, 1176 01:01:57,910 --> 01:02:00,570 it closed. That was Beechings, cuts again. 1177 01:02:01,990 --> 01:02:05,305 And it remained closed right up until 1979. And when they 1178 01:02:05,305 --> 01:02:10,960 reopened pre-sixty four, there was track, platform, track, 1179 01:02:10,960 --> 01:02:14,400 track, platform, faraway track. And when they opened in 'seventy 1180 01:02:14,400 --> 01:02:16,580 9, they just opened 1181 01:02:17,825 --> 01:02:17,945 Niall Murphy: 2 1182 01:02:17,945 --> 01:02:20,545 Jackie Ogilvie: of the track, which is 16 and 17 today, which 1183 01:02:20,545 --> 01:02:23,425 is just on the other side of the wall that we're all looking at. 1184 01:02:23,425 --> 01:02:26,940 So here, it became a closed space. These modern walls, maybe 1185 01:02:26,940 --> 01:02:29,180 'seventy seven, 'seventy eight, they would be built. And the 1186 01:02:29,180 --> 01:02:32,300 reason for that was just to make the low level a more manageable 1187 01:02:32,300 --> 01:02:35,615 space. It was just to keep it tidy, I suppose, and lock this 1188 01:02:35,615 --> 01:02:37,235 off because it wasn't being used. 1189 01:02:38,815 --> 01:02:43,695 And Paul, he managed to find it. I think he was aware of it 1190 01:02:43,695 --> 01:02:48,100 anyway. And over a period of time, first of all, when they 1191 01:02:48,100 --> 01:02:50,420 did the tours, you would stand at the top and look through a 1192 01:02:50,420 --> 01:02:53,525 hole in the wall. Then they cut a doorway in the wall and they 1193 01:02:53,525 --> 01:02:57,705 had a platform and then we got our lovely Victorian staircase. 1194 01:02:58,565 --> 01:02:59,065 Yes. 1195 01:02:59,700 --> 01:03:03,860 Maybe not. It's a bit harsh, but it meets the requirements for 1196 01:03:03,860 --> 01:03:07,460 health and safety. Yes. So which is the most important thing down 1197 01:03:07,460 --> 01:03:11,825 here. So an interesting thing down here, the girders here. 1198 01:03:11,825 --> 01:03:17,190 Now underneath what you can see there is concrete. Of girders If 1199 01:03:17,190 --> 01:03:21,530 those if we took that concrete off, that would look like that. 1200 01:03:22,230 --> 01:03:26,215 Mhmm. And the reason it has concrete on it to protect it 1201 01:03:26,215 --> 01:03:28,055 from corrosion from the steam trains. 1202 01:03:28,055 --> 01:03:32,695 Mhmm. So that was the Victorians that did that. Right. Part of 1203 01:03:32,695 --> 01:03:37,800 the the works that they did on the Argyle line Mhmm. And and 1204 01:03:37,800 --> 01:03:39,800 COVID, I have lost track of time. 1205 01:03:39,800 --> 01:03:43,240 I think it's now 2 years ago Mhmm. When we closed for 3 or 4 1206 01:03:43,240 --> 01:03:46,735 months. And part of the work that was done was taking the 1207 01:03:46,735 --> 01:03:52,275 concrete off all of the the the the the length of the tunnel, 1208 01:03:52,335 --> 01:03:54,910 the Argyle tunnel. And that's because they really want to be 1209 01:03:54,910 --> 01:03:58,190 able to see what's going on and With the actual 1210 01:03:58,190 --> 01:03:58,430 Niall Murphy: steel work. 1211 01:03:58,590 --> 01:04:00,350 Jackie Ogilvie: With the actual steel work as opposed to having 1212 01:04:00,350 --> 01:04:03,125 it covered up. Yeah. And not knowing till something goes 1213 01:04:03,125 --> 01:04:03,365 wrong. 1214 01:04:03,365 --> 01:04:06,185 Niall Murphy: Yeah. Until it starts corroding. Yes. Yep. 1215 01:04:06,325 --> 01:04:09,920 Jackie Ogilvie: A check every year, always pass. Right. These 1216 01:04:09,920 --> 01:04:10,960 were made to last. 1217 01:04:10,960 --> 01:04:12,080 Niall Murphy: Right. Absolutely. They're 1218 01:04:12,240 --> 01:04:14,720 Jackie Ogilvie: Absolutely made to last. And and we could I 1219 01:04:14,720 --> 01:04:17,385 doubt if we could build this station today. Took over 1220 01:04:17,385 --> 01:04:20,985 10,000,000 Glasgow bricks to build this station. Mhmm. We'd 1221 01:04:20,985 --> 01:04:22,745 be able to find 10,000,000 bricks today. 1222 01:04:22,745 --> 01:04:23,625 Niall Murphy: I know. Yeah. 1223 01:04:23,625 --> 01:04:25,225 Jackie Ogilvie: That that would be your first problem. The whole 1224 01:04:25,225 --> 01:04:26,105 brickwork don't 1225 01:04:26,105 --> 01:04:27,743 Niall Murphy: we don't we don't have, like, a Yeah. 1226 01:04:27,890 --> 01:04:29,110 Jackie Ogilvie: Industrial capacity anymore. 1227 01:04:29,170 --> 01:04:30,930 Fay Young: No. That's right. 1228 01:04:30,930 --> 01:04:34,210 Jackie Ogilvie: So 16 and 17 is just through there. For a bit of 1229 01:04:34,210 --> 01:04:38,645 context, when we're standing looking at the old track bed, 1230 01:04:38,705 --> 01:04:44,130 this would have been an eastbound line. Out there is the 1231 01:04:44,130 --> 01:04:49,990 west, so that would be the SEC. Out that way, Argyle Street, 1232 01:04:50,305 --> 01:04:51,985 that's north, that's south. Mhmm. 1233 01:04:51,985 --> 01:04:56,465 That just gives you a wee feel for your direction because it's 1234 01:04:56,465 --> 01:04:58,225 very difficult to keep a handle on. 1235 01:04:58,225 --> 01:04:58,720 Niall Murphy: It is. Yeah. 1236 01:04:58,720 --> 01:05:01,220 Jackie Ogilvie: I mean, really difficult. Yes. And sometimes 1237 01:05:01,280 --> 01:05:04,480 I'm I think, oh, where where I'm where I'm. You know? It takes a 1238 01:05:04,480 --> 01:05:04,800 wee minute. 1239 01:05:04,800 --> 01:05:08,295 I need to be something just to to bring me back into to on 1240 01:05:08,295 --> 01:05:09,415 track as to where we are. 1241 01:05:09,415 --> 01:05:11,255 Niall Murphy: Absolutely. But the low-level Station would have 1242 01:05:11,255 --> 01:05:13,655 been very different as well because where that hotel now is 1243 01:05:13,655 --> 01:05:17,610 the Utell Yeah. Just to the west, that was actually open. 1244 01:05:17,670 --> 01:05:21,110 Yes. Because you you had, like, a parade of shops around it, but 1245 01:05:21,110 --> 01:05:22,230 it was an open well. 1246 01:05:22,230 --> 01:05:23,975 Yes. So you didn't have daylight coming into 1247 01:05:24,375 --> 01:05:26,135 Jackie Ogilvie: I kind of when people say to me, what the 1248 01:05:26,135 --> 01:05:30,695 access for here? So current level, the access was where it 1249 01:05:30,695 --> 01:05:35,890 is today. And access for here was from our. So where where the 1250 01:05:35,890 --> 01:05:39,490 hotel is, I tell people you're you're using your as a well. I 1251 01:05:39,490 --> 01:05:42,365 just see it's a big hole because that's what when you look at 1252 01:05:42,365 --> 01:05:45,885 photographs that's what it looks like and and it it was open so 1253 01:05:45,885 --> 01:05:49,950 there would be access it would be ventilation would be part of 1254 01:05:49,950 --> 01:05:50,450 that. 1255 01:05:52,590 --> 01:05:57,345 Down here also, I'm still researching. I have no idea what 1256 01:05:57,345 --> 01:06:02,305 it's going to come out as, but we have a couple of good sidings 1257 01:06:02,305 --> 01:06:08,850 here. These are ends of good sidings here. So we think that 1258 01:06:08,850 --> 01:06:12,770 what happened was goods would have come in to the station in 1259 01:06:12,770 --> 01:06:16,715 wagons, The wagons would be shunted into the sidings, and 1260 01:06:16,715 --> 01:06:19,675 they would be unloaded and loaded. So they would be taken 1261 01:06:19,675 --> 01:06:22,920 out the hole or the well, taking out that would be the access 1262 01:06:22,920 --> 01:06:24,300 point for getting it out again. 1263 01:06:24,760 --> 01:06:28,520 And we think the piece around the back initially, we did think 1264 01:06:28,520 --> 01:06:31,925 it might be a ladies waiting room, but It never sat well with 1265 01:06:31,925 --> 01:06:36,345 me because it's the wrong side of the track. So it didn't fit. 1266 01:06:36,405 --> 01:06:39,700 It's also much more than I thought. So that's been storage 1267 01:06:39,700 --> 01:06:42,740 that's been warehouse and potentially there would be more 1268 01:06:42,740 --> 01:06:48,495 access beyond round the back there's chamber after chamber 1269 01:06:48,635 --> 01:06:52,715 after chamber under arches all the way to Midland Street and 1270 01:06:52,715 --> 01:06:54,875 beyond. So it's quite 1271 01:06:57,110 --> 01:06:58,630 Niall Murphy: It makes sense when you think about the 1272 01:06:58,630 --> 01:07:02,070 station's location, the Clyde being so close. You know? You 1273 01:07:02,070 --> 01:07:04,790 would get goods being unloaded from here and then being taken 1274 01:07:04,790 --> 01:07:08,215 down to the Clyde to be loaded onto a ship. Mhmm. So that's 1275 01:07:08,215 --> 01:07:11,415 what all most of the buildings, certainly, to the south of here, 1276 01:07:11,415 --> 01:07:13,815 were all big warehouse buildings for that purpose. 1277 01:07:13,815 --> 01:07:15,870 Jackie Ogilvie: Absolutely. And I think it's important to 1278 01:07:15,870 --> 01:07:19,550 remember what was here before because when we look now, if we 1279 01:07:19,710 --> 01:07:22,910 we'll take a wee wander around the back here. I have some maps 1280 01:07:22,910 --> 01:07:29,095 right here. And these maps, whilst I love them, they 1281 01:07:29,095 --> 01:07:32,750 actually make me feel a bit sad. And they make me sad because 1282 01:07:32,750 --> 01:07:35,630 they are all of our old stations. 1283 01:07:35,630 --> 01:07:38,830 The 4 main stations, mind your feet on this wee bit. It's a bit 1284 01:07:38,830 --> 01:07:43,815 uneven. The 4 main stations in Glasgow, the 4 so central 1285 01:07:43,815 --> 01:07:47,300 stations, St. Enoch, Queen Street and Buchanan Street. And 1286 01:07:47,300 --> 01:07:49,940 when you look at the picture of you're on the map of the station 1287 01:07:49,940 --> 01:07:51,640 and then look around it, look. 1288 01:07:52,180 --> 01:07:52,660 Look. 1289 01:07:52,660 --> 01:07:53,060 Niall Murphy: Yeah. So 1290 01:07:53,220 --> 01:07:55,885 Jackie Ogilvie: Industry, manufacturing. We're making 1291 01:07:55,885 --> 01:07:59,965 things, millions of things, all different things, and it's all 1292 01:07:59,965 --> 01:08:02,305 gone. Yeah. So that makes me sad. 1293 01:08:02,445 --> 01:08:03,300 Niall Murphy: Yes. Yeah. 1294 01:08:03,380 --> 01:08:06,760 Jackie Ogilvie: And then also what made me sad was the fact 1295 01:08:07,300 --> 01:08:10,120 that I thought Glasgow must must have been very, very poor. 1296 01:08:10,715 --> 01:08:14,395 Because look, poor house, poor house. Then I remembered we were 1297 01:08:14,395 --> 01:08:20,600 in Glasgow, it's public house. And I hate to say it, but most 1298 01:08:20,600 --> 01:08:24,520 of them are still here today. So this is a good picture of 1299 01:08:24,520 --> 01:08:26,440 original station, the St. 1300 01:08:26,440 --> 01:08:30,365 Columba's Gaelic Church just sitting right there. So that's 1301 01:08:30,365 --> 01:08:34,845 what you see what was there and what wasn't there and all of 1302 01:08:34,845 --> 01:08:38,650 this. And that's, of course, how the Hielanman's umbrella got its 1303 01:08:38,650 --> 01:08:41,790 name because the highlanders would come out of the church, 1304 01:08:41,850 --> 01:08:44,570 and they would take their way down somewhere to gather to 1305 01:08:45,235 --> 01:08:49,075 first of all, to to to get out the rain. Employers would come 1306 01:08:49,075 --> 01:08:53,340 along and offer them work. They would also come along just just 1307 01:08:53,500 --> 01:08:56,700 generally to to mingle, to catch up with friends and family, but 1308 01:08:56,700 --> 01:09:02,135 news maybe a bit back home and also especially to talk Gaelic. 1309 01:09:02,355 --> 01:09:05,875 Uh-huh. Mhmm. That was one of the big things. So that's why 1310 01:09:05,875 --> 01:09:07,895 it's called the Hielanman's umbrella. Right. 1311 01:09:08,115 --> 01:09:09,320 Niall Murphy: Fascinating because you had different the 1312 01:09:09,320 --> 01:09:12,360 entrance was Mhmm. Originally. Yeah. But you had this much 1313 01:09:12,520 --> 01:09:12,840 Jackie Ogilvie: Yeah. 1314 01:09:12,840 --> 01:09:14,760 Niall Murphy: You know, you have this booking hall in the center 1315 01:09:14,760 --> 01:09:16,785 where it had 2 passengers either side of it. 1316 01:09:16,865 --> 01:09:18,465 Jackie Ogilvie: And, of course, look how much further forward 1317 01:09:18,465 --> 01:09:21,905 the tracks are. But then you'll get the platform in that. Very, 1318 01:09:21,905 --> 01:09:24,065 very different. I mean, right away, it comes. 1319 01:09:24,065 --> 01:09:25,825 Niall Murphy: And there's your platforms the other way around. 1320 01:09:25,825 --> 01:09:29,580 So platform 1, 2, 3, 4, 5, 6, 7, 8, and 9. 1321 01:09:29,640 --> 01:09:32,840 Fay Young: Yeah. And there's just something very strong and 1322 01:09:32,840 --> 01:09:35,160 powerful about these lines coming into this. 1323 01:09:35,160 --> 01:09:36,455 Niall Murphy: But it makes you realize why they they would have 1324 01:09:36,455 --> 01:09:37,855 pulled them back because you get much, much 1325 01:09:37,855 --> 01:09:38,635 Fay Young: more Yes. 1326 01:09:38,775 --> 01:09:41,975 Jackie Ogilvie: Yes. Very much so. Yeah. Very harsh so. And, of 1327 01:09:41,975 --> 01:09:43,195 course, they added the slope. 1328 01:09:43,415 --> 01:09:48,520 Mhmm. So, probably you probably maybe maybe have noticed that 1329 01:09:48,520 --> 01:09:51,580 there is a slope when you come in, and that was James Millers. 1330 01:09:52,680 --> 01:09:56,715 Very subtle crowd control. Very subtle. It's very subtle because 1331 01:09:56,715 --> 01:09:59,795 you don't always realize it unless you're lugging a big Yep. 1332 01:09:59,915 --> 01:10:02,850 Heavy case or what have you. And as you're walking in, but it's a 1333 01:10:02,850 --> 01:10:05,330 slope, so it comes in and it's cramped through. Level there. 1334 01:10:05,330 --> 01:10:05,730 Yep. 1335 01:10:05,730 --> 01:10:08,130 Niall Murphy: And by the time you're out here, you're kind of 1336 01:10:08,130 --> 01:10:09,955 looking at the Hielanman's umbrella. Yeah. 1337 01:10:09,955 --> 01:10:15,615 You're 2 stories up. So which is fascinating. It's so subtle. 1338 01:10:17,410 --> 01:10:18,630 Jackie Ogilvie: But quite incredible. 1339 01:10:20,370 --> 01:10:22,530 Fay Young: So are you planning to develop this 1340 01:10:22,690 --> 01:10:23,090 Niall Murphy: this map. 1341 01:10:23,340 --> 01:10:23,835 Fay Young: Area or 1342 01:10:24,155 --> 01:10:27,515 Jackie Ogilvie: So down here, more maps because everybody 1343 01:10:27,515 --> 01:10:31,570 loves a map. Probably put up some more maps. What I really 1344 01:10:31,570 --> 01:10:35,090 want to do because on the tour, we don't really cater a huge 1345 01:10:35,090 --> 01:10:39,315 amount for the people who love the technologies or the 1346 01:10:39,315 --> 01:10:43,955 technical side of the railways, the track, the signaling. We 1347 01:10:43,955 --> 01:10:49,260 hope this wall here, opposite the maps, to have offcuts of all 1348 01:10:49,260 --> 01:10:52,060 the different types of tracks that you have, all the bits that 1349 01:10:52,060 --> 01:10:56,585 you use to make a track, to lay a track. It's not just a matter 1350 01:10:56,585 --> 01:11:00,505 of, you know so we'll get technical people to assist us in 1351 01:11:00,505 --> 01:11:02,845 annotating that and explaining that to people. 1352 01:11:02,985 --> 01:11:09,120 So that's the plan for that side of the wall. I've got a lot of 1353 01:11:09,120 --> 01:11:15,175 stuff, a lot of stuff to be put down here to address it. Yes. We 1354 01:11:15,175 --> 01:11:20,535 also, hope to bring in a steam locomotive as well. And we hope 1355 01:11:20,535 --> 01:11:24,360 to lay track on the track out there and bring in a steam 1356 01:11:24,360 --> 01:11:24,860 locomotive. 1357 01:11:26,360 --> 01:11:29,960 Although, really, it's not an easy task. And part of the 1358 01:11:29,960 --> 01:11:35,235 problem is silting. Right. So in 2002, there was a terrible flood 1359 01:11:35,235 --> 01:11:36,215 down here. Mhmm. 1360 01:11:36,275 --> 01:11:40,830 The water was at the levels of those strip lights, okay? So 1361 01:11:40,830 --> 01:11:42,190 what is that about 10 feet? 1362 01:11:42,190 --> 01:11:44,850 Niall Murphy: Yes. So all this would have been pumped out. 1363 01:11:45,870 --> 01:11:50,635 Jackie Ogilvie: We actually contacted North Sea oil rig 1364 01:11:50,635 --> 01:11:56,075 people and borrowed or rented their pumps. They drilled holes 1365 01:11:56,075 --> 01:12:01,280 in Hope Street to come down to all the the water up. I take it 1366 01:12:01,280 --> 01:12:03,780 they put it back in the Clyde because where else could it go? 1367 01:12:04,400 --> 01:12:08,425 And and it was something to do with the drainage system. When I 1368 01:12:08,425 --> 01:12:11,865 look at it, I think it must have been fitted back to front or it 1369 01:12:11,865 --> 01:12:15,920 just it wasn't suitable and because the Clyde is tidal. 1370 01:12:15,920 --> 01:12:21,840 And then when the tide was really high for a particular 1371 01:12:21,840 --> 01:12:25,795 reason and the water came in. It couldn't get back out again. So 1372 01:12:25,795 --> 01:12:28,835 they fixed the problem because we did have a we had a drainage 1373 01:12:28,835 --> 01:12:31,795 system that wasn't fit for purpose because it didn't work 1374 01:12:31,795 --> 01:12:35,780 properly. It wasn't allowing the water to escape, and they fixed 1375 01:12:35,780 --> 01:12:38,580 all of that. It won't happen again, but it caused a lot of 1376 01:12:38,580 --> 01:12:40,580 work down here, a lot of lot of issues down here. 1377 01:12:40,580 --> 01:12:44,695 I can imagine. The low level was closed for for a long time. They 1378 01:12:44,695 --> 01:12:47,365 they brought that back. Yeah. But they left where we are just 1379 01:12:47,365 --> 01:12:50,890 now, and that left about 2 to 3 feet of silt. 1380 01:12:51,210 --> 01:12:55,610 So when we're looking to bring our locomotive in, we have the 1381 01:12:55,610 --> 01:12:58,170 the silting is fine because it's a solid base for us to lay our 1382 01:12:58,170 --> 01:13:01,065 track, but we have a height differential. And that means we 1383 01:13:01,065 --> 01:13:06,600 would have to push a 26 and a half ton locomotive up. Help. 1384 01:13:07,380 --> 01:13:10,020 Help. I don't think it's an easy thing to do safely. 1385 01:13:10,020 --> 01:13:12,420 And it's all about safety. We think we might have a solution, 1386 01:13:12,420 --> 01:13:14,820 but we're waiting to see. Interesting. I hope 1387 01:13:14,820 --> 01:13:15,880 Niall Murphy: that will be so amazing. 1388 01:13:16,295 --> 01:13:19,415 Jackie Ogilvie: It will be. But, initially, what we're doing now 1389 01:13:19,415 --> 01:13:26,370 is we are we need to start with fire safety, and that's our 1390 01:13:26,370 --> 01:13:27,170 starting point 1391 01:13:27,170 --> 01:13:27,330 Niall Murphy: and 1392 01:13:27,330 --> 01:13:29,890 Jackie Ogilvie: see what we need to do to make it safe to do what 1393 01:13:29,890 --> 01:13:34,735 we want to do. The school of art have come up with some fabulous, 1394 01:13:34,795 --> 01:13:39,860 fabulous stuff. So current students work under the 1395 01:13:39,860 --> 01:13:43,960 stewardship of Paul Maguire again. He has been fabulous, and 1396 01:13:44,900 --> 01:13:47,835 some of the stuff they've come up with is just wonderful. And 1397 01:13:47,835 --> 01:13:51,675 so because of if we do down here, what we'll need to it's 1398 01:13:51,675 --> 01:13:53,355 gonna have a real impact on the tourism. 1399 01:13:53,355 --> 01:13:55,995 What we need to do is cut some of the stories from up the 1400 01:13:55,995 --> 01:14:00,620 stairs. We just can't accommodate that in the day or 1401 01:14:00,620 --> 01:14:03,660 in the time of the tour. So the plan will be that we cut the 1402 01:14:03,660 --> 01:14:06,825 stories from up there, but we give access to that information 1403 01:14:07,285 --> 01:14:10,825 down here. And he's come up with a thing called a Pepper's ghost. 1404 01:14:10,965 --> 01:14:13,880 So it's it's augmented reality, and some of the Victorian 1405 01:14:13,880 --> 01:14:16,300 invention that was done by lights, but we are going to use 1406 01:14:16,920 --> 01:14:21,080 iPads or tablets, and it might be myself or Paul narrating the 1407 01:14:21,080 --> 01:14:25,155 stories or you know, that we've cut from up the stairs and the 1408 01:14:25,155 --> 01:14:27,635 QR codes to get behind all of that. 1409 01:14:27,635 --> 01:14:27,955 Niall Murphy: Right. 1410 01:14:27,955 --> 01:14:30,135 Jackie Ogilvie: So give people still give them the information, 1411 01:14:30,275 --> 01:14:34,340 but not not delivering it there and then taking up their time. 1412 01:14:34,640 --> 01:14:38,160 And then you can tailor that then to the people that want to 1413 01:14:38,160 --> 01:14:41,935 hear about that in particular. The trouble's gonna be telling 1414 01:14:41,935 --> 01:14:44,735 what's what we need to cut out. That's, you know, that's a lot 1415 01:14:44,735 --> 01:14:50,400 of the the stuff that we need to cut out. So so so that's future. 1416 01:14:50,620 --> 01:14:53,100 Fay Young: Unless it's like layers, like you've got in the 1417 01:14:53,100 --> 01:14:56,700 station, you know, you go for down to different parts. You you 1418 01:14:56,700 --> 01:14:59,375 reach Yeah. The underground eventually. 1419 01:15:00,635 --> 01:15:03,215 Jackie Ogilvie: It's just it's an incredible, incredible 1420 01:15:03,275 --> 01:15:03,775 building. 1421 01:15:04,315 --> 01:15:06,760 Niall Murphy: Mhmm. It really is. Still my favorite in 1422 01:15:06,760 --> 01:15:07,260 Glasgow. 1423 01:15:07,640 --> 01:15:11,560 Fay Young: Yeah. What a wonderful project for Glasgow 1424 01:15:11,560 --> 01:15:12,860 School of Art students. 1425 01:15:13,080 --> 01:15:15,225 Jackie Ogilvie: Oh, they they're just great, and they're so 1426 01:15:15,225 --> 01:15:18,585 enthusiastic. They are and and I have to say, I am as I've said 1427 01:15:18,585 --> 01:15:23,065 earlier, I am not an arty person. I'm not these people are 1428 01:15:23,065 --> 01:15:28,190 so creative, and they do it, you know that's why they go to that 1429 01:15:28,190 --> 01:15:32,030 school, obviously, but it comes to them, and and you think, how 1430 01:15:32,030 --> 01:15:36,165 did you think of that? So I am I'm in great admiration for 1431 01:15:36,165 --> 01:15:38,805 these lovely students that I think will definitely go on and 1432 01:15:38,805 --> 01:15:43,440 do great things. And whilst it's a local school, there are people 1433 01:15:43,440 --> 01:15:45,520 from all over the world attending that school Yeah. 1434 01:15:45,680 --> 01:15:48,880 And having a part Yes. An influence on part of Central 1435 01:15:48,880 --> 01:15:51,195 Station. How fabulous is that? Absolutely. 1436 01:15:51,195 --> 01:15:53,595 Fay Young: But the way you tell the stories, the way you connect 1437 01:15:53,595 --> 01:15:56,720 with it will also be a great inspiration to them. 1438 01:15:56,960 --> 01:16:02,560 Jackie Ogilvie: I hope so. It's I often get told I should be on 1439 01:16:02,560 --> 01:16:08,865 the stage. Paul is the same. And what you have to remember is 1440 01:16:08,865 --> 01:16:11,285 what I've shown people when they come around here. 1441 01:16:11,665 --> 01:16:14,625 I don't have once you come underneath yes. We have a 1442 01:16:14,625 --> 01:16:17,640 fabulous structure up the stairs, but once you come 1443 01:16:17,640 --> 01:16:22,280 underneath, it's brickwork arches. It's not an awful lot. I 1444 01:16:22,280 --> 01:16:26,335 don't have beautiful paintings on the walls. I don't have, you 1445 01:16:26,335 --> 01:16:28,915 know, wonderful statues. 1446 01:16:30,175 --> 01:16:33,970 What we have are stories, and it's the stories that bring it 1447 01:16:33,970 --> 01:16:36,690 alive. It's the human element. It's the human element. Yeah. 1448 01:16:36,690 --> 01:16:38,050 And that's what people relate to. 1449 01:16:38,050 --> 01:16:40,385 That's why this tour is so popular. Yeah. It's It's not 1450 01:16:40,385 --> 01:16:42,705 because we've got the best building well well, we do have 1451 01:16:42,705 --> 01:16:46,965 the best building. But it's not because we have the most 1452 01:16:47,510 --> 01:16:50,410 striking building on I don't know whatever In every place. 1453 01:16:50,470 --> 01:16:51,910 Fay Young: Yes. In every part of it. 1454 01:16:51,910 --> 01:16:54,790 Jackie Ogilvie: It is. It's the stories. Yeah. And everybody can 1455 01:16:54,790 --> 01:16:58,055 relate to all of these stories at some point. So they might not 1456 01:16:58,055 --> 01:17:00,215 relate to all of the stories, but they will relate to some of 1457 01:17:00,215 --> 01:17:00,535 them. 1458 01:17:00,535 --> 01:17:04,875 Yeah. And that'll continue if we keep telling the stories. Yeah. 1459 01:17:06,190 --> 01:17:08,530 Niall Murphy: Thank you very much. Thank you. Absolute 1460 01:17:08,590 --> 01:17:13,550 pleasure. Okay. And finally then, and this is a question we 1461 01:17:13,550 --> 01:17:18,495 ask everybody who comes on the podcast, what is your favorite 1462 01:17:18,555 --> 01:17:23,190 building in Glasgow, and what would it tell you if it's 1463 01:17:23,190 --> 01:17:23,690 walls could talk? 1464 01:17:24,390 --> 01:17:24,890 Jackie Ogilvie: Obviously, 1465 01:17:25,190 --> 01:17:28,870 my favorite building is Central Station. But if we take that out 1466 01:17:28,870 --> 01:17:33,895 of the equation, it would be it's a really a strange reason 1467 01:17:33,895 --> 01:17:37,435 for having this. It's a building that I never ever saw much of, 1468 01:17:37,495 --> 01:17:41,870 but it's the old stock exchange building on the corner of Nelson 1469 01:17:41,870 --> 01:17:45,950 Mandela Place and Buchanan Street. It's where the Lush shop 1470 01:17:45,950 --> 01:17:50,110 is. It's up above that, and it's all the beautiful colors of the 1471 01:17:50,110 --> 01:17:53,715 brickwork and and the detailing of the brickwork, and I just 1472 01:17:53,715 --> 01:17:58,435 think that was, you know, the foundation of all the industry 1473 01:17:58,435 --> 01:17:59,800 that was going on at the time. 1474 01:17:59,880 --> 01:18:03,320 I just think that's really an interesting building. And what 1475 01:18:03,320 --> 01:18:07,100 frustrates the hell out of me is most people don't even see it. 1476 01:18:08,295 --> 01:18:11,175 So I think if I could talk, it would tell us what it was like 1477 01:18:11,175 --> 01:18:14,290 back then, what the trade was like, and and that would give 1478 01:18:14,290 --> 01:18:18,830 you a real insight into the social history because the trade 1479 01:18:18,830 --> 01:18:23,330 was what drove people's jobs, people's lifestyles, everything. 1480 01:18:23,390 --> 01:18:25,810 So it would have so much to tell you. 1481 01:18:25,985 --> 01:18:28,225 Speaker 5: Glasgow City Heritage Trust is an independent charity 1482 01:18:28,225 --> 01:18:30,645 and grant funder that promotes the understanding, appreciation, 1483 01:18:30,705 --> 01:18:33,505 and conservation of Glasgow's historic built environment. Do 1484 01:18:33,505 --> 01:18:35,310 you want to know more? Have a look at our website 1485 01:18:35,310 --> 01:18:38,910 at glasgowheritage.org.uk and follow us on social media at 1486 01:18:38,910 --> 01:18:41,988 Glasgow Heritage. This podcast was produced by Inner Ear for 1487 01:18:41,988 --> 01:18:44,568 Glasgow City Heritage Trust and is sponsored by Tunnock's.