The stroll from the centre of Glasgow takes one out over a major motorway, along streets framed with old and new tenements until the railway blocks the path. A bridge with steep ramped appraoches takes one up and over the rail track, and down to a walking trail on the other side. This roughly formed strip of dirt and bitumen edged with pools of muddy water leads to Glasgow's newest museum - the Riverside Museum, Scotland’s Museum of Transport and Travel. The track follows a chain wire fence, passing an occasional signboard that promises a different future for the now derelict precinct. Eventually the random void turns into a newly organised, cleaner one. The museum car park is reached. The appaorach to the museum is ad hoc, passing over some small strip gardens, across marked pavements, and around bollards and light poles. Eventually one is confronted by the dark glass beneath the scribble, hoping that there is a door in this reflective wall for entrance. It is all rather pedestrian. Perhaps one is expected to use some form of transport to travel to this location, as some kind of performance art? It is, after all, a museum of transport and travel. Walking there offers very little joy. Still, one does see one aspect of the context of the Zaha Hadid building that will rarely - if ever - be publicised or discussed anywhere else. What is of further interest is that, from this unusual aspect, the wedge-form alignment of the squiggled mass becomes evident. The question remains: how does the rain water run off from those valleys? Is there an entrance waterfall on occasions?