Dissertation

Historic Building Conversion as a Valid Method of Conservation and Preserving Cultural Values within a Community Ayla Riome MA (Hons) Architecture Dissertation ESALA 2015

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ACKNOWLEDGEMENTS I would like to take this opportunity to thank my tutor, Dimitris Theodossopoulos for his guidance throughout the process of completing my dissertation. I would also like to extend my gratitude to Jane Rahil at Historic Scotland for her continued insight and invaluable knowledge during my university career.

Further appreciation goes to my family, as without their support my work would not have been possible.

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CONTENTS ABSTRACT 5 INTRODUCTION 7 CHAPTER 1 10 Defining the Importance of the Historic Environment within Scotland CHAPTER 2 13 Theoretical Background CHAPTER 3 21 The Motivation Behind Conservation Today PART 2 25 CHAPTER 4 26 Case Study 1: A Designer’s Personal Affiliation CHAPTER 5 30 Case Study 2: Modernism as Sensitive Conservation CHAPTER 6 34 Case Study 3: The Realities of Conversion CONCLUSION 38 BIBLIOGRAPHY 40

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ABSTRACT Through the development of a personal and romantic response towards historic buildings in Scotland a requirement for the retention of remaining fabric becomes apparent. As a result conservation can be considered essential in order to safeguard the authenticity of a building in addition to cultural values that are so significant for a sense of Scottish identity.

Various theories have been developed in order to produce guidelines to ensure the preservation of historic fabric and the significance each structure denotes. Although these are readily available within the architectural industry it is not always clear which is the best approach to take. A method of conversion can reintroduce a use to the building and when completed, in a sensitive manner, will retain the values important to the lives of the community.

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INTRODUCTION

Fig 1. The remote Scottish landscape

The historic architecture within Scotland is in-

modern design. As historic elements present in

strumental when instilling an identity for the

the secluded landscape of Scotland have risen

nation. Cultural values embodied in historic

to prominence, in terms of prosperity of a na-

buildings are imperative to this identity and

tion, conservation theory has come to the fore-

the prosperity of any country, as they signif-

front of development for future generations.

icantly add to a sense of place. In addition to

Approximately two thirds of building activity

this development, a high quality setting for

now takes place within the existing fabric of

modern life will be produced as a result. The

Scotland (Jager, 2010, p.8). This demonstrates

values of Scotland are portrayed by the herit-

that historic architecture is considered a com-

age that is ingrained within the remote land-

modity of the country that can be manipulated

scape demonstrating a sense of authenticity,

in order to reap all the benefits of economic

clarity and, romanticism unspoilt by contem-

security, learning and creation of an identity.

porary intervention.

This dissertation examines the importance of An attitude towards the significance of histor-

understanding the relevant cultural values

icism has developed since the 19th century.

present within society when altering buildings

This occurred during the romanticist period

in order to successfully reflect them back to

which demonstrated an intention to look to

the surrounding area. Cultural values include

the successes of the past as an inspiration for

the memories embodied within the nature of

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existing fabric and the sentimental reactions a

cultural values when creating an intervention.

historic building can induce within a commu-

It is also important to realise the potential of

nity. It will seek to interrogate the importance

existing structures within the country and to

of the historic environment within Scotland

make an informed decision of how to utilise

and it will argue romanticism as the defining

them to promote the remote setting as holding

feature of the Scottish identity.

relevant significance for the inhabitants.

Within this text conservation is considered as the principles in place inhibiting the deterioration of authentic fabric that would result in a loss of meaning to the surrounding community, place or environment. This dissertation endeavours to evaluate the readily available charters and theoretical approaches within the architectural industry from which to collect insight and discuss the present techniques of preserving cultural values in order to assess the validity of conversion as a successful method of conservation.

Fig 1. Interior of Stanley Mills

Fig 2. Stirling Tolbooth facade

The many solutions towards retaining significant values have so far been conceived in the form of conservation charters. These documents all demonstrate approaches to revisiting and retaining a cultural belief of a historic building while benefiting from its remaining structure. However, little information exists to indicate the best approach due to the complexity and variety of the prevailing historicism. It is also apparent that information is lacking in

Fig 3. Interior of Stanley Mills

terms of a Scottish approach to conservation.

A case-study methodology of Scottish con-

It is imperative during design that architects

versions will be employed to clearly exam-

realise the relevance of the historic environ-

ine the approaches denoted by the charters

ment dictated in any of the charters and un-

and to distinguish the success of conversion

derstand the attitude they should take towards

when preserving the cultural significance for

Introduction

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a community. The first to be examined is Stir-

a useable space. It is hoped that all case stud-

ling Tollbooth by Richard Murphy Architects.

ies exemplify the requirement for a sympathet-

Through this example it is expected that a

ic approach towards conservation, highlight-

radical approach towards conversion will be

ing the need for an awareness of the cultural

demonstrated. In contrast to the tollbooth the

values bestowed within the original fabric and

Reiach and Hall Pier Arts Centre will also be

the romantic landscape they are imbedded

studied in order to convey the sensitive and

in. They will also enable the discussion that,

nostalgic process required when adding to an

through a sensitive approach, conversion is a

existing structure. Lastly, the conversion of

valid method of conserving a historic building

Stanley mills by LDN and Historic Scotland

resulting in a new use for the structure.

will highlight the issues of converting historic buildings regarding the realities of aiming to conserve all authentic material while creating

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Introduction

CHAPTER 1 DEFINING THE IMPORTANCE OF THE HISTORIC ENVIRONMENT WITHIN SCOTLAND

Fig 4. Skara Brae

The historic environment has been shaped

ism as 83% of visitors come specifically to view

over 10,000 years and is vital to the inhab-

historical sites (Historic Scotland, 2015).

itants of Scotland. It is considered important because it enhances their quality of life en-

The historic environment is also considered an

dowing a sense of familiarity and comfort to a

essential resource as it can provide a natural

local community (Scotland, Historic Scotland,

source for learning. It aids teaching in terms

2014, p.3). Furthermore, it impacts the econo-

of past events, ancestry and society. It also

my and education of occupants as well as the

heightens the understanding of how modern

development of a national identity.

culture and human interaction has evolved enabling a long term view of social and envi-

It has been proven that a high level of con-

ronmental change (Historic Scotland, 2015).

servation is directly proportional to economic growth within society creating a high quality

Through the study of modern and historic tra-

setting for modern life. This includes the re-

dition, materials, buildings, townscapes and

quirement for a good education. The econo-

settlement layouts it is clear to see the charac-

my is boosted by historic architecture which

ter of the Scottish identity is largely the prod-

makes a substantial contribution to economic

uct of historic development (Historic Scotland,

prosperity within Scotland mainly due to tour-

2015). Not only does the history of an area de9

Defining the Importance of the Historic Environment Within Scotland

note an attractive atmosphere but protecting

achievements in a nation’s history (Jokilehto,

the historic environment highlights past tradi-

2002, p.101). This sentimental view can be in-

tions and acts as a stimulus for entirely new

terpreted as romanticism, an established con-

design or simple interventions.

cept within conserving Scotland’s past.

By creating a sense of meaning and heritage

Romanticism first established itself within lit-

within a community the setting is established

erature, drama and art. It was an intellectual

for the cultural identity to develop. In view of

movement around the 18th and 19th century

this a strong sense of pride often ensues and,

that reflected on the past and was primarily

therefore, nationalism within Europe can be

driven in Edinburgh by Sir Walter Scott. He

established which when extended further cre-

became an international influence and put

ates a national identity with a global signifi-

Scotland on the map at the forefront of the

cance which allows a country to flourish. The

movement giving vital recognition to the na-

significance of Scotland is distinguished by

tion’s history (Jarrells, 2009, p.60). A view of

the industrial and trading relationships with-

nostalgia and the importance of protecting the

in Europe (concentrated in Glasgow), the rela-

past is an architectural theory still relevant

tionship between Scotland and England (and

in modern construction due to the recognised

the eventual union) and the romanticist views

worth of cultural values within architecture.

associated with Sir Walter Scott which are particularly present within Edinburgh. Most importantly, the Scottish identity is encapsulated by the heritage that is embedded within the remote landscape which equates to a large proportion of unused land in Scotland.

These sparsely inhabited areas illustrate a sense of purity, authenticity and, afore mentioned, theme of romanticism unspoilt by urban, modern life.

Before any notion of conservation was intro-

Fig 5. Romanticisim and The Scott Monument (Edinburgh)

duced to society no judgement was passed

A recognised example of a vast, sparsely popu-

when making changes to medieval buildings.

lated area of Scotland is the heart of Neolithic

Alterations were generally determined by the

Orkney; a world heritage site which was giv-

current time period or redesigned entirely to

en official recognition in 1999. The Islands of

reflect a contemporary approach (Jarrells,

Orkney give an impression of romanticism due

2009, p.63). As architects began to explore

to the inaccessible and unaltered landscape as

the historical and cultural significance within

well as the quality of the remaining prehistor-

buildings a ‘modern historical consciousness’

ic habitation upholding strong cultural value.

presented a new methodology established on

Skara Brae is the best preserved Neolithic vil-

a respect for the original design. This was not

lage in Western Europe discovered in the win-

only done for aesthetic intentions, but due to

ter of 1850 when a storm disturbed the sand

the building’s implication as a depiction of

dunes at the Bay of Skaill, exposing the 5000

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Chapter 1

Defining the Importance of the Historic Environment Within Scotland

year old ruin below (Historic Scotland, 2015).

ate the unspoilt nature of the site, furthering

The discovery presented Scotland with a glob-

the attitude of Scotland as a remote and pure

ally significant structure. This has occurred as

area, with connotations towards romanticism

a result of its high level of preservation created

of its inherent identity. A theme which devel-

by an accumulation of discarded organic mat-

oped alongside the establishment of archaeo-

ter which provided a stable envelope in what

logical theory which further stresses the im-

is otherwise a sand dune. Authenticity of the

portance of conserving ancient remains.

site has been an ongoing debate resulting in the Skara Brae matrix becoming one of the few

Miles Glendinning (2013) explores the first

monuments totally enclosed under glass, as a

instances of Scottish conservation which can

museum piece. Although the glass roof ena-

be seen in the restoration of ecclesiastical

bles a clear viewing of the monument, without

buildings. These are thought to clearly de-

further deterioration from visitors or distrac-

note a romanticist approach and uphold the

tion from the authenticity, the possibility of

significance of religion, which was considered

the monument drying out, due to heat creat-

the most important value held by communi-

ed, suggests the structure is probably less se-

ties during this period. The Scottish conser-

cure now than when first excavated(Scotland,

vation movement predominantly originated

Historic Scotland, 2007, p.1). Despite this, by

as a means of protecting northern historic

employing a minimal intervention, the signifi-

buildings against outside influence. Walter

cance to Scotland can still be explored without

Scott’s writing highlights the importance of

causing pressure on the monument.

modernisation being rooted in a cultural identity and an attitude of nostalgia towards the past (Glendinning, 2013, p.107). This concept should be explored during any conservation work for the communities to gain from the remote and romantic values.

Fig 6. Skara Brae

The secluded location and glass roof accentu-

Chapter 1

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CHAPTER 2 THEORETICAL BACKGROUND

Fig 1. Interior of Stanley Mills

Fig 7. A landscape of memory

As conservation has risen in importance

ulate that every project must create an equi-

charters have been developed worldwide as

librium between the added value to a commu-

guidance in order to preserve the maximum

nity, the longevity of the modern intervention

amount of historical information. All have

and existing fabric in addition to the aesthetic

their own individual areas of focus and ideas

of the overall conclusion. The ‘delight’ referred

on what are the most important aspects and

to by Vitruvius can be found in the memories

values of a building to remain intact.

or personal affiliation a community has with a ruin.

In general all conservation projects should seek to retain Vitruvius’ essential attributes

Although many of the charters have not been

of architecture ‘commodity, firmness and de-

directly written in the UK they have still been

light’ (Simpson, 2004, p.6). The following six

widely accepted as valid documents to be used

approaches were chosen for this discussion as

as guidance.

they are considered viable methods within the UK. It is believed they embody a varied spec-

THE VENICE CHARTER 1964

trum of attitudes allowing this review to evaluate qualitatively the present methods of pre-

The recognition of significant cultural values as

serving cultural values within a community.

a valid argument when considering conservation

The documents adhere to Vitruvius and stip-

was first discussed in The International Charter

12

Theoretical Background

for the Conservation and Restoration of Monu-

p.3). Due to this buildings are then treated for

ments and Sites (The Venice Charter 1964). It is

their artistic value within a nation’s landscape.

the most widely recognised international denota-

For example, when following these principles in

tion of standards of practice relating to conserva-

Scotland, a historic building would be required

tion. Its aim is to preserve and reveal the aesthet-

to add to the romantic atmosphere of the remote

ic, cultural and historic values of the monument

landscape, in its current state before it would be

and is based on respect for original material and

considered valuable. If it is considered pictur-

authentic documentation.

esque and in favour with the community then the structure is regarded as more likely to be

Article 1 states that the notion of a historic mon-

saved.

ument can comprise of either a singular instance of architecture, a place of civilization or setting of

Overall The Venice Charter is primarily con-

a particular event. This concept applies to great

cerned with the integration of landscape and a

works of art as well as “more modest works of the

respect for the authenticity of any original work.

past which have acquired cultural significance

The argument constructed by the charter is of-

with the passing of time� (ICOMOS, 1964, p.2).

ten fundamental to conservation. However, the

The charter then goes on to discuss that all rel-

document indicates that these guidelines may be

evant studies, both philosophical and scientific,

discounted when justified by national or interna-

should be addressed when considering the con-

tional interests (ICOMOS, 1964, p.3). The charter

servation of a monument as they may help to

introduces an element of judgement or respect

convey any values. Secondly, the document con-

towards repristination as preservation can give

veys a confident attitude towards the preserva-

back an invaluable identity, after a trauma, such

tion of the integrity of a setting. Protection of the

as war. This demonstrates the importance for a

location is restrictive as it inhibits the changing

continuity of a sequence of stories and values

of the overall presence of the building within the

stipulated in the charter. The lenient element

site including aspects of scale and colour. How-

of the document highlights the ambiguity of the

ever, determining this broad aspect as important

statements demonstrating the knowledge that

reminds inhabitants of the past and present val-

all conservation projects are different in relation

ues held within that entire area (ICOMOS, 1964,

to construction and the principles they reveal to

p.3). Movement of the monument is also prohib-

a community.

ited so as not to affect the architectural composition of the area reinforcing the beliefs that are

THE BURRA CHARTER 2013

held.

While the Venice Charter was the first internaThe charter conceived its values of conservation

tional document to recommend the necessity of

according to the current museum and ancient

protecting heritage values it was considered lim-

monument principles focusing only on signifi-

ited as it primarily focuses on aspects of the pic-

cances on a large scale at a national level. Due

turesque. The Australian ICOMOS Charter for

to its concentration on a national level it fails to

places of Cultural Significance (The Burra Char-

acknowledge what is really meant by a histor-

ter 2013) developed this by identifying all values

ic building and ignores smaller intimate values

of a place in depth. It set out to identify these

of the immediate community (Simpson, 2004,

values as a method to manage modern interven-

Chapter 2

13

Theoretical Background

tion and protect the existing values by defining

The Burra charter takes a more scientific ap-

the significance and relating it to the operational

proach than the Venice Charter as it denotes

needs within a setting (Burman, 1995).

planning at the forefront of conservation. This is done through public consultations and manage-

The charter demonstrates that a wider investi-

ment plans. It facilitates the involvement of the

gation must be undertaken when considering

community with projects and aids the portrayal

significance. Article 5 states “Conservation of a

of their values into the final design. Despite this

place should identify and take into consideration

apparent involvement of the community through

all aspects of cultural and natural significance

planning it is not always the reality. A manage-

without unwarranted emphasis on any one val-

ment plan can become too rigid and, in the case

ue at the expense of others” (ICOMOS, 2013, P.4)

of the Burra charter, the linearity of the plan is

the concept of a historic building holding values

too restrictive when trying to consider all values

has been replaced by the idea of place and atti-

of a community (ZANCHETI, et al., 2009, p.51).

tudes of a community being considered of more

The plan then reflects a professional process and

significance. This approach can be considered of

begins to lose quality.

particular importance when aiming for a well-received conservation project.

In spite of this disadvantage, due to management plans being in place, it is more common practice

IDENTIFY PLACE AND ASSOCIATIONS

for projects using the Burra charter as guidance to receive government funding for work as this is usually distributed in stages similar to those

GATHER AND RECORD INFORMATION ABOUT THE PLACE SUFFICIENT TO UNDERSTAND SIGNIFICANCE

portrayed in the process. Conversely, difficulties can arise due the funding divisions with limited

ASSESS SIGNIFICANCE

money given to perform extensive research of the values, of a building or place, before any conser-

PREPARE A STATEMENT OF SIGNIFICANCE

IDENTIFY OBLIGATIONS ARISING FROM SIGNIFICANCE

GATHER INFORMATION ABOUT OTHER FACTORS AFFECTING THE FUTURE OF THE PLACE

vation work can begin (Simpson, 2004, p.4).

Due to the linearity of the charters processes complications arise as a result of ever changing values and significance during the evolution of society. Protection of a building should be considered more ‘philological’ instead of scientific and

DEVELOP POLICY

a charter denoting a method is not very effective as every situation is unique (Carbonara, 1996,

PREPARE A STATEMENT OF POLICY

p.238). It is difficult to establish one coherent significance as they are often conflicting depending on the different communities involved. Perhaps

MANAGE PLACE IN ACCORDANCE WITH POLICY

a circular process as depicted by an article on the ‘judgement and validation in the Burra Char-

MONITOR AND REVIEW

Fig 8. The Burra Charter Process 14

ter Process’ would be a better approach towards conservation of values. Here the values of a historic building are considered indeterminable due Chapter 2

Theoretical Background

to the continually changing views towards past

ris, ‘a feeble and lifeless forgery’. John Ruskin,

and present. In order to construct a method of

the art critic and an early member of SPAB, was

progression the process introduces an element

equally forthright: ‘Do not let us talk then of res-

of feedback allowing re-evaluation resulting in

toration. The thing is a lie from beginning to end’

a more comprehensive view of the values being

(Kent, 2011).

obtained (ZANCHETI, et al., 2009, p.51). If the Burra Charter took a more relaxed approach to

Ruskin concentrates his work on ‘the poetry of

planning and created a flexible diagram it would

conservation’ and the romance embodied within

allow a more comprehensive view of the cultural

a ruin (Burman, 1995). This opposes the nec-

values present within the building. This would

essary prose of conservation, denoted in the

allow a more sensitive yet fulfilling result.

Burra charter which requires a detailed understanding of technical aspects and a capacity to

THE SOCIETY FOR THE PROTECTION OF AN-

see the building as a whole (Burman, 1995).

CIENT BUILDINGS 1877

This idealistic and often archaeological approach demonstrates a method of immobilising a ruin

During the 18th century and the rise of romanti-

in its current state. By taking this completely

cism two approaches developed. The first of these

romantic stance towards a historic building the

concluded in an idea of fantasticalism exempli-

original values and design cannot be portrayed.

fied by Viollet-le-Duc and his English counter-

Therefore the SPAB approach is concerned with

part George Gilbert Scott who became the sym-

authenticity of a structure but not the integrity

bols of destructive restoration. In contrast to this

of the design as a whole.

approach was the conservation movement and an interest in arts and crafts headed by John

GUIDE TO THE PRINCIPLES OF THE CONSER-

Ruskin and William Morris (Jokilehto, 2002,

VATION OF HISTORIC BUILDINGS 1998

p.156).

The Guide to the Principles of the ConservaThe Society for the Protection of Ancient Build-

tion of Historic Buildings (British Standards

ings (SPAB 1877) was created by William Morris

7913 1998) is concerned with conserving the

in response to what was considered destructive

principle values of a place such as cultural,

restoration. The society can be considered a rad-

economic and environmental in the interest of

ical movement as they strongly believe that any

society. However, more importantly, it takes a

level of restoration or repair unhinges the values

modern approach towards conservation, con-

a building possesses and misguided work can be

centrating on the value the historic building

extremely detrimental. SPAB states that skill lies

can now give to the community instead of the

in maintaining a building with the minimum loss

past, and now possibly irrelevant values it

of fabric, romance, authenticity and ‘Old build-

once upheld.

ings cannot be preserved by making them new’ (SPAB, 1877, p.1).

The methods of conservation are depicted through a rigorous investigation of the treat-

Advocates believe that restoration achieves tidy

ment of historic buildings since the age of in-

reproductions at the expense of genuine but im-

dustry. It is considered that although conser-

perfect work. The result is, in the words of Mor-

vation theory first came about in the late 1800s

Chapter 2

15

Theoretical Background

as part of the enlightenment and romanticist

Influence from the Venice Charter can also be

period explored by Ruskin and Morris, it was

seen as, if the building is picturesque, a min-

not brought to prominence until after second

imal intervention should be instilled in order

world wars as a reaction against the threat of

for it to remain a positive asset to the commu-

modernism and planning. During this period

nity (Great Britain, BSI, 1998, p.5).

maintenance and re-inhabitation were superseded by renewal due to rapid growth in econ-

A presumption against restoration is a hall-

omy (Great Britain, BSI, 1998, p.2). Although

mark of the British approach to building con-

this alludes to the Venice charters’ approach

servation. It is a strong belief that restoration

to repristination as viable this is not usual-

can diminish the authenticity and thus the

ly the best option as past memories that were

historic and aesthetic value of a building. This

previously considered important, may be for-

is especially apparent in those which depend

gotten.

more upon narrative or picturesque qualities and on the patina of age than on formal qual-

Architectural chronology described in the char-

ities of design as the past values are consid-

ter demonstrates the origin of values deter-

ered of slightly lesser importance than the val-

mining every part of history as relevant when

ues bestowed on them now.

looking to the future. It is the local vernacular materials and construction of buildings which

SCOTTISH HISTORIC ENVIRONMENT POLI-

reflect local geology, climate and culture and

CY 2011

contribute to a sense of place (Great Britain, BSI, 1998, p.1).With this view taken by the

Scottish Historic Environment Policy (SHEP

document it is worthwhile considering that ru-

2011) states that it is essential for conserva-

ral settings more clearly demonstrate cultural

tion that there is an establishment of bound-

values as they are void of outside influence as

aries within which change can continue to oc-

they, particularly in more remote parts of the

cur so that it enhances rather than diminishes

country, remain self-built in the local tradition

the historic character.

and thus genuinely vernacular. In contrast to this, city architecture is more associated with

This is achieved through 3 key outcomes, the

structural values due to its location at the

first of which emphasizes that the care and

centre of the industrial revolution and trauma

protection of the historic environment must

endured a result of war.

enhance the lives of present and future generations. Outcome 2 establishes a need for economic security and places protection of the historic environment at the forefront of this due to money brought in by tourism. Finally outcome 3 suggests the importance of cultural values and the importance of these being properly understood (Scotland, Historic Scotland, 2011, p.8). As discussed, this will benefit the inhabitants of Scotland as well as visitors

Fig 9. Remote setting of Stanley Mills 16

to the country as part of a national identity Chapter 2

Theoretical Background

and discovering the romantic atmosphere in-

portance of retention of a building and what

herent in Scottish culture.

is required to do so (Scotland, Historic Scotland, 2011, p.20). Legislation such as this has

Cultural significance can include artistic, aes-

become an integral part of the conservation

thetic, archaeological, architectural, scientif-

process. Despite this it does not appear to be

ic, social, historic or traditional values. These

concerned with upholding any of the romantic

can be characterised by intrinsic, contextual

aspects specifically within Scotland and like

and associative values. Intrinsic values are

the British and Burra charter takes a predom-

concerned with the condition of the monu-

inantly scientific approach more concerned

ment and the unreleased potential as well as

with the economic wealth of Scotland and the

the developmental sequence and subsequent

procedures in place to protect it. The charter

functions. Contextual values are concerned

also appears to prioritise the historical fabric

with the rarity and relationship to other mon-

over any cultural values or romantic reactions

uments and setting. Associative values con-

from the public.

centrate on the historical, cultural and social influences as well as the aesthetics and signif-

ITALIAN CONTRIBUTION

icance to national consciousness and association with events (Scotland, Historic Scotland,

The first decisive step towards a specific form

2011, p.72). These three characterisations

of relation to the past occurred in Italy when

help to achieve a sensitive approach towards

renaissance humanism recognised an argu-

conservation that allows all valuable aspects

ment of historic prominence as an ideal model

to be considered. By creating divisions, a co-

that could inspire contemporary culture and

herent plan can be formulated, understood

developments in architectural aspects (Jokile-

and easily executed.

hto, 2002, p.xi)

It is apparent that although SHEP recognises that conservation can add significance to future and past values, the principles defined are not necessarily unique to Scotland. One of the aspects defined in SHEP that can be considered specific to Scotland is the view that nationalistic values can be upheld when the building is accessible (Scotland, Historic Scotland, 2011, p.7). This is achievable in Scotland through the government legislation for freedom of access which considers that the cultural and historic values of Scotland are upheld by use and the entire nation who can access it.

Fig 10. Old meets new at Stirling Tolbooth

It is important to recognise the early contribution of Italy and primarily the attitudes of

SHEP is one of the first charters to initialize

Cesare Brandi in regards to conservation the-

scheduling and listing which denote the im-

ory as it demonstrates a combination with

Chapter 2

17

Theoretical Background

modern architectural theory and the impor-

without producing a fake or erasing significant

tance of modern values in historic buildings.

traces of its history (Matero, 2007, p.53).

The approach is very critical of preserving the artistic intention of the building and Brandi

The British concept of the historical signifi-

states that all restoration is a product of an

cance of a work of art is seen as a respect for

inherited significance as well as more modern

the architect’s original intent and perceived

concerns depicting it as requiring a more crit-

as an attempt to return the work to the state

ical approach (Matero, 2007, p.45).

in which the artist wanted it to be seen. This clashes with Brandi’s broader view that con-

Brandi defined the whole of the work as its

sidered the work of art in its original form but

physical form and fabric, its history, and its

also included the historical values stratified

context. This collective inherent unity defined

upon it from the moment it was completed by

the individuality of each work and, according

the architect to the moment it impacted the

to Brandi, remained accessible to the viewer

conscience of the modern viewer. These strat-

even after alteration from damage and partial

ifications were manifested in the irreversi-

loss regardless of scale (Matero, 2007, p.46).

ble physical transformation of the materials,

This view of artistic unity, or considering the

changes in viewing condition, figurative cul-

construction of a building similar to the pro-

ture and the viewer’s perceptive sensitivity

duction of a painting, clearly outlines the im-

(Matero, 2007, p.46). This renders any attempt

portance of cultural values when conserving

to re-establish the original state a pointless

historical design. However, this cannot be

endeavour that can never be obtained because

realized due to multiple authors, out with a

there is now only a present state of material

studio environment, and is unexcused from

which can be conserved from now on.

the element of change or later building phases adding to cultural significance a building can

DISCUSSION

gain.

Overall, the above conservation theories denote Deterioration and loss from a conservation

that any modern insertion should be clearly

perspective are destructive and considered by

differentiated from the original as it is like-

the Italian approach as negative conditions

ly that modern material will detract from the

deemed detrimental to the visual and struc-

qualities of the past. By clearly distinguishing

tural integrity of the work. Such concerns are

between time periods the architect is preserv-

related to conservations dual interest in the

ing the integrity of the original and the pos-

aesthetic appearance and historical meaning

sibilities for different interpretations now and

of all visual works (Matero, 2007, p.47). Bran-

in the future. When the ruin is brought back

di placed material authenticity at the forefront

to life the integrity and values of the building

of conservation priorities whereby the first aim

can again be explored through a modern per-

of conservation is to conserve the original ma-

spective. The use of recognisably different but

terial of the work and, therefore, its material

compatible materials is an honest substitute

authenticity. While at the same time the sec-

for the lost historic substance. This negates

ond aim was to re-establish its intended image

the tendency for values to be disregarded in

and potential unity so far as this is possible

exchange for an attempt at replicating the au-

18

Chapter 2

Theoretical Background

thenticity of the original design.

There must also be an element of reversibility in order to return the structure to the state it was found, if so desired (Matero, 2007, p.47).

If it is not possible to retreat to the original intentions perhaps it is more worthwhile to use the ancient fragments as incentives to create a new original for the modern world (Carbonara, 1996, p.239). This implication of a modern intervention would create a different overall image representing historical, cultural and modern values. It would not be considered just a substitute for the original.

Fig 11. Modern intervetion by Reiach and Hall

Deterioration or radical alteration are the

Admiring works of art and architecture as doc-

main aspects that need to be resolved regard-

uments of historical and cultural significance

ing conservation as both can affect stability,

places an increased importance on their ma-

historical legibility, authenticity and can re-

terial expression and authenticity. Issues of

sult in disuse and devaluation. More signifi-

loss and compensation are apparent in the

cantly, as discussed in the previous theories,

protection of cultural recourses and putting

it can result in complete loss of meaning and

the human productivity back into a building.

cultural significance. If conservation of a his-

However, copying the historic or pastiche is

toric building is considered in the same light

not considered authentic and there is rarely

as a piece of art, as in the Italian approach,

a reason for it. A lack of authenticity will alter

then perhaps the loss of a significant aspect

the memory of a building and can result in a

of a building is similar to the loss of arms of a

loss of romantic notions within a community.

sculpture or the details of a painting (Matero, 2007, p.50). This type of loss does not result

Many of the approaches dictate that the val-

in the fragmentation of significant values the

ues of a historic building lie within its physical

community upholds. It can therefore be said,

fabric. They understand that surviving fabric

that perhaps completeness of the original is

is finite and, once destroyed, can never be re-

not required for significance and in fact con-

trieved. As well as the complete antiquity of

version in a sensitive manner, using modern

the building, the accumulated evidence of how

material is a more successful approach to-

it has changed over time and the patina of age

wards conserving historic buildings. Conver-

and weathering of its surfaces can be consid-

sion enables inhabitation, the continuation

ered of the utmost importance. Aesthetic val-

of values and the incomplete structure to re-

ues can either be enhanced or degraded by

main. Well executed conversion of buildings

weathering and in Scotland this is particularly

and reuse will help retain the cultural values

significant as it clearly denotes the climate of

present within a community and can, there-

the country where the weather conditions are

fore, be considered a method of successful

harsh.

conservation.

Chapter 2

19

CHAPTER 3 THE MOTIVATION BEHIND CONSERVATION TODAY

Fig 12. Historic Edinburgh

In support of conversion, heritage is not a fi-

in just over 3 minutes (Scotland, 2011, p.1).

nite commodity and we are continually creat-

Whilst safety of the occupants is the most im-

ing more through building. Therefore, addition

portant aspect of modern legislation, when

to existing heritage through interventions in-

a historic building is involved in an incident

cluding new additions or extensions, transfor-

there is the added loss of authentic material.

mation of spaces, alteration in terms of new

For all non-domestic properties fire safety is

use, replacements for existing buildings or

now stipulated by law. This can be addressed

larger developments adjoining historic are-

through minimal intervention or by a larger

as becomes integral for sustainability (Jager,

conservation project. It is also an added re-

2010, p.5). Modern legislation and the rise of

quirement when converting any historic build-

efficiency requirements have become integral

ing.

in the care of historical building and must be taken into account during a conversion.

Traditional buildings were mainly constructed without any regard to the impact of fire and

At present, fire is the single greatest threat

many must now be fitted with precautionary

to the occupants with fabric and contents of

measures including fire alarms, exits and ade-

any building reaching temperatures of 1000C

quate ventilation. Abundant use of flammable

20

The Motivation Behind Conservation Today

material is particularly present in the fabric of

toric Scotland, 2015). Conversion negates this

traditional buildings as well as rustic meth-

issue by repurposing existing structures and

ods of insulation and rubble (Scotland, 2011,

acknowledge the embodied energy within them

p.2). This creates a high level of vulnerabili-

while keeping the romanticism and values of a

ty towards the occupant but also the historic

ruin intact. Due to past precedent, through-

fabric that should be retained in order to con-

out time populated areas have undergone a

serve values. While a means of escape is es-

state of regeneration and it is very rare for any

sential it is also important when altering any

area to uphold a historic unity. It often results

listed building that consent is sought. There

in a combination of styles denoting different

is a fine balance between retaining the values

time periods of regenerations. Approximate-

of a building and making it safe to use. Due

ly two-thirds of building now happens with-

to the risk of total loss, fire protection should

in existing fabric and it is important that this

overrule any objections to changing any minor

continues to occur in order to produce spaces

appearances of the building.

that are habitable and maintain historic and modern values significant to the area (Jager, 2010, p.8). Conversion of the historic environment can make a beneficial contribution to the regeneration of both urban and rural areas through the adaption of historic buildings for modern uses, and in providing a high quality setting for new developments. An amalgamation of time periods including contemporary can be advantageous to the teaching and development of a community proving regeneration as a worthwhile endeavour.

The need to preserve cultural values and create a space for modern inhabitation are two opposing principles that should be combined.

So far the progressional use of historic buildings demonstrates modern values of inhabitation as a development of the historical. The original intent of the architect is transient and

Fig 13. Fire safety, before and after, at Stanley Mills

constantly evolving as all buildings have been

The historic environment represents consider-

edited from the start of their use. A modern

able past investment of physical, natural and

conversion can create a break in this steady

intellectual resources. Where archaeological

changing and enhance clarification of the val-

and historic features already exist, it makes

ues present. Conversion can also reinstate the

sense to make the most of the resource they

legibility of a building that has been completely

provide, rather than destroy them or allow

altered. Although modernism has tried to re-

them to decay with consequent cultural, en-

invent the process of design evolution through

vironmental, social and economic costs (His-

new ideas and context it is difficult to com-

Chapter 3

21

The Motivation Behind Conservation Today

pletely eradicate all influences from the past.

terms of environmental sustainability includ-

Designing without reference to the surround-

ing their longevity, thermal mass and local-

ing area and upheld cultural values can result

ly sourced materials and natural ventilation

in a disconnected and unsuccessful solution.

(Ronchini and Haase, 2011, p.3). Repurposing the old buildings of Edinburgh or continual habitation of them has helped to prevent urban sprawl and loss of significant historical and cultural values within the city. Historic buildings also uphold a significant amount of embodied energy and maintaining them is usually in the best interests of any community. Their inherent quality provides an opportunity for reviving run-down areas where new building is not affordable (Historic Scotland, 2015). In addition to the conversion apparent

Fig 14. Modern intervention by Richard Murphy

in Edinburgh to facilitate modern life, the high

Since the 19th century there has been a fun-

quality examples of historic architecture allow

damental change that distinguishes modern

the easy insertion of the contemporary.

society from the traditional world. This change is essentially due to the modern historical consciousness that has developed within western society. These new values represent a paradigm that has effectively detached the present from the past and at the same time made it difficult, if not impossible, to fully appreciate the significance of the heritage. (Jokilehto, 2002, p.6) By combining new concepts with values of the past the inhabitants are forced to reintegrate with a historical archetype bringing

Fig 15. Inhabited heritage site

past cultural values that are vitally important

Within remote areas of Scotland the resilience

for a national identity back to modern society.

of the fabric and the remains of a ruin are in-

Although an awareness of the modern world

fluential to the communities occupying the

and the historical can be misleading due to

area. The interest of a modern, poetic narrative

the combination of values it is vital to enable

within architecture can influence the retention

any notion of historical significance to remain

of memories a ruin upholds. Reintroducing a

at all. Edinburgh Old and New Town are prime

use for an historic building can restore activity

examples of an entire city where existing fab-

within a building or the public as well as keep

ric is the main place of habitation. This world

the sentiments of a community intact within

heritage site boasts an outstanding variety of

the nature of the remaining fabric. Overall a

buildings with different architectural styles,

level of conversion is required for any histor-

materials and characters. These tradition-

ic building to survive and be integrated with

al buildings already have certain benefits in

modern societal needs.

22

Chapter 3

23

PART 2 CASE STUDIES

It is important to discuss the realities of conversion in Scotland and the reactions presented towards modernism and evolution while retaining cultural values. It is also vital to realise the effect personal opinions and affiliation with a certain approach can have on the outcome.

24

CHAPTER 4 CASE STUDY 1: A DESIGNER’S PERSONAL AFFILIATION

Fig 16. Interior of Striling Tolbooth

The conversion of Stirling Tollbooth takes a

the requirement for a continued appreciation

radical stance on the retention of cultural val-

of the building and a conversion in order to

ues favouring the designer’s personal affilia-

preserve what remains for future generation

tion of celebration of the existing fabric over

as an example of Scottish historicism.

the preservation of a wider significance.

In the 1700s tollbooths were a demonstration of community identity and importance within Scotland. They represented a centre for local organisations and justice as well as conveying and controlling access to a town. The Stirling Tollbooth was completed in 1702 and has been associated with a variety of functions since its completion, including a jail, courthouse and town hall which were added at a later stage (Stirling Council, 2015). The result of construction was one of the first tollbooths in Scotland to be built strictly in the classical manner and the roof of the bell tower is one of the few surviving in the country today. The rarity of this particular structure enhances

Fig 17. Modern intervention and authentic material 25

Case Study 1: A Designer’s Personal Affiliation

The Tollbooth and the complex of buildings was

on the historical approach to Stirling castle.

first commissioned with many cultural values

As part of integrating the theatre with the city

of the 1700s in mind, these included elements

again the historical route gained prominence

of authority within the community which is

and was pedestrianised to attract visitors. The

clearly reflected in the architecture. The most

entrance to the building has also been moved

notable, powerful element of the building is the

to the street employing a previously unused

bell tower. Not only is it considered a common

vault space as a lobby (Welch, 2015). Accord-

feature of Tollbooths in Scotland but it refers

ing to analysis of the Venice Charter the new

to the empowering connotations of ecclesiasti-

addition complies with many of the encour-

cal buildings. This particular structure takes

aged practices through the subtle integration

influence from the ancient belfry of the kirk of

of the landscape by the simple addition of the

St Ninians at Leith Edinburgh (Fenwick, 1974,

new entrance creating a more open relation-

172). The overarching element of significance

ship with the street and relating the building

for this building is the denotation it gives to

to the modern city. However, the new inter-

Stirling as a sense of place. The tollbooth pre-

vention takes prominence over the original en-

viously acted as a point of arrival within the

trance which can now be considered a mere

city and any visitor would automatically real-

shadow of past arrival and the message this

ise that they had arrived by its presence. As

conveyed to the community.

the town has expanded around this entrance way the significance of the building has been lost as it is no longer required to mark the beginning of the city of Stirling.

In 1997 in order to create a break in the gradual changing use of the tollbooth and once again firmly establish this integral structure within its local community Stirling Council hosted a competition to convert the Tollbooth to a music and arts venue. Therefore, reengaging the building with the residents of Stirling and the wider public for performance and contribution. (Murphy, 2015) the building as a theatre can now be considered a gateway to the imagination. Richard Murphy Architects won the competition for the conversion of the tollbooth. His vast knowledge of arts buildings and influence from Carlo Scarpa has helped to guide the conversion process of this building

Fig 18. Original fabric

resulting in an award winning conclusion in

The majority of interventions required to

2002.

achieve a coherent arts centre have been located in the only available space on the re-

The theatre now sits between two main streets 26

stricted site: the eastern courtyard. Within

Chapter 4

Case Study 1: A Designer’s Personal Affiliation

this space is the foyer and circulation system

stantial and confident alteration to a histor-

of the building. ‘Using this space as the foyer

ic building that is extremely rare in Scotland.

allows visual and actual access to all the facili-

Murphy tries to celebrate the original features

ties and permits a single lift to reach the many

of the building by leaving certain sections of

diverse existing levels’ creating a minimal in-

stone work visible. The contrast between the

tervention (Murphy, 2015). Overhanging it is a

old and new elements is bold yet, unfortunate-

large structure known as the ‘backpack’ con-

ly detract from the original design concept as

taining the extension to the courtroom which

a tollbooth. Therefore, the building is perhaps

creates the auditorium.

best understood when both time periods are appreciated separately rather than through the meeting points of the contemporary and historical architecture. It can be considered that by not conveying the historical message of the building through any other means than the historical materials present in the façade, limited decoration and a minimal degree of features visible in the interior the design no longer upholds any original values as a tollbooth courthouse or jail.

Due to legalities of protecting historic buildings stipulated within SHEP the ‘A’ Listed existing structure has been altered as little as possible.

The overbearing intervention installed is in fact considered minimal as there is little difference made to the elevations to the street and all existing material (visible or not) is viewed as authentic. A respect for authenticity can be seen in the differentiation of materials such as modern steel construction and historic stone work. Despite this, the public is removed from the original structure as the intervention plays the most significant role when the building is in use.

In addition, differentiation between materials in the conversion does not respect the authenticity of concept. Reversibility of the conversion is structurally possible but not the retraction of new values imposed on the site.

A com-

Fig 19. Past and present entrances

pletely new use implicated within building and

Although Murphy states that the intervention

the values that ensue does not demonstrate

is minimal Stirling Tollbooth epitomises a sub-

the original intentions fully however neither

Chapter 4

27

Case Study 1: A Designer’s Personal Affiliation

does romanticising the ruin, leaving it in cur-

Overall the original fabric and Murphy’s inter-

rent state as SPAB would suggest. Regardless,

vention now preside over any values imposed

the conversion of such an iconic building was

on the building. The authenticity of the façade

important to the community of Stirling and

is clearly visible while the new entrance hints

by bestowing modern cultural values on the

to the radical modernity within. The bold,

space the past functions can still be appreci-

domineering interior insertion clearly demon-

ated from the periphery while new ones take

strates the desire Murphy has to celebrate the

place.

historic fabric through his own preference of allowing glances at the existence through the

Although, the reinvention of function does not

more frequently used intervention.

compensate the loss of original design values the new function will help to bestow new cultural values to a place bringing the fabric at least back into prominence within society. The conversion is in the spirit of the British Standards which suggests that any new values a building denotes to society as a theatre while demonstrating past values through materiality is a viable approach to conservation. Stirling’s renewed tollbooth is once again firmly established within its local community as a usable space for everyone to frequent.

28

Chapter 4

CHAPTER 5 CASE STUDY 2: MODERNISM AS SENSITIVE CONSERVATION

Fig 20. Pier Arts Centre

During the 19th century there was a desire to

the achievements of the golden age can be

express a national pride in building against

matched again by succeeding generations.

the unpopular emergence of industrialization,

This is important to protect a sense of identity

looming capitalism and the union of Scotland

for the future. A level of nostalgia is important

and England. Reference was made to the gold-

in order to convert buildings or reinstate val-

en age within the 14th century in architecture,

ues, as the golden age marks the representa-

where Scotland was at its most prominent and

tion of Scotland’s reputation.

prosperous within the UK, after battles for independence. During this time the rhetoric for

In addition, although there is clearly no such

the romantic period was explored as details of

thing as a single ‘grand tradition’ of Scottish

turrets, arches and gothic elements reminis-

architecture, architects must look to the past

cent of castles considered a sign of triumph

as it would be equally misleading to see the

and national significance.

development of a Scottish identity as nothing more than a sequence of unrelated events. For

Scottish architectural identity was at its peak

a start, the geology and wet climate have re-

and the challenge has since been whether

mained reasonably unchanged. Due to this 29

Case Study 2: Modernism as Sensitive Conservation

the most common thread in Scottish archi-

ten reduced to the visually scenic, simply rein-

tecture has been the continual use of stone

forcing a superficial populist view of Scotland’

construction. (Glendinning, 1996, p.503). This

(Gillespie, 2010, p.1) contrary to this state-

is particularly relevant in Edinburgh where

ment it has been determined that although

modern buildings persistently use sand stone

the romantic nature of Scotland is important

as a method of cladding. This is often imbued

to tourism it is also imperative to create a con-

as a response to planning restrictions however

nection between the historical landscape and

demonstrates a deeper understanding of the

local inhabitants. Nostalgia between locals en-

way people consider the historic city.

ables past values, traditions and knowledge to remain in society. These cultural values, then,

During a modernist era Scots tend to look fur-

directly inform conservation methods. A need

ther afield for information due to a distinct

for a defined Scottish architecture put forward

lack of debate concerning Scottish contem-

by Reiach and Hall is imperative to the devel-

porary architecture. Instead of looking south

opment of the Scottish construction industry.

for cultural confirmation and influence Reiach and Hall incline towards an idea of northern modernism and Scotland upholding its own values and cultural identity. Reiach and Hall believe that any new architecture should be firmly rooted in the surrounding landscape of the north which has been and will continue to be shaped by the inhabitant’s attitude towards it (Gillespie, 2010, p.1).

Fig 22. Sketch by Neil Gillespie

In contrast to Stirling Tollbooth The Pier Arts Centre (PAC) denotes a sensitive and nostalgic approach when retaining the cultural significance of the village of Stromness through the sympathetic design of a modern warehouse.

The town clearly still functions as a fishing village and the final conversion by Reiach and Hall seamlessly joins the historical and contemporary into a strong building type that re-

Fig 21. Interior of Pier Arts Centre

flects historical values and modern architec-

Neil Gillespie states that the Scottish land-

ture within a historical setting.

scape is ‘prone to be viewed in a romantic and picturesque way and merely useful for attract-

Stromness is located in the islands of Orkney

ing tourists…architecture, likewise is all too of-

in the far north of Scotland where Reiach and

30

Chapter 5

Case Study 2: Modernism as Sensitive Conservation

Hall search for ‘stillness, lightness and clarity’

containing administrative areas, a library and

(Gillespie, 2010, p.2). The village bears a dis-

artist studios and two parallel buildings that

tinctive shore front of two dominant building

extend from the street towards the shore. The

types; pitch roof sheds and two storey houses

restored pier building holds the permanent

either parallel or perpendicular to the shore.

collection while the new building contains a large temporary gallery space and archive

The PAC occupies a considered location be-

(Jager, 2010, p.26).

tween refurbished historic pier buildings within this dominant stone fringe of arrival previ-

During the design of the pier arts centre Rei-

ously occupied by the Hudson Bay Company

ach and Hall were concerned with a simple

(A trading company focussing on routes be-

resolution and a high level of appropriateness

tween Orkney and Canada). This link is par-

of the final proposal. The light weight space of

ticularly important to Orcadians as it denotes

the new gallery recalls a simple pitched roof

their ancestry as well as demonstrating the

similar to a traditional waterfront warehouse

rich industrial heritage that was once present

and contrasts with the solid juxtaposition of

on the islands.

the existing industrial rhetoric. A respect for authenticity can clearly be seen in the sensitive approach apparent in the restoration of the existing building. Although the new part of the centre does not use traditional material the form still expresses the attitude of an industrial warehouse. The building is clad in the black (zinc) uniform of an honourable and valued elder to signify its cultural significance, ambivalence and melancholic qualities of the island (Fundacio Mies Van der Rohe, 2014). It can even be said that the authenticity of function is also retained as an art gallery is essentially a warehouse for art; a concept that is

4

particularly apparent when an archive is concerned.

Reiach and Hall take influence from the Italian idea of a building as a work of art by trying to create a cumulative story of the building

Fig 23. Intervention at The Pier Arts Centre

by retaining the original form but fragment-

The building is now home to an internation-

ing the new part to enhance a level of Scottish

ally acclaimed collection of contemporary art

modernity and attitudes towards new, light

consisting of both permanent and temporary

weight structures. ‘The familiarity of the form

galleries. The architectural resolution consists

is transformed and undermined through a

of three distinctive elements: a building inte-

façade that shifts from solid to void; black zinc

gral to the main shopping street of the town

ribs alternate with translucent glass infills and

Chapter 5

31

Case Study 2: Modernism as Sensitive Conservation

the spacing of the ribs echo the original build-

white, using a lime wash, which although typ-

ings rafters’ (Fundacio Mies Van der Rohe,

ical of Scottish architecture is now unfamil-

2014). When seen gable-on the new building

iar amongst the facades of Stromness. These

appears solid and similar to the conventions

buildings have previously lost their render giv-

of traditional buildings. However, the new in-

ing Stromness a completely new appearance

sertion dissolves as the viewer moves, allowing

as a grey town which has developed into a new

the original pier building to gain prominence.

tradition of viewing the structures. The reintroduction of a traditional material since for-

Internally the spaces of both buildings are a

gotten hints to Scottish modernism of creating

backdrop to the art they hold. Their surfac-

another spectacle within a town.

es are bleached or translucent (Fundacio Mies Van der Rohe, 2014). Within these muted spaces and moments of clarity the viewer is connected back to the materiality of the original building, the northern landscape and shore that was integral for the original use by the Hudson Bay Company.

At a fundamental level the British standards and SHEP convey three main goals that should be retained when conserving historic buildings: Cultural significance, environmental considerations and economical value. These are fulfilled through by the regeneration of Stromness store front as it helps to signify the industrial, cultural heritage of the islander’s ancestors through the warehouse. The new part of the building has minimal impact on the site due to lightness of construction and of course the similar silhouette to the majority of shorefront of the town. Beyond the technical the PAC is economically sustained by a fragile community and in turn sustains the culture of that community by bringing visitors to the gallery and enabling the development of local artists.

Despite the link between the PAC and the Black house as a common dwelling type within Orkney the main elevation to the street is seen as the antithesis of the black house (Fundacio Mies Van der Rohe, 2014). It is completely 32

Fig 24. Facades of The Pier Arts Centre

Chapter 5

CHAPTER 6 CASE STUDY 3: THE REALITIES OF CONVERSION

Fig 25. Interior of Stanley Mills

From the conservation of Stanley mills it is

heritage within Scotland and therefore mer-

clear to see the divide between a sensitive and

its protection it has been given. Stanley mills

a radical approach. The bell mill - now visitors

forms part of the unique collection of cotton

centre, primarily represents a sympathetic ap-

mills situated throughout Scotland highlight-

proach due to the visible retention of design

ing the development of water power and the

values. This is seen in contrast to the first

relevance of the cotton industry worldwide.

phase of the conversion entailing the adaption

The mill denotes a significant aspect of indus-

to apartments for use as funding.

trial heritage in Scotland that has created the nations trading identity within Europe as well

Stanley mills, located in Perthshire on the

as enhancing the romanticism of the country

river Tay is a former cotton mill first built in

by the remote area it occupies. The mill was in

1786. It is considered one of the best pre-

use for around 200 years, employing 800 peo-

served instances of 18th century industrial

ple before the decline in the cotton industry 33

Case Study 3: The Realities of Conversion

within the UK in favour of cheaper materials.

sign issues included the zoning of the new use

During its occupation the building changed,

which were required to provide secluded living

was extended and parts demolished reflecting

quarters for apartments, a visitor’s car park

the introduction of new technologies and the

with easy access and an experiential visitor’s

ever changing market (Gaze, 2008, p.7).

centre (LDN, 2015).

The complex consists of three spinning mills,

The Phoenix Trust value projects that are con-

the Bell Mill, Mid Mill and East Mill grouped

sidered a significant catalyst to local regen-

around a yard which contains the archaeologi-

eration, offering job opportunities and acting

cal remains of water-wheel pits and gas works.

as a focus for business and residential devel-

The complexity of the mill and water-power

opment. It acts as a social enterprise organi-

systems as well as the authenticity of the whole

sation supporting the regeneration of historic

complex make Stanley Mills an industrial site

buildings and exists in order to share the best

of international importance (Gaze, 2008, p.7).

ways to develop areas of Scotland’s heritage with an emphasis on sustainability. Stanley

After its eventual closure the site became der-

Mills was the first project for the trust to be

elict due to heavy vandalism and the mill de-

involved in and they were responsible for two

teriorated into a dangerous place. As a result

of the largest buildings on the site with no

the locals turned their opinion against the

identified contemporary use. At this time the

once valued aspect of heritage and plans to

concept of residential apartments within an

have the site demolished were well received as

industrial complex in rural Scotland had not

the complex lost any connection with the com-

been done before (Princes Regeneration Trust,

munity (LDN, 2015).

2015).

Despite the dilapidation over the years the mills interiors had remained largely intact with the second floor considered as one of the best preserved 18th Century workspaces anywhere in the world. As part of SHEP an ‘A’ listing was introduced in order to protect the building from further vandalism and in 1995 the Mill avoided demolition due to its rescue

by Historic Scotland with a grant from the Heritage Lottery Fund (Gaze, 2008, p.6).

On behalf of Historic Scotland and The Phoe-

Fig 26. Exterior of Stanley Mills

nix trust (now The Princes Foundation for the

In order for the project to go ahead funding

Built Environment) LDN Architects were com-

was imperative. This was achieved through

missioned to be responsible for the restoration

the first phase of the conversion involving the

of the old mill into new residential apartments

introduction of apartments. It is believed that

accommodating 150 people and an industrial

the 40 residential units have been a major

museum to be open to the public. Primary de-

economic boost to the surrounding communi-

34

Chapter 6

Case Study 3: The Realities of Conversion

ty by bringing more inhabitants into the area

serve interior spaces, finishes and fenestration

and regenerating an otherwise dilapidated site

of the Mills and provide appropriate levels of

(Rahil, 2015). Although this method has its

public access for the enjoyment, understand-

merits, in terms of economy, it does not up-

ing and appreciation of the water power sys-

hold the cultural values of the mill for the gain

tem and the magnificent setting. The plan here

of the community. It is not clear what signif-

was for a minimal intervention where neces-

icance this project brings other than to the

sary in a sensitive and contemporary manner

immediate inhabitants of the apartments. It

using an industrial aesthetic expressed clearly

does not allow current residents to fully enjoy

as new work (Gaze, 2008, p.4). This method

the buildings as integral to their heritage since

reflects a desire for a sympathetic approach

they are privatised and no longer allows the

which will not detract from the original fabric

reflection of memories of the past use.

that is so instrumental in allowing a sense of nostalgia to be evoked.

This phase of the conversion demonstrates the practicalities of re-inhabitation while paying

An attitude towards repair and maintenance

respect to the past significance of a historic

was stressed over the introduction of any new

building. The sentimentality towards fabric

aspects to the design (Rahil, 2015) as the es-

authenticity remains but little can be seen of

sence of the working environment was impor-

the original purpose the structure once had

tant to be kept to portray to the community

within Perthshire. Despite this observation the

the industrial heritage of the mill and their

adaption of a significant part of the mill for

ancestors. Reminiscent of the SPAB approach

residential purposes was essential in provid-

existing fabric is left in its original state (with

ing the funds for a more sensitive approach in

peeling paint, oil stains and old graffiti) or

the remainder of the ruin.

repaired using holistic techniques wherever practicable. In addition, historic service pipes and any switch gear has been conserved and retained as artefacts throughout; these present an important record of the developments made to power the mill. In contrast to this approach any significant repairs are made in the same material and finished with matching colours. Although no new insertions stand out from the original fabric the work detracts from the overall authenticity of the design.

During the conversion the approach was to

Fig 27. Restored machinery

limit intervention to essential elements, such

The museum, with a unique collection of in-

as stairs, lifts and walkways to provide appro-

dustrial machinery, goes further in conveying

priate levels of public access for the enjoyment

values to the community by allowing the pre-

of the space. This contrasts the work of Rich-

vious history and significance of site to be re-

ard Murphy where the new structure is essen-

vealed. The principles of the brief were to pre-

tial for the appreciation of the historic fabric.

Chapter 6

35

Case Study 3: The Realities of Conversion

In order to make use of the tollbooth the new

authentic.

fabric inserted such as the stair case must be

Despite the requirement for an unsympathetic

used in contrast to Stanley mills where the

first development the conservation works that

building can still be appreciated without any

have been carried out throughout the visitors

essential intervention. Although in Stirling the

centre have ensured that the Stanley Mills sta-

Interventions are clearly distinguishable as

tus as an industrial site of international im-

additions with the remaining fabric carefully

portance will be safeguarded for future gener-

conserved underneath here the approach is

ations.

much more sensitive and restrained of the designer’s personal style. The preserved interiors are completely visible although not necessarily

36

Chapter 6

CONCLUSION

Fig 28. Romance of the ruin (Highlands)

The historic landscape of Scotland can be dis-

the creation of an engaging setting for modern

tinguished as an invaluable resource for a na-

life.

tional identity. This is known as the remote landscape essential for the nostalgia present

The introduction of the romanticist period has

in the unique settings unaltered by modern

highlighted the importance of remote and au-

life. Through the development of a personal

thentic areas. An understanding has devel-

and romantic response towards historic build-

oped that through the illustration of purity

ings in Scotland a requirement for the reten-

and authenticity the identity of Scotland can

tion of remaining fabric becomes apparent. As

clearly be put forward in order to develop a

a result conservation can be considered essen-

level of global significance.

tial in order to safeguard the authenticity of a building in addition to cultural values of the

Through close evaluation of the theoretical

past. The historic architecture and remaining

background it has been established that any

ruins within this secluded landscape create a

modern insertion should be clearly differenti-

strong link between the current inhabitants

ated from the original as it is likely that modern

and their heritage which is considered impor-

material will detract from the qualities of the

tant for a high level of education, elements of a

past. By clearly distinguishing between time

prosperous economy, including tourism, and

periods the architect is preserving the integrity 37

of the original and the possibilities for different

milling to Scotland. However the authenticity

interpretations now and in the future. The use

of the internal features is questionable due to

of different but compatible materials can be a

the difficulty experienced when trying to dis-

successful substitute for any lost authentic-

tinguish between original fabric and a copy

ity. This is clearly demonstrated at the PAC

created in order to replicate integrity.

showing that although a contemporary material such as zinc has been used the formal

In conclusion it has been determined that

structure of the building and sensitivity of the

conservation is essential to retaining cultural

overall approach has continued the cultural

values within society. Conversion as a meth-

values. It is important that the differentiation

od for this is considered part of the inevitable

is obvious yet still considered sympathetic to

evolution of modernisation within Scotland.

the overall appearance of the existing building

This is due to a requirement for higher lev-

and surrounding area.

els of sustainability, modern legislation and a level of modern, historical consciousness. It

During a modern interpretation the integri-

has become apparent through a series of case

ty and values of a ruin are always at risk as

studies and investigation into the theoretical

shown at Stirling tollbooth. This assertion uti-

principles available in the architectural indus-

lises an aggressive treatment though the com-

try that a sensitive approach towards the au-

plete removal of the original formal entrance

thentic fabric is required in order to success-

that was considered so integral to the original

fully convey the cultural values of the remote

function of the building. Although Murphy has

Scottish landscape and romanticism of a ruin

acknowledged that cultural significance places

to the surrounding community.

an increased importance on material expression and authenticity by leaving all original

Word Count:10922

fabric intact he does not successfully convey the significance to the community from within the building. The interior of the building has completely changed in function and no longer upholds the design values of a tollbooth. Despite this negativity towards the finished article it can be said that the tollbooth clearly respect principles in place inhibiting the deterioration of authentic fabric that would result in a complete loss of meaning to the surrounding community, place or environment Through the study of various charters it has been determined that copying the historic is not considered authentic and there is rarely a reason for it. Stanley mills visitors centre reengages the public with the significance of 38

Fig 29. Romance of the Highlands

Conclusion

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