Re-Tuning the Warp at Prestongrange Y3S2 DESIGN FOLIO by Ila Colley

PA R T I : U N P I C K E D I N D U S T R I E S a n d S U N K E N S T I T C H E S [an individual pathway]

or: STITCHING

and

S TA C K I N G P r e s t o n g r a n g e I N a n d [a group investigation]

OUT

EQUILIBRIUM

PA R T I I : R E T U N I N G t h e WA R P a t P R E S T O N G R A N G E

a project by Ila Colley

DEFINED : INDUSTRY CLIPPING

export

CUTTING: frequency | fabric | force

archive

colliery

seam shaft

signal seam worker shaft signal

FATHOM

winding machine

colliery kiln machine winding kiln pulley pulley

contaminationsignal pipeline signalshaft steam contamination pipeline cable crane engine steam jib hoist masonry debris

INTERFACE

furnace chimney

MANNERISM

miner driver track layer operator load

PRINT STITCH

stoop & room seam steam steam

[foot]PRINT

furnace fire water earth

seam water

[im]PRINT BIND

heating firing

the BATHHOUSE and the BODY THREAD[s]: mannerism | sound | colour

signal water kiln machine pipekiln signal exhibition

water

pipe

machine

loom weaving roving spinning steaming

WARP

conversation

tapestry loom shaft chimney winding heddle shed shaft weft shuttle collier

ARCHAEOACOUSTICS

conversation

kiln kiln furnace winding engine

COLOUR

drying dyeing

winding contamination yarn water fabric vat water heat cooling steam winding drain steam contaminationtapestry fibre

PIPE DYEHOUSE | SPINNING | WEAVING STUDIO

collier

winding

water fibre [waste]water yarn spun mordant infrastructure filtration water [all]

vat spinning weaving tapestry pulley yarns fabric seamdrain pipeseam pipe cable pulley heat gutter

CONTENTS TECTONIC

ANALYTIC

tension tension compression

stitching stitching stacking

sunk above below

seam

pinned anchor filled force untensioned counterbalance parasitic clipped sealed grounded grounded

tune song unpicked cutting clipping activating threaded threaded

automated body body

activated cut imprint

gridded tension tension force binding gravity grounded gridded

grounded

mannerism stitch identity mannerism stitching

bracing hoop

fabric re-tension clipped

tension standing [two] bodies vertical hemmed traced tension hanging [two] bodies

memory stitch

sonic

frequency song

cut

imprint thread

imprint

mannerism retuning mannerism

exposed damaged

stitching stitched thread hoisted sonic manual

imprint

footprint fabric imprint binding stitch thread fabric heritage unpicked monument

sonic

cutting

thread cutting thread mannerism binding stitch seam stack memorial collaboration cutting mannerism

stamp pressed fragment mould drip plate

tensioned gridded clipped double-skinned tensioned gutter cable gridded plate

seam

sonic

thread

colour frequency mannerism footprint retuning stitching seam seam pipe imprint stitch

PA R T I : U N P I C K E D I N D U S T R I E S a n d S U N K E N S T I T C H E S

ABST RACT The story starts with site: Prestongrange, open parkland with various industrial remnants memorialised by the small Industrial Heritage Museum situated in the old minersâ&#x20AC;&#x2122; canteen. Through this project, the site is inhabited first ignorant to the its complex historical mechanisms. Its tectonics are understood as existing in a dormant phase: of lacking. Lacking motion, sound, instruction, purpose. The tectonic operation begins with cutting: first exposing what has been cut through clippings of Prestongrange, then as its absent dynamic mannerisms, all the while placing these cuts back into context to test their current significance. The stitch is engaged not in contrast to the cut, but as signifying the interference, either that of this current observer, or as made by one of the many others who engaged with the site throughout its industrial life through to its demolition and subsequent preservation. Stitches as first tectonic, visual, but can be mobile, fleeting, sonic, emotional. As Part I deals with the conflicting scales of industry and token, the body is employed as an activation device that produces or tests the tectonics of each stitch. It also acts as a point of reference for direction and movement, and a control to the intensities of forces in our group survey of Prestongrange. The body was not simply an accessory to the era of industry that is unpicked onsite, but the tool of its ignition. All processes were begun and overseen by people. An interim proposal for Part I serves the body, Prestongrangeâ&#x20AC;&#x2122;s most perishable tool, in the form of a bathhouse.

DEFINED:

CLIPPING

FATHOM

CUTTING: frequency | fabric | force

INTERFACE

MANNERISM

STITCH

[foot]PRINT

[im]PRINT

BIND

the BATHHOUSE and the BODY

THREAD[s]: mannerism | sound | colour

103

WARP

115

ARCHAEOACOUSTICS

124

COLOUR

127

PIPE

140

DYEHOUSE | SPINNING | WEAVING STUDIO

148

CLIPPING clipping noun 1. a small piece trimmed from something. 2. an article cut from a newspaper or magazine.

At first, Prestongrange is approached as an industrial graveyard. Aside from the remainin their former wholes. These are too illogical to be metonyms: they are unlabelled, rando We do not know if they are displaced or untouched. There are a set of

ng buildings, the landscape is intersected with rusting pieces of machinery, representing om, now unconnected harbingers. They seem emotionallly isolated from their moorings. f rules we do not understand. The machines themselves have another.

To begin with, the basic interactions and compression to serve an industri of these hold significance as the sacr A classification system enabled an i

s of these industrial leftovers are dissected. They are understood to have ambition of tension ial scale. Their decline minimises these capabilities. On a micro scale the small components red remains. Their lesser tectonic services become the foundations for the task of retrospect. interpretation of production tectonics as resulting from the actions stitching and stacking.

Medieval monks settled in Prestonpans, calling it Prieststown or Prieston. They engaged in salt panning on the sea shore and the town's name later changed to Salt Prieststown and Salt Preston, and then Prestonpans.

Population 21,900

Population

Musselburgh gets its name from Old English, as â&#x20AC;&#x153;b â&#x20AC;&#x153;townâ&#x20AC;? and mussel the locally gathered shellfish.

7,153

burghâ&#x20AC;? means

Near "priest's town", the the Cistercian monks of Newbattle Abbey also worked a grange (or granary), later called Prestongrange.

aerial photograph 1944 1:25,000

By t h oyst e mid 17 ers, 00s, s and M chem alt, loca orriso n l gla icals Im s s w a â&#x20AC;&#x2122;s H a v e n . fr p r e, c w om or eram as a bu te sy i cs, b th d rick port, ex e vi p s, f i L a recl orting ow th a y, c oal, co e H un a tr ven ie s, we le re at b he ra r nd

Herman Moll’s “Lothian” map 1745 Herman Moll’s “New and Correct Map of the World” 1709 aerial photograph 1944

fr dy om f r th om e F B ra al n ti ce c po , po rt rt D w an in zi e g, f r o an m d P fu or rs tu fr ga om l, D C el an ft ad ch a. in a

fig. two horse gin

fig. water gin

The monks of Prieststown began mining at Prestongrange in the 12th century, first using bell-pits and ladders. These were mined radially until the structural integrity of the pit was compromised and they are abandoned and dug elsewhere. Later, winding and pulley systems such as the horse and water gin were developed, allowing vertical haulage and extended lateral mining.

fig. horse gin and shaft

fig. bell pit

fig. coal seams

The Great Seam is nine foot thick and lies twenty fathoms below the grass.

The Diver Coall is three and a half foot thick and lies nine fathoms below the Great Seam. The Splenty Coall is three foot thick and lies eight fathoms below the Diver Coall.

The Five Foot Coall is five foot thick and lies four fathoms below the Splenty Coall.

The Rough Coall is about three quarters of an Ell thick and lies four fathoms below the Five Foot Coall. The Souterclout Coall is four foot thick and lies twenty six fathoms below the Rough Coall.

The Beggarâ&#x20AC;&#x2122;s Coall is three and a half foot thick and lies six fathoms below the Souterclout Coall.

The second Splenty Coall is three and a half foot thick and lies eight fathoms below the Beggar Coall.

FAT H O M fathom noun 1. One imperial fathom is equal to two yards (6 feet) and in SI units is 1.8288 m.

1300s – Acheson’s Haven (now Morrison’s Haven) was constructed and the Abbey could transport coal in small boats. Packhorses made the returned with salt from the pans and goods traded for both commodities at the harbour. 1830 – No. 1 shaft sunk, opening the mine after more than 65 years.

1895 – The Summerlee Coal & Iron Company leased Prestongrange. Railway tracks extended onsite. 1910 – 873 employed at Prestongrange pit. 1913 - Total coal output for Scotland 42 million tons. 1937 – Hoffman continuous kiln demolished and rebuilt on new orientation. 1946-7 – Nationalisation; the government took over the coal mines 1952 – New pit-head baths, the 100th in Scotland, were opened by William Cunningham, a miner who had spent most of his life working at the colliery.

1953 – New brick and tableware firing downdraught kilns built with improved flue system.

1962 – Prestongrange pit closed.

1974 – Belfield pottery closed and beehive kilns demolished.

1890 1910

1945

1960 Ordinance Survey maps ~1:12,5000

[dates from the Prestoungrange 2000 Project]

Exploring the derelict Pithead Baths in safety gear, full of industrial waste in various stages of sorting, preservation or mending.

fig. Prestonlinks brigade

The Prestonlinks brigade of 1922 pose for a photograph after winning the first Mid-and-East Lothian rescue competition.

apprentice ; assistant collierassistant onsetter ; assistant bottomer helper-up runner ncline keeper, incline traveller door setter ; door hanger *stableman assistant collier assistant trammer hillman runner-on kenchman *drainer stemming carrier back end man balancer ; cuddy lad, cuddy runner hitcher run rider lipper drifter, driftman, collier driftman,stoker stone driftman (furnace), undergro back stripper ; scaffy bandsman hitcher-on scotcher, scotcher up, Scotchman metal man, metal miner drill charger stone blaster, stone blower bargain man (hewer) bank head lad hitcher-up sectional cleek hunter night repairer driller stone borer bater ; bottom cutter *bank rider *hod boy, collier's hod boy, hodder self-acting dickie boy oncostman *electric signalman stone cutter bencher bencher, brae head bencher hooker, hooker-at-shaft self-acting incline boy ; jinney ladpackbuilder, packer *engine sander stoneman blower-down ; breaker, coal block breaker, attendant, pike-man block knocker, block hooker-off minder; drawer-off, ; self-actingpuller-off, setter puller- out pelter *fan boy, fan man, fan minder, fanstone turner miner ; bond miner dickie boy *hooker-on setter-on plane cleaner, plane walker fat boy, fat lad, fatter stopping builder bottom cutter bogie man, bogie rider, boggie man hooker-up sett lad, sett rider pucking cutter ; bater fettler, colliery fettler, horse fettlerstowbordman braking coal cutter bond man *horse boy, horse man, horseshackler driver redder, stone redder, reddsman firedamp man stower, stone stower breaker, coal breaker *bond minder, bondsman hurrier shaft lad *repairer fireman (shot lighter), fireman (blasting) strapper ; blaster, shot firer buttman bottomer, bottom man hutcher, hutch runner shaft minder, shaft rapper return man shot lighter, shotsman surveyor's assistant buttocker *brakesman, braker ; drum lad, drum incline tenter, attendant sheavemm, sheaveman ridder, riddle lad, riddler fireman's boy, fireman's night boysyphon minder, syphon ten butty bummer *incline boy, incline lad ; hooker-up shover-up ripper, road ripper, rock ripper, flitter top ripper tanker butty collier cager incline brakesman, incline braker siding lad road cleaner ; road sweeper,framer way cleaner timber drawer buttyman ; buttman,butty, butty carting collier, boy ;bond collier's miner hod boy, hodincliner, boy, hodder jigger (N. Wales), jig signal minder bellman road cod (slang) furnace man ; stoker, undergroundtimber stokerleader, timber taker cleaner cartman, coal cartman incline haulier signal boy road fettler ganten cutter tool carrier ; carrier, miner coal cutter attendant, coal cutter catchdriver, knocker, coal catch cutter striker man incline hitcher *signaller, signalman ; signal bellman roadman ; roadsman *gearman tram greaser coal cutting machine boy ; machine chacklercutter's assistant *incline man, incline minder,slope incliner rider road repairer ; road fettler (Yorks.) grather trapper, trapper boy coal cutting machine driver chainer (haulage) incline rider slotter (slang) roadsman *greaser ; fat boy, fat lad, fatter, oiler tub greaser coal miner's labourer chain runner jigger, jigger boy, jiggerer, jigger slummer lad, jigger man road sweeper *groom, colliery groom tunneller coal trimmer chain tenter jigger ( ), jig minder, jig tenter snapper, snapper-on rock blower hard ground man wage man collier clammer jinney lad snecker roofer hardground miner waiter, waiter-on collier contractor, contractorclearance collier man ; bond man, eleeh man *jinny man, jinney tenter snibbler roofman, roof repairer hard heading man water baler collier driftman cleek man jockey, jockier *spragger, spragman seggar man hint lad watercourse man collier header *clipper, clipper-on ; clammer, gripper journeyman, journey rider spunney boy shifter, shiftman hole borer waterer collier oddman clipper-off ; unclipper junction boy stage whipper slope cleaner *horse breaker water lader ; water baler collier's assistant ; collier's boy, *clutchman collier's ;helper, motionmate wheel minder junction man ; off-take keeper, staple off-take braker, ladstaple brakesman timberer, timberman ; timber *horsekeeper setter water leader collier's boy, collier's helper conveyor drawer, conveyor face man kincher staple lad timberman's labourer ; assistant *horse timbertrainer, man water man contractor hewer ; bargain man, conveyor hand, conveyor lad ; tub*landing loader minder, landing attendant, station lad, landing station keeper minder timber setter hutch greaser water piper cutter, coal cutter, cutter machine conveyor man, man machine ; bummer cutter lasher-on ; kincher stonehead lad waller, wallman *hut keeper whitewasher danner corf (corve) fastener ; fastener, tub leader fastener stone putter wasteman jib lowerer wire rope splicer dayman (getting, filling or loading) *coupler, tub coupler ; chackler, couplerlink boyon, switcher, switch keeper, switch minder waste worker jink carrier wood leader deading man, dead work man coupler-at-shaft ; slummer link carrier *taker-off ; looser-off, putter-off way cleaner kibbler billy check dram filler *coupler-on *linker topper-up windroad man, windway man *labourer, coal labourer check weigher, check weig faceman cousie runner ; hatchen runner lockerer-up, lockerman tracer, tracing driver *assistant pitman, assistant shaftman, *lamp boy colliery weigh house clerk filler ; filler and drawer, fillercrane and trammer footer ; (look ; miner's footer drawer looser-off trailer back lighter, back lichter ; light lampcarrier carrier ; lamp boy, light carrier despatcher ; colliery weigh getter, coal getter craneman lowerer-in ; tub lowerer train man, train rider, train runnerband walloper *lamp cleaner ; lamproom man heap weighman gummer *creeper lad machine rider *tram boy, trammer battery boy, battery carrier ;lamp examiner justice man hagger cuddy lad, cuddy runner mechanical haulage hand tram rider *belt lowerer ; jib lowerer *lamp keeper, safety lamp keeper machine man (weigher), m hatchen driver dillier, dillyman messenger *tram spragger belt tenter *lamp lighter ; relighter master's weighman header, coal header, headingdip driver rider motion hand tramwayman blaster lamp oiler traffic machine man heaver dogger-on motion wheel minder transit lad blow georger (slang term) *lamproom boy, lamproom lad ; lamp truckboy, weigher, lamp oiler wagon weig hewer ; coal getter, faceman,dook getter, footer hagger, winner nibbler trollier, truck lad bobby lad *lamproom man weigh clerk hewer and putter dook header nipper trundler borer leveller ; ganten cutter weigher, weigher at pit ban hewer chargeman, ohargeman dook hewer runner off-take keeper, off-take lad tubber borer (for shot firing) light carrier hewer's labourer drag boy *onsetter ; bottomer, bottomtub man fastener brancher lockshopman hewing putter ; hewer and putter, dragger-down putter and hewer pit bottom man tub loader brattice man, bratticer ; clothman, machine doorman driller holer, collier holer dragger-up plane boy tub lowerer *cabin minder ; hut keeper metal driller holing machine driver dram lad, drammer planeman tugger, tugger boy capman mine driver ironman worker dram rider plane rider *turner-out carrier miner's carrier jib holeman ; sumper dram tenter plane runner turn keeper haulier, turn minder, cementer turnsman night boy kirver ; collier holer, holer, picks drawer, man coal drawer, miner's drawer point minder unclipper chain man, chain bearer odd worker, off hand man loader, loaderer drawer-off pointsman ; point minder underground banksman chalker *oiler loader and driver *driver ; galloway putter, gal driver ponier drum lad, drum tenter unlasher *changer and grather *ostler, colliery ostler loader oddman ; spare-handdukey loaderrider pony driver, pony putter *wagoner *checkman, checker, check taker *pick carrier ; pike carrier machine cutter's assistant *endless chain haulage hand, endless *puller-off, rope boy, puller-out lad *wagon man, wagon road man, wagonway chock drawer man ; prop drawer,pickman prop puller-off, ; lockshopman timber drawer (Cumberland) machineman, machinist *endless rope man, endless rope minderengine puller-up, conveyor dip hooker puller-up weigh ; conveyor end Jad flitter, flitter chocker, chockler, chock-loader, *pickchockman sorter market man engine plane man *pulley man ; wheel man wheeler chock leader *pike carrier mechanical coal cutter man fastener pulley minder wheel lad choppie leader pillar man miner flat keeper, flat coupler-on ; flatman, pusher-on flatter wheel man clothman pipe layer, pipeman miner's drawer flatman pusher-up ; assistant drawerwheel minder coal miner (stone work) *pit boy picksman flatter putter wheel wedger cog cutter *pit horsekeeper pikeman flitter, conveyor flitter putter-off airman, airwayman, airway repairer cogger, cogman ; chocker, chockler, *pitman pom-pom man ; puncher (S.foal Wales) ; tugger, tugger boy race runner, rake runner assistant timberman companyman, company's man *plugman pug lifter gal driver , galloway putter rapper boy, rapper lad ; signal back boybrasher, back ripper compass boy powder boy, powder man puncher ganger, gang minder, gang rider rapperman ; shaft minder, shaft bargain rapper man, bargain taker contractor's labourer prop drawer, prop puller-off putter and hewer gearman rider bater contractor's man pump doctor, pump fettler ; grather raker, raker-out gigger, giggerer, gig minder road boy bencher corf greaser, corve greaser corf pump marker, boy, pump corve marker man, pump minder, scaffy *ginneyer, ginney tenter rolley driver blocklayer counter ; bobby lad *rambleman scraper (at cutting machine)glan rider rolley lad bordroom man, boardroom man ; cross-measure fall ridder drifter re-lighter scufter, scuffler, scuppler gripper rolley man bottom cutter, bottom shooter ; seggar crow man picker (Cumberland) rescue man scutcher guard, train guard rolleyway driver, rolleyway lad, brusher rolliway ; bencher, driver canchman, cenchman crutter ; brancher, coal miner road (stone waterer work), ; waterer, collier drift waterman man spare-hand loader gugman rolley way man, rolliway man byeman, byeworker, byeworkmancupola ; oncostman attendant, cupola man rock blower, rock header, rock man stallman hand putter rope boy canchman, cencher, cenchman dataller, dateller, datler, datal rock worker miner, rock ripper stooper hanger-on ; hooker-on rope changer ; rope minder contractor's dayman day labourer, day hand, day roller man cleaner stretman, stripper hatchen runner rope ender dataler, dataller, dateler ; dilker (Lancs) *ropesmith sumper haulage hand, haulage lad, haulage rope man guider dilker shaft hand ; assistant pitman, thin miner *hauler, haulier, pit-haulier rope man *shaker worker thirler, thurler header, coal header shanker, shanksman tram filler, truck filler, winner *sheaveman ; roller cleaner assistant bottomer shot borer assistant drawer shot firer

shover-inbranchman, horse branchman horse inspector agent, colliery agent, mining agent slack washer brass picker house inspector captain slade picker brow hand inspector chief viewer slag boy, slag picker brow-man inspector of colliery property coal master smudge picker cabin man inspector of rescue station dialler sorter, coal sorter cart loader keeker engineer, mine engineer spoil tipper keeper, keeper caster instructor (colliery rescue station) general manager A Dictionary of Occupational Terms stone dust man catch boy lamp inspector latcher Based on the Classification of Occupations stone heap labourer, stone heaver chock loader loading inspector lessee ; coal master, owner, coal owner stone picker cinder shifter machinery inspector lessor used in the Census of Population, 1921. stone tipper clanser master linesman r, stone cleaner waiter at breeze box ; cokeman (Glos.) manager, certified mastermanager, haulier colliery manager ; superintensurface haulier cleanser ; clanser master shifter dent nter surface labourer click boy master stoneman owner, coal owner surface man coal cleaner master wasteman resident viewer surface rider coal manipulator metal contractor royalty agent r tally boy, tally lad ; counter coal picker middle shift overman royalty master, owner r's carrier tally man minecoal drainage refiner inspector ; drainage inspector steward timber loader, timber unloader, coal screener timber ; screeman yard man (Scottish), screen attendant, night boss (slang), night chargeman superintendent screener, tipman, tipper, screenshale hand,tipper screenman, screen trapper, veerer overlookersurface agent, surface manager tippler lad, tippler coal man washer ; tumbler; slack washer, man washer, overmanwashery ; bailiff,labourer, overlooker, gaffer, underlooker (Midsurveyor, colliery surveyor ; dialler, token boy, girl lad washeryman, washman lands and Lancashire) underground agent token man ; tally man, token taker cokeman overman, sectional under-manager, token taker counter oversman under-viewer top cleaner crusher boy, crusher man pit foreman viewer top floorman pithead foreman, dantman pithead inspector, pit top foreman aerial ropeway foreman tracer-up dirt carrier pug hunter air road inspector track setter dirt couper pump inspector ambulance superintendent traffic machine assistantbelt ; wagon man, boy, coal wagon cleaner,lad picker, rescue screen station bog,superintendent, screen girl, superintendent assistant deputy, of assistant rescue examiner, assistant fireman ; screen woman, truck slade man picker, stonestation picker,; stone keeper, waiter keeper instructor (colliery rescue deputy fireman dirt tub rookcleaner boy, dirt tip boy ; rubbish unloader station) assistant keeker ; deputy keeker rubbish tipper, rubbish tumblerman unloader, spoil tipper, ropestone and chain heap inspector ; shackle inspector assistant traffic manager veerer labourer, stone heaver, rope stoneinspector tipper ; wire ropeassistant superintendent under-manager, assistant under-viewer wagon boy, wagon lad screen foreman,dram screen filler inspector, screen keeker, screen back-bye deputy wagon filler keeper ; belt inspector, duffheap man keeker, backkeeker overman, (Durham back shift andoverman ; middle shift overman ghman wailer flight attendant Northumberland) bailiff waiter, waiter-on flueman, flue cleaner shackle inspector bank foreman h house clerk washer, washery labourer, washery man, washman shaftgripe examiner mender ; fang manager, foreman bargain pitman man, bargain taker (not a hewer) watercourse man stone contractor, head stone lampman work contractor ; metal contractor beagle driver (Durham) weighman’s assistant hillman surface foreman belt inspector machine weigher yard labourer timber keeper contractor, timberman contractor boiler inspector knapper timber inspector brow major ; head banksman lamproom girl token inspector bumber (slang) ghman lander top bossbutty, buttyman (not a hewer) lockman (lamps) traffic foreman chain inspector nk motty boy, motty lad traffic man ; pug hunter chargeman number caller ; motty boy, traffic motty manager lad ; traffic superintendent charter master traffic manager’s picker assistant ; assistant traffic manager coal inspector pin boy, pin girl ; click boy, pinner, tally boy, tally lad, traffic superintendent coal wharf manager token boy or girl, token lad underlooker colliery estate agent pinner viewer’s contractor apprentice (not a hewer), colliery contractor ; pit bank woman wagon inspector contractor on make-up system pit brow lass, pit head washing girl,master, pit head washery lass foreman ; foreman washer corporal pit brow labourer weighing machine inspector cotcher pit brow lad winding inspector cropper pit brow lass windroad inspector day deputy, day examiner, day fireman, pitcher ; pond cleaner wire rope superintendent deputy ; deputy overall (Durham) workmen’s pit head boy examiner, workmen’s inspector deputy fireman aerial pit head flight girl,attendant, pit head lass aerial ropeway attendant ; flight deputy keeker pit head labourer attendant deputy overall pit head man, pit headsman apparatus lad deputy overman pit head ashman, runner ash wheeler ; cinder shifter doggy, road doggy assistant pit-heap banksman lad ; pusher-in, shover-in drainage inspector pond cleaner assistant dialler engine road corporal pony trainer assistant surveyor ; assistant dialler enginewright ; machinery inspector pusher-in banker, banker-out examiner bank head lad, reddbank tipper lad ; pit brow lad, pit head boy examiner of tubs bank riddle labourer lad,; pit riddler brow labourer, pit head labourer, fang manager rider-on-top surface labourer fireman banksman ; banker, rubbish banker-out, tipper browman, hillman, lander fireman (stopping examiner) rubbish unloader bankswoman foreman ; master screeman bat picker foreman haulier screen attendant, screener belt boy, belt lad foreman pitman screen boy, screen girl belt hand foreman washer screen hand, screenman, screen trapper belt man fore overman screen woman billy boy, billy man gaffer bog teemer haulage contractor boxman, nut coal boxman haulage foreman, haulage overman haulage rope inspector head banksman heap inspector heap keeker

ound stoker r

WORKERS ABOVE | BELOW

THE OTHERS

At Prestongrange, as was common, wives and children would accompany miners to the colliery. They would work long hours for smaller wages doing intensive work. Women and girls were found to have better stamina than men to haul coal to the surface of the mines before this became mechanised. 17 year old Margaret Jaques, a coal bearer, “I have been seven years at coal bearing; it is horrible sore work … I make 30 rakes a day with two cwt of coal on my creel. It is a guid distance I journey, and very dangerous on parts of the road. The distance fast increases as the coals are cut down.” Young boys who were small enough to crouch long periods of time at gates in the coal seam were given the job of “trapping”. These children were loaded with the responsibility of the safety of the entire mine as this role involved limiting the spread of dangerous gases released during mining. Included were firedamp (methane), the ignition of which was responsible for some of the worst mining disasters, blackdamp (carbon dioxide), stinkdamp (hydrogen sulfide) and the lethal afterdamp (carbon monoxide).

The Mines and Colliers act of 1842 made illegal the employment of women and children under 10 years of age underground.

WORKERS | BELOW

Coal bearers

Putters

Stoppers

Trapper boys

This map demonstrates the shafts No. 1 and No. 2, when operational, and the extents of the mining of Prestongrange. The square gris is a method of stoop and room [pillars and voids]mining, which extended out under the sea due to the formation of the coalfield. It was said that, using the workings of various mines in the area, it was possible to walk from one side of the Firth of Forth to the other, fully underground.

UNDERGROUND MINE COMMUNICATIONS J. N. Murphy and H. E. Parkinson

ABOVE

BELOW

1910 â&#x20AC;&#x201C; 873 employed at Prestongrange pit; 153 above ground & 720 below, 1 line = five workers

C. Bell Signaling system (Fig. 7). At the portal, when there is a hoist, bell signals are used between those requesting the cage and the hoistman. Recently, cages have become automatic elevators, and phone-type communications are provided at the working level and in the cage. However, bell signals are simple and transcend language barriers. D. Phone Systems Telephones are the simplest and most reliable form of communications underground and from subsurface to surface. For many years magnetotype phones have been used, but local battery-powered loudspeaking telephones, with the advantage of transistor amplifiers that enhance the operating range, are by far the most prominent (Fig. 6). A few mines have central battery dial phones; however, the phones have not been robust, and phone companies will not go underground to provide service. There are two basic wiring systems: One is a two-wire cable having two separate twisted wires, generally #16 gauge, with phones tapped-in anywhere along the line, and with branches going throughout the mine to form a common talk party-line E. Carrier Current Systems Mines with electrified railroads often have trains going in one direction or another every 10 min, and FM carrier communications over the trolleywire-rail power circuit are used for dispatching (Fig. 8). In many cases this is the most dependable communication system. Compared with the telephone circuits, it has a better insulation and an appreciably higher mechanical strength. Damage caused by roof falls is very rare, and if damage does occur, it is quickly repaired so as to restore the haulage. Signals are capacitively coupled to the trolley wire, and modified trolley voltage provides operating power for communication circuits. Other coupling circuits transfer signals between the trolley and the phone line. The dispatcherâ&#x20AC;&#x2122;s unit is coupled and balanced to ground across the phone line, and at a remote location there is an impedance-matched connection to the trolley. This greatly enhances the total operating range. F. Combined Systems There are distinct advantages in using a total system integrated from subsystems. A carrier system interconnected to wired telephones greatly extends the range between the fixed station and the motormen on the locomotives. The nominal carrier frequency, either 88 or 100 kHz, is relatively outside the high ambient noise experienced at lower frequencies. The coupler interconnects the audio from the carrier, placing it on the phone line and the audio in the phone line, applying it to the carrier. Another system combines the features of pager phones and dial phones to provide a private line with a selective page and an all page. An interconnect joins the external surface dial phones with the underground permissible phone system.

cutting FREQUENCY [built] FABRIC [im/balanced] FORCE

CUTTING cutting noun 1. the action of cutting something. 2. a piece cut off from something, especially what remains when something is being trimmed or prepared.

FREQUENCY

Bottomer or Signalman

IX. The bottomer shall attend during the working shifts in the Colliery, to regulate the number of men who shall ascend on the cage at a time - to keep order among th loaded hutches on the cage, and secure them, and give them instructions on that matter- to make the appointed signals necessary for regulating the ascent of men and m and of the hutches used in the pit, and of the cage wrought in the shaft; and also on the state of the slides or guide rods in which the cage moves. He shall, along with the shall attend to and answer the signals made by the pitheadman from the pithead. X. No collier, drawer, or other worker in the pit shall, on any pretext, be allowed to make signals while the bottomer is on duty.

XI The bottomer shall not suffer more, than four men at a time to. Ascend the shaft in any cage; he shall not allow any person to ascend along with a hutch, whether e go on the cage, or if any worker shall attempt to ascend with a hutch. XII. In the unavoidable temporary absence of the bottomer, the underground manager, roadsman, or some other qualified person shall make the necessary signals from XIII. The bottomer, or such person acting in his absence, shall make the following signals, being those appointed in this Colliery for guiding the ascent of the cage: He shall strike or ring the signal bell at the pithead once, for the ascent of the cage, whether loaded with coals or empty.

He shall strike or ring the signal bell thrice, in rapid succession, intimating that men are about to ascend; and after a pause, during which a signal shall be made fro the bell, whereupon the cage shall be raised. He shall strike or ring the signal bell twice when he desires the engine to be reversed and the ascending cage returned to the pitbottom, and to remain there.

XIV. No deviation from these signals shall be permitted on any account; the signals shall not be made until the cage with its load, whether of men or materials, are sec XV. The bottomer shall not leave his post at the pitbottom until the whole workers of his shift shall have first safely ascended the shaft.

WORKERSâ&#x20AC;&#x2122; SOUNDS 1856 report by William Alexander, Inspector of Coal Mines for the Western District of Scotland

he drawers arriving with loaded hutches at the pitbottom - to see the drawers carefully place their materials - to examine and report to the underground manager on the state of the signal apparatus, e fireman, attend to, and keep in proper order the cube or rarifying furnace in the pit. The bottomer

empty or loaded; and he is forbidden to signal the ascent if more than the appointed number shall the pitbottom, and receive and attend to the signals sent from the pithead.

om the pithead that all is ready, the bottomer shall make the usual ascent signal of one stroke of

curely placed, and everything be ready for the ascent.

mid-1900s colliery section 1:2000

FREQUENCY

From onsetter or banksman: Raise when engine at rest. From onsetter or banksman to driver: Stop when engine in motion. From onsetter or banksman to driver: Lower. From onsetter or banksman to driver: Persons about to travel.

1..................

SIGNALLING SYSTEM

1.................. 2.................. 3..................

3.................. Reply from driver to onsetter or banksman: persons may continue to travel or may enter the cage or other conveyance for the purpose of travelling. 3.................. From driver to onsetter or banksman when cage or conveyance containing persons is brought to rest at a station: persons may leave cage or conveyance. 2 pause 2......... From driver (clear signal requested) to onsetter or banksman: driver wishes to start the winding engine at his discretion. 2 pause 2......... from onsetter and banksman to driver (clear signal): driver may start the winding engine at his discretion. 2 pause 2 pause 2 From driver to onsetter or banksman: persons must leave the conveyance. 2 pause 2 pause 2 Reply from onsetter or banksman to driver: no persons in the conveyance. 2 pause 2 pause 2 pause 2 From driver, onsetter or banksman: Cancel or repeat signal. 3 pause 3 pause 3 From onsetter or banksman to driver: Person giving signal about to travel in the conveyance. 3 pause 3 pause 3 Reply from driver to onsetter or banksman: acknowledgement that person signaling is about to travel. 4 pause 1.......... From onsetter or banksman to driver: Raise slowly. 4 pause 2.......... From onsetter or banksman to driver: Lower slowly. 4 pause 4.......... From onsetter or banksman to driver: marking signal for predetermined stopping level. 4 pause 4.......... Reply from driver to onsetter or banksman: acknowledgement of marking signal. 4 pause 4 pause 4 From onsetter or banksman to driver: clutching signal. 4 pause 4 pause 4 Reply from driver to onsetter or banksman: clutching operations completed. 5 pause 5.......... From onsetter or banksman to driver: explosives about to be placed in the deck of the conveyance. 5 pause 5.......... Reply from driver to onsetter or banksman: acknowledgement of signal that explosives to be placed in the deck of the conveyance.

BELL CODES

5 pause 5.......... From driver to onsetter or banksman when conveyance with explosives is brought to rest at a station: explosives may be removed from conveyance.

5 pause 5 pause 5 From onsetter or banksman to driver: no explosives in the deck of the conveyance. 5 pause 5 pause 5 Reply from driver to onsetter or banksman: acknowledgement of signal that there are no explosives in the deck of the conveyance. 6 pause 6.+Station level signal From onsetter or banksman to driver: conveyance may not travel to station levels below signalled station level. 6 pause 6+Station level signal Reply from driver to onsetter or banksman: acknowledgement of signal that conveyance may not travel to station levels below signalled station level. 6 pause 6 pause 6 From onsetter or banksman to driver: station levels prohibited from travelling to reopened. 6 pause 6 pause 6 Reply from driver to onsetter or banksman: acknowledgement of signal that station levels prohibited from travelling to reopened. 6 pause 6 pause 6 pause 6 From onsetter or banksman to driver: shaft examination and repairs are about to take place. 6 pause 6 pause 6 pause 6 Reply from driver to onsetter or banksman: acknowledgement of signal that shaft examination and repairs are about to take place. 7....................... From onsetter or banksman to driver: persons about to have access to the conveyance for a purpose other than traveling. 7....................... Reply from driver to onsetter or banksman: acknowledgement of signal that persons to have access to the conveyance for a purpose other than traveling 1……………… From driver, when operating under the signal 7, to onsetter or banksman: persons may have access to the conveyance for a purpose other than travel 7 pause 7.......... From onsetter or banksman to driver: conveyance is clear of all persons who had access to it for a purpose other than traveling. 7 pause 7........... Reply from driver to onsetter or banksman: acknowledgement that conveyance is clear of all persons who had access for a purpose other than travel. 15..................... From onsetter or banksman to driver: bells about to be tested. 15..................... Reply from driver to onsetter or banksman: acknowledgement of signal that bells about to be tested. 15 pause 2 pause 2 From onsetter or banksman to driver: bells testing completed. 15 pause 2 pause 2 From driver to onsetter or banksman: acknowledgement of signal that bells testing completed. 10 +station level signal From onsetter or banksman to driver: Accident to person and station level at which the conveyance is required. 1 long ring......... From onsetter or banksman to driver: Accident effecting shaft and winding operations to be stoppped immediately in all compartments of the shaft. Note: In any purely mechanical signalling system ‘continued ringing’ shall replace ‘one long ring’ for the ‘accident to shaft’ signal. example signals from the South Africa Colliery Engineers Association

“There are clear references from the nineteenth and early twentieth centuries that the women who worked on the surface of coalmines often had a culture of singing at work. The richest evidence of a consistent singing at work culture during the nineteenth century is for the Balmaidens, the women employed in the surface sheds of Cornwall’s tin mines. There is also evidence that some underground occupations had a singing culture in the nineteenth century. One young ‘trapper’ girl told the parliamentary commission of 1842 that she would sing when she had some light; ‘trapper’ boys reported they sang when happy. John Oldham, a fifty-eight-year-old miner who had first worked in the colliery at the age of six, told the same commission, ‘they [the miners] have a deal o’ mouth, and they’re fond of singing at the alehouse, at home, and in the pits; they sing while they are at work, “romancing songs;” some will start when they go down and will not leave off till they come out’. In keeping with the earlier discussion of the consistent evidence of songs associated with driving horses, there are also references to pony drivers singing at work in mines. There are also some references to some pits having a culture of miners singing underground on the journey to and from the coalface. Welshy Mathias recalled the profound effect this singing culture had on him in the first decade of the twentieth century in a Rhonda Valley mine: ... “See, the miners back in Wales, especially the first mine that I worked in, they called it the slip. It was a slope like that, see. And they had a man trip, with seats on it. And they’d break out in song. And they had their seats set so the basses would sing together, the baritones would sing together, and they’d be going down the hill and they’d sing, (sings) ‘ Coming home, coming home, never more to roam .’ And boy, I’m telling ya, that goddamn mine, it put something in ya, see, that’s what it does. … It’s pride, community spirit, all that kind of stuff, see.” There is no indication that singing continued during the work at and around the coalface, however. Outside the pit, miners often had rich musical cultures. Indeed, such was the denseness of these musical cultures that even this (musical) silence at the coalface has been turned into song:

Jowl, jowl an’ listen, lad, An’ hear that coal-face workin’. There’s many a marra missin’, lad, Because he wadn’t listen, lad. The song features an experienced pitman warning a new recruit of the importance of having a sense of listening to the coalface after it has been struck ( jowled). With this safety imperative in mind, it is little wonder that evidence of singing falls away the closer we get to the coalface.”

Collier Laddie: scots mining tune

1:200

RHYTHMS of LABOUR

FREQUENCY

Music at Work in Britain Marek Korczynski

[built] FABRIC fig. pottery

fig. headgear

Cutting of the fabric: shadows are cast by demolitions. Structures are flattened to images, to archives. They are removed from their physical anchors in Prestongrange. Legacy becomes negative: contamination, dangerous machinery. The documentation of accidents during the collieryâ&#x20AC;&#x2122;s career become the principle documentation of the site. The site stitches are unpicked, become loose, knotted, confused. The landscape is interfered with, tectonics are reduced or inverted: shafts are capped or filled. Pinned frames are unpinned. Pulleys, pipelines and cables are released from duty. The threads are slack.

National Coal Board map of Prestongrange 1950s 1:2,000

[built] FABRIC

kilns , pip ehou se:

wreck

ed, re mov

mes: headfra

winding gear

1:2000

d is m o u n te

re m o v e d , moved,

road:

ov er rid de n

d ys: u n p ic k e railwa

powerhouse

[im/balanced] FORCE cutting #1

steam crane

Some of the remaining railway track is host to various engines and wagons, including the steam crane. The intensity of connected mechanisms of the crane indicated the complexity in performing simple functions on an industrial scale. With its original movements inhabiting three planes, its petrified variability proposed that it had experienced various cuttings. First, the cutting of the operator: the crane as comprehensible. Then, its service, its fuel, its forces. Cables are untensioned, cogs loose, boiler tank without pressure. There is a sense that, secondary to motion, key invisible threads have been cut.

[im/balanced] FORCE cutting #1

steam crane

fig. .... steam crane track laying in Florida

1:100

fig. .... Prestongrangeâ&#x20AC;&#x2122;s Whitaker Brothers rail-mounted steam crane no 130

fig. .... boiler

A steam crane is powered by a steam engine. The mobile types can run on railway tracks, caterpillar tracks, road wheels, or on a barge. The weight of the jib and load is counterbalanced by a vertical boiler at the rear. Here the components become necessary in various ways. Now in ruin, these lines of force are slack with the boiler empty and the jib never to be loaded.

[im/balanced] FORCE cutting #2

powerhouse pulley

1:100

The first observed cut at the powerhouse is the abandoned hoist. Second is the evidence of interruption of the building fabric. This cutting is justified by this clipping. The hoist is parasitic, having been clipped onto the wall to remove some of the heavy machinery in the basement after the collieryâ&#x20AC;&#x2122;s closure.

[im/balanced] FORCE cutting #2

powerhouse pulley

The steel hoist systems continue inside the powerhouse, adhering to the tectonic of parasitic frame structures embedded and bolted onto mansonry. The necessity of acoustically and thermally sealed work environment that would then deal with large forces no longer applies to its post-industry identity. Inverting the tectonic is explored: exposing frames retaining their attachment to cuts of masonry that now become the activating units.

pulley aux 1:20

im balance

coal carried brick cut

threaded debris

grounded

b o d y I N T E R FAC E interface noun 1. a point where two systems, subjects, organizations, etc. meet and interact.

1:50

fig. eye

fig. hand

As the interfaces of machines inform via an industrial tectonic (seam to ground, headgear to winder, furnace to chimney), the body plays the crucial role of activation. While highly automated and efficient, the infrastructure at Prestongrange was enabled manually. Controlled and surveyed by human hand and eye, the next series of drawings explore the human body as a tectonic cut from the site, expressed through an imprint of movement over the structures designed for human operation.

fig. body

'Pete Urban, Sole Survivor of Monongah Disaster'

machine M A N N E R I S M mannerism noun 1. a habitual gesture or way of speaking or behaving.

intaglio P R I N T print noun 3. a picture or design printed from a block or plate or copied from a painting by photography.

Shaft 1 headgear (demolished) 1:250

Shaft 1 headgear (demolished) 1:200

Winding gear (remains) 1:100

Steam crane and wagon(partial remains) 1:100

Beehive kiln (footprint) 1:100

mattress stitch

cross stitch seam

rails stitched to sleepers

fig. stitches fig. mining

STITCH

stoop and room mining in plan

stitch noun 1. one complete movement of a threaded needle through a fabric or material such as to leave behind it a single loop or portion of thread.

The idea of the stitch is derived from the various views of tension systems and the conceit of cutting as threads of movement, mannerism and force. On a micro scale, stitches can be found throughout Prestongrange as the binding elements of planes of metal, foundations and mortared joints. Railway tracks are stitched to their sleepers via the friction of a threaded screw and its integral tension. The ground becomes a reference surface for these stitches that respond to both lateral forces and gravity. On a macro scale, the vast downwards shafts become stitches through the ground and across worked seams. The ground itself becomes a plane that absorbs the data of these stitches above and below, adopting the grid of a Prestongrange brick and the square pillar pattern of stoop and room mining that occurred in the early mining phase.

Steam drum (boiler)

kilns: brick grid

stoop and room grid powerhouse grid

Gridded stitch site 1:1,000

some stitches are part of complex systems, encountering various obstacles before being grounded by the colliery grid. the stitch is the first tectonic. the stitch is industrially primary. it is served by an auxilary structure.

manual sluice at Brion 1:100

fig. pulleys

figs. sluice

fig. pattern

At this stage of analysis, precedents became relevant to forming a concept of intervention in the ruins at Prestongrange. This work was to be done at the strange junction between memorial and the memory itself of immense production and busying. The industrial legacy of the site first seems beyond human, as an infrastructure that diminishes the body. Interested in questioning this inference, it seemed necessary to refocus toward the human interaction with machinery. In this way, ruin and intervention would not be autonomous structures, but part of a collaboration between user and environment. Starting with the concept of memorial, Scarpa’s 1968 Brion Cemetery at San Vito d’Altivole intersects found landscape with heavy yet compounded cuts to draw and guide water. The complex features a manually operated watergate fed by a [sporadic] system of pulleys. The exhibition and light intersection (stitch) of the feature within a massed element (stacked) was basis for the idea of a network of new mechanical interactions within Prestongrange’s parameters.

[FOOT]PRINT footprint noun 1. the impression left by a foot or shoe on the ground or a surface. 2. the area covered by something.

Beehive kilns and [pipe] machinehouse 1:1,000

[IM]PRINT imprint verb 1. impress or stamp (a mark or outline) on a surface.

our bricks (for stitching)

sleepers: ghost joint

fig. footprint

under a beehive kiln footprint: furnace and flue

we surveyed a found brick to be

235 mm

figs. stamps

x 112.5 mm

SEAM

SEAM the makerâ&#x20AC;&#x2122;s stamp is not an accessory but part of the plane on which the brick is pressed the skin of the ground becomes stressed under identity rather than industry

fig. shale brick

fig. brick fragment

fig. hydraulic brick press

fig. mould fig. stack

Having looked numerously at the composition of Prestongrangeâ&#x20AC;&#x2122;s machinery, the idea of joint was extended to the siteâ&#x20AC;&#x2122;s second industry: brickmaking. Remnants are scattered across the site, perhaps left in disarray or result of the various dmeolitions that ocurred in the 1970s. Having collected and surveyed fragments, the brick became an extension of the imprint that the downdraught kilns made on the ground. Each brick would have been pressed with a manufacturerâ&#x20AC;&#x2122;s stamp, and moulded by the strict dimensions of timber trays. We derived two actions: imprinting as to be given identity and imprinting as lending an identity to a new component. Later components using the imprinting tectonic would be water, the body and, again, the earth.

intaglio printing (revisited) The imprint tectonic had already been engaged in earlier recordings of manneristic footprints of machinery. An inkjet printer provided the basis, the machine vacant of its movements and signals, while its mannerisms were inked on engraved plates and imprinted onto the drawing, thereby animating, or re-engaging it.

The engraved plate is inked, filling the grooves, before being wiped and polished with tarlatan then newspaper.

The pre-printed paper is da pressed between towels so it no

The damp paper and plate are passed through a press; the paper is pressed into the grooves and takes up the ink.

mpened then longer drips.

The [im]printed pages are removed and left to dry. The mannerism activation plates are cleaned and can be used again, and again.

fig. bound

Circular downdraught circumference to preve

BIND bind verb 1. tie or fasten (something) tightly together.

figs. unbound

Engaging the stitching

t kilns like those that stood at Prestongrange are stronger than rectangular kilns but require steel bracing bands around their ent the periodic heating and cooling from damaging the brick bonds. These images demonstrate the extreme structural reliance on the steel binding that circular kilns have at the end of their lifetime.

g conceit, the now absent binding bands become embroidery hoops that maintain tension across a fabric in order for stitches to be made across it. The first intervention at Prestongrange is to re-tension its fabric for a new narrative.

inside footprint: 6.4 m

imprinting ground (upwards)

a scale to swim in & binding water

Victorian home baths: domestic binding & [a] room for one

bespoke curvature in minerâ&#x20AC;&#x2122;s bathhouse

B AT H H O U S E and the BODY

fig. bath

In this intermediate proposal, threads of human scale and activation, ground as tensioned and imprinted and water as bound are developed further. The existing kiln footprints serve as a base scale that applies an intimate spatial vessel for the baths. Various control or user controlled systems are clipped onto the extended fabric.

thermal control as inserted, separate

-6.1 m

-14 m

inhabiting footprints: baths 1:500

- 11.7 m

-15.6 m

N inhabiting footprints: baths 1:1,000

inhabiting footprints: baths 1:500

The bathhouse was first concieved as an imprint of pools into the remaining footprints, then as a double-skinned structure, referencing the walls of the downdraught kiln, of pools and walkways. The walkways incorporated various access mechanisms until the imprint grew deeper, the walkways becoming underground ramped passageways lit by pipes bored into the ground. Horizontal canopy became a second skin, tensioned and stitched to the ground with cables.

initial sketch: devices 1:1,000

stitch handles: tension joint

grid as canopy: flashing as dynamic brick voids

self- bound structure

retaining pattern

100

Notions of binding and fixing developed in models. Exploration of a tensioned fabric as relating to the perishable tectonics in the colliery such as brattices, sacks. Otherwise, invertion of stacking tectonic by suspending gridded plates. An interest in guiding through structural dynamic emerges, using flashings, gutters, fixings as signalling devices.

101

PA R T I I : R E T U N I N G t h e WA R P a t P R E S T O N G R A N G E

THREADs [machine] [into]

102

MANNERISM SOUND COLOUR

[signal, song]

THREAD thread noun 2. a theme or characteristic running throughout a situation or piece of writing. â&#x20AC;&#x153;a major thread running through the book is the primacy of form over substanceâ&#x20AC;? verb 1. pass a thread through the eye of (a needle) or through the needle and guides of (a sewing machine).

103

figs. building fabric

104

The functions that led the first man to connect pieces of material, materials whose characteristics were elasticity, ductility, toughness, were first the desire to order and to bind and second, that to cover and to shelter, to delimit... fibre leads to thread and twine, thread and twine suggest knots. The knot is perhaps the oldest technical symbol. - From The Necessity of Artifice, 1982 By Joseph Rykwert essay titled Semper and the Conception of Style

ABST RACT In which the analytical device of the stitch becomes tectonic and programmatic. The stitch, understood tectonically in Part I as a line of tension, is reconfigured by Rykwert’s analysis of Sempa’s theory of the knot and seam as primitive building module. Semper argues the priority of weaving and dyeing in the conception of pattern-making… then the laws of style you be extrapolated. He analogises the covering of the body with a cloth and the covering of the building with ornament… He then considers the seam [the joining[as an analogue and symbol which has archaic roots, for the usage of joining originally separated planes. Here he presents the reader with a primary and most important rule of art in its simplest form: to make virtue of necessity . Fabric, usually denoting fragility, malleability, becomes integral. Recontextualising fabric in Prestongrange’s industrial narrative, similar threads emerge. Engaging the sister of the heavy [coal, steam engines] industrial revolution, that of textiles, a focused machine mannerism is adopted. The mechanisation of looms and spinning frames anchor the project in a language of movement, pattern and the water that would have powered them. Prestongrange replies with threads of recent and historic textile traditions such as embroidery and waterproof-production. The site’s stitches begin to overlap and interject. A tapestry of Prestongrange emerges that demands to be retooled and retuned. The narrative is a cacophony, busy enough to match the scale of Prestongrange as place of production. So a new one is formed in which the body is once again employed as key activator: the dyehouse and textile studio. As the coal industry diminishes under a new sensitivity to our environments, the wasteful consumption of problematic textiles is refocused, emphasising heritage, longevity and the value of craft.

105

figs. living divisions

Grant-Suttie (mine owners) estate

Before a needle is threaded, the fabric is tested. What remains at Prestongrange now? The relations Scottish Index of Multiple Deprivation categorises Prestonpans as within the bottom 20% most dep park and industrial heritage site seems to demand positive engagement with the local community b onsite. There is, however, a need to involve local people in a way that is productive. Production in re-tuning and tightening the connections between the classes that have not always existed in comfo to a form of slavery to those who owned the land they worked].

Prestongrange unpicked 1:1,000

106

Minersâ&#x20AC;&#x2122; purpose built houses

ships of physical remainders established, there exists also a socioeconomic heritage and reality. The prived areas in Scotland. The golf club & estate stand in direct opposition. Any development of the before it considers attracting beyond this. Each summer an arts festival involves locals and visitors a literal sense could also begin to address the high unemployment in the area. This task is one of rtable unison. [For periods of time as late as the 18th century Scottish colliers were legally subject

107

figs. toughened textile

108

fig. Prestonpans ad

There is a history of the stitch at Prestongrange. It draws another line in the social complex. In the early 20th century Daniel Buchanan and Son manufactured PVC in Prestonpans before it relocated in the 1930s. A team of women would work to prepare and stitch the fabric for waterproof overalls, buoys and floats. These new synthetic fabrics were exported but also greatly benefitted local East Lothian fishermen. The increased occupation of women outside of the mines followed the decline of â&#x20AC;&#x2DC;familyâ&#x20AC;&#x2122; coal-mining after legislation against child labour. Here the women are creating a binding of opposite sort to the baths. Rather, the industry developed a direct imprint of the human body, the water kept on the outside. Contemporary tapestry projects led by local artist Andrew Crummy engaged stitchers from near and far. Overall over 2,000 stitchers have added to embroidery panels. He describes it as very much about woman coming together. The social side of it is very important. The exhibition of work, despite ongoing designing and stitching, seems crucial to a community sense of pride. The ruins at Prestongrange are similarly objects of pride to the remaining collier families in Prestonpans. The narrative of stitching begins to find a physical association with monument and exhibition.

109

[machine] MANNERISM

Andrew Crummy has designed for the The Battle of Prestonpans Tapestry and the Scottish Diaspora Tapestry, among others. The former spans 104 metres embroidered by volunteers from around Scotland and illustrates the early part of the Jacobite campaign of 1745. The latter involved communities around the world to help tell and stitch the dispersion of Scottish heritage. There are current campaigns for a permanent home for these travelling exhibits. The formal craft for tapestry making is weaving; Dovecot Tapestry Studio in central Edinburgh is home to professional and apprentice weavers on commissioned projects. Their large looms are housed in a renovated Victorian swimming pool, with exhibition and cafe area.

110

figs. tapestry

Top lighting Light frame, open space

Atrium public access Artificial daylighting

Dovecot tapestry studio

111

[machine] MANNERISM Fibres collected / picked / shawn

112

Distributed locally / nationally / internationally

Roving spun

Yarn dyed

Wound

Distributed to shops

End product sold

yarn production

Industrial ring spinning and steaming 1:20

113

114

WA R P warp verb 1. make or become bent or twisted out of shape, typically as a result of the effects of heat or damp. noun 2. (in weaving) the threads on a loom over and under which other threads (the weft) are passed to make cloth. 115

[machine] MANNERISM

The Art of Making a Tapestry - Preparing the warp on a loom Getty Museum

116

the heddle bar is brought backwards and forwards to allow weft passage between one set of warp, then the other

The loom shares various tectonics with the previously surveyed industrial infrastructure. As a device that engages tension through a crank or hanging weights, it relates to the winding engines and equilibrium of suspended mine cage and hutch. Its repetitive tectonics of loomweights and even warping is mirrored by its repetitive mannerism of the heddle (above), shed, and weft shuttle. It shares the ritual imprint of the colliery.

weaving mechanisms of a warp weighted loom 1:50

117

[machine] MANNERISM

fig. hand

The warp-weighted loom is the oldest loom type to have been used in Northern Europe, dating back to the Neolithic period. It is used in an almost vertical arrangement, with the weaving progressing from top to bottom. Historically, it is often presented as used by two standing weavers working side by side, distinct to the standard weaving rest position of standing or sitting. As an active process, textiles produce can be very wide, meaning weavers walk back and forth at its face. Such collaboration provides a connection between weavers and others joining them, perhaps in workshops or as apprenticeships. There is a sense that weaving with others encourages conversation; this exchange would begin to draw out an archive of memories and associations with the Prestongrange site, that would then feed the artwork. A new scale is determined: two bodies. This type of loom is also unusual as extra warp can be wound around the loomweights, meaning the textile can be extended by unwinding and warping while the finished segment is rolled over the top beam. The tapestry can then grow vertically, limited only by availability of warp yarn. Verticality of tapestry and the immense downwards and upwards motions of the shafts and chimneys originally at Prestongrange are tacked together for now.

118

weaver one : heddle and weight

weaver two : weft mapping movement on a warp weighted loom 1:20

119

SOUND [ signal , song]

a conversation in winding and weaving

3.................. 3..................

2 pause 2......... 2.................. 3..................

4 pause 2.......... 3..................

7 pause 7..........

7 pause 7........... 1..................

2 pause 2......... 2 pause 2.........

5 pause 5.......... 5 pause 5.......... 4 pause 1..........

5 pause 5..........

Making and weaving a hokett loom with the tumeric dyed wool to demonstrate mannerisms, such as signals, collected from the community becoming visual.

120

5 pause 5 pause 5 5 pause 5 pause 5

From onsetter or banksman to driver: Persons about to travel.

3.................. 3..................

Reply from driver to onsetter or banksman: persons may continue to travel or may enter the cage or other conveyance for the purpose of travelling. 2 pause 2.........

From driver (clear signal requested) to onsetter or banksman: driver wishes to start the winding engine at his discretion. From onsetter or banksman to driver: Lower.

2.................. 3..................

From driver to onsetter or banksman when cage or conveyance containing persons is brought to rest at a station: persons may leave cage or conveyance. From onsetter or banksman to driver: Lower slowly.

4 pause 2.......... 3..................

From driver to onsetter or banksman when cage or conveyance containing persons is brought to rest at a station: persons may leave cage or conveyance. 7 pause 7..........

From onsetter or banksman to driver: conveyance is clear of all persons who had access to it for a purpose other than traveling. 7 pause 7...........

Reply from driver to onsetter or banksman: acknowledgement that conveyance is clear of all persons who had access for a purpose other than travel. From onsetter or banksman: Raise when engine at rest.

1..................

2 pause 2.........

From driver (clear signal requested) to onsetter or banksman: driver wishes to start the winding engine at his discretion. 2 pause 2.........

From onsetter and banksman to driver (clear signal): driver may start the winding engine at his discretion. 5 pause 5..........

From onsetter or banksman to driver: explosives about to be placed in the deck of the conveyance. 5 pause 5..........

Reply from driver to onsetter or banksman: acknowledgement of signal that explosives to be placed in the deck of the conveyance. From onsetter or banksman to driver: Raise slowly.

4 pause 1..........

5 pause 5..........

From driver to onsetter or banksman when conveyance with explosives is brought to rest at a station: explosives may be removed from conveyance. 5 pause 5 pause 5

From onsetter or banksman to driver: no explosives in the deck of the conveyance.

5 pause 5 pause 5

Reply from driver to onsetter or banksman: acknowledgement of signal that there are no explosives in the deck of the conveyance.

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SOUND [signal, song ]

footprints: hemmed

122

Morrisonâ&#x20AC;&#x2122;s Haven: re-stitched

songs: re-traced

The Collier Lad

Collected by Stravaig member Phyllis Martin from 87 year old Agnes Mclean, a miner’s daughter, at Kirkconnel.

possible

translations

O the collier lad he’s my delight He comforts me baith day and night And though he’s black his money’s white And ah dearly lo’e the collier o O ma mither sent me tae the well Tae get some water for ma tea Ah tripped on a stane an doon ah fell And a collier lad cam coortin me O ah wish ah was a coillier’s wife Then ah would live a happy life A happy live as a collier’s wife And a lang lie in the mornin o Ma mither warned me awfu weel A wee wee bag would haud ma meal And we’d aa gae mairchin tae the deil The day ah merrit a collier o O the collier lad he’s my delight He comforts me baith day and night And though oor money’s aye been tight Ah dearly lo’e ma collier o from the Collier Tracks project

fig. miners singing

Traditional 17th century lyrics I've traveled east and I've traveled west And I've traveled owre Kirkaldy, But the bonniest lass that e'er I spied, She was followin' her collier laddie.

www.colliertracks.webs.com/scotscoalminingsongs.htm1 www.scotssangsfurschools.com/worksongscoalmining.htm

Refrain: Laddie, O laddie, The bonniest lass that e'er I spied, She was followin' her collier laddie

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SOUND [signal, song]

ARCHAEOACO UST ICS archaeoacoustics noun 1. the use of acoustical study as a methodological approach within archaeology.

124

Archaeoacoustics involves testing and analysis of the acoustics of archaeological sites or the study of acoustics through sound experiments on excavated artefacts. The discipline seeks to access the oral and aural components of historic culture. It encompassses archaeology, ethnomusicology, acoustics and digital modelling, and music archaeology. Nick Green of Archaeoacoustics Scotland has conducted sound-studies on various historic buildings, including a grain silo and brick kilns. These aim to unearth the sonic conditions of such working environments, relating to the signals and frequency-emitting mannerisms surveyed earlier in this project such a loading a furnace or the hum of a winding engine. [A] trowel, like any flat plate, must vibrate in response to sound: thus, drawn over the wet surface by the singing plasterer, it must emboss a gramophone-type recording of his song in the plaster. Once the surface is dry, it may be played back. â&#x20AC;&#x201D;â&#x20AC;&#x2030;Jones, 1982

figs. Arcaheoacoustics Scotland, Nick Green

As part of the collection of anecdotes, instructions and songs in relation to the industrial ruins at Prestongrange, an archeoacoustics lab would inhabit the drying rooms during festival season, engaging the community in testing the site sonically.

125

126

fig. eye

COLOUR colour noun 1. the property possessed by an object of producing different sensations on the eye as a result of the way it reflects or emits light.

127

[into] COLOUR

Dovecot Tapestry Studio: Textile Fade Card

As part of our on-going efforts to conserve our tapestries at Dovecot, this blue wool card allows us to measure intensity of the illumination a rug or tapestry is exposed to so we can rotate our exhibits regularly if necessary. In order to measure the progression of light damamge we will note the date and periodically check the card to determine how long it takes the various samples to fade. This determines how long tapestries can be on display at different locations around the building.

128

The second thread in this section is colour. Colour is the opposite of darkness. With the lack of light, as in the mines, vision becomes monochrome. Colour presents itself as something long absent from the site. Colour is the opposite of coal, the grey smoke, the black dust. Though there is colour in the contamination of the site, an orange groundwater that spills from the drains during periods of high precipitation, natural colour is a relief to this. Dyeing is adopted as an appropriate ritual for re-tuning Prestongrange, celebrating its landscape by using plants found around park. Traditional dyes can be made using the below plants, cross referenced with the Botanical Society of Britain & Ireland maps of taxonometric distribution.

Ladies Bedstraw: red

figs. ....

Cow parsley: yellow

Privet berry: green

Dandelion root: magenta

Euonymus: purple

Nasturtium: violet

129

[into] COLOUR fig. dyehouse

fig. dyeing factory

fig. drying pole fig. dye vat

Dyeing is the process of adding colour to a fibre, yarn or fabric by addition of a dye molecule that chemically bonds to those of the material. Traditionally dyeing took place in a dyehouse , where materials were submerged with dyes in large vats of heated water before being hung out and dried. Commercial dyeing occurs in large factories but natural dying is a popular hobby and can be done at home.

130

figs. salt panning

fig. chemical dyes

Above right: salt panning at Prestongrange. The process and scale of salt pans is similar to dye vats and the hot water, steam and stirring involved in dyeing. Above left: Solway Dyes at Grangemouth was a chemical dye laboratory and factory in the Forth valley.

Indanthrene Yellow G Indanthrene Blue Indanthrene Dark Blue Bo Indanthrene Green B Indanthrene Brown BB Indanthrene Red BN Indanthrene Pink B Indanthrene Violet B Extra Alizarine Sapphirole Alizarine Cyanine Green

Caledon Yellow Caledon Blue Caledon Purple Caledon Green Caledon Brown Caledon Red Caledon Pink Caledon Violet Solway Blue Kymric Green

Feb. 1915 March 1915 April 1917 April 1917 April 1917 August 1917 August 1917 August 1917 March 1916 July 1917

131

[into] COLOUR Fibres collected / picked / shawn

Distributed locally / nationally / internationally

To understand the r a larger rack that

132

Roving spun

Yarn dyed

Wound

Distributed to shops

End product sold

ritual mannerisms of dying, tumeric dyeing of wool yarns was undetaken using a bespoke structure designed as 1:1 component of would be used in the dyehouse. The cold washing, drying, hot dyeing, drying leant itself to movements of winding up and down rollers, similar to the vertical journey of the mine cage.

133

[into] COLOUR

3. wind down hank

2. place hank roller

1. clean water vat

134

4. wind up hank

5. squeeze excess 6. drain clean water

135

[into] COLOUR

9. wind down hank

8. add dye [turmeric]

7. add boiling water

136

12. wind up hank

10. stir vat often

11. replace handle

137

[into] COLOUR

clean soak

138

drain

prepare dye va

dye and stir

mapping movement in the dyeing ritual 1:20

139

PIPE pipe noun 1. a tube used to convey water, gas, oil, or other fluid substances. verb 1. transmit (music, a radio or television programme, signal, etc.) by wire or cable. 2. decorate (clothing or soft furnishings) with thin cord covered in fabric and inserted into a seam.

140

Fondazione Querini Stampalia: Carlo Scarpa Fondazione Querini Stampalia: Carlo Scarpa

mapping movement in the dyeing ritual 1:5,000

141

mapping fibres, dyes and wastewater networks 1:400,000 figs. ....

MERINO KNITWEAR from the

UNDYED WOOL YARN from

WOOL FIBRES from HARRIS

Scottish Dyes Lmtd. est. 1870 largest container port in Scotland

PAISLEY

WOVEN WOOL from Bute

142

DYED TEXTILES from the Scotti

SHEEPâ&#x20AC;&#x2122;S WOOL from the Scotti

e Highlands

m Shetland

m Shetland [TWEED]

ish Borders

go li a er e fr om M on w ov en ca sh m

cott on fibr e from Uzb ekis tan

spun c otton f rom th e US

China e from r b i f otton

Proposed Dyehouse at Prestongrange

green

magenta

yellow

violet

purple

red

143

These stills from a 1956 National Library of Scotland archived video of salt panning and preparation for glazing pipes at Prestonpans shows workers shoveling salt from the edges of a steaming salt pan onto trolleys, from where it is weighed and packed by hand. During the firing programme of the beehive kilns, salt is tipped in with the pipes, sintering and forming a glaze. The binding of water extends itself from the previously concieved bathhouse to lengths of pipeline, stitched by these ceramic components. While the legacy of the brick industry is evident onsite in the fabric of the Hoffmann kiln and the remaining bathhouse and powerhouse, these ceramic modules may still be part of an invisible infrastructure. Pipe becomes a new thread: one to be unearthed or recreated. A mapping exercise collected this underground infrastructure, historic and present, including the Cockenzie waste pipeline and old ash deposit reservoir, and, of course, the old harbour.

144

figs. salt glazing

Salt is a mordant, a typically inorganic oxide, that fixes the dye to the material. Seawater is a pre-mordanted water, meaning neither freshwater nor pre-filtration would be necessary for the inbound dyehouse pipeline.

145

prop

treat ed w a

ste d

ischa rged to f

oresh

ore [

histo

ric an

d cur

rent]

osed sa usin ltwate r g ro ute collect i of o ld h on from arbo ur for

Levenhall spoil lagoons

146

zie en ock

we po

tio

ta rs

n eli

ip hp

resh o

ard tow

ed]

sus

di s[

nz cke Co

er pow

tio

sta

an dp art

ial

or nnt

t an

a rd

ord s

ipe

g ein dy

tin

is ex

rom

in ye

tio

f rge ha isc

ina sal de

r is

ati iltr

te wa sea

ef dy

t in

sal

i rat

filt

colliery Cornish beam engine w at er re m ov al ro ut e

100

200

mapping pipes and filtration: new and old figs. .... ~ 1:4,000

147

PA R T I I : R E T U N I N G t h e WA R P a t P R E S T O N G R A N G E D Y E H O U S E | S P I N N I N G | W E AV I N G S T U D I O T E X T I L E S E X H I B I T I O N | A R C H A E O AC O U S T I C S L A B | S P O K E N A R C H I V E The dyehouse and studio adapt the voids of our bathhouse proposal to dye vats. Three colour dye zones link to rooms and racks for drying, a spinning station, a collaborative weaving studio tectonically rooted to a hoisted tapestry exhibition and an archive of site frequencies. In summer, the festival would invite the public to engage with the exhibits, stories and songs recorded into or during the weaving. Archaeoacoustic experiments would demonstrate sonic working mannerisms to visitors while yarns and fabrics are sold on an adapable plaza. Various manual systems allow the drying process to be relocated seasonally and drying rooms become performance areas for reworkings of mining songs or historial seminars.

148

149

dyehouse against historic section 1:1,000

150

drains / seams

footprints overlooking

recessed festival space

canopies and mechanisms 1:1,000

151

152

retuning the warp: railways 1:2,500

153

154

drains / seams or: old pottery railway

pivot exhibition rooms dyehouse voids rings for drying yarn

underground dyehouse extended

N retuning the warp: kilns 1:500

155

1:200

156

circulation

systems: pipes & cables production vs exhibition

retuning the warp: kilns 1:500

157

The composition of the dyehouse and studio mimics the underground-overground balance of the colliery.

The dyeing (base production) occurs underground and the yarn slowly makes its way upwards into the studio, or to transport el

The woven tapestries grow vertically and time becomes a visual aspect of the community weaving, demonstrating the process of Later in the design, an embroidery aspect is added as panels that move laterally through the composition.

158

lsewhere, where it fuels the next process of tapestry-making.

f learning or configuring narrative.

1:2,000 | 1:100 | 1:20

159

dyeing to drying mechanisms 1:200

160

yarns moving from dyeing to drying via pulley systems creating spaces enclosed by colourful drying yarns for visitors to walk through

161

162

frame & mass | stitch & imprint

the dyehouse: to expand or contract? does this vary with the heat processes? to dry: controlled? seasonal? how do the pipes & gutters of the dyehouse link to external pipelines? seamed? plugged in? what are the rules to the dyeyard or plaza? drains or pipes as guiding features?

1:500 | 1:1,000

163

partition: varying programme tapestry tower: intersecting tool

vertical bridging: production to community

towers as stacked stitches

drying hoops stitched to masonry goods lift: threads on threads pipe controls: perform at surface

bridges to bridges: descending

164

studio & tapestry tower

165

R TH

W DS

: EN

E TT

tr |s

o |s ur

ld :o re

|m nd

e nn

TE WA

ris

R RT

DY EE:

col ou r

nd sou S|

y sb

vat

spa ces

166

ail

IV AL

:e xc h

T EN

ld :o

im ch

retuning: existing grids 1:1,000

167

retuning devices and grids 1:500

168

tu ni ng

g to ol ar s: p

gr id |w

s| he

dr ai ns an d gu tte rs |w ef t

d m

un sb ec o

rg m

de ris

un ne

retuning: existing grids 1:500

169

om lo

sb ec ho

nt et

te m

]

performance, use, refrain 1:500

170

The production programme intersects with a performative route. A ramp or walkway or series of balconies act as theatre boxes. Visitors can access views to the dyehouse and the movement of yarn along its production line. This inquisitive route passes through the studio and culminates in the tapestry exhibition towers. Inside the studio and archive, a structural grid follows the historic railway tracks and its gutters become a key feature that later link back to the ground plane. Hierarchy and crescendo are the aims of these development compositions, while serving the repetitions of production on a viable factory scale. The method is ritual then interruption.

tectonic forming 1:200 | 1:1,000

171

systems for adaptive rituals:

systems for controlled environments:

curatorial measures for textiles:

172

small manual jib crane for loading yarns onto rings hoist for dyed yarns to ground level pulley for internal drying rings to be raised / lowered for loading yarn hoist for tapestry as vertical length increases gauze separating levels to minimise moisture to dry zones tall dye vats for humidity dissipation wind scoops for drying rooms for high air exchange rate textiles stored between 18ยบ and 24ยบ F. humidity kept close to 50%. direct light reduced, keep maximum exposure to 50 lux & use UV filters.

fragment tectonics 1:400

173

174

a corten thread 1:1,000

175

176

public path: onto dye-yard

festival paths: through stalls & arches

production staff path from parking

177

178

1179

the DYEHOUSE in PRESTONGRANGE 1:2,000

dyed yarns and textiles distributed by lorry

180

yarns / roving arrive by lorry

181

182

the DYEYARD: SURFACE LEVEL 1:500 183

yarn drying rooms

184

tower base: break space

yarn library and spinning station

filtration plant

dyeing voids

the DYE-JOINTING: IMPRINT LEVEL 1:500 185

186

ine

ater sal

/run ed

:s ea

ate

stor

off ter

red

fil

te : fil

ll:

rf or

fall

tfa

ein

ut on o

lago

iron contaminated runoff channelled to plant

187

sea water [saline] uptake for dyeing

marine outfall: partially filtrated & wildlife friendly

188

the DYEHOUSE in PRESTONGRANGE 1:1,000 189

190

DYEHOUSE and STUDIO 1:200 191

mugginess lowered heat dissipates up 12m volume extraction at 5m before dew point

ear

tem

rat

ure 10-

Â°C

192

Â°C

parasitic clipped

hoop

hoisted

pressed

DYEHOUSE VOID [1 of 3] 1:200 193

194 tapestry exposure: max. 50 lux

UV filter glazing

sunlight: slatted on eastern face

curved forms shelter tapestries from direct light

gridded

hemmed

195

TOWERS and STUDIO 1:300

grounded

196

TAPESTRY TOWERS | WEAVING and EMBROIDERY STUDIO 1:200 197

198

DRYING ROOMS and YARN LIBRARY 1:200 199

200

gridded

pressed

braced

sonic

YARN LIBRARY 1:200 201

DRYING ROOMS and DYEING ROOMS 1:200 202

203

204 pr

ina

ell

yin

hoisted

hoop

tensioned

205

DRYING ROOMS [1 of 2] 1:200

EXHIBITION: ARCHIVE showcase of weeks 1 - 5 206

207

WEAVING AND DYEING: ARCHIVE showcase of weeks 6-12 208

grounding

209

stitching

winding

drying

WEAVING AND DYEING: 1:75 MODEL showcase of final proposal 210

path /walkway axis /instrument

211

drying room [1 of 2]

dye void [1 of 3]

yarn library and spinning station

tapestry towers

WEAVING AND DYEING: 1:75 MODEL showcase of final proposal 212

The intention of this model was to aid understanding of the relationships between fragments represented in tectonic axonometric drawings. The lectern aspects collaged onto the structure are to help demonstrate the sunken aspect of the structures, and their surrounding walls.

Because the studio section of the proposal has a clear relationship with the slope and the rest of the complex, it is not shown in this model. Its pattern of gutters and structure is shown through the various drawings presented in the exhibition.

213

CU T TING AND FINISHING THE TEXTILE: the body pauses

214

parting thought : Re-tuning the warp at Prestongrange has been a lesson in sensitivity and memor y. The tools we choose to keep, even when they are obsolete, come to represent those we discard altogether. By emphasising the body as the primar y tool, re-tooling a landscape, signifies a hope that remembrance can be an active ritual for those who find themselves at the foot of a spatial and social lineage.

215

images used that are not author’s own are referenced below: fig [page no] [label]

216

sourc

fig. 13 aerial photograph fig. 15 [as above] figs. 15 Hermann Moll maps 1745 & 1709 figs. 16 two horse gin, water gin, bell pit fig. 16 one horse gin fig. 17 coal seam figs. 18 ordinance survey maps fig. 21 Prestonlinks brigade fig. 23 Koepe winding diagram fig. 25 bearers, putters, stoppers, trappers fig. 26 map of workings figs. 36 pottery, headgear fig. 36 Prestongrange map fig. 38 [as above] figs. 38 demolitions fig. 42 track laying fig. 43 journal clipping fig. 50 eye fig. 50 hand fig. 51 body figs. 74 stitches fig. 74 mining fig. 81 pulleys figs. 81 sluice fig. 81 pattern fig. 83 map fig. 85 footprint fig. 86 shale brick figs. 86 stamps fig. 87 brick fragment fig. 87 hydraulic press fig. 89 mould fig. 89 stack fig. 92 bound fig. 93 unbound fig. 95 bath fig. 104 building fabric figs. 106 living divisions figs. 108 toughened textile fig. 108 Prestonpans ad figs. 110 tapestry figs. 116 ‘The Art of Making a Tapestry’ fig. 118 hand fig. 123 miners singing figs. 125 archaeoacoustics Scotland fig. 127 eye fig. 129 Ladies’ Bedstraw fig. 129 Cow Parsley fig. 129 Privet berry fig. 129 Dandelion root fig. 129 Euonymus fig. 129 Nasturtium fig. 130 dyehouse fig. 130 dyeing factory fig. 130 drying poles fig. 130 dye vat fig. 131 salt panning fig. 131 chemical dyes fig. 141 Fondazione Querini Stampalia figs. 142 chemical dyes figs. 142 plant dyes fig. 142 marine map fig. 145 salt glazing fig. 147 aerial map fig. 146 lagoons plan

Ordinance Survey, National Library of Scotland [as above] National Library of Scotland A Glossary of Scotch Mining Terms by J. Barrowman, 1886 First Report of the Commissioners of Mines, 1842 Scottish National Mining Museum Digimaps Mining the Lothians by Guthrie Hutton, 1998 R. Longmore in The Scottish Coal-Mining Industry by James KcKechnie & Murray McGregor, 1958 Health hazards over the centuries at Prestongrange by Kirsty Black, 2000 Prestongrange museum National Monuments Records of Scotland National Coal Board [as above] from frazerweb and gee pee on Flickr State Archives of Florida Scottish Industrial History 1.3, 1977 Ken Light[.com] Trinity Mirror, Alamy miningartifacts.homestead.com eLoomaNation online A. Russell at hoodfamily.info Guido Guidi in Carlo Scarpa, architect : intervening with history by Nicholas Olsberg, 1999 Adison Godel on Flickr Klaus Kinold on artsy.net Ordinance Survey on Digimaps Earthworks Archaeological Services Unusual water transport properties of some traditional Scottish shale bricks by I. Griffin, C. Hall, A. Hamilton, 2014 www.scottishbrickhistory.co.uk Alex Andresen, groupmate William Mencke in Nineteenth century brickmaking innovations in Britain: building and technological change by K. A. Watt, 1990 brickcollecting.com Alex Andresen, groupmate www.coorsteksensors.com/about/history stills from Beehive Kiln Demolition by Todd Giumenti at https://youtu.be/SMA66ZDElqY And So To Bed: The American Bedroom, 1750 - 1920 exhibition at Daughters of the American Revolution Sempa in The Necessity of Artifice by Joseph Rykwert, 1982 Mining the Lothians by Guthrie Hutton, 1998 stills from prestonpans 2.wmv by jim nisbet at https://youtu.be/kLu6-QJ1hTA East Lothian Library Service bikelove-scotland.blogspot.co.uk Getty Museum, https://youtu.be/jIbu-dJuEh0 Trinity Mirror, Alamy National Science and Media Museum www.archaeoacousticsscotland.com Ken Light[.com] http://delta-intkey.com Bilder ur Nordens Flora by C. Lindman, 1917. gardenatlas.net Köhler’s Medizinal-Pflanzen by Franz Eugen Köhler, 1887 BHL Collections: New York Botanical Garden Biodiversity Heritage Library online www.elizabethancostume.net mainedye.com Bishnu Saikia at wikimedia commons Friends of Oaxacan Folk Art online stills from prestonpans 2.wmv by jim nisbet at https://youtu.be/kLu6-QJ1hTA www.colorantshistory.org/ScottishDyes Ouk Nastgnim at Pinterest www.colorantshistory.org/ScottishDyes [see figs. 129] Ordinance Survey on marinescotland.com stills from Preparing salt for glazing pipes at Prestonpans, 1956 National Library of Scotland, https://youtu.be/RZZu23SaF04 Google Earth Remaining ash lagoons to be transformed into wildlife habitat, East Lothian Courier, 2016

217