Victorian-era Hotels of Scotland

Victorian-era Hotels of Scotland: Their typologies and the processes of balancing the preservation of historical integrity and renovating to suit the modern traveller

A Dissertation submitted for MSc in Architectural Conservation The University of Edinburgh

by Kathleen Cooper - s1832590 Exam Numnber: B136151 August 15, 2019 Supervisor: Jane Robertson

SCOTTISH CENTRE FOR CONSERVATION STUDIES EDINBURGH SCHOOL OF ARCHITECTURE AND LANDSCAPE ARCHITECTURE EDINBURGH COLLEGE OF ART THE UNIVERSITY OF EDINBURGH 2018-19

T T I S H N T R E

T H E S C O

C

FOR

2

E

CONSERVATION STUDIES

Table of Contents Title Page

1

Contents

3

List of Images

4

Acknowledgements

11

Abstract

13

Chapter I: Introduction

Aims & Objectives

Research methodology

Key conservation philosophies

14 15 16 17

Chapter II: Victorian-era United Kingdom

The world under Queen Victoria

Victorian Scotland

18 19 21

Chapter III: Influence of Evolving Tourism on Design

Romanticizing the Scottish landscape

Accommodating the influx of tourists

Twists and turns of the twentieth century

Effects of modernising for consumers

24 25 26 29 29

Chapter IV: Renovating Victorian Interiors: Case Studies

The Balmoral Hotel

Crieff Hydropathic Hotel

Atholl Palace Hotel

Fife Arms Hotel, Braemar

30 32 38 44 50

Chapter V: Concluding Statements

56

End Notes

60

Bibliography

62

3

List of Images Fig 2.1: Balmoral Castle, Aberdeenshire. Reproduced from Canmore. Accessed June 10, 2019. https://canmore.org.uk/collection/1164831 Fig 2.2: Gallowhill House, 1890. Reproduced from Canmore. Accessed June 10, 2019. https:// canmore.org.uk/collection/700523 Fig 2.3: College Wynd, Edinburgh 1871. Reproduced from Canmore. Accessed June 10, 2019. https://canmore.org.uk/collection/1539922 Fig 2.4: Tenement slum in Glasgow, 1890s. Reproduced from The Sun. Accessed June 10, 2019. https://www.thesun.co.uk/living/2419633/incredible-sepia-photographs-show-the-struggle-andsqualor-of-life-in-glasgow-slums-in-the-1860s/ Fig 2.5: Fishermen of Stonehaven, c1890. Reproduced from Canmore. Accessed June 10, 2019. https://canmore.org.uk/collection/1773579 Fig 2.6: Construction of the Forth Bridge, 1887. Reproduced from Canmore. Accessed June 10, 2019. https://canmore.org.uk/collection/361741 Fig 2.7: Jenner’s Department Store, 1895. Reproduced from Media Storehouse. Accessed June 10, 2019. https://www.mediastorehouse.com/rcahms-prints/scotland-area/edinburgh-lothians/ view-jenners-department-store-princes-street-4021377.html Fig 2.8: Glasgow’s Vincent Place, 1890. Reproduced from Canmore. Accessed June 10, 2019. https://canmore.org.uk/collection/1075780 Fig 3.1: Peebles Hydro, 1894. Reproduced from Canmore. Accessed June 13, 2019. https://canmore.org.uk/collection/683118 Fig 3.2: Panmure Arms Hotel, 1900. Reproduced from Canmore. Accessed June 13, 2019. https://canmore.org.uk/collection/1161650 Fig 3.3: Temperance Hotel atop Ben Nevis, 1910. Reproduced from Ben-Nevis. Accessed June 13, 2019. http://ben-nevis.com/information/history/hotel/ben-nevis-summit-hotel.php Fig 3.4: Star Hotel, Moffat c1890. Reproduced from Canmore. Accessed June 13, 2019. https:// canmore.org.uk/collection/1169304 Fig 3.5: Plaque at Atholl Palace Hotel Museum. Image by author.

Fig 3.6: Actress Sophia Loren visits the Balmoral, 1979. Reproduced from Historic Hotels. Accessed June 13, 2019. http://www.historichotelsthenandnow.com/balmoraledinburgh.html Fig 3.7: North British Station Hotel, 1930. Reproduced from Canmore. Accessed June 13, 2019.

4

https://canmore.org.uk/collection/466207 Fig 4.0.1: The Balmoral Hotel, Edinburgh. Image by author.

Fig 4.0.2: Crieff Hydro Hotel, Crieff. Image by author.

Fig 4.0.3: Atholl Palace Hotel, Pitlochry. Image by author.

Fig 4.0.4: The Fife Arms Hotel, Braemar. Image by author.

Fig 4.1.1: North British Station Hotel construction, 1901. Reproduced from Edinburgh News.

Accessed May 18, 2019. https://www.edinburghnews.scotsman.com/retro/iconic-balmoral-hotel-has-hosted-the-great-the-good-and-the-glamorous-for-110-years-1-2552986 Fig 4.1.2: Advertisement for the NB Hotel, 1905. Reproduced from Canmore. Accessed May 18, 2019. https://canmore.org.uk/collection/1313434 Fig 4.1.3: Perspective of the NB Hotel, 1902. Reproduced from Canmore. Accessed May 18, 2019. https://canmore.org.uk/collection/1329230 Fig 4.1.4: Arrival hall from station. Reproduced from Canmore. Accessed May 18, 2019. https:// canmore.org.uk/collection/466209 Fig 4.1.5: Palm Court, typical of Victorian-era hotels. Reproduced from Canmore. Accessed May 18, 2019. https://canmore.org.uk/collection/466210 Fig 4.1.6: Entry hall from Princes Street. Reproduced from Historic Hotels. Accessed May 18, 2019. http://www.historichotelsthenandnow.com/balmoraledinburgh.html Fig 4.1.7: Sir Walter Scott event room. Reproduced from Boutique Hotelier. Accessed May 18, 2019. https://www.boutiquehotelier.com/pictures-balmoral-turns-focus-main-function-rooms-multimillion-pound-refurb-ramps/ Fig 4.1.8: Scotch Whisky Bar. Reproduced from Pinterest. Accessed May 18, 2019. https://www. pinterest.co.uk/pin/532058143462580672/ Fig 4.1.9: Palm Court. Image by author.

Fig 4.1.10: Number One restaurant. Reproduced from The List. Accessed May 18, 2019. https:// food.list.co.uk/place/100347-number-one-edinburgh/ Fig 4.1.11: Scone & Crombie Suite. Reproduced from Hotel Designs. Accessed May 18, 2019. https://hoteldesigns.net/industry-news/balmoral-reveals-new-look-scone-crombie-suite/ Fig 4.1.12: JK Rowling Suite. Reproduced from Robb Report. Accessed May 18, 2019. https:// robbreport.com/travel/hotels/the-balmoral-j-k-rowling-suite-harry-potter-references-2844202/

5

Fig 4.1.13: Bar Prince. Image by author.

Fig 4.1.14: Scotland-inspired patterns. Reproduced from The Balmoral Edinburgh. Accessed May 19, 2019. https://www.roccofortehotels.com/hotels-and-resorts/the-balmoral-hotel/rooms-andsuites/ Fig 4.1.15: Glamis Suite. Reproduced from The Balmoral Edinburgh. Accessed May 19, 2019. https://www.roccofortehotels.com/hotels-and-resorts/the-balmoral-hotel/rooms-and-suites/ Fig 4.1.16: Classic Room. Reproduced from The Balmoral Edinburgh. Accessed May 19, 2019. https://www.roccofortehotels.com/hotels-and-resorts/the-balmoral-hotel/rooms-and-suites/ Fig 4.1.17: Classic Suite. Reproduced from The Balmoral Edinburgh. Accessed May 19, 2019. https://www.roccofortehotels.com/hotels-and-resorts/the-balmoral-hotel/rooms-and-suites/ Fig 4.1.18: Original entry from Waverley, now part of spa. Image by author.

Fig 4.1.19: Back of house area. Image by author.

Fig 4.2.1: Strathearn Hydropathic Establishment, southern view, c 1900. Reproduced from Canmore. Accessed May 19, 2019. https://canmore.org.uk/collection/1319102 Fig 4.2.2: Same elevation, but with new west wing, winter garden, and several other additions, c early 1900s. Reproduced from Historic Hospitals. Accessed May 23, 2019. https://historic-hospitals.com/2016/01/01/dry-january-head-for-a-hydro-a-brief-look-at-victorian-hydropathic-establishments-in-scotland/ Fig 4.2.3: Winter Garden, 1950s. Reproduced from Historic Hospitals. Accessed June 3, 2019. https://historic-hospitals.com/2016/01/01/dry-january-head-for-a-hydro-a-brief-look-at-victorian-hydropathic-establishments-in-scotland/ Fig 4.2.4: Winter Garden, 2019. Reproduced from Brendan Vacations. Accessed June 10, 2019. https://www.brendanvacations.com/hotel-search/crieff-hydro-hotel/ Fig 4.2.5: Crieff Hydro grounds, 2018. Reproduced from Crieff Hydro’s Twitter page. Accessed June 20, 2019. https://twitter.com/crieffhydro/status/1050646841497284608 Fig 4.2.6: Cement pointing. Image by author.

Fig 4.2.7: Lobby. Image by author.

Fig 4.2.8: Game system in lobby. Image by author.

Fig 4.2.9: Meikle Bar. Reproduced from Reproduced from Brendan Vacations. Accessed June 10, 2019. https://www.brendanvacations.com/hotel-search/crieff-hydro-hotel/ Fig 4.2.10: Mosaic tile on terrace. Image by author.

6

Fig 4.2.11: Drawing room. Image by author.

Fig 4.2.12: Artwork in corridor. Image by author.

Fig 4.2.13: Executive room. Reproduced from Brendan Vacations. Accessed June 10, 2019. https://www.brendanvacations.com/hotel-search/crieff-hydro-hotel/ Fig 4.2.14: Signature suite. Reproduced from Crieff Hydro. Accessed June 21, 2019. https:// www.crieffhydro.com/stay/hotel/ Fig 4.2.15: Standard family room. Reproduced from Brendan Vacations. Accessed June 10, 2019. https://www.brendanvacations.com/hotel-search/crieff-hydro-hotel/ Fig 4.2.16: Self-catering cabin. Reproduced from Crieff Hydro. Accessed June 21, 2019. https:// www.crieffhydro.com/stay/self-catering/ Fig 4.2.17: Victorian spa. Reproduced from Crieff Hydro. Accessed June 21, 2019. https://www. crieffhydro.com/play/relax/victorian-spa/ Fig 4.2.18: Sauna. Victorian spa. Reproduced from Crieff Hydro. Accessed June 22, 2019. https://www.crieffhydro.com/play/relax/victorian-spa/ Fig 4.3.1: Rear view of Atholl Palace, 1932. Reproduced from Canmore. Accessed May 21, 2019. https://canmore.org.uk/collection/1257556 Fig 4.3.2: Original base floor plan. Reproduced from Dictionary of Scottish Architects. Accessed May 30, 2019. http://www.scottisharchitects.org.uk/building_full.php?id=205732 Fig 4.3.3: Main elevation, 2019. Image by author.

Fig 4.3.4: Enclosed veranda, 2019. Image by author.

Fig 4.3.5: Wedding & event addition, 2019. Reproduced from Atholl Palace. Accessed June 29, 2019. https://www.athollpalace.com/gallery Fig 4.3.6: Victorian bath elements. Image by author.

Fig 4.3.7: Restored Gate Lodge. Reproduced from Atholl Palace. Accessed June 29, 2019. https://www.lodgesbyathollpalace.com/ Fig 4.3.8: Museum entry. Image by author.

Fig 4.3.9: Informational room. Reproduced from Visit Scotland. Accessed June 29, 2019. https:// www.visitscotland.com/info/accommodation/atholl-palace-hotel-p189071 Fig 4.3.10: Games room. Reproduced from Visit Scotland. Accessed June 29, 2019. https://www. visitscotland.com/info/accommodation/atholl-palace-hotel-p189071

7

Fig 4.3.11: Entry sequence. Reproduced from Visit Scotland. Accessed June 29, 2019. https:// www.visitscotland.com/info/accommodation/atholl-palace-hotel-p189071 Fig 4.3.12: Fireplace in lounge. Image by author.

Fig 4.3.13: Final section of dining. Reproduced from Atholl Palace. Accessed June 29, 2019. https://www.athollpalace.com/gallery Fig 4.3.14: Piano bar. Image by author.

Fig 4.3.15: Event centre. Image by author.

Fig 4.3.16: Stag’s Head bar. Reproduced from Atholl Palace. Accessed June 29, 2019. https:// www.athollpalace.com/bar Fig 4.3.17-20: Uninviting corridor elements. Images by author.

Fig 4.3.21: Standard guestroom. Reproduced from Atholl Palace. Accessed June 29, 2019. https://www.athollpalace.com/gallery Fig 4.4.1: Fife Arms, 1878. Reproduced from Canmore. Accessed July 2, 2019. https://canmore. org.uk/collection/1216347 Fig 4.4.2: Fife Arms, present day. Reproduced from travel blog, How to Spend It. Accessed July 9, 2019. https://howtospendit.ft.com/travel/204642-iwan-and-manuela-wirth-open-a-highlandshotel Fig 4.4.3: Lobby. Reproduced from Architects Journal. Accessed July 14, 2019. https://www. architectsjournal.co.uk/buildings/moxon-transforms-highland-hotel-with-primitive-tree-trunkcolumn-courtyard/10040850.article Fig 4.4.4: Lobby lounge. Reproduced from Architects Journal. Accessed July 14, 2019. https:// www.architectsjournal.co.uk/buildings/moxon-transforms-highland-hotel-with-primitive-treetrunk-column-courtyard/10040850.article Fig 4.4.5: Watercolour painting by Queen Victoria. Reproduced from House & Garden. Accessed July 14, 2019. https://www.houseandgarden.co.uk/gallery/hotel-of-the-month-the-fife-armscairngorms Fig 4.4.6: Drawing Room. Reproduced from Architects Journal. Accessed July 14, 2019. https:// www.architectsjournal.co.uk/buildings/moxon-transforms-highland-hotel-with-primitive-treetrunk-column-courtyard/10040850.article Fig 4.4.7: Elsa’s bar. Reproduced from House & Garden. Accessed July 14, 2019. https://www. houseandgarden.co.uk/gallery/hotel-of-the-month-the-fife-arms-cairngorms Fig 4.4.8: Clunie Dining Room. Image by author.

8

Fig 4.4.9: Clunie Dining Room. Reproduced from House & Garden. Accessed July 14, 2019. https://www.houseandgarden.co.uk/gallery/hotel-of-the-month-the-fife-arms-cairngorms Fig 4.4.10: The Flying Stag pub. Reproduced from House & Garden. Accessed July 14, 2019. https://www.houseandgarden.co.uk/gallery/hotel-of-the-month-the-fife-arms-cairngorms Fig 4.4.11: Flying Stag bar feature. Reproduced from Financial Times. Accessed July 14, 2019. https://www.ft.com/content/150a165e-19b3-11e9-9e64-d150b3105d21 Fig 4.4.12: Secondary staircase. Reproduced from Daily Mail. Accessed July 14, 2019. https:// www.dailymail.co.uk/femail/article-6644879/The-Fife-Arms-reopens-Braemar-set-new-societyhangout.html Fig 4.4.13: Emperor Suite, a Royal Suite. Reproduced from travel blog, How to Spend It. Accessed July 9, 2019. https://howtospendit.ft.com/travel/204642-iwan-and-manuela-wirth-opena-highlands-hotel Fig 4.4.14: Artist’s Studio. Reproduced from House & Garden. Accessed July 14, 2019. https:// www.houseandgarden.co.uk/gallery/hotel-of-the-month-the-fife-arms-cairngorms Fig 4.4.15-16: William Morris-inspired wallpapers. Reproduced from House & Garden. Accessed July 14, 2019. https://www.houseandgarden.co.uk/gallery/hotel-of-the-month-the-fife-armscairngorms Fig 4.4.17: Croft Room. Reproduced from Daily Mail. Accessed July 14, 2019. https://www.dailymail.co.uk/femail/article-6644879/The-Fife-Arms-reopens-Braemar-set-new-society-hangout. html Fig 4.4.18: Scottish Culture Room. Reproduced from The Telegraph. Accessed July 14, 2019, https://www.telegraph.co.uk/travel/destinations/europe/united-kingdom/scotland/highlands/ hotels/the-fife-arms-hotel/ Fig 4.4.19: Private dining room, Fog House. Reproduced from GS Magazine. Accessed July 14, 2019. https://www.gsmagazine.co.uk/articles/humour-art-comfort-tradition-at-the-fife-arms/ Fig 4.4.20: Secondary private dining room, Fire Room. Reproduced from Architects Journal.

Accessed July 14, 2019. https://www.architectsjournal.co.uk/buildings/moxon-transforms-highland-hotel-with-primitive-tree-trunk-column-courtyard/10040850.article Fig 4.4.21: Artwork in courtyard. Reproduced from Architects Journal. Accessed July 14, 2019. https://www.architectsjournal.co.uk/buildings/moxon-transforms-highland-hotel-with-primitivetree-trunk-column-courtyard/10040850.article

9

Acknowledgments

First, I would like to thank Prof. Miles Glendinning and Dr. Ruxandra-Iulia Stoica and my advisor Jane Robertson for their patience, guidance and support during this dissertation. I would also like to thank Frances Maurer, the sales manager of the Balmoral Hotel, for her incredible tour and helpfulness in providing first-hand information.

I am filled with gratitude for my parents, brothers, friends and classmates who supported me and provided invaluable comfort and advice during the process of composing this document.

11

Abstract

The purpose of this report is to identify and analyse how Scotland’s historic Victorianera hotels are renovated and how they suit the modern traveller. The Victorian period was an important moment for architecture, design, leisure and travel, with innovators blazing new pathways in these fields left and right. The similarities between today’s society and the Victorians far exceed the surface level, and how designers and conservationists balance the preservation of the historic culture of a place with modern needs and technology will be the basis of this report.

Four main case studies are examined in this report. The four hotels are varying in typology, design, and preservation techniques, and have each been visited in person. The Balmoral Hotel, a railway hotel, has been preserved for nearly one hundred years as Edinburgh’s height of luxury accommodation. It was built for the wealthy aristocrats traveling to and through Scotland’s capital, and remains as such in 2019. Crieff Hydropathic Establishment, originally a water therapy hotel, has grown expansively since its inception in 1868, arguably making it the most unique case study of the four. Atholl Palace is a prime example of an ornate, castle-esque hotel in a serene setting, making it an irresistible destination for those who can afford it. Finally, the Fife Arms Hotel in Braemar merges the historic with the eccentric. A personal favourite destination of Queen Victoria herself, the Fife Arms is a unique and fascinating hotel unlike anything else on the market in Scotland.

Upon initial research, I did not expect to find the Fife Arms Hotel to be the most successful in terms of its design and conservation approach, in my opinion. I expected the Balmoral would claim the top spot, closely followed by Atholl, and in last place would be Crieff. While these rankings made sense before and even during each site visit, my thoughts changed immensely after analysing each hotel for what it is now. Crieff is certainly the most successful business of the four, while Atholl provides the most genuine historical interpretation. The Balmoral and Fife Arms, while having an heir of stiffness to them, reflect the past beautifully and introduce modern elements in completely different ways.

13

Chapter One

14

Introduction

Aims and Objectives

The objectives of this report are to identify and determine how Scotland’s Victorianera hotels have survived and thrived through the last one hundred and some odd years. The Victorians had such grand ideas of travel and innovative accommodation implementations, and it is intriguing to see how conservationists, architects and designers have addressed them over the years of renovations, alterations and additions. Hotels have always fascinated me, especially from a conservationist standpoint as well as design because they so rarely are just one thing. Hotels wear many hats, from accommodation to retail, to dining and leisure, and often even to sport and activity. Hotels offer so many things to so many people, and are in a constant state of change and development. People who work in this industry always seek to be two or more steps ahead, which makes for an interesting outcome when working on a purpose-built historic hotel. In many cases, including the ones I have selected, hotels have grand phases that showcase expansions in a very tangible way.

I will be exploring four significant Victorian hotels: a railway hotel, two types of hydropathic establishments, and a coaching inn, then evaluating and comparing their current states. I hope to find a variety in conservation and renovation approaches, which will allow me to discern why each hotel is successful or unsuccessful in differing categories: overall business, historic integrity, design and guest perception, comfort, and accessibility.

15

Research Methodology

After selecting the topic of Victorian-era hotels in Scotland, the next step of organising this dissertation was to acquire a quality collection of books for research. While many of the books describe Victorian society and architecture in great depth, I also examined books that dive into the tourism and identity of Scotland during certain eras. To know about Scotland’s tourism history is to understand the ideology and importance of tourism today, which is so closely intertwined with the concept of hospitality. A book that proved to be very helpful in understanding Edinburgh’s tourism heritage is a souvenir book from the Balmoral Hotel, gifted to me by Front of House Manager, Frances Maurer.

The next phase of the research was to examine various plans and elevations from each of the hotels, comparing and contrasting them to their current states. This is an important step for a designer to understand what changed and when in a hotel, so that portion of the building can be treated in a different manner if need be. This is a very easy method of telling where the money goes, when, and why. For example, noticing that plans of a hotel change drastically over a five to ten year period in terms of public spaces could mean that the town in general is looking for a place to hold more public events, or that the hotel has been so successful in holding a few number of events, that they needed to add more space on. Likewise, if a new block of rooms or suites is added, that might mean the hotel is a popular destination during this time and the owners sought to profit off of that by increasing the guest count.

The final and most important step in the research was to visit each hotel in person. Visiting the sites to see the effect of the different design approaches may seem less important than archival research, but it is actually the most helpful way to grasp whether the renovations have been truly successful and if the guests are impressed and excited or indifferent and disappointed. Websites and word of mouth can be helpful but sometimes misleading, so seeing the way in which guests interact with each hotel is one of the most telling factors of whether or not a space has been well-designed.

16

Key Conservation Philosophies

First, it is important to note that when working with historic interiors, there is no exact answer for how to approach the process. Each project is different and unique, even ones that have similar histories, locations or designers, and must be treated as such. As all four buildings selected for the case studies in this report are Category B-listed, some requirements are in place that prevent certain treatments, creating a vague guideline for the standards of renovating such buildings. Historic Environment Scotland’s Listed Buildings Guide states that B-listed structures are “buildings of special architectural or historic interest which are major examples of a particular period, style or building type.”1 These listings are allocated by assessing a building’s architectural interest (design and setting) and historical interest (age and rarity, social significance, and association with people or events of national importance).2 To alter a Category B-listed building in any way - save for like-for-like repairs - the owners must contact their local planning authority and make them aware of any and all changes intended to be made. While this may seem a limiting process, many designers find creative ways to solve this problem.

One style of renovating historic interiors is to approach the building like a museum, keeping many historical elements where and how they are, a very SPAB-like approach. On the opposite end of the spectrum, a more Viollet-le-Duc approach would be to repair or restore the interior spaces as a replica of what they might have looked like in the past. This can be tricky, but tends to go over well in certain areas of hospitality whose brands benefit from such an image. A third method, especially for hospitality purposes, is to put history aside altogether and cater to the needs of modern society. This process is most often looked down upon by designers and conservationists alike, but seems to make little difference to the general public, who tend to care more about sleek technology and modern amenities than a facsimile of a historical hotel or even subtle or tasteful nods to the history of the hotel.

I expect to find variations and combinations of these approaches in the four case studies, which is already semi-apparent from researching the history of each building and visiting their websites.

17

Chapter Two

18

Victorian-era United Kingdom The world under Queen Victoria

Queen Victoria ruled the United Kingdom from 1837 to 1901, a period of immense economic growth, prosperity and industrialisation for the country. While the Industrial Revolution had begun several decades earlier, the Victorian era saw the advent of countless new technologies.

For example, Queen Victoria was the first monarch to ever be photographed more than painted.3 New practices and social conventions dominated the ever-evolving era, and completely transformed the way people interacted with each other. One major contributor to the effect of the era was population growth: just after Victoria took the throne, Britain’s population wavered around eighteen and a half million people. Upon her death in 1901, that number had doubled to reach nearly thirty-seven million people.4 The influx of wealth and prosperity of Victorian Britain are due in substantial part to their successful colonisations of the time. While the Americans were not doing the UK any monetary favours, as they were busy feuding with the French, trade in India was going so swimmingly that many investors and businessmen profited remarkably.5 Brits were able to export goods all across the world as well, with help from quick new transportation technologies such as the steam engine.

The steam engine powered many important systems throughout the United Kingdom, including boats, mines, and factories. The steam-powered locomotive was one of these technologies that transformed both the physical landscape of the country and the attitudes and ambitions of its people. In its early years, the locomotives only transported businessmen and wealthy aristocrats across the lands. It wasn’t until the latter half of the nineteenth century that open train travel became cheap enough for the working class to afford. Locomotives also carried goods and building materials, which enabled the dawn and growth of suburbs across the country.6 Welsh slate and cheap bricks became abundant across the domestic architecture scene, while glass and iron transformed commercial and civic structures such as large-scale buildings and bridges.7 With new opportunities and new materials came a new era of architecture: sporadic and unpredictable, the Victorian architects tried each and every technique in the book, and got wildly inventive with new techniques in order to make a name for themselves. The very profession itself changed, with architects setting up their own private firms and taking on apprentices, while working alongside engineers, contractors, quantity surveyors and builders for the first time ever.

In fact, builders, who were at the bottom of the social ladder and working class, made up six percent of the British labour force during this time.8 Some famous craftsmen like William Morris gained notoriety for having staunch beliefs and traditional practices, unwavering in their opinions and ideals. Others sought to exploit the practice of architecture to gain fortune and fame, often neglecting the very purpose and nature of the profession itself. Regardless, the structures brought to life from these men and women are unique to say the least. An expanding economy brought

19

the need for more buildings than ever before, which were answered greatly by architectural competitions. Design competitions allowed for architects young and old, amateur and experienced to submit works of fantastic creativity. Many a monument of this era were the product of such competitions. Churches popped up everywhere as Catholicism grew more acceptable, especially in Scotland. Neo-Gothic began to prevail over Neo-Classicism as the Arts and Crafts movement took off. Other architectural feats of the time include the vast amount of country houses built for the wealthy, both born and bred noblemen and self-made businessmen. A popular style for this wave of country palaces was the Scotch Baronial revival, a style that exemplified grandeur and importance. This overwhelming surge of Scotch Baronial structures comes from a mix of things: the Victorians’ lust for redefining old architectural styles, a sense of Scottish pride for the time when the style initially took the country by storm, and the desire to tangibly prove one’s status.

French Gothic, Jacobean and Tudor-style buildings also became popular once more. New castles designed to look old and stately dotted the landscape, while actual castles were renovated and restored, more often than not with a Victorian flair that detracted from their historic integrity. A prime example of this is Balmoral Castle (Figure 2.1), which was purchased by Queen Victoria after her first visit to the Highlands. She had Prince Albert and Aberdeen architect William Smith restore the previous house and lodge into a grand castle fit for royalty from 1853-56 in the style of Scotch Baronial.9 This period is often associated with being interior-driven and treating the exterior frivolously, meaning that buildings were designed with the programmes of the interior and how they impact the users in mind, rather than working from the exterior inwards. One popular choice by designers to offset this was to adorn buildings with unnecessary features inspired by other architectural styles. Proportions and symmetry are overshadowed by grand turrets, bay windows, and Frenchinspired elements. Details that have no reason to exist in this period make an appearance, such as arrow-slits in Scottish suburban houses.10 These new social and technological advances were not all that were ushered into the country during the Victorian era. Harsh times fell on just as much of the population. Cholera, typhus and typhoid inflicted the city-dwellers, while the West Highlands of Scotland were hit with a potato famine.11 Poverty and struggle, the exponential growth of slums, and the ever-growing gap between the wealthy and the poor also characterise this era. Every city was a living, breathing paradox: a myriad of shiny modern technology at every turn and more wealth than ever before, all clouded in a haze of soot and pollution. These new factories that were meant to create fascinating advanced technologies were the very things causing illness and danger. While wealthy land-owning aristocrats often inhabited multiple estates, some large and lavish townhouses in the cities and palatial estates out in the countryside, millions lived in squalor in the inner cities.

Those living in poverty worked extreme hours in filthy jobs, with unsafe working conditions and little recognition.12 An agricultural depression shook the economy as inexpensive American crops reached the market, and America and Germany overtook Britain in industrial production.13

20

Fig 2.1: Balmoral Castle, Aberdeenshire

Fig 2.2: Gallowhill House, 1890

Victorian Scotland

Much like the time period itself, Victorian Scotland was a land of contradicting elements.

A rampantly popular holiday destination for English, Irish and American travellers, the Scots themselves faced many hardships as local slums increased at far more rapid rates than English slums. Many agrarian and other small towns failed immensely due to competition, disease, or otherwise. On the opposite side of the spectrum, the wealthiest members of society, plus rich English and Irish families erected vast estates in the Scottish countryside that rivalled those of equal status down in England. The Scottish attitude towards this is a bit more straightforwardly Victorian: the exteriors tend to be plainer than English Victorian buildings, while the interiors boast luxurious comfort. These estates were far disproportionate to both the needs of the families residing in them and the original architectural types after which they were styled.

Meanwhile, the city centres of Edinburgh and Glasgow grew overpopulated and over-polluted.

The industrialisation of the townscapes was beginning to have a malignant affect on the patrons, further disassociating the wealthy from the poor. In Edinburgh’s case, Old Town became something of an overcrowded slum where poverty laid like a thick blanket across the neighbourhood.

New Town became the haven for the rich and sophisticated, the polar opposite of its older counterpart. Famous Scottish botanist and Renaissance man Patrick Geddes introduced the idea of “conservative surgery” during the late nineteenth century as an attempt to remedy the situation and bridge the gap between the towns. His ideas and works included semi-demolition of certain buildings and neighbourhoods that were vastly overflowing with both people and pollution to introduce light and clean air back into the environment. This quote pulled by author James Thin in 1891 for an article in The Scotsman demonstrates how severe the situation in the Old Town was: “The room for which a weekly rent of from one and three pence to half-a-crown is paid is small, dirty and dingy. The walls are black with the smoke and dirt of years; here and there the plaster has fallen off in patches, and reveals the lath beneath. The floor looks like soap and water were still unknown in these regions...blankets..appear to have been steeped in a solution of soot and water.”14 While the quote paints a vivid image, photographers of the time focused solely on wealthy, nice-looking rooms. Very few images of squalor or even middle class vernacular architecture can be found amidst the multitude of photographs, paintings and sketches of the well-to-do interiors (see Figure 2.2 for example of typical upper-class Victorian dining room).

21

Fig 2.3: College Wynd, Edinburgh 1871

Fig 2.4: Tenement slum in Glasgow, 1890s

Fig 2.5: Fishermen of Stonehaven, c1890

Fig 2.6: Construction of the Forth Bridge, 1887

Fig 2.7: Jenner’s Department Store, 1895

22

Fig 2.8: Glasgow’s Vincent Place, 1890

Edinburgh’s Old Town faced dilapidation and dirtiness in unprecedented levels (Figure 2.3).

Glasgow suffered greatly as well, its Old Town harbouring fifty thousand people in cramped tenements crawling with disease and filth (Figure 2.4). Friedrich Engels said of the city in the 1860s, “No person of common humanity would stable a horse in such conditions.”15 A decade later, Richard Cross attempted to pass a bill through the House of Commons that would aide the working class, hoping to improve the living and working conditions of the factory-pumping city even infinitesimally.16 These efforts were not the first, as the Glasgow City Improvement Act had begun in 1866. Inspired by Haussmann’s transformation of Paris, Scottish officials began to clear away slums and widen streets, similar to Edinburgh’s approach, but a much larger scale.

Guidelines for street widths, building heights and styles, and others came into play in the hopes of creating a unified and respectable Victorian city.

Not all Scots, however, were doing less than stellar during this time. While many suffered in slums, much of the working and middle class were able to prosper in their trades and purchase their own homes. Some fishing towns, such as Stonehaven, experienced such success that by the end of the century, nearly one thousand people were employed in the fishing trade (Figure 2.5).17 Other small Scottish towns benefited from the opening and expansion of quarries, such as Ballachulish on the banks of Loch Leven. The expansion of suburbs and country estates alike, plus an abundance of materials and new architects on the scene all came together to create the perfect storm of production. Somewhere between ten and twenty percent of all of Scotland’s buildings were constructed during the Victorian period alone.18 Edinburgh’s Forth Bridge (Figure 2.6), an amazing feat of engineering, was constructed during this period. Retail buildings popped up left right and centre. Edinburgh’s Princes Street saw a drastic change from the start of the era to the end, with additions like Jenner’s Department Store (Figure 2.7) and the Balmoral Hotel, which will be discussed in Chapter Four of this report. Glasgow, too, saw an immense change after the attempt to clean up the city. Architects brought massive, important designs to everyday public buildings, creating a new standard for living within the city (Figure 2.8). Shopping became a popular and universal activity for the Victorians, making the retail sector a booming new market for both businessmen and designers. Department stores sprang up and were worshipped by material goods-hoarding members of society. Cinemas, art installations and museums, clubs and hotels, and a plethora of other leisure-centred buildings took the limelight in waves. Philanthropist Andrew Carnegie funded public libraries across Scotland, and grand educational institutions were erected resolutely. The breadth of Scotland’s phenomenal growth during this period is unmatched by any other era.

Major influencers of the late nineteenth and early twenty-first century art and design scene include Charles Rennie Mackintosh and wife Margaret MacDonald, her sister Frances, and her husband James Herbert McNair. These four artists and graphic designers created the “Glasgow Style,” which greatly impacted the Scottish art, architecture and design world. Hill House, a Mackintosh masterpiece, is one of the most prominent pieces of this. Many patterns, fabrics, wallpapers, and other decorative elements designed by Margaret and Frances defined this style.

23

Chapter Three

24

Influence of Evolving Tourism Romanticizing the Scottish Landscape

People have been making the trek to Scotland long before the Victorian era ushered in the technology that allowed for widespread and affordable travel. The land - in particular, the Highlands - has always been romanticized in literature and oral storytelling, especially from blind Scottish poet Ossian, who told epic poems of Celtic warriors in the ancient and sacred Scottish lands. Travel was limited before the nineteenth century, however, due in part to the fact that it was so off-grid to most people; the islands off the coast and glens up north were so physically difficult to reach that only dedicated travellers could pursue these destinations. Many of the towns in these hard-to-reach places remained untouched by the industrialization that had swept Scotland’s big cities and most of England, making them a quaint and idyllic holiday haven. This is perhaps one reason why so many felt drawn to Scotland during and after the age of industrialism: it stood righteously across the border from the world’s leading industrial nation, steeped in history and tradition, connected to nature and overflowing with heritage, acting as an escape to the tediousness of modern city life.

Around the time of the failed Jacobite rebellion, and the English cemented their rule over Scotland, people began to feel comfortable with the idea of visiting the Highlands. The clansmen of the area were thought to be under the control of the English crown by then, which made tourists feel much safer about touring the rugged Scottish landscape. Edinburgh and Glasgow, too, had gained a better reputation as cities of high intellectual and cultural value.19 In the 1760s, Brits Richard Pococke, Thomas Pennant, Samuel Johnson and James Boswell travelled around Scotland and published accounts upon their return, enticing people to explore Scotland at a time when many were interested in visiting continental Europe.20 Famous eighteenth century Scottish poets Robert Burns and Sir Walter Scott facilitated this romanticized version of Scotland through their works as well, inspiring many a pilgrimage up north. Thomas Cook penned a guidebook in 1846 entitled Hand Book of a Trip to Scotland, which detailed tours around the land of Ossian, Scott and Burns’ romantic tales. Cook guided forty thousand people across Scotland between 1846 and 1861, who were received with open arms by the local people.21 Much like tourist packages today, Cook’s travel itineraries included trips on luxurious trains to abandoned castle ruins, monuments, lochs, and several days in Edinburgh and Glasgow. He also included scenic trails and hikes in the Highlands, often marketed as the highlight of the eight hundred-mile round-trip excursion.

These authors, along with others, described the land to be raw and untouched by the plague of the machinery era. Nature was the dominant force, and men were servants of the land, depicted as “hardy, rustic, and unaffected by the sophistication of the outside world.”22 The Scots themselves were none too thrilled with the insinuation that they were “unprogressive and backwards,” and simply affirmation to the English that modernization was the proper way forward. Instead, they were battling their own identity issues, struggling with the desire to maintain their Scottish roots, but awareness that English industrialism held the answers to a multitude of problems.

25

Accommodating the Influx of Tourists

The introduction of the rail system across Scotland and availability of materials provided these travellers with a multitude of options for accommodation. One popular option was to restore and renovate old country estates or castles into hotels, but this report will focus on those that were purpose-built during the mid- to late-Victorian age. These establishments exhibit a different calibre of hotel that has never been seen before in the United Kingdom, largely due to the Domestic Revival and Aesthetic Movement of the 1870s and 1880s. On the whole, delicate, sophisticated decoration rather than overwhelming splendour characterise these types of buildings.23 The first style of hotel to do this was the resort and spa hotel, known as a hydropathic establishment.

Several of these popped up in England in the 1830s, and Scotland caught onto the trend in the 1860s. Three major hydropathic hotels that had (and still have) a significant impact on Scotland’s economy include Crieff Hydro and Atholl Palace, which will be discussed in the next chapter of this report, and Peebles Hydro (Figure 3.1). Hydropathic means healing by water, which was the purpose of these types of hotels. Patients seeking medical attention and guests hoping to relax could book a room at one of these establishments and take advantage of the Turkish- or Romaninspired baths. Many medical professionals of the time believed that water could cure many ailments, and were often available to offer advice and treatments to the guests. Some hydro hotels, such as Crieff, began as a strictly healing space, with no tolerance for alcohol, smoking, tardiness or recklessness. Others, like Atholl Palace, changed ownership every few years and thus sought to cater more towards entertaining guests rather than treating them in order to bring in more money.

The second most influential kind of hotel of this era was the railway hotel. Often overdone, the railway hotel was both purpose and pleasure built, much like the hydropathic hotel. The initial wave of these hotels often had cheap rooms and were connected to public houses, or pubs.

Later versions, like the Great Western Hotel in London and the Balmoral Hotel in Edinburgh, incorporated exclusivity in their brands to ensure a wealthy clientele. Inspired by the private clubs of this time, these exclusive hotels were the first to take reservations instead of walk-ins, which allowed them to be selective with their guests. These wealthy hotels aspired to be the height of sophistication by welcoming guests into a palm tree-filled lounge with over-stuffed furniture and ornate decor the minute they arrived from their train journey. The guestrooms of these over-thetop structures, often built in the Scotch Baronial revival manner, were larger and more luxurious than ever before. After the advent of the automobile and airplane, one might assume that these railway hotels would lose their character and purpose, but many maintained their high status. The trains became popular again, as did tours of the country by railway.

26

Fig 3.1: Peebles Hydro, 1894

Fig 3.3: Temperance Hotel atop Ben Nevis, 1910

Fig 3.2: Panmure Arms Hotel, 1900

Fig 3.4: Star Hotel, Moffat c1890

Finally, lodges and inns scattered throughout the Highlands gained popularity during this time (see Panmure Arms, Figure 3.2). These were meant to be the idyllic, away from the mainstream getaway that many travellers sought to experience the authentic Scottish way of life. Queen Victoria herself even visited such accommodations, and her favourite was The Fife Arms in Braemar. This inn is located up in the current Cairngorms National Park, meaning the surrounding views are unparalleled and widely unperturbed. A few of these types of lodges were built to be hunting lodges, a relaxing escape for wealthy businessmen and their sons.

One of the most impressive hotels built during the late nineteenth century was the Temperance Hotel (Figure 3.3). Impressive not for its grandeur - in fact, the hotel is minuscule and quite plain - but rather for its location, the Temperance Hotel offers views second to none. The homely establishment was built on top of Ben Nevis, the highest peak in Scotland, in 1894 and was operated by two sisters in the summer months. Situated right next to the observatory, the hotel offered accommodation and meals to a dozen or so guests at a time. Seaside and golf course hotels also sprang into life during this period, but were less extraordinary and unique than the previously mentioned hotels. Some older hotels even got a second wave of life, such as the Star Hotel in Moffat (Figure 3.4) and the seventeenth century Kings House Hotel in Glencoe.

The unique Star Hotel was built in the late 1700s, and because of its sulphurous wells that were thought to have healing properties, the town around it developed into a typical Victorian spa town. The building gained popularity for being only twenty feet wide (Star currently holds the Guinness World Record for narrowest hotel), and still remains a bustling albeit small boutique hotel today.

27

Fig 3.5: Plaque at Atholl Palace Hotel Museum

Fig 3.6: Actress Sophia Loren visits the Balmoral, 1979

Fig 3.7: North British Station Hotel, 1930

28

Twists and Turns of the Twentieth Century

Obviously, two major events in the coming decades impacted the tourist economy on a global scale: the two World Wars. The life of luxury and sophistication had to be resigned for most. The retail and leisure industries suffered greatly as families struggled to make ends meet, and the hotel industry was not immune to this. Many hotels shut their doors to the public and instead housed precious artefacts and treasures for the government, while others harboured schoolchildren whose institutions had been bombed or otherwise devastated (see Figure 3.5 about Atholl Palace Hotel hosting the all-boys school, Leys, during the Second World War). Without any additional income and proper upkeep, a fair few of these hotels fell into disrepair following the end of the Second World War. After the use of cement rendering became popular in attempting to restore historic or dilapidated buildings in the early- to mid-twentieth century, many buildings began to crumble even further, both in terms of structural and historical integrity.

One hotel that remained virtually unphased by the wars was the Balmoral in Edinburgh, then known as the North British Station Hotel. Celebrities and royalty alike continued to stay and were treated with such care and attention that word of mouth spread around the world (Italian actress Sophia Loren visited the glamorous hotel, Figure 3.6). While the Balmoral continued to thrive throughout the late-twentieth century, the Fife Arms in Braemar was not so lucky. It, like many of the era, fell into disuse and was not taken care of. Fortunately, the inn was purchased and restored to its former glory, bringing in more revenue than ever before.

Effects of Modernising for Consumers

All these types of hotels and lodging, spa getaways and nature retreats contributed positively to Scotland’s economy. The influx of prosperity, however, came at a price. The act of developing underutilised lands for the purpose of lodging tourists detracts from the very reason one travels to Scotland in the first place: to escape the hassle of modern day society and the physical and mental pollution of industrialism. By forcing space for these massive establishments to exist, the countryside loses its mysterious and fantastical appeal. While the landscape and scenery remain breathtaking, it has become difficult for these businesses and their guests to disassociate from the “modern society� when it has been fully embraced, despite best efforts by locals and select proprietors. This then begs several questions: is it beneficial for these monumental establishments to include and offer every modern amenity? Does it matter to the consumers if they have access to advanced technology on their retreats, or are they seeking a more authentic Scottish getaway?

How does implementing all this technology affect the character and integrity of the hotel itself ?

Hopefully these questions will be addressed in the following chapters.

29

Chapter Four

30

Renovating Victorian Interiors: Case Studies

Fig 4.0.1: The Balmoral Hotel, Edinburgh

Fig 4.0.2: Crieff Hydro Hotel, Crieff

Fig 4.0.3: Atholl Palace Hotel, Pitlochry

Fig 4.0.4: The Fife Arms Hotel, Braemar

31

The Balmoral Hotel

Fig 4.1.1: North British Station Hotel construction, 1901

Fig 4.1.2: Advertisement for the NB Hotel, 1905

32

Fig 4.1.3: Perspective of the NB Hotel, 1902

Formerly the North British Station Hotel, the Balmoral is the structural embodiment of Scottish high society. Construction for this grand project began in 1895 (see Figure 4.1.1 for construction progression), following an architectural competition to design a railway station hotel fit for the top tier members of the British aristocracy. William Hamilton Beattie won the competition with a massive Scotch Baronial revival structure, which opened its doors to the public in 1902. Since then, the Category B-listed hotel has remained a towering beacon of sophistication and class at the convergence of the Old and New Towns of Edinburgh. This great symbol of wealth and status stood at the corner between poverty and luxury, boasting its three hundred bedrooms while families in the Old Town crammed as many people as possible into one filthy room and shared lavatories with dozens of other struggling working class people. The well-todo families on holiday never had to witness this, though, as they arrived from Waverley Station and were directly escorted to the hotel via underground connecting tunnels and welcomed into a grand arrival hall. They enjoyed tea and treats while servants led their luggage through a network of behind-the-scenes passageways to their bed chambers. The two lifestyles could not have been more different, but this is what characterizes the truth of the Victorian era.

The North British Station Hotel (colloquially known as the NB until the 1990s) was one of the grandest railway hotels of its time. Architect Beattie envisioned Edinburgh to be a hub of civilized society, which is apparent in his other works, Jenner’s Department Store, located across the road on Princes Street, and the Carlton Hotel on North Bridge. Employing a version of the lavish Scotch Baronial style for these structures was a nod to sixteenth century Scotland: noble and steadfastly Scottish (though the proportions were more than a bit off). Beattie also chose this style with the hopes of linking the medieval Old Town with the severely classical New Town. Beattie had many ideas on what makes a successful hotel, beginning with “straight, well-lighted corridors, easy and readily-found staircases and elevators” and clarity of the entry sequence, in which guests should be able to easily and quickly check in and be escorted to their rooms. He insisted that everything associated with the hotel should happen on the premises, from operating restaurants and bottling whisky and wine to comfortably housing the servants and staff. He believed in “rapid and efficient service” of public and private rooms and comfortable, well-ventilated rooms.24 The hotel was advertised in print (Figure 4.1.2 demonstrates the paper advertisement, while Figure 4.1.3 showcases an etching of the hotel that circulated after its opening) as the place to be.

The exterior of the hotel may be Scotch Baronial, but every interior detail was inspired by Greek architecture: tall, fluted Corinthian columns grid many twenty-foot high rooms, pilasters keeping up the appearance on the walls, intricate marble fireplaces with Greek patterns and elements stand proudly in nearly every room. Fanciful plasterwork dominates the ceilings, each room unique from the previous. The NB included every typical element of a Victorian hotel railway hotel: the welcoming arrival hall from the station (Figure 4.1.4), the Palm Court that lended to the illusion of a tropical getaway (Figure 4.1.5), a grand staircase leading from the main floor up to the guest rooms, and more. The NB also included dining rooms both large and small, a buffet, a grill room, smoking room, and ostentatious banqueting hall.

33

Fig 4.1.4: Arrival hall of from station Fig 4.1.5: Palm Court, typical of Victorian-era hotels Fig 4.1.6: Entry hall from Princes Street

The hotel, like many, has been through periods of change that influence its place in the tourism industry and society itself. Significant political changes after each World War impacted the ownership of the railways. In 1922, the North British Railway Company joined the London and North Eastern Railway Company. The hotel also began batching its own alcohol at this time, and boasted a modern chef ’s menu, a luxury many similar establishments did not experience after economic hardships. Following the Second World War, the railways were nationalised and as a result, the hotel staff joined the National Union of Railwaymen.25 Subtle changes such as menu substitutions (boiled tripe instead of more lavish options like roast lamb or grouse) hinted at the struggles of the economy beyond the hotel, but little else affected the hospitality and offerings.

The 1970s brought about a surge of new hotels which impacted the business of some other grand ones in the neighbourhood, but the NB retained its top spot for hosting and entertaining guests. By the 80s, Edinburgh saw over two million tourists per year, many of them choosing to stay at the North British.

The NB’s most dramatic change to date came in the late twentieth century: described as a “grand old lady,” the hotel was taken over in 1983 by the Gleneagles Hotel Company and the connection with the railway was severed.26 Extensive exterior renovations began in 1987, including thorough cleaning and repairs. Major energy-saving steps were taken to reduce the cost of running the hotel, including making a switch to more efficient light bulbs (this act itself saved the hotel several thousand pounds per year). By 1990, the hotel was purchased once again, this time by Balmoral International Hotels, hence the name change from the North British Station Hotel to the Balmoral Hotel. The Edinburgh-based company had intended to make the hotel the first in a chain of internationally renowned hotels, investing an incredible twenty-three million pounds

34

Fig 4.1.7: Sir Walter Scott event room

Fig 4.1.8: Scotch Whisky Bar

Fig 4.1.9: Palm Court

into the refurbishment.27 In June of 1991, celebrities, royalty, politicians and tourists alike gathered for a celebration in which Sir Sean Connery led the official reopening of the grand and beloved hotel. The interiors had experienced a drastic renovation scheme, including the addition of a new pool and spa where the arrival hall once welcomed incoming guests from the station.

Fig 4.1.10: Number One restaurant

Fig 4.1.11: Scone & Crombie Suite

Fig 4.1.12: JK Rowling Suite

Fig 4.1.13: Bar Prince

Since then, the Balmoral has experienced a constant stream of upgrades and refurbishments. These consistent alterations are the result of Sir Rocco Forte purchasing the hotel in March of 1997, the first in his collection of Rocco Forte luxury hotels. Sir Rocco Forte began with a vision for his network of luxury accommodation, along with his sister, designer Olga Polizzi. Together, they created and continue to create a hotel that indulges its history and highlights its Scottish heritage. In 2004, Olga began a seven million pound restoration for the hotel’s now 188 bedrooms, two restaurants, lobby, and eight conference and event centres (see Figure 4.1.7 for hotel’s largest event space). Three years later, she launched the hotel’s signature bar, the Balmoral Bar. 2009 to 2012 saw the soft refurbishment of most of the bedrooms, and 2013 brought the opening of the hotel’s whisky bar, Scotch (Figure 4.1.8) and the newly refurbished Palm Court (Figure 4.1.9). In 2015, the hotel’s Michelin-star restaurant, Number One (Figure 4.1.10), received a two hundred thousand-pound renovation. Finally, between 2017 and 2019, the castle-facing and Old Town-facing rooms received yet another upgrade, including the presidential suite Scone and Crombie (Figure 4.1.11) and a suite made famous by Harry Potter series author JK Rowling, now entitled the JK Rowling Suite (Figure 4.1.12). During this time, the brasserie and bar also received a multi-million pound upgrade (Figure 4.1.13).28 Many hotels operate their refurbishments by tackling them one phase at a time, however the Balmoral’s philosophy seems to be constant improvement.

35

Fig 4.1.14: Scotland-inspired patterns

Fig 4.1.15: Glamis Suite

Fig 4.1.16: Classic Room

Fig 4.1.17: Classic Suite

Olga draws inspiration for the hotel’s room themes from its own history and its Scottish roots. She also throws in some ornate Italian pieces to balance out the Scottish tartan and thistle elements (Figure 4.1.14). The newest room that opened in 2019 is the Glamis Suite (Figure 4.1.15), which draws regal inspiration from Glamis Castle, the childhood home of Queen Elizabeth. This particular suite offers private check-ins and up to three bedrooms. A common theme throughout most of the suites is the presence of authentic antiques and traditional Scottish-themed crown moulding and patterns. Original chandeliers still hang in many of the conference rooms.

The hotel does not only offer vast, glamorous suites. In fact, only twenty of the bedrooms are these over-the-top luxury spaces, while the other 167 rooms fit a more typical hotel room type.

The Classic Room, for example, is about nineteen square metres compared to the near-one hundred square metres of some of the larger suites. These average rooms have a queen size bed and television, and face the inner courtyard (Figure 4.1.16). Middle of the road Junior Suites are nearly double the size and face the city. These suites, along with some of the other types, can accommodate more guests and have more dynamic decoration schemes. Higher-end Classic Suites (Figure 4.1.17) again double in size and increase in quality.

While all rooms are equipped with high end bath and spa products and a healthy bar option (for a price), the larger suites also include in-suite breakfast and services such as unpacking and garment pressing, plus an in-room bar in some cases.

36

Fig 4.1.18: Original entry from Waverley, now part of spa

Fig 4.1.19: Back of house area

In terms of service and staff friendliness, the Balmoral went above and beyond during my visit.

The front of house manager Frances Maurer personally showed me around all the public spaces and took me into several of the larger suites, including the Scone & Crombie and JK Rowling suites. She provided me with one of the souvenir books from the reopening and told stories of her many years of service at the Balmoral. Each member of staff I spoke to was approachable and knowledgeable about the architectural history of the building, as well as its social history. I also took a behind-the-scenes tour with Frances to see the old entrance to the hotel from the train station (Figure 4.1.18), which is mostly a rubbish bin storage area now, with several offices and cleaning services scattered about. Some intricate elements of the old connection remain visible, hidden behind step ladders and discarded decorations (Figure 4.1.9).

One major element of the hotel that needs attention is the network of corridors. Similar to those discussed in the upcoming case studies, the designers of the Balmoral have neglected the corridor design in favour of rooms and public spaces, which is understandable as guests want to focus most on the rooms that provide them with comfort and entertainment rather than interstitial spaces where they only spend a few minutes per day. Otherwise, the allocation of money spent seems fairly dispersed based on guests’ budgets and needs of the hotel.

37

Crieff Hydropathic Hotel

Fig 4.2.1: Strathearn Hydropathic Establishment, southern view, c 1880s

Fig 4.2.2: Same elevation, but with new west wing, winter garden, and several other additions, c early 1900s

38

This B-listed hydropathic hotel is located in the town of Crieff in central Scotland’s Perth and Kinross. Originally known as the Strathearn Hydropathic Establishment Company, the water therapy-inspired hotel opened its doors to a multitude of guests in 1868. Robert Ewan designed the sprawling structure - much less sprawling in its initial conception - for Dr. Thomas Henry Meikle. Meikle, a renowned doctor of his time, was a staunch believer in hydropathic treatments as well as fresh, clean air and hearty exercise. He and his brother opened one hydropathic establishment previously in 1861, Loch-head Hydropathic Establishment, and built Turkish-style baths adjacent to its main building.29 In about seven years’ time, the establishment closed and Meikle moved onto creating what is now referred to as Crieff Hydro.

Meikle was the backbone of the establishment until his death in 1913. He was a strict and disciplined man, very conscious of the well being of his guests and employees. In 1879, the doctor insisted upon having the kitchens expanded due to employee health issues caused by poor ventilation.30 The Hydro forbid smoking and drinking alcoholic beverages on the premises until the 1990s, when the first bar opened up within the hotel. Several attempts at attaining an alcohol license were made, first in the 1940s, then the 70s, and finally, success came in the early 90s.31 This is conceivably one of the most stark differences between the Hydro in its early days and what it is now. It was built to be an establishment for healing, with prayer times, healthy meals, strict bed and eating times, and fines for those who were late. Alcohol was not part of this diet for the healing process, but nowadays, imbibing in alcoholic beverages is a relaxing part of holidays. Alcohol has even become something of a tourism industry in itself in today’s society, and the hotel has not missed out on the opportunity to capitalize on that. Cigarettes and matches finally became available to guests in November 1926, to the disappointment of Meikle’s family.32 Meikle’s sister-in-law forms the connection with the family name that runs the hotel operations today, the Leckie family. Mrs. Leckie was one of the first shareholders of Crieff Hydro33, and her great-grandson John was the chief executive manager for forty years. Stephen Leckie now runs the hotel, while Mrs. Leckie’s great-great-great-granddaughter Fiona Leckie is the current interior designer for the establishment.34 The red sandstone building itself has seen rapid and dramatic changes from its original form.

Attic rooms were added almost immediately following the public opening of the hotel. In 1875, the drawing and dining rooms were extended.35 A west wing was added in 1894, followed by the addition and expansion of a winter garden ten years later36, which has undergone substantial renovation work on multiple occasions. Ewan’s sons Robert and Charles, though not renowned Scottish architects at the time, took on the architectural changes and additions alongside their father and after he retired. Figures 4.2.1 and 4.2.2 show the differences in the south elevation in just a few years’ time. An east wing was added in 1959, followed by several modern additions in the 1990s and early 2000s. The extensive new wings plus the winter garden dramatically increase the footprint of the building and allow for more hotel suites, plus restaurants and leisure spaces for guests to explore and enjoy. Figure 4.2.5 on the next page shows Crieff as it stands in 2019, with forty million pounds of multiple modern additions, extensive camping and outdoor activity sites, plus additional lodging structures equipped for all types of families.

39

Fig 4.2.3: Winter Garden, 1950s Fig 4.2.4: Winter Garden, 2019 Fig 4.2.5: Crieff Hydro grounds, 2018

Guy Christie once wrote that the phrase “I am made all things to all men� is an appropriate description of the hotel,37 which was stated in 1986, but still remains true today. While many hydropathic spas and hotels of the era were designed for luxury treatments and expensive rooms, Crieff sought to include guests of all backgrounds on its premises. The establishment offers activities and options to guests of all ages and interests, from active youths to tired parents seeking a relaxing getaway to friendly patrons looking for some social interaction. Originally offering swimming, golf, tennis and bowling, Crieff now also offers a high-ropes course, horse riding, water sports and over sixty other experiences for highly active guests, plus a bounce house and soft-play area for children. A cinema and live music entertain guests looking for a more laid back holiday, in addition to the newly renovated spa that sparked the creation of the hotel.38 With the addition of a large modern structure for the guests who fall into the active category, the original charm and grandeur of the Victorian structure become obscured and rather secondary, if not tertiary when compared against the offering of activities plus the allure of the surface-level modern interiors.

For all intents and purposes, Crieff is a family-oriented hotel, which explains why these choices to put design and conservation below offerings, style and convenience were made. This idea is reinforced by the entirety of the entry sequence: guests glide past red sandstone replacement stones stacked between layers of cement pointing (Fig 4.2.6) before arriving under the iron, lead and glass porte cochère, where they are greeted by a warm, friendly staff in a contemporary lobby that is almost reminiscent of a casino lounge. The flagstone flooring of the lobby is paired with stone panels on the walls, and damask-print velour furniture in varying shades of purple, teal, and green adorn the space (Fig 4.2.7). Children and teens could easily be distracted by the tennis courts just opposite the main entry, or the gaming technology in the right-hand corner of the lounge (Fig 4.2.8).

40

Fig 4.2.6: Cement pointing

Fig 4.2.9: Meikle bar

Fig 4.2.10: Mosaic tile on terrace

Fig 4.2.11: Drawing Room

Fig 4.2.12: Artwork in corridor

Fig 4.2.7: Lobby

Fig 4.2.8: Game system in lobby

Just beyond the reception area lie two small corridors lined with red vinyl banquette seating along the walls and image collages just above them. These short corridors connect the main lobby to the first floor corridor, which houses the entryways to the Meikle Restaurant (the hotel’s first on-site eatery), the lifts, the ballroom, drawing room, Winter Garden dining hall and terrace, and a boutique, plus the side corridors to the suites on either side. The Meikle Restaurant is the hotel’s fine dining installation with a tailored menu and cosy bar seats (Figure 4.2.9). A grand piano and whisky wall add an extra touch of sophistication to this red and gold modern space.

The ballroom, which acts as more of an interstitial space, connects the corridor to the Winter Garden dining hall, which was added to the main body of the building a few years after its opening. The Winter Garden hall is bright and lively, full of palm trees (which, as previously mentioned, is customary for Victorian-era hotels), and decorated with both wicker and iron furniture (Figure 4.2.4). A terrace at the back of the restaurant showcases a beautiful, sweeping view of the surrounding scenery and overlooks children playing in the gardens below.

An original and colourful mosaic tile floor stands out against the intricate white iron railing (Figure 4.2.10). The overall feeling of the space is serene.

Connected to the Winter Garden and the boutique is the Drawing Room (Figure 4.2.11), which is sparse and seems to have been forgotten. The crown moulding and colour scheme lend an air of authenticity to the structure, which is unfortunately lost in nearly every other space. While the furniture selection and arrangements feel slightly forced, the carpet, marble fireplace and large windows create a comfortable and genuine space. Aside from the drawing room, the only other nod to the history of the hotel is the sequence of framed drawings (Figure 4.2.12) that adorn the corridors on the way to the guestrooms of the main floor and elements of the spa.

41

Fig 4.2.13: Executive room

Fig 4.2.14: Signature suite

Fig 4.2.15: Standard family room

Fig 4.2.16: Self-catering cabin

The 215 guestrooms themselves vary by price point, as evidenced by the colour, materiality, and size of each suite. For example, more of the budget went towards creating lush executive rooms and still fancier signature suites like Figures 4.2.11 and 4.2.12, respectively. They boast a rich colour palette and luxurious furniture that emulate the Victorian concept of extravagance through colour, texture, and pattern. The difference between this type of room and the rooms geared toward families with children is glaringly obvious, as is the case with most hotels since rooms with children or more than two occupants tend to experience a lot more use and abuse.

Figure 4.2.13 shows a typical family suite within the main building, some with single beds and some hosting bunk beds, while Figure 4.2.14 shows one of the 54 detached cabins across the lawn of tennis courts. These spaces are not as decorated and are less visually exciting, but do not appear to be any less comfortably furnished than their more expensive counterparts.

On the eastern end of the corridor, a staircase leads guests down to the modern extension, connected to the main building by a glass corridor. This massive space houses sports facilities, a gallery, a quick-service restaurant called The Hub, and the children’s play area. The play area, suitable for children aged two to twelve, is known as Big Country and contains a large bounce house and soft-play space. Each guest has two free sessions per day in this play space, but additional two hour evening sessions can be booked on weekends for seven pounds per child. As for adult entertainment on this level, the Victorian spa is open and contains architectural features of the original bathhouse (Figure 4.2.17). Unfortunately on the site visit, a fitness session was in place and I was unable to see it in person. Crieff ’s website describes the structure as “Scotland’s most historic spa hotel,” which is not expertly communicated in its current state. While the elements of the historical spa are there, the process for modern guests is a much more relaxing one. The

42

Fig 4.2.17: Victorian spa

Fig 4.2.18: Sauna

original Victorian spa would have been a medical treatment, complete with freezing cold baths and a separate pool of hot water, similar to the Roman baths. Now, guests can lounge on a chaise next to the comfortably warm pool or head into the modernly-designed steam room and sauna (Figure 4.2.18). An ice fountain and cold showers are available as part of the spa treatment, but they are not mandatory as they would have been 150 years ago. Spa sessions include a robe, papers and fruit, and are tightly limited as to allow the guests to fully enjoy themselves and feel content.

With over one thousand guests a day and 550 employees, the hydropathic hotel is doing well for itself nowadays. So successful in fact, that current manager Stephen Leckie plans to further expand Crieff eastward with a new plan called “Hydro Care,” which was pitched to the public and various boards in 2011 and is currently underway. The new East facility will include independent and assisted living facilities, plus onsite specialist care for those who require it.

The transformation of Crieff Hydro from a health-centric establishment specialising in water therapy for its patients and those in need of some self-care into a family-oriented holiday destination has been an intriguing one. Charles Reade once noted, “The habitable globe possesses no more delightful spot than Crieff.”39 This statement struck me as intriguing, as I could picture Mr. Reade saying this in simpler days, before Crieff grew to be the colossal complex it is now.

My initial thoughts of the hotel were muddled and less than enthusiastic, as the core of the structure is stunning and the modern additions seem to submerge the history and purpose of the establishment underneath hoards of activities. My other grievance was with the design and materiality of the latest renovation, given that most spaces are covered in insignificant furnishings typically found in lower-budget hotels. The artwork, patterns, colours, and overall feel of the lobby and public spaces give no indication of the Victorian hotel’s history or personality, and it seems almost as though no efforts were made to differentiate Crieff from any other modern hotel suitable for family travel. Upon further research, examination of the hotel in person, and reading review upon review from guests, I learned the general consensus is that the people adore Crieff exactly the way it is, tacky wallpaper and all. It serves its purpose as a multi-use facility, and makes the best of offerings to cater to its thousands of guests. These aspects are much more enticing to the modern traveller than rich looking spaces. In 2019, the hotel was even named one of two of Scotland’s best resorts by author Peter Irvine in travel guide, Scotland the Best.40

43

Atholl Palace Hotel

Fig 4.3.1: Rear view of Atholl Palace, 1932

Fig 4.3.2: Original base floor plan

44

This palatial Pitlochry hotel is the work of Perthshire architect Andrew Heiton Jr., with some assistance from younger brother, Thomas Arthur Heiton. Sons of renowned Perth architect Andrew Heiton Senior, the two Heiton brothers dreamed of creating a grand castle-like hydrotherapy establishment. Pitlochry was chosen for many reasons: it was rumoured to have the freshest air and cleanest water in all of Scotland, plus great views and moderate temperatures, all desirable qualities for the site of a hydropathic hotel. After nearly four years of construction and one hundred thousand pounds, Athole Hydropathic Company Ltd was ready to open its doors in 1878, until Pictish archaeological remains were discovered on the site. This emergence set back the opening to 1886, which was three years later than planned due to some unexpected bankruptcy issues.41 Its completed form can be seen in Figure 4.3.1, and plan in Figure 4.3.2.

The Scotch Baronial and French Gothic-inspired hotel experienced many changes of ownership in its early years. In 1889, it was renamed Atholl Hydropathic, Pitlochry after being purchased

by Aberdeen native William Macdonald for only twenty-five thousand pounds, just a quarter of its original value. Macdonald implemented many changes during his time as proprietor, including shutting the hotel down during the winter. Another major change that happened during this time was the shift from health-centric establishment to entertainment and fanciful food establishment, something that did not happen to other hotels of this period and purpose until much later.

Atholl was not destined to remain alcohol-free for long, as it is located very closely to Blair Athol Distillery, which was founded in 1798 and had a very reputable brand of whisky. Macdonald wanted to attract guests, not patients, and invested copious amounts of money to ensure this would be the future of Atholl. He introduced cycling and sport days, dances and ostentatious balls, fancy dress competitions, and other extravagant events, many of which included outlandish prizes for the guests. After exhausting every last dime on the hotel and several other ventures in France, Macdonald quickly went bankrupt in 1909, and the hotel was seized.42 The Lunn brothers took over the hotel in 1913 and completely modernised it for its time. They introduced electric lighting, generators, and its current name: The Atholl Palace Hotel.43 Beginning in 1915, the hotel felt the presence of the Great War in its halls, as all-girls school Queen Margaret’s School took up residency within the palace. The school children, who were displaced after their school building was devastated by German forces, studied at Atholl until 1918. This would not be the hotel’s only experience as a safe haven for schools seeking cover: during the Second World War, a boarding school in Cambridge by the name of The Leys School leased the building. The Leys School was to be used as a hospital for the duration of the war, so the all-boys school took up residence at Atholl, bringing with them desks and books, pianos and lab equipment.44 No tangible evidence of this part of the hotel’s history exists, other than the information plaques that line the walls of the museum in the basement. Regardless, the boys’ school vacated in 1945, and Atholl reopened as a hotel once more the following year.

Between the wars, Atholl saw some changes made in the name of leisure, including the addition of a pavilion and some new tennis courts in 1924 and the enclosing of the veranda to create a fine dining restaurant in 1925 (Figure 4.3.4). Various other interior redecoration schemes took place in the span of these years as well, an early attempt at keeping the hotel one step ahead of guests

45

Fig 4.3.3: Main elevation, 2019 Fig 4.3.4: Enclosed veranda, 2019 Fig 4.3.5: Wedding & event addition, 2019

and competitors. Nine years later, an Art Deco style house was erected by John Steel to receive the guests’ chauffeurs. Fast forwarding to the 1970s, Atholl saw another change in ownership, this time purchased by Clydesdale Commonwealth Hotels Ltd for ninety-one thousand pounds. The largest change made following this purchase was the installation of approximately seventy chalets across the grounds.

In 1973, the palace saw another change of ownership. The Strathclyde Hotel Company made the necessary changes for the palace to host large-scale weddings and events with the addition of a round modern extension near the entrance (Figure 4.3.5). Just three years later, Atholl was purchased yet again by Trusthouse Forte, who ran the hotel for twenty years and opened it all year round again. A heated swimming pool was introduced, a contrast to the Turkish baths previously in place, and the tennis courts were transformed into a helipad. The next change in ownership in 1996 saw Chorus Regal redecorate ten bedrooms before putting it back on the market; a practice that, while good as a quick fix, is unhelpful for the hotel as an entity. Having multiple designers over the span of a few years work on the same project but with different mindsets and approaches to the process causes a disconnect in the harmonious balance between the guestrooms and the public spaces. Unfortunately, that is the reality of working with large-scale hospitality projects, as the money goes where it’s desired most at the time, and must be accomplished in phases.

In 2001, Atholl saw its most extensive refurbishment to date. Irish hoteliers Castle Collection bought the establishment and invested a whopping six million pounds into the palace. A total restoration was set in motion, including the rediscovery of some hidden rooms and the uncovering of the original Victorian baths, some elements of which were restored and displayed proudly (Figure 4.3.6). This phase took over ten years to complete, and included other efforts such as redeveloping the terraced gardens and restoring the Art Deco building formerly mentioned, Highways House. All other buildings on the premises were updated and restored as well, and new

46

Fig 4.3.6: Victorian bath elements

Fig 4.3.7: Restored Gate Lodge

Fig 4.3.8: Museum entry

self-catering lodges (Figure 4.3.7) were introduced to give families a more private place to stay, with all the benefits of being on the grounds of the main building. In the middle of the expansive works, the Atholl Palace Museum opened up in the cellar, across the entrance to the Lavender Spa and pool.

Fig 4.3.9: Informational room

Fig 4.3.10: Games room

Fig 4.3.11: Entry sequence

Fig 4.3.12: Fireplace in lounge

The museum is a rare space: it is the only museum to showcase and explain the social history of a hotel in Scotland, which makes it a unique one. Guests enter the dim yet effectively lit space into a carriage-like exhibition (Figure 4.3.8), which then leads through to the museum. Information panels line the right-hand wall, while a series of rooms to the left display what certain areas of the hotel would have looked like in its early days. One room shows a Victorian dentistry, another explains what hydrotherapy looked like in the eyes of its first patients, and another room showed the cramped layout of the servants’ quarters (six single beds stuffed into a room that should only comfortably fit two). The most important room in the museum, however, is the large classroom-like space (Figure 4.3.9), which includes a projector playing an educational video about the history of the hotel, from inception to present day.

This room is filled with armchairs and toy chests stacked to the brim with board games and other playful items. Drawings of the hotel adorn the secondary walls, alongside artefacts and other decorations. Off the right end of this room lies a billiards room (Figure 4.3.10), complete with a concealed nook of computers and even more toy chests. This museum and play area combination is a unique and successful way of accurately representing and showcasing the journey of the hotel, while making it interactive and engaging for guests of all ages.

Circling back to the entry sequence of the hotel, guests arrive under a stone and wooden porte cochère, much like the Crieff arrival experience. The reception desk is less obviously

47

Fig 4.3.13: Final section of dining

Fig 4.3.15: Event centre

Fig 4.3.14: Piano bar

Fig 4.3.16: Stag’s Head bar

located, in a nook off to the left of the entry way and unmarked. Guests are instead treated to a large open lounge (Figure 4.3.11) with a bright red, gold and beige colour scheme. The plush furniture and refreshments make guests feel welcomed by the hotel, an excellent way of going above and beyond. The furnishings, patterns and artwork reflect the social history and sophistication of the hotel, which is a bit overwhelming in appearance, but adored by guests who seek an authentic Scottish hotel experience. Large fireplaces (such as Figure 4.3.12) and gildedframed artwork supplement this visual and suggest an heir of grand cosiness. The restaurants beyond the lounge are visible from the entry, enticing guests to come in or come back for a bite to eat. The restaurants exist in a linear fashion, almost as an enfilade of dining options. The first restaurant one notices is the beginning of the sequence: bright red and gold and very open, with large tables and fancy settings. The next room in the sequence offers guests a buffet, but is only open during select hours of the day. Finally, guests can dine in a deep red- and blue-hued room, where monstrous bay windows frame a more dynamic view of the Scottish landscape (Figure 4.3.13). While the furniture and table settings of all three rooms are the same, each space has a distinct feel to it, offering guests both variety and consistency. Adjacent to the enfilade of restaurant options is the piano bar on the right-hand side (Figure 4.3.14).

Past the piano bar and down the corridor lies a drawing room that now acts as a conference room or event centre (Figure 4.3.15). Wedding ceremonies can be held here as well, while the receptions take place in the modern extension mentioned previously. The drawing room boasts beautiful crown moulding details and chandeliers, plus more sweeping views of the scenery beyond, but clunky modern technologies take away from the authenticity of the room. Like in most cases, these amenities are necessary evils, but are so poorly concealed that they detract from the overall impression of the room. The corridors are done in the same manner, and the lift is so out of the way and hidden that the hotel can hardly be considered universally accessible. Some areas can only be accessed via stairs, including the modern extension and rooms off the main building.

48

Fig 4.3.17-20: Uninviting corridor elements Fig 4.3.21: Standard guestroom

On the opposite end of the ground floor is another bar (Figure 4.3.16), this one fabulously decorated with tartan, antlers and other Scottish game paraphernalia. Palm trees and whisky bottles adorn the space neatly, and the dark wood furnishings and fireplace invite guests to come in, take a seat in a big leather armchair, and cast away all troubles. Originally a salon or smoking room, this space most effectively captures the essence of Victorian-era Scottish Highland tourism.

Unfortunately, the floors above the ground level are not treated with the same historical delicacy.

As mentioned on the previous page, the corridors to the guestrooms are dimly and cheaply lit (Figure 4.3.17), and offer a stark and depressing contrast to the vibrance of the rooms below. It is obvious that these interstitial spaces have been neglected and have remained at the bottom of the list of significant spaces for quite some time. Crieff and the Balmoral had similar attitudes towards their corridors, but Atholl’s are by far the most underwhelming. Some minimal attempts have been made to add character to these spaces, such as popping in a wooden armchair in a nook surrounded by fire extinguishers (Figure 4.3.20). These attempts fall flat, however, as the armchairs are roped off to signal that they are not to be used, creating an even more unwelcome space. The guestrooms do a much better job of creating a comforting, habitable space by making use of interesting and historically appropriate patterns combined with plush, soft bedding and furnishings (Figure 4.3.21). These spaces, unlike the corridors, are clean, light and refreshing.

Atholl Palace has a rich social history and has seen many new proprietors come in, make changes, and leave as quickly as they arrived. While the discontinuity can be apparent in transitional areas, the hotel is mostly on the same page now following the most recent phase of extensive renovations. When I visited the hotel in person, it was evident that new guests were in awe of the grand entry space and sumptuous lounge. Overheard conversations about the furniture and bar decorations, particularly the whisky salon, were abundant and consistently positive. Several guests with teenagers were excited to make their way down to the museum, then pool and spa. Many families were on walks around the gardens and grounds, or on their way to the golf course. The only obvious discontent came from a pair of American travellers who had not located the lift and were struggling to heave three massive suitcases up to the third floor.

49

Fife arms Hotel, Braemar

Fig 4.4.1: Fife Arms, 1878

Fig 4.4.2: Fife Arms, 2019

50

Braemar is home to several Scottish cultural phenomena, including the Braemar Gathering (Highland games which the Queen always attends), historical Balmoral Castle, and one of Scotland’s most unique establishments, the Fife Arms, a Category-B listed hotel. While no exact date is given for the plans and inception of the hotel, architect Alexander Marshall Mackenzie is credited with designing the inn in the late nineteenth century, which seems an incorrect assumption. The hotel has foundations and a history that date to the early nineteenth century, well before Mackenzie was born in 1848. He assisted famous Scottish architect David Bryce before opening his own practice, where he was most active from the 1880s onward, which is much too late for the Fife Arms to have been completed. The Dictionary of Scottish Architects notes that modifications were made in the late 1890s, presumably by Mackenzie.45 Figure 4.4.1 shows an image of the Fife Arms from Historic Environment Scotland’s database Canmore, dated 1878.

While the railway system had been present in Scotland for a while by this time, it had not made its way into that region of the mountainous Highlands, now known as the Cairngorms National Park, at that time. In fact, the railway lines still hardly disrupt the Cairngorms. In the days of the Victorians, horse and buggy were the main means of transport if the trains were not an option, and the Fife Arms was built as a coaching inn to accommodate those travellers. It is rumoured that Queen Victoria loved visiting Braemar, as it resides in close proximity to her temporary residence, Balmoral Castle. The town still exhibits a sign noting her favourite carriage pathways, and the hotel itself displays a plaque evidencing her frequent visits to the inn.

Several alterations were made to the hotel after the turn of the century. In 1905, a porch was added, and the following year, the west wing was redone. Twenty years later, another round of renovations commissioned by The Trust Houses Ltd took place, this time encompassing the main building, the stables, a farm and laundry.46 Not much was recorded about the inn during the middle of the twentieth century, but notes of alterations surface again in the 1990s by architect John McRobert. McRobert focused mainly on transforming the obsolete stables into a visitor centre. The inn remained, for the most part, in this tartan and pseudo-leather state until the 2010s.

The hotel at this stage of its life is described by frequent visitor and travel blogger Rebecca Rose as “draughty” with a “tired, dated interior.” She describes her visits as necessary for a quick cup of coffee and restroom break while on the road for the Highland Games.47 A few years after this description takes place, the hotel was hit by economic hardships and fell into a state of disrepair. That was in 2014, just before Swiss art dealers Iwan and Manuela Wirth and London-based designer Russell Sage teamed up with Moxon Architects to breathe some new life into the inn. In fact, this team not only revived the inn, they completely transformed every inch of the place. The word “maxilmalism” does not even begin to describe the hotel after they got their hands on it, even though its unassuming lodge-like exterior tells a contrasting narrative. Most of the exterior is original, just revitalised, and the twentieth-century additions were demolished during this grand refurb (Figure 4.4.2). The real transformation takes places once guests step through the front doors. Immediately, one is overwhelmed with colours, patterns and textures that shouldn’t belong together, but somehow complement each other perfectly. The Victoriana-meets-funky-modern-art-world vibe is a bold and exciting direction for the designers and art dealers to choose, albeit potentially risky for a quiet town in the Scottish Highlands.

51

Fig 4.4.3: Lobby

Fig 4.4.5: Painting by Queen Victoria

Fig 4.4.4: Lobby lounge

Fig 4.4.6: Drawing Room

Upon entering the hotel vestibule (guests can also enter through the hotel’s signature pub, the Flying Stag to the left of the lobby, Figure 4.4.3), intricate woodworking details catch the eye immediately. Masterly carved case goods are also scattered about the entire inn, from the lobby and lounge to the drawing room and guestrooms above. Warm Victorian-inspired colours provide a bold backdrop for quirky artworks such as the autonomous worn Steinway piano in the lounge (Figure 4.4.4), a watercolour painting of a stag by Queen Victoria herself in the lobby (Figure 4.4.5), and a Richard Jackson chandelier sculpture made of neon glass antlers interwoven together above the concierge desk. The original Victorian staircase stands proudly to the right of the desk, adorned with a custom Scottish tweed carpet designed by Leith-based textiles expert Araminta Campbell, who is also responsible for the design of the hotel’s signature tartan in the drawing room (Figure 4.4.6). The drawing room is particularly interesting because the entire room is boldly paradoxical. A Picasso hangs on the wall next to the entry to the bar beyond, just above a plush sofa covered in brocade. The bespoke tartan designed by Campbell wraps the walls in a familiar Scottish memory while a fire roars in the open fireplace surrounded by taxidermied game.

The most spectacular and surprising bit of the room is the ceiling, a piece by Chinese artist Zhang Enli that invokes the spirit of the Scottish Highlands in its forms, but uses vibrant colours in its execution. The juxtaposition of the Victorian antiques and motifs with the modern art pieces creates more than just a visually stimulating story. The dichotomy of the two also represent the Victorian era quite well: clinging to the old while launching into the new and futuristic head first, stiff clothing and strict societal rules paired with wacky outlandishness, Scottish pride versus fascination with other cultures.

52

Fig 4.4.8-9: Clunie Dining Room

Fig 4.4.7: Elsa’s Bar

Fig 4.4.10: The Flying Stag pub

Fig 4.4.11: Flying Stag bar feature

Fig 4.4.12: Secondary staircase

Guests have two options for dining and one for just drinks at the inn. Elsa’s Bar (see Figure 4.4.7) is named for worldrenowned mid-twentieth century fashion designer Elsa Schiaparelli, who frequently visited Braemar for holidays.

Elsa’s fashion philosophies are apparent in this cosy cocktail bar: eccentric and ironic yet functional. Feminine colours and delicate patterns characterise the Art Deco-inspired space that can seat eight guests. A large mirrored disco ball reflects light and colour above. Just beyond this small room is the signature fine dining restaurant, the Clunie Dining Room (Figures 4.4.8-9), named after the river that flows alongside the inn and through the town. The main feature of this calm yet quirky space is the restaurant-wide mural, hand-painted by artist Guillermo Kuitca. The graphic and colourful mural is punctured by windows that overlook the Clunie River, creating an aesthetically pleasing and rejuvenating ambience for guests. The final dining option available is the pub (Figure 4.4.10), named The Flying Stag for the taxidermied stag with wings that hangs over the bar (Figure 4.4.11). While big-name artists and designers have pieces and installations covering the rest of the hotel, The Flying Stag boasts portraits of local community members, done by recent art school graduate Gideon Summerfield. The series, comprised of several hundred portraits, is referred to as the “Characters of Braemar.” Again, this is compelling and unusual for hotels, but demonstrates how the designers and art dealers did not cut any corners while creating each individual space. This philosophy of making every detail as significant as the next is apparent everywhere, especially in places that are often overlooked or neglected by hotel designers such as corridors and stairwells. While the main staircase is grand and enticing, the secondary stairwells are not lacking in any way.

Each one and its connecting corridors act as a mini art gallery, displaying more taxidermy, local art, or eccentric pieces that spark interest and curiosity in guests as they make their way from one space to the next (example in Figure 4.4.12).

53

Fig 4.4.13: Emperor Suite, a Royal Suite

Fig 4.4.17: Croft Room

Fig 4.4.14: Artist’s Studio

Fig 4.4.15-16: William Morris-inspired wallpapers

Fig 4.4.18: Scottish Culture Room

Another major change the architects and designers brought about is the reduction of bedrooms by nearly half from ninety to forty-six. This meticulous recalculation of room sizes allowed the designers to retain the original building form while shimmying around interior walls only for this portion of the renovation. While the guest count is significantly less, the rooms and suites are now much more spacious and glamorous than before. Each individual room tells a story, a unique approach for a hotel to take. As mentioned in the previous case studies, hotels normally have levels of rooms based on guest budgets, but each room falls under a type that is identical. Of course, this approach depends on the firm and client budgets, but is such a rare and appealing application. Every guest review and travel blog I read about the hotel expanded upon this topic, saying it made them more likely to come back and request a different room in order to explore and vary their experience from previous trips. Another incentive is the availability of three disabled-access rooms that are decorated just as lavishly and comfortably as the other suites.

The range of rooms is wide: guests can choose to stay in a royal suite such as the Emperor Suite (Figure 4.4.13). Each royal suite is inspired by royal guests who have visited the town and includes a free-standing copper bath and rain shower, separate sitting room and large bedroom. An Artist’s Studio (Figure 4.4.14), a one-of-a-kind room, offers a bed in a nook surrounded by hand-painted walls and views of the Cairngorms landscape. Many of the wallpapers and artworks are inspired by nineteenth century Arts and Crafts leader, William Morris (Figures 4.4.15-16). The Victoriana suites evoke the hotel’s original charm as a coaching inn, boasting authentic antiques and periodthemed wallpaper. The Croft Rooms (Figure 4.4.17) are on the smaller and less extravagant end of the spectrum, but are cosy and hand-crafted, based on Scottish croft houses. The Scottish culture rooms (Figure 4.4.18) are designed based off of famous Scottish scientists, engineers and explorers who have influenced the arts and sciences globally. Finally, the nature and poetry rooms funnily enough take their designs from famous Scottish poets who were inspired by nature.

54

Fig 4.4.20: Secondary private dining room, Fire Room

Fig 4.4.19: Private dining room, Fog House

Fig 4.4.21: Artwork in new courtyard

Aside from the main public spaces and guestrooms, the Fife Arms also offers a variety of new spaces created during the latest renovation. Several private dining rooms allow guests the chance to dine with families, friends or colleagues in spacious funky rooms. The Fog House (Figure 4.4.19) can host up to twenty-eight guests while the Fire Room (Figure 4.4.20) can accommodate twelve. Again, the juxtaposition of antiques and captivating contemporary artworks makes these rooms exciting and special. A separate room just for presenting, the Brae Room, holds a projector and can fit thirty people in a theatre configuration. Finally, a local hut called the Culardoch Shieling is available for rent for lunches and such, and sits about forty-five minutes away from the hotel. One of the largest architectural changes that occurred is the redistribution of public and interstitial space to create a sizable courtyard beyond the kitchen. The courtyard takes the form of a peristyle, incorporating local timber as columns and using salvaged pink and grey granite.

The courtyard is also meant to be a sculpture garden, and the piece currently taking centre stage is a spider-like sculpture by Louise Bourgeois (Figure 4.4.21).

The Fife Arms Hotel is not just an adults-only artful getaway in the Highlands. The inn also offers a library and a family room suitable for children with the addition of a television, DVD player and Xbox, plus boardgames, two doll houses, and a football table. This room is decorated just as quirky as the rest of the hotel, but with chalkboard walls and more kid-friendly patterns and textures. The hotel overall contains nearly seventy different wallpapers and many more textures and fabrics. Activities in the hotel and on the grounds include art tours and cultural events, walks or hikes, history and nature tours, foraging walks and workshops, helicopter rides, fishing, golf, and more. Winter sports facilities and whisky distilleries also operate nearby. A spa offers adults an opportunity to relax with massages, facials and other treatments after a long day of exploring and adventuring.48

55

Chapter Five

56

Concluding Statements

We think of tourism today as something that encompasses most of society. Travel is affordable now, and widely experienced. Many places across the globe are now accessible that would not have been only a few decades ago. Journeys across oceans that would have taken months via boat now take hours by plane. It is difficult to imagine a world where horse-drawn coaches were the main means of transport, and steam-powered locomotives burst onto the scene offering to take passengers at much quicker rates, opening up the possibility of widespread travel. The Victorians took full advantage of their new technology, revolutionising the normalised idea of tourism. Victorian-era hotels are a unique and specialised kind of establishment. Several typologies existed based on desired clients and actual guests, and they evolved from then onwards to suit the needs of the traveller as time progressed and new technologies came about. Today, hotels still choose their desired target guests by offering certain activities and amenities. For example, the Balmoral Hotel attracts well-to-do sophisticated guests with their high prices, fancy afternoon teas, and classical- and Victorian-inspired decor. Children would be expected to behave politely.

All bedrooms are equipped with smart televisions and free internet, while the public spaces hold more conferences and business events than adventurous excursions. While the Balmoral makes some efforts at accessibility, the main entrance is far from universal and the lift is rather small and cramped, not spacious enough for a wheelchair and a large suitcase to comfortably fit.

Crieff Hydro Hotel aims to offer the exact opposite: a massive family retreat, complete with separate cabins and horse-back riding among sixty-odd other outdoor activities. The site visit proved this to be the case, as far less of the budget was spent on decor and design than on expansions to house all of these activities. Atholl Palace Hotel seems to hover in the middle of the two, a classy establishment that wows guests with lush Victorian-inspired antiques, colours and fabrics upon entering the lobby and lounge. Fine dining restaurants entice guests looking for a fancy meal, and a golf course is available behind the main body of the building. In the basement, however, lies a history museum that is interactive and holds a game room for children. While not nearly as kid-friendly as Crieff Hydro - no ropes courses or bounce houses to keep them entertained - Atholl still finds a nice balance between taking pride in its social and architectural history and catering to its guests, something that Crieff has not properly accomplished. A major downside of Atholl is its inaccessible entryway and hidden lift, both of which can make the stay stressful for some guests.

57

Finally, the Fife Arms Hotel in Braemar does the best job of the four of embracing its heritage and designing in an over-the-top way that still feels magnificent and just right. Its vibrance and individualism are enough to lure in guests of any age, background or interest, yet it can feel almost too museum-like. Unlike the other three hotels, the guestrooms at Fife Arms have no televisions, but rather books and artefacts related to the people and things that inspired the designs. I see this as more of a positive than a negative: on the positive side, not including televisions but still having free internet alludes to the time and purpose of the original inn, which was meant to be a retreat or escape from the technologies and stresses of modern industrial society. Through the decoration of the hotel and the minor but finite decision to exclude some amenities typically found in hotels, the Fife Arms creates an authentic retreat for those seeking one. Those not seeking too authentic a retreat should do thorough research on the place beforehand. Accessibility, however, is mentioned and is one of the only hotels to so forwardly market their accessible rooms.

Overall, I would classify the Fife Arms as being the most successful hotel in maintaining its historical integrity and character as a Highlands retreat. The Balmoral is the most successful in terms of business, as it has been running with a high success and return rate since its inception, with very few periods of down time. Crieff Hydro can accommodate the most people, both in terms of numbers and preferences. I read nothing but absolutely glowing reviews about the hotel both now and in old articles and books. While it no longer operates as a hydropathic hotel in the very sense of the phrase, one could not say it hasn’t been a successful endeavour. Atholl Palace is the most in tune with its significance, which is important, but is unfortunately not a driving factor for travellers when selecting a Scottish getaway.

In the first chapter, I posed the question, “is it beneficial for these monumental establishments to include and offer every modern amenity?� My answer to this now after researching, visiting, and analysing each hotel, is as I expected: seldom. For Crieff Hydro, this approach works as the hotel is geared towards families with children. Kids have access to so many activities these days and desire variety. The allocation of money towards maintaining these activities is a sensible move, as

58

half the guests of the hotel couldn’t care less about the wallpaper design or quality of the fabrics, as long as they’re waterproof and sturdy. In the three other cases, I would say it works that they do not offer every modern amenity, as they are running smoothly by catering to their desired clientele. In fact, I would argue that offering more amenities would therefore disrupt their target guest list and detract from the essence of the hotel.

I also asked, “does it matter to the consumers if they have access to advanced technology on their retreats, or are they seeking a more authentic Scottish getaway? How does implementing all this technology affect the character and integrity of the hotel itself ?” The answer to this set of questions, I have found, is related to the first answer. Consumers select what they want, so if they want to choose an authentic getaway, they might choose somewhere like the Fife Arms or similar, and if they are seeking a fun-filled family holiday, they might select Crieff. Those who are still seeking a relaxing getaway, but perhaps not as quiet as Braemar might opt for Atholl Palace. The stunning hotel is located just minutes from the high street of Pitlochry and offers both authentic, cosy retreat and downtown excursions. Consumers now have so much access to information that they can easily decide what is best for their holiday. As for technology affecting the character of the hotel, age itself will take care of that. Each establishment is equal parts dreamy fantasy-land and well-oiled factory. The front of house areas sparkle and shine, while behind closed doors, chefs and waiters and cleaning staff sweat for hours on end to make sure every guest is perfectly taken care of. Since this process, our technology, and our ideas of what luxury or leisure are constantly changing, our surroundings must change with us. According to Historic Environment Scotland, a building’s historic integrity is not just its physical built form, but also its personality and its place in society. This means that from the beginning, especially in the hospitality and tourism industry, the historic integrity of the building is perpetually evolving.

All four of the hotels examined are housed in their original buildings, though some are technically more original than others. Crieff Hydro could be classified as less historical because of all of its modern additions and disregard for its history in the design, but that does not mean that the hotel itself lacks historical integrity entirely.

59

Endnotes 1 Historic Environment Scotland, Scotland’s Listed Buildings (HES: 2019), 5.

2 Ibid, 7.

3 James Crawford, Lesley Ferguson, and Kristina Watson, Victorian Scotland (Edinburgh: Royal Commission on the Ancient and Historical Monuments of Scotland, 2010), 7.

4 Roger Dixon and Stefan Muthesius, Victorian Architecture (London: Thames & Hudson Ltd, 1978), 8.

5 Daniel MacCannell, How to Read Scottish Buildings (Edinburgh: Birlinn Ltd, 2015), 52.

6 Dixon and Muthesius, Victorian Architecture, 8.

7 Idem.

8 Ibid, 15.

9 Miles Glendinning and Aonghus MacKechnie, Scottish Architecture (London: Thames & Hudson Ltd, 2004), 139.

10 MacCannell, Scottish Buildings, 56.

11 Glendinning and MacKechnie, Scottish Architecture, 127.

12 Ibid, 53.

13 Dixon and Muthesius, Victorian Architecture, 8.

14 Ian Gow, The Scottish Interior (Edinburgh: Edinburgh University Press, 1992), 120.

15 Crawford, Ferguson and Watson, Victorian Scotland, 9.

16 Idem.

17 Crawford, Ferguson and Watson, Victorian Scotland, 57.

18 MacCannell, Scottish Buildings, 53.

19 Katherine Haldane Grenier, Tourism and Identity in Scotland, 1770-1914: Creating Caledonia (Aldershot: Ashgate Publishing Limited, 2005), 3.

20 Ibid, 2.

21 Ibid, 1.

22 Ibid, 1.

23 Dixon and Muthesius, Victorian Architecture, 82.

24 Fay Young and anonymous, North British Station Hotel: old and new Edinburgh (Edinburgh: Insider Publications Ltd, 1902, revised 1991), 49-51.

25 Ibid, 97.

26 Idem.

27 “History at the Balmoral Hotel.” Accessed May 18, 2019. https://www.roccofortehotels. com/hotels-and-resorts/the-balmoral-hotel/story/ 28 Idem.

29 Malcolm Shifrin, “Victorian Turkish Baths: their origin, development, & gradual decline.”

Accessed June 1, 2019. http://www.victorianturkishbath.org/_6DIRECTORY/AtoZEstab/Hydros/AbHydroLock/AbHydroLockEng.htm 30 Guy Christie, Crieff Hydro (Crieff: Crieff Hydro Limited, 1967), 21.

31 Ibid, 18-21.

32 Idem.

33 Ibid, 23 34 These family connections are displayed on the walls of the hotel corridors.

35 Harriet Richardson, “Historic Hospitals,” January 1, 2016, https://historic-hospitals.

60

com/2016/01/01/dry-january-head-for-a-hydro-a-brief-look-at-victorian-hydropathic-establishments-in-scotland/ 36 Christie, Crieff Hydro, 177.

37 Ibid, 1.

38 Information gained from handout produced by Crieff Hydro and distributed by the reception desk.

39 Christie, Crieff Hydro, 29.

40 Frances Rougvie, “Crieff Hydro and Gleneagles Hotel given top accolade by travel guide Scotland the Best,” April 3, 2019, https://www.thecourier.co.uk/fp/lifestyle/travel/862548/ crieff-hydro-and-gleneagles-hotel-given-top-accolade-by-travel-guide-scotland-the-best/ 41 “Atholl Palace Hotel, including terraced gardens,” Historic Environment Scotland, accessed June 18th, 2019, http://portal.historicenvironment.scot/designation/LB39856 42 All information learned through Atholl Palace Museum, located in the basement quarters of the hotel.

43 “History,” Atholl Palace, accessed June 18, 2019, https://www.athollpalace.com/history-of-the-atholl-palace-museum 44 Atholl Palace Museum.

45 “DSA Building/Design Report: Fife Arms Hotel,” Scottish Architects, accessed June 10, 2019, http://www.scottisharchitects.org.uk/building_full.php?id=209894 46 Idem.

47 Rebecca Rose, “Cairngorm cool: the reinvention of the Fife Arms,” January 24, 2019, https://www.ft.com/content/150a165e-19b3-11e9-9e64-d150b3105d21 48 All information in these two paragraphs learned from visiting the hotel in June 2019 and from the hotel’s website, http://thefifearms.com/discover/.

61

Bibliography Architects Journal. “Moxon transforms Highland hotel with ‘primitive’ tree trunk column-courtyard.” March 12, 2019. https://www.architectsjournal.co.uk/buildings/moxon-transforms-highland-hotel-with-primitive-tree-trunk-column-courtyard/10040850.article Atholl Palace. “History.” Accessed June 18, 2019. https://www.athollpalace.com/history-of-the-atholl-palace-museum Caro Communications. “Press release: Moxon Architects to revive Scottish hotel: the Fife Arms, Braemar.” September 3, 2016. https://carocommunications.com/moxon-architects-to-revivescottish-hotel-the-fife-arms-braemar/ Christie, Guy. Crieff Hydro. Crieff: Crieff Hydro Limited, 1967.

Crawford, James, Lesley Ferguson, and Kristina Watson. Victorian Scotland. Edinburgh: Royal Commission on the Ancient and Historical Monuments of Scotland, 2010.

Crieff Hydro. “About Us.” Accessed June 20, 2019. https://www.crieffhydro.com/us/about-us/ Dixon, Roger and Stefan Muthesius. Victorian Architecture. London: Thames & Hudson Ltd, 1978.

Gifford, John. The Buildings of Scotland: Perth and Kinross. New Haven, CT: Yale University Press, 2007.

Glendinning, Miles and Aonghus MacKechnie. Scottish Architecture. London: Thames & Hudson Ltd, 2004.

GM. “GLM appointed construction managers for Fife Arms Hotel refurb.” February 22, 2016. http://www.weareglm.com/glm-to-refurbish-iconic-fife-arms-hotel/ Gow, Ian. The Scottish Interior. Edinburgh: Edinburgh University Press, 1992.

Grenier, Katherine Haldane. Tourism and Identity in Scotland, 1770-1914: Creating Caledonia.

Aldershot: Ashgate Publishing Limited, 2005.

Historic Environment Scotland. “Atholl Palace Hotel, including terraced gardens.” Accessed June 18, 2019. http://portal.historicenvironment.scot/designation/LB39856 Historic Environment Scotland. “Ewanfield, Crieff Hydro Hotel including gatepiers and boundary walls.” Accessed June 10, 2019. http://portal.historicenvironment.scot/designation/LB23512 Historic Environment Scotland. Scotland’s Listed Buildings. (HES: 2019), 5.

Leckie, Stephen. Issuu. “Crieff Hydro East Presentation.” November 8, 2011. https://issuu. com/crieffhydro/docs/crieff_hydro_east_public_exhibition_7.11.11_final_

62

MacCannell, Daniel. How to read Scottish buildings. Edinburgh: Birlinn Ltd, 2015.

Macdonald, Linda. The Telegraph. “The Fife Arms.” Accessed July 14, 2019. https://www.telegraph.co.uk/travel/destinations/europe/united-kingdom/scotland/highlands/hotels/the-fifearms-hotel/ Malcolm Shifrin, “Victorian Turkish Baths: their origin, development, & gradual decline.” Accessed July 1, 2019. http://www.victorianturkishbath.org/_6DIRECTORY/AtoZEstab/Hydros/ AbHydroLock/AbHydroLockEng.htm Potters, Jaimie. Harper’s Bazaar. “This newly-opened art hotel is your fast pass to vacationing like a royal.” July 15, 2019. https://www.harpersbazaar.com/culture/travel-dining/a26012908/fifearms-hotel-scotland/ Richardson, Harriet. Historic Hospitals. “Dry January? Head for a Hydro! A brief look at Victorian hydropathic establishments in Scotland.” January 1, 2016. https://historic-hospitals. com/2016/01/01/dry-january-head-for-a-hydro-a-brief-look-at-victorian-hydropathic-establishments-in-scotland/ Rose, Rebecca. “Cairngorm cool: the reinvention of the Fife Arms.” January 24, 2019. https:// www.ft.com/content/150a165e-19b3-11e9-9e64-d150b3105d21 Rougvie, Frances. “Crieff Hydro and Gleneagles Hotel given top accolade by travel guide Scotland the Best.” April 3, 2019. https://www.thecourier.co.uk/fp/lifestyle/travel/862548/crieff-hydro-and-gleneagles-hotel-given-top-accolade-by-travel-guide-scotland-the-best/ Scottish Architects. “DSA Building/Design Report: Atholl Palace Hotel.” Accessed June 4, 2019. http://www.scottisharchitects.org.uk/building_full.php?id=205732 Scottish Architects. “DSA Building/Design Report: Crieff Hydropathic.” Accessed June 1, 2019. http://www.scottisharchitects.org.uk/building_full.php?id=203237 Scottish Architects. “DSA Building/Design Report: Fife Arms Hotel.” Accessed June 10, 2019. http://www.scottisharchitects.org.uk/building_full.php?id=209894 Shollenbarger, Maria. How to Spend It. “Iwan and Manuela Wirth open a Highlands Hotel.”

November 5, 2018. https://howtospendit.ft.com/travel/204642-iwan-and-manuela-wirth-opena-highlands-hotel Squire, Olivia. Suitcase. “A hotel story: the Fife Arms, Braemar, Scotland.” May 28, 2019. https:// suitcasemag.com/travel/stories/hotel-story-fife-arms-braemar-scotland/ Tobin, Emily. House & Garden. “Hauser & Wirth’s newest venture is a Scottish hotel of extraordinary beauty.” Accessed July 14, 2019. https://www.houseandgarden.co.uk/gallery/hotel-of-themonth-the-fife-arms-cairngorms Young, Fay and Anonymous. North British Station Hotel: old and new Edinburgh. Edinburgh: Insider Publications Ltd, 1902, revised 1991.

63

Thank You.