Making Apples from Guns

Orchard Sign Swords to ploughshares, but now we may have to think of from guns to apples.  Comrie Community Orchard is a great example of the imaginative reuse of a heritage site.  The remains of an assault course and firing range have been incorporated into the plans for the future.

Obstacles for Growth

Obstacles are being used to train fruit trees.

Assault CourseCompost bins are situated along the side of the firing range.

Compost Bins

And a wonderful wooden Shepherd’s Hut has been made by a local crafts person and situated in the growing orchard.

The Shepherd's Hut

I love the mix of the reuse of the old with new introductions such as The Shepherd’s Hut.  As the orchard matures this will become a distinctive and peaceful place.  Even better in due course, for those who help tend the orchard, it will provide food to sustain and share….

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Comrie Community Orchard is located at Cultybraggan Camp, Perthshire, which was subject to a community buy out in 2007 through Comrie Development Trust (CDT).  Watch out for another post about the other elements of Cultybraggan Camp in the next few weeks. 

Poetry of Sculpture – journey through the south west

HushBefore I visited Cairnsmore of Fleet, National Nature Reserve, I probably anticipated my experience would be dominated by the ‘natural’ and that I would encounter a wild landscape.  However, even as I arrived it became rapidly apparent that the landscape was significantly marked by cultural activity.  Not only is much of it dominated by significant areas of coniferous plantations but the Big Water of Fleet Viaduct was a striking cultural relict (apparently featuring in the 1935 film version of John Buchan’s 39 Steps).

Forests and Viaduct

In fairness I was drawn to the site because I knew there was an artwork by artist Matt Baker and poet Mary Smith: a collection of five sculptures and poems (Scene Shifters, Ocean, Hush, Heart and Erratic) which responded to the landscape of Cairnsmore.  In amongst the buildings of the working farm is a small (but excellent) visitor center with interpretation about the landscape and the art works.

Cairnsmore InterpretationIt was there that I collected five posts cards which were to guide me on my journey of discovery.  To discover the sculptures at Cairnsmore there are five clues, one on each of the post cards, which lead you consecutively to the sculptures.  The first to Ocean reads -

from the visitor centre before the river is bridged, don’t get your feet wet !

I am not going to show you all the sculptures (sorry, but they are wonderful), as I want you all to have your own journey of discovery at Cairnsmore…..

Over the next four hours or so, I followed the clues and was surprised and delighted by what I discovered.  The individual pieces are beautifully sculpted, all imaginatively and sensitively located in their landscape, evoking many cultural and natural references, but it was the way in which they were blended into a journey of discovery which was most joyous to experience.

Parts in a SceneGuiding PostcardsDiscover SculptureFound it

Landscape today is not an end result,

but only a single frame

in a long-running, slow motion movie.

How well will we act our parts in the next scene?

(From Scene Shifters by Mary Smith)

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I did not want to give too much away in this post (as I would encourage those who are lucky enough to visit Cairnsmore of Fleet to undertake the journey of discovery which these artists have so elegantly staged for the visitor) but I hope I can give you a flavour of why I found this to be such a great artwork. I was left reflecting on what our landscapes would be like if every one was subject to a similar process of artistic exploration. 
Not least that these artists also produced a Cairnsmore Poems ‘passport’ for the two gateway communities at Creetown and Gatehouse which were distributed at opendays, workshops and talks:
Cairnsmore Poems‘The idea was to give the poems to local people and offer them the chance to find the sculptures in the landscape in the hope that knowledge of the artworks would grow outwards from within the two communities’

Found Poetry – journey through the south west

I traveled from river side to hilltop,

and, perhaps inevitably in South West Scotland, I encountered the magnificent work of Andy Goldsworthy.

Striding Arches - distant aboveStriding Arches - distant belowA long walk along snow covered forestry tracks, frozen burns hiding in the shadows, took me to one of the red sandstone arches (each comprising 31 blocks totaling 27 tons) constructed on three inter-visible upland locations.  The Striding Arches website is a great resource where you can get further information but I would recommend, if at all possible, you take the time to visit as they only make sense experiencing them in there landscape.

Bothy ArchBefore I visited I had not appreciated that Goldsworthy’s work blends with the work of two other artists within the Cairnhead Community Forest.  Along the Dalwhat Water riverside are, The Hill of Streams letterboxes by Alec Finlay : also complemented by audio-files of the varying sounds of the different confluences.  While the artwork at the Bothy, also comprises some beautiful detailed stone carving by Pip Hall that presences the earlier names of the settlement and some of those who once dwelt there.

Matho Fergusone 1507 - carved by Pip Hall

Inside the Bothy I was intrigued to discover a dirty acetate sheet with a concrete poem printed on it.

Abandoned AcetateIt seems fair to let the found poet have the last word:

Found Poetry

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Coincidentally, there has been another recent post on Striding Arches at ECOARTS which is worth looking at too.

Walled Garden – The Bothy Project

The Bothy Project is transforming a stalled space in Glasgow: the site of a Glasgow City Council Cleansing Department building.  I first stumbled across the space three years ago and had not been passed it since.

Stalled SpaceReturning from The Whisky Bond (the red brick building partially seen in the distance), I was drawn to the space again by the presence of a newly painted wall.

Walled Garden (Painted)Stalled to Walled GardenA shipping container is being converted into a studio space for artist residencies, with exhibitions in the walled garden. I really look forward to seeing what else happens in this newly emerging place (they were building a great looking pizza oven today !).  It already looks like its going to become a great example of how a stalled space can become a creative hub.

Stone Remembers – journey through the south west

For some reason I thought this site would be easy to find. I remember being amazed when I first heard about it, and that it was only (re)discovered in 1986.  Since then I have read about it several times, and day dreamed about seeing it many more.  Why ?

Cup and Ring Marks - Ballochmyle - northern panelBecause it comprises a significant concentration of prehistoric rock art (which I always love seeing !) and in contrast to many others I have seen (which are usually on more horizontal or sloping outcrops of rock) I knew it was an almost unique example of prehistoric rock art on a vertical cliff face.  It is special and I could not wait to finally meet this site…

but in my haste (and arrogance not checking my map properly first !) I found myself plunged into a world comprising river gorges and quarries: a startling blend of natural habitat and cultural legacy.

River On the rock faces, are modern embellishments,

Blue HandPoignant, earlier commemorations, with at least two inscriptions, to soldiers from the Gordon Highlanders,

Commemorative ScriptAnd hints at possible earlier activity* leaving marks on the rock…

Polissoir (? possible)*the grooved lines are reminiscent of a Polissoir (a rock used for polishing stone axe heads c 5500 years ago) but of course there may be other explanations !

As well as this variety of signs marking the red sandstone cliff faces, a more substantial legacy of past activity can readily be found.  Testimony to when, lines torn across our landscapes, great iron beasts spewing smoke needed to span the gorge of the River Ayr.  Still dominating one portion of the river gorge is the Ballochmyle Viaduct (when constructed the widest stone arch in the world) which was built between 1846 and 1848 to take the Glasgow to Carlisle (Nithsdale) railway line.

Ballochmyle ViaductIt is largely built of red sandstone quarried from nearby.  In amongst the woodlands, you can find the substantial vertical walled spaces from which these sandstone blocks were quarried.

QuarryThe more I looked amongst the sides of the gorge, the more I saw vertical faces in the rock which I thought were an ideal location for prehistoric rock art.

There must be rock art hereBut alas no. In defeat, I returned to the car and succumbed to modern technology, checking on my phone the CANMORE entry for the site: which confirmed my growing suspicion that it was only a stones throw from where I had parked the car !

So finally

Ballochmyle - southern panelLight and Dark at BallochmyleBallochmyle - northern panelTake it for read that the prehistoric rock art motiffs (approximately c 5500 – 4500 years old) are remarkable…!  Following my earlier exploration, more striking, however, was the landscape context of the rock art and the evidence for later embellishment.

In terms of evidence for later activity at the site, intriguingly it has been noted by JG Stevenson that there is another partially legible inscription ‘…ASAID’ over the prehistoric rock art.  Intriguing because it is suggested that the inscription is in a raised Lombardic-style of writing, which implies it is Medieval in date.  There are also carvings thought to be figures of deer which may also be Medieval.   Stevenson also noted that there is an inscription of 1751 on one rock panel. He wonders if clearly visited in the 18th century why the site was not known to antiquarians (and lost till 1986):  but the stone remembers two previous visits to the site.

My visit left no trace but my exploration of the wider landscape in which the rock art panels are situated meant I departed with a very different understanding than if had I simply gone straight to them.  Before I visited, I knew the rock art at Ballochmyle was in striking contrast to many other examples from Scotland (which are often on hill sides with more open views.)  I could readily see from maps that Ballochmyle was situated up a minor tributary off a significant river, but as it now easily reached from a main road most people will encounter the site in this way.  If, however, approached by a river side journey (as may well have occurred in the past) the choice of location makes more sense. The drama of approaching the gorge, of traveling into a place where the light, sound and humidity is different.  A place with different levels of seasonal water flow may have been dangerous and difficult to navigate.

Red sandstone river gorgeYou then had to know (or be shown) where to leave the river side to follow up a minor tributary to reach the location of the rock art. Only then might you be allowed to view it.  What you could immediately see would depend on what time of day as the southern panel is on a dogleg, and partially separated by projection of rock, from the northern section: resulting in times when one side could be in sunlight and the other in shadow.  Perhaps if the light condition across the rock faces was deemed appropriate that was what determined whether you could add to the memories already inscribed in cup and ring markings many times before.  Only then, the sound of carving, stone striking stone, may have ricochet and echoed down amongst the stone faces of the gorge.

In the 19th century, there was another sound as the quarries crept closer to the rock art panels. There is only a distance of a few meters from the quarry face and where the Ballochmyle rock art (it could so easily have been taken away) had remained for over four thousand years.  Those working the quarry would undoubtedly have seen and respected the traces of memories on these stones but they appear to have kept quiet about them.

River AyrStill the River Ayr continues its journey, the murmur of water leaping and splashing, carving slowly deeper with time as it meanders through the old red sandstone.  A place of memories, sometimes forgotten by people, but the stone remembers…

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The Glasgow Archaeological Society publication on Ballochmyle by Jack Stevenson ‘Cup-and-Ring Markings at Ballochmyle, Ayrshire’ can be found free on the EUP website. 

The location of some of the sandstone quarries can be seen on the First Edition Ordnance Survey Map (surveyed in 1856; published in 1860) from the National Library digital map collection.  There is also a ‘Summer House’ marked in the woodland amongst a network of paths. On the Second Edition Ordnance Survey Map(re-surveyed in 1908; published in 1909) the one closest to the rock art is annotated ‘Old Quarry’ suggesting it is no longer being used and the one closest to the viaduct has expanded, suggesting a deliberate avoidance of removing the rock art via quarrying in the later part of the 19th century.

Spirit of Scotland – journey through the south west

Spirit of Scotland was the first stop on a recent journey through south west Scotland on which I explored some of its landscapes, heritage and art.Loudon HillSpirit of Scotland is a sculpture set at the foot of Loudon Hill, a granite volcanic plug, and striking feature in the landscape from some distance away.  Loudon Hill is located at the head of the Irvine Valley, a strategically and historically important location and route way for some millennia as evident by the close proximity of a Neolithic long cairn (c 5500 years ago) and a Roman Fort (c 2000 years ago).

Spirit of ScotlandSpirit of Scotland by artist Richard Price was erected in 2004, by the Irvine Valley Regeneration Partnership, and is located on a pathway which runs through the Irvine Valley.  The piece is of fabricated steel and stands over 5 metres tall.  It is located in close proximity to the Battle of Loudon Hill, involving Robert the Bruce in 1307, and the words and imagery on the sculpture refers to another important historical figure William Wallace who was said to have won another battle here in 1296 : for further details see Historic Scotland’s Inventory of Historic Battlefields.

The cut out human form can be used to frame different views of the hill and the wider landscape beyond but it was the words on the sculpture, comprising three short phrases of archaic tone, to which I was most drawn.

On the front of it, reads:

Thou saw’st the strong arm of a Wallace raised to stem the tide of alien tyranny

on its other side

The Knyght Fenwick that cruel was and keen he had at death of Wallace’s father been

and on its inner arch:

At Wallace nam what Scottish blood but boils up in a spring tide flood

Subsequent investigation suggests that two of the inscriptions appear to have literary origins: evoking a broader body of historical narrative and wider cultural associations.  The words from the side facing Loudon Hill (The Knyght Fenwick that cruel was and keen he had at death of Wallace’s father been) appear to derive from Blind Hary’s 15th century poem The Actes and Deidis of the Illustre and Vallyeant Campioun Schir William Wallace (simply referred to as The Wallace) which was the basis for The History of the Life and Adventures, and Heroic Actions of The Renowned Sire William Wallace by William Hamilton in 1799 (see page 51).  While the words on the inner arch ‘ At Wallace nam what Scottish blood but boils up in a spring tide flood‘ come from The Bard in 1785 in an Epistle to William Simpson of Ochiltree: which can be listened to from the link.  I am not sure where the third phrase (Thou saw’st the strong arm of a Wallace raised to stem the tide of alien tyranny) derives from, whether it is a modern evocation by the artist, or whether it has another direct literary reference ?  If you have any ideas please let me know.

The first stop on my journey through south west Scotland, demonstrated the tangled nature of landscapes with events of the past, literary and cultural associations, and dreams and aspirations for the future,

perhaps then it is the Spirit of Scotland…

Objective: conversation on sculpture

Objective, A Citywide Conversation on Sculpture, is taking place in Glasgow with 16 venues across the city exhibiting sculpture, events and performances in March and April.

Having seen the map showing the locations of the venues, one lunchtime I had a quick conversation with sculpture.  First I visited the Patricia Fleming Projects Art in the Public Realm exhibition at South Block which detailed the development of two projects.

Patricia Flemining exhibitionI then dashed through the streets of Glasgow to the excellent Gallery of Modern Art  (GOMA).  As a bonus I stumbled across a piece of public art I had never spotted before (too many lunches in front of the computer !).  Built into the wall of a restored B-listed building (named The Subirachs Building) is a carved sandstone Bust:

‘The Client’s love of the City of Barcelona was expressed by the insertion of an inverse Bust in the Main facade sculpted by the Catalan artist Josep Maria Subirachs who is responsible for work on Gaudi’s Sagrada Familia in Barcelona.’

Subirachs SculptureSlightly out of breath, I arrived at GOMA and passed the Statue of Wellington resplendently adorned with his usual modern hat !

GOMA wellingtonInside GOMA I had time for a brief exploration of the exhibition ‘Every Day’. It comprises sculptures from six Glasgow artists which explore familiar objects, juxtaposing, and reworking them in different media.  A glimpse of these is provided through Tim Steads wooden viewing room ‘The Peephole’.

Peephole views ObjectiveI will not reveal anymore, other than to say that there are some striking and thought provoking individual pieces, together which are well worth a journey to GOMA to explore further.  Further details of Objective can be found at the GOMA wordpress website or downloaded on pdf map.

And if you cant come to Glasgow,

go explore your city, your neighborhood, for sculpture and take part in the conversation….

Underworlds

In recent years excavations on Skye have explored a remarkable cave, High Pasture Cave, and rock shelter, Fiscavaig.  Discoveries at both sites suggest they were the focus for ritual, feasting and burial during the Iron Age: more details can be found here.

There will be a free day seminar ‘Underworld: the use of caves, rock shelters and underground places during the Scottish Iron Age’ in Inverness on the 27 April.  Speakers will present on the results of excavation and analysis of these sites, and it should prove to be a very interesting (illuminating !) day.

Illuminating the Darkness The experience of being within cave sites is a topic which I have blogged briefly on before in relation a conference last year on Neolithic and Bronze Age ritual activity in underworlds.  The experience of both the sites on Skye would have been particularly heightened by their landscape context, High Pasture Cave being deep underground with a burn flowing through the limestone of Skye, and the Fiscavaig being at the foot of overhanging basalt sea-cliffs.  The interplay of light, water, sound and rock would have undoubtedly contributed to aspects of ritual at these sites.

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Please contact Highland Council Historic Environment Team to confirm your free place at the Underworld day seminar now. Telephone: 01463 702504 Email: archaeology@highland.gov.uk

The pictures have been kindly provided by J Sievewright who experienced the remarkable adventure of descending into High Pasture Cave on a trip exploring an art project inspired by the site.

Materials and Myths

The Minatour's Rock Glass

Lured from the blasted uplands, drawn by the faint green glow,

DSC_0786Industriously, trapped, caged in a landscape of stone and metal,

Narrowing perspectives, fleeting glimpses of forms,

Lost in the Maze

What kind of strange creatures, out of time, out of place,

wander within these mythical walls?

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The ‘Minotaur’ was produced in 2003, by the architect Nick Coombe and artist Shona Kitchen, and is part of the Art and Architecture to be found around the landscape of Kielder Water, Northumberland.  The piece comprises a maze like structure of gabion baskets filled with recycled rock glass (apparently back lit by fibre optics) and local whinstone.   More details of the Kielder Art and Architecture can be found at the website.  The wider landscape contains traces of industry, mineral lines and lime kilns, the historical activity of which perhaps jars with contemporary yearnings for wildness and solitude from our uplands.

Industrial TracesExploration of the maze also provided a rare, albeit brief, sighting of the urban prehistorian* outwith their natural habitat…!

*The insights of the urban prehistorian on the ‘Minotaur’ can be read in a simulblog.

Building Landscapes

Managing Change in Scotland’s Landscapes conference was held towards the end of 2012 to look forward at the next 50 years for Scotland’s landscapes.  It marked 50 years since the first (and, up to that point, only) National Landscape Policy Conference.

Cambusnethan PrioryWhen I was reading the conference presentation abstracts, which are available from here, it struck me that it was deeply ironic the last national conference was held 50 years ago at Cambusnethan Priory in the Clyde Valley, South Lanarkshire: a wonderful building, built in 1819 in the Gothic style, which recently appeared on the excellent Ruination Scotland blog.  Indeed, in the abstract for one of the presentations Reflections on the Past 50 Years, architect Peter Daniels refers to working at the house when he first arrived in Scotland and of its sad demise when it was burnt down for its insurance value….!

Now seen by most as a picturesque ruin, fifty years ago Cambusnethan Priory was a functioning building, and it is, as an A-listed building, Nationally Important in architectural, historical and cultural terms.  Does this ghostly shell, perched on a terrace over looking the River Clyde, still have the potential to breath again?  What will its future be in fifty years time?  Perhaps to answer this question positively we may have to think of it less as a building, and more as part of a series of contiguous spaces occupied by people, integrated as part of a wider cultural landscape.

Well, it should be no surprise that Cambusnethan Priory is listed on the Buildings at Risk Register for Scotland (see Cambusnethan Priory) as CRITICAL: which suggests there is some hope and (unlikely ?) possibility of an intervention which stops the ongoing process of decay and collapse but that the window of opportunity to prevent one inevitable future is rapidly passing.

Looking at the accounts of Cambusnethan Priory in the Buildings at Risk Register for Scotland of what has happened in this fifty year period (a woeful tale of neglect and deterioration of this property), it is worth reflecting on what occurred since it was saved from demolition in 1967 to its current state.  There are various entries which refer to the deterioration of the building (stripping of interiors, stripping of lead and piping, damage by fire, destruction of roof, bricking up of windows…) and proposed plans for redevelopment (which were objected to and / or refused on grounds of…, or fell through due to funding issues…).  The last recorded proposal for redevelopment received outline planning permission in 1998 but in 2001 was still receiving objections at least in part due to the need for enabling development within proximity required to make the project economically viable / profitable:

Scottish Natural Heritage objects due to concerns at adverse effects on the local environment. SCT objects on the grounds that the scale of the new build would compromise the setting of the Priory and have traffic implications.’ (From Buildings At Risk Register)

Its not clear ultimately why the redevelopment did not take place, whether due to such objections or whether for example the financial package fell apart.  It is, however, interesting that in both cases the objections referred to adverse effects from enabling development on the wider landscape (local environment and setting being referred to).  So ironically the concerns, about getting the balance right between saving the building and ensuring the character and quality of relationships to a wider landscape were protected, recognised that Cambusnethan Priory does not sit as an isolated building but was part a wider cultural landscape.

The now ruined building replaced a 17th century country house after it had burnt down in 1809.  Both structures were (or are in archaeological terms) immediately situated in gardens and designed landscapes, which in some respects were intended to relate the house to the wider landscape, for example with the principle view to the River Clyde.

The Earlier House at  Cambusnethan - from RCAHMS, Canmore

The Earlier House at Cambusnethan – from RCAHMS, Canmore

In its broader context, much of the wider landscape within which Cambusnethan Priory is set is particularly cultural.  Comprising in the 18th and 19th centuries, a remarkable density and quality of country houses in estates, running for well over 20 km in the Clyde Valley.  The gardens and designed landscapes at the core of most of these estates would have been complemented by home farms and a wider suite of cultivated field and orchards.  Many of these estates functioned but based on social inequalities and economic models which were unsustainable: yet created a remarkable character of landscape. This legacy is still evident through the designations as Gardens and Designed Landscapes (GDL) from the west at Hamilton Palace, through Chatelherault, Dalzell House and to the east of the Falls of Clyde.

Now hindsight is a wonderful thing, and perspectives have clearly changed in Scotland about the importance of the historic environment in terms of it wider contributions to economy and society (see for example Scottish Historic Environment Policy).  However, as seen in the case Cambusnethan Priory, the reliance on the market to provide a solution to the plight of such buildings over a twenty year period did not manage to find a viable solution (agreeable to all parties) to save a Nationally significant building and balance the other landscape sensitivities.  Indeed, in the case of other buildings on the Buildings at Risk Register for Scotland, such market driven solutions are arguably even less likely to occur in many cases (particularly in rural contexts), not least due to the current economic conditions making finance even more difficult to secure.

However, in other parts of Europe there have been very different perspectives to the relationships between conservation, restoration and regeneration for some time. For example in Holland, The Belvedere Memorandum dating to 1999 linked cultural history to spatial planning with a policy vision which could be summarised as: ‘Conservation through development’ is the motto.’

So I insert a extract from The Belvedere Memorandum, which gives further sense of its spirit:

‘Belvedere is the Italian word for a ‘beautiful view’ but it also appears in the English dictionary as a ‘pavilion or raised turret intended to afford a general view of the surrounding area’. The Netherlands boasts countless such towers, often graced with Belvédère (the French spelling) as part of their names. One can also draw an association with the Belvédère quarry near Maastricht, site of the oldest archaeological discoveries ever made in the Netherlands, some 250,000 year old.
 

With a little good will (and poetic licence), archaeology, building conservation and historic cultural landscapes can be now summed up in one and the same word: ‘Belvedere’. Above all, it must be remembered that a Belvedere is a point from which to expand one’s viewpoint and to look ahead.’

I wonder if such perspectives were held in Scotland in 1999 (or earlier), whether we would be faced with the ghostly ruin which Cambusnethan Priory is, and whether its future in 50 years times would be very different from how its appears now, most likely a mound of collapsed stone, barely recognisable as once having been a building, slowly absorbed back into the last vestiges of a cultural landscape.

Cambusnethan Priory

If we are happy to leave a legacy of picturesque ruins for future generations which will ultimately collapse and disappear we should continue to do nothing.

If as a society we truly value such Nationally important buildings (and the character of the wider cultural landscapes they historically relate to) perhaps we need to take a longer term view about what their regeneration could deliver.  We need to explore how such buildings can become vibrant social and cultural hubs, find innovative new uses for them, and re-imagine how they can potentially relate to activities extending into a wider integrated multifunctional landscape but this would require ambitious proactive strategic funding programmes with input from local and national government.  Perhaps new funding models such as a form of Social Impact Bond could be explored.

Perhaps it is too late to change the future of Cambusnethan Priory but we must learn lessons to ensure such built historic environment assets are sustainably connected to their broader cultural landscapes.

If not, as such buildings collapse and disappear, we can look forward to more work for the archaeologists of the future….