Amongst the Ruins of Slains Castle

Amongst the Ruins of Slains Castle Is there a future for Scotland’s ‘Dracula Castle’?

Andrew McBride

University of Strathclyde Department of Architecture BSc Honours Architectural Studies with International Study Dissertation

‘Amongst the Ruins of Slains Castle - Is there a future for Scotland’s Dracula Castle?’

Andrew McBride

Reg. No. 20125101118306

Studies supervisor: Cristina Gonzales-Longo March 2014

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Acknowledgments I am thankful to Cristina Gonzales-Longo for her guidance and enthusiasm for the discussion of the topic and my research. Thanks also to my family and friends for their support.

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fig.1 Inside the ruin of Slains castle (author’s image)

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Contents

Abstract

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Introduction

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- Methodology

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Aims & Objectives

- Structure

Chapter 1 – Slains Castle - -

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Origin of Slains Castle

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Nostalgia and Ghost Stories

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The Lives of the Earls of Erroll - Examining the Floor Plan

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Chapter 2 – Intervening in the Ruin

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The Dilemma of Restoration vs. Conservation

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Case Study- Neues Museum

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Case Study- Astley Castle

Case Study- Barjac Studio Complex

- Discussion

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Chapter 3 – Controversy and the Public Eye

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Slains Castle Rebuilt?

The Castle Tioram Debate

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Chapter 4 – Slains Castle Revisited

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Analysing the Ruins

Ruined Space and Accidental Experiences Critique of Slains Castle Proposal

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Chapter 5 – Conclusion and Recommendations

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Bibliography

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List of Figures

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Abstract

The ruins of the unlisted Slains Castle, built in the 16th century, ex-

panded multiple times thereafter, stand like a jagged shadow against the rugged landscape of sea caves and mottled coastal terrain of north-east

Scotland. Known by some as the inspiration for Bram Stoker’s ‘Dracula’, the ruin still attracts visitors. Its foreboding silhouette perched against

the cliff edge lures many coastal wanderers to explore its collapsed corridors and vegetated courtyards and towers.

Proposals for the restoration of the entire building into thirty-five flats

were confirmed in 2007, yet the project is currently on hold. With such a pause, the question at hand is whether this proposal is the right way for Slains castle to survive.

This dissertation will aim to understand the situation that this interesting, but often overlooked ruin finds itself in. The current proposals for

the restoration of Slains castle will be discussed, and with reference to

theories of conservation and cultural heritage, will be compared to other potential approaches and international guidelines to the conservation of ruins, with the aim of opening up a discussion on how ruins are inter-

preted, and how creative architectural responses can project our ruins into the future.

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Introduction Ruins have a capacity to captivate, to convey the passage of time and man’s struggle against nature. Their emotive and nostalgic qualities are well noted historically: “Since down the ages men have mediated before ruins, rhapsodized before them, mourned pleasurably over their ruination”.1

Scotland is well-known for its ruins that dot the landscape. Many ruins and ancient monuments come under the direct care of authorities and organisations such as Historic Scotland, becoming protected tourist attractions

and museums. Scotland’s rich tapestry of ruins vary from ancient cairns and standing stones, to derelict manor homes and castles, and now, even the ruins of the 20th century. But there are a great number of ruins that have not been listed or are privately owned. The fates of these buildings are a lot less clear.

While some ruins often perish, whether through disaster, lack of investment or changing religious and cultural

values, many survive in different manners. There is often debate over the futures of the collective architectural

heritage and whether these buildings should be left as romantic ruins, restored to their original selves, or reinterpreted for future use. Conservation has a potential to achieve bold new solutions for ruins to project themselves

into the future for generations to come to experience. However, the debate surrounding our most treasured ruins can become complicated, especially those with a prominent presence in the landscape.

The ruin of Slains castle, a 16th century stately home, is situated on the north east coast of Scotland. It is known unofficially as Scotland’s ‘Dracula Castle’, as Bram Stoker, author of ‘Dracula’, visited the castle and its surroundings while holidaying around the time of writing the novel. However, the castle owes more to its history as the

stately home of the Earls of Errol, the chiefs of Clan Hay and holders of the title ‘Lord High Constable of Scotland’; a title granted by Robert the Bruce to Gilbert Hay. Despite this historic and cultural significance, it is not a well known ruin, and little has been done to protect the castle since its abandonment.

The proposal to restore Slains castle into 35 holiday flats has been stalled for an indefinite length of time, result-

ing in a confused case of ownership and privacy of the site. This lapse in time seems an ideal opportunity to consider the ruin in more depth and evaluate the implications of the proposal. Other castles and stately homes have survived in some form, whether by becoming living museums of themselves or consolidated as ruins.

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Macaulay, R. (1953) Pleasure of Ruins. London: Weidenfeld and Nicolson. p.15.

Aims and Objectives Though Slains castle is the main topic of this dissertation, the research also intends to broach the subject of the

conservation of ruins. The main research questions are: How can different approaches to conservation improve

or falsify a ruin? Are certain buildings too culturally important for intervention or not important enough? Can a

ruin be more significant than the original functioning building? What are current trends in conservation, both in a European and Scottish context? Does a building become more important when it has become a ruin in landscape?

The main objectives of this dissertation are: To analyse the ruins of Slains castle in terms of both its physical state and historical context to better understand its cultural significance.

To gain a thorough understanding of contemporary conservation practice and theory, as well as an

understanding of how the public perceives certain significant ruins. This knowledge will be applied in a critique of the current proposal for Slains castle.

To understand some of the intricacies of creating architectural responses to ruins.

To ultimately open minds and make suggestions for the future of Slains castle, to planning officials, architects, and the public.

Methodology Historical sources, including photographs and drawings, will be used to understand the historical and cultural context of the castle. Moreover, theories and philosophy regarding conservation and restoration will be dis-

cussed, as well as current guidelines and charters. This will put the current proposal for Slains castle into context.

In order to appreciate the wide range of possible strategies for the conservation of Slains castle, various case

studies will be examined, chiefly to recognise the ways in which the architects have interpreted the ruins and

formulated a design responses. Case studies of similar historical and cultural importance will be discussed. Castle Tioram brings a complicated and multi-faceted argument with it that highlights the contrasting opinions held by people involved in the conservation board. These discussions will allow the context of Slains castle to be understood and examined in regards to the proposals.

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Structure The dissertation will firstly introduce Slains castle, covering both its location and historical context. Discussed

in the chapter will be an explanation for its legacy as a ruin to understand the subjective qualities that make the ruin important.

The following chapter will introduce the discussion of conservation practice. Current philosophy regarding con-

servation and restoration and its history will be introduced. Current international guidelines for the treatment of ruins will also be discussed. Once this context of contemporary theory and legislation has been established, various case studies of conservation and restoration projects will be examined to better understand current trends and attitudes towards this area of architecture.

In chapter 3 the current restoration proposal for Slains castle will be introduced and detailed. In regards to the

public’s attitude towards conservation and restoration, the debate surrounding the far more controversial pro-

posal for castle Tioram is of interest here, as it encapsulates the issues of conservation in the context of Scotland at its epitome.

In Chapter 4 there will be an analysis of the ruin’s fabric as well as a brief discussion of the spatial qualities of the ruined form to establish an understanding of its physicality today and the implications of its ruination. With this understanding of cultural issues and current trends in conservation as established in the previous chapter, the proposal can be critiqued from a philosophical and pragmatic approach.

Following on from this critique of the proposal and its implications, there will be a discussion of the overall situation that the ruin of Slains castle finds itself in, both in terms of its physical and cultural presence, as well as its

potential for the future and whether the proposal can encapsulate the important aspects of the ruin while giving it new life, or if another approach is more relevant. Suggestions will be made for various groups regarding the current proposal, with reference back to case studies, policies and theories.

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fig.2 Alongside the ruined courtyard (author’s image)

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Chapter 1 – Slains Castle

“Suddenly I became conscious of the fact that the driver was in the act of pulling up the horses in the courtyard of a vast ruined castle, from whose tall black windows came no ray of light, and whose broken battlements showed a jagged line against a moonlit sky.”

-Dracula, Bram Stoker2

Origin of Slains Castle Located 37 kilometres north of Aberdeen, the former fishing village of Cruden Bay finds itself within a landscape of rolling hills and coastal pastures. However, tracing the shore of the Bay of Cruden northwards, the calm beach suddenly breaks into a fragmented rock formation that cradles the Port of Errol, the southern-most point of the

village. This rock face bends its way southward and abruptly northwards again, splitting violently at points, as the cliff face becomes steeper and progressively more ruinous as it does so. Here, poised right on the very edge of the cliffs lies the ruin of New Slains Castle, the silhouette of which creates a stark contrast against the flat pastures and rolling hills, yet whose varied roof-scape shares a language more akin to the jagged rock formations of the surrounding cliffs and collapsed sea caves. (fig. 3)

Upon returning from his exile in France in 1597, Francis Hay, the 9th Earl of Errol found his ancestral home of

clan Hay, known as Old Slains Castle, destroyed by James VI for rebelling against him with the Spanish Armada in a plot to depose the young king to Elizabeth I of England and create a united and catholic Britain.3 After mak-

ing peace with the king, he built a new castle northward of its original position, thus distinguishing it from the

older with the name ‘New Slains Castle’. The location for his new clan home was a few kilometres north and was

informed by the remains of a pre-existing tower house, formerly Bowness castle. This tower became a prominent element in the ensemble, perched precariously on the cliff edge and commanding the highest point of the castle.

The land had been under the ownership of the Hay family line, better known as the Earls of Errol, since the early 14th century after Robert the Bruce of Scots gifted Gilbert Hay the lands alongside the title of ‘High Constable of Scotland’ for his services in the wars of independence.4 2 3 4

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Stoker, B. (1897) Dracula. London: Archibald Constable and Company. p.7.

Edwards, S.E. (2009) The Countess of Erroll. UK: Authorhouse. p.272.

Colcock, C.J. (1959) Family of Hay. Gretna, LA: Pelican Publishing . p.25.

fig. 3 The coastal approach along the cliffs (author’s image)

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However, of today’s ruins, little of what remains is from the 16th century. The following owners of the family line altered the castle to their own desires and changing needs. In 1664 the 11th Earl of Earl, Gilbert Hay, made so

many additions to the castle, including a gallery within the central courtyard, that the year of construction origin is often cited so. This new element served as a new circulation core, as previously each room simply led to the

following along a courtyard layout. It also broke this courtyard into three smaller outdoor spaces, two of which accommodated corner spiral stairwells. In 1707 a new entrance front, with grand staircase leading to the first

floor, as well as a large bow window in the centre of the sea-facing south façade. Many other alterations and ad-

ditions were made for the following years. The most prominent was in 1836-7, under the instruction of the 18th earl, William Hay, Knight Marischal of Scotland and Lord Steward to Queen Victoria.5 This involved the substan-

tial rebuilding and re-facing in granite, in the Scots baronial style, by the Aberdeen architect, John Smith.6(fig. 4) In 1916, at this point owned by the 20th Earl, Charles Gore Hay, the castle was sold on to new ownership and

henceforth no longer the seat of the Earls of Errol. The library collection was purchased by the Glasgow Copora-

tion Public Libraries in 1918 for £1,454, including other valuable possessions of the household. The main library was that of Bishop James Drummond, a collection of 16th and 17th century books chiefly in Latin and Greek. In

total there were 3,115 volumes including presentation copies from local Jacobite leaders. The range of valuable

artefacts that were also purchased gives evidence to the stately position of the Earls of Errol. Amongst the relics were the gloves worn by King William IV on his coronation day and royal Saddle presented to King George IV

in 1814. The most curious and comical relic of the collection was flint stone that was reputedly thrown at the forehead of King William IV by a mad sailor, accompanied by a letter sent to the King from his son, the Earl of

Munster, upon hearing of the incident.7 In photos dating from the beginning of the 20th century, it is possible to see the wealth of valuable paintings and works of art that belonged to the owners, before the purchase. (fig. 5)

It was not until 1925, under the new ownership, that the roof was removed to avoid property tax, and thus the

stately home fell into disrepair and henceforth ruination. Since then the ruin has not been protected, whether by authorities or the owner, instead becoming a decaying ruin in the landscape; Scotland’s ‘Dracula Castle’, former home to the Earls of Errol and explorers haven.

5 Hay, A. (2010) The House of Erroll. The Official Website of the Clan Hay. Available: http://www.clanhay.org/history/the-house-oferroll/ 6 McKean, C. (1990) Banff and Buchan, An Illustrated Architectural Guide. Edinburgh: Mainstream Publications. p.166.

7 Glasgow Corporation Public Libraries (estimated 1918) A List of Books and Manuscripts Acquired from the Earls of Erroll by Glasgow Corporation Public Libraries

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fig.4 Historic photograph showing general view c.1900 © RCAHMS

fig.5 Historic photograph showing general view of drawing room c.1900 © RCAHMS

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Though named a ‘castle’, this is a rather dated terminology for such a building. Other than its location, which

could be argued defensible, there is nothing militarised about the building. As Deborah Howard argues, around

this time, these locations were chosen as much for their picturesque qualities as the security offered.8 According

to Charles McKean, ‘Chateau’ is a more appropriate terminology, distancing it from military connotations and

recognising the renewed appreciation of architectural design that was taking place in Scotland at the time, indeed a renaissance not too dissimilar to that of countries such as France.9 Regardless, the chief purpose of Slains castle was not for the purpose of war, but rather a grand palace for the pleasure of its owners.

As can be understood from the history of expansion and alterations, the outward character of Slains Castle

changed to suit current stylistic trends. As previously mentioned, the castle was re-faced in granite in a Scots

Baronial style in 1836. However, as can be seen from photos dating c.1900, this was not the final form the castle took: alterations to suit the Victorian gothic style were undertaken in the late 19th century. Slains castle was

quite different to typical Jacobean buildings of its time, which preferred the tower typology. Instead it took the

palace typology. Freed of the constraints faced by true defensive castles, the building is sprawling, accentuated with towers and generous openings. (fig. 6)

fig.6 View of the west wing from one of the gardens

8 Howard, D. (1995) Scottish Architecture from the Reformation to the Restoration, 1560-1660. Edinburgh: Edinburgh University Press. p.53.

9 McKean, C. (2001) The Scottish Chateau. England: Sutton Publishing Ltd. p.3.

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fig.7 Historic photograph showing general view c.1900 Š RCAHMS

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The Lives of the Earls of Erroll – Examining the Floor Plans

Though the ruins are difficult to read, undated plans depicting the ‘basement’ level of the entire building and of the principal floor of the courtyard block tell much of the original architecture’s usage whilst under the ownership of the Earls of Erroll. (fig 8)

Upon ascending the entrance stair and entering the main courtyard block, a vestibule opened onto a billiard

room to the left and, ahead, the main ring around the courtyard. This was however, a 18th century addition to

accommodate more sophisticated circulation. An octagonal saloon, a gallery for impressing guests and for the presentation of large paintings, was situated in the centre of this courtyard and could be entered from three

directions. As the 18th century Scottish author and lawyer James Boswell noted in his diary while visiting the

earl of Erroll with Dr Johnson: “The noble owner has built of brick, along the square in the inside, a gallery, both on the first and second story… so that he has always a dry walk, and the rooms, to which formerly there was no approach but through each other, have now all separate entries from the gallery…”.10

Along the west wing and part of the south east corner were situated the largest bedrooms of the building, though it is likely that the tower house also accommodated bedrooms. The east wing housed the large drawing rooms

with enfilade through three rooms. These grand rooms were for the reception of guests and main living purposes, and thus commanded the views to the north sea, framed by a large bay window.

The basement level plan depicts much of the lives of workers and servants in Slains Castle. The east wing was

largely reserved for more principal bedrooms due to their view of the sea. As can be seen in the plan drawing, there were many small bedrooms for servants and maids, as well as rooms for the housekeeper and common

room. A wine cellar was adjacent to the tower house, and underneath the octagonal saloon was the larder and

adjacent space for storing footwear. The kitchen, brew house and scullery (a room used for washing dishes and

clothes) were all situated between the outhouse and main block. Moreover, it is likely that some of the workers were employed as gardeners, for the estate owned mutliple gardens.

The outhouse had a large court, and the decorated entrance suggests that this space would have been used for more than just services. Next to the entrance, for easy access of the horses, were the stables. Additional to this were rooms for storing saddles and harnesses. Situated around the court was a coach house, slaughterhouse

and shops for the blacksmith and carpenter. A small boil house, likely used by the blacksmith and other crafters, projected from the centre of the east wall. (figs.9, 10)

10 Boswell, J. and Johnson, S. (2006) A Journey to the Western Islands of Scotland and the Journal of a Tour to the Hebrides. ed. Levi, P. London: Penguin Publishing UK. (original work published 1775) p.213.

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fig. 8 Plan of principal floor level of the main courtyard block. Image altered by author. Š RCAHMS

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Vestibule Drawing room Bedroom Billiard room Saloon Nursery

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This part of the building, emphasised by this communal court, became a small community of trades, likely servicing the nearby town of Cruden as well as the resident lords. As Charles McKean notes about Scottish country

seats, “the estate itself was the principal market and focus for skilled trades in those large districts of the country beyond easy reach of the burghs”.11 It is clear then that the architectural intent of the entrance and court of the

outhouse was to give it grandeur and community, not only for guests of the inhabitants, but the wider population of the area.

fig. 9 Plan of ground level of outhouse. Image altered by author. © RCAHMS

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McKean, C. (2001) The Scottish Chateau. England: Sutton Publishing Ltd. p.59

fig. 10 Plan of basement level of main courtyard block. Image altered by author. © RCAHMS

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Servant’s room Maid’s room Bedroom Housekeeper’s room Servant’s living room Larder Wine cellar Bath room

9. Cellar 10. Boot storage 11. China storage 12. WC 13. Court 14. Stables 15. Blacksmith 16. Carpenter

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Bone storage Harness storage Saddle storage Coach house Slaughter house Boil house Kitchen Brew house

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Coal storage Scullery Servant entrance Closet

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fig.11 Dramatic lithograph of Slains castle in its landscape by R. Brandard. Š RCAHMS

Nostalgia and Ghost Stories

As previously mentioned, it is generally believed that the castle was, although in its complete 19th century form, the inspiration for Bram Stoker’s Dracula. It is thought that the author wrote part of the book whilst holidaying in Cruden Bay around1895, and may have been a guest of William Hay, the 19th Earl of Errol.12 His novel The

Mystery of the Sea(1902) is set in Cruden Bay, so the speculation may indeed bear some truth. Regardless, the ruined castle is now associated heavily with Dracula, and has likely gained its popularity partially due to this.

Even though Stoker likely saw the castle in a completed state, the stark qualities of ruins lend themselves to this connection.

Other notable figures visited the castle: writers James Boswell and Samuell Johnson were amongst the most signficant. Another is Winston Churchill, who visited Violet Asquith, the daughter of former UK prime minister H.H. Asquith, and her family for one week while they were renting Slains Castle as a holiday retreat in 1908. Violet

went missing during one midnight, and was found badly injured half-way down a cliffside. This was supposedly a suicide attempt due to a love-triangle involving herself and the recently married Churchill.13

12 Buildings at Risk Register. (Last Edit: 2014) Slains Castle, Cruden Bay. Available: http://www.buildingsatrisk.org.uk/details/903870 13 McGinity, S. (2013) How Scotland almost cost Churchill his Clementine, The Scotsman. Available: http://www.scotsman.com/ news/uk/how-scotland-almost-cost-churchill-his-clementine-1-2868684

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The value of myths and rumours cannot be understated in regards to the ruin as an object of nostalgia. These

subjective associations often attach themselves to certain characteristics of the ruin, and are exaggerated by its incompleteness. As Paul Kelbie notes “the ruins of Slains Castle casts an eerie shadow over a rocky coastline

where, legend has it, the ghosts of shipwrecked sailors emerge from their watery graves once a year”.14 This tale

may have connections to the secret coves and sea caves near to the castle and the ships that used them. Lady Anne Drummond, the wife of the 12th earl, John Hay, was known as the “head of espionage during the early

uprisings for the Stuarts to return to the throne”.15 Her aid to the Jacobite cause likely involved the use of the sea

caves underneath the castle.

It was with the reasoning of nostalgic and emotive qualities that led John Vanbrugh, while building Blenheim

palace for Lady Churchill, to also write her a memorandum in an effort to save the ruins of Woodstock Manor, a

neighbouring war-torn building on the same precinct. It is notable that though he admits the ruined manor lacks the magnificence of the palace, he bases his petition on the merit of emotive and picturesque qualities:

“It can’t indeed be said, it was Erected on so Noble nor on So justifiable an Occasion, But it was rais’d by One of

the Bravest and most Warlike of the English Kings; and tho’ it has not been Fam’d, as a Monument of his Arms, it has been tenderly regarded as the Scene of his Affections”.16 - John Vanbrugh, 1709

Though his efforts were ultimately unsuccessful, and the manor destroyed, this text is significant in marking an

important point in the ruin in the English picturesque movement. What is clear is that a ruin, through the inheritance of such values, partially or wholly lost to decay, can become somewhat more significant than the origi-

nal when it still functioned as a building. Though it is typically the true military castle ruins that become more

‘famous’ tourist attractions in Scotland, the desolation of Slains castle has arguably also lent it more significance than its original functioning form.

These sentiments towards ruins were very apparent in 18th century Britain, during which many bourgeoisie set

about the creation of folly ruins. Lord Hardwicke, a lawyer and politician, enlisted the architect Sanderson Miller,

a renowned architect of such follies, to create a ruin near to the stately home of Wimpole Hall, in Cambridgeshire. (fig. 12) The fake castle was to be viewed from the premises of the abode, and the tower would contain a stair to

the top as to view the prospect of the surrounding land. There is speculation, as Chris Woodward points out, as to

whether this ruin was intended as a political symbol, or to embow his seat with a lineage, or whether it reminded Lord Hardwicke of his efforts against the Jacobite uprising of 1745, after which he signed the Acts of Parliament

14 Kelbie, P. (2007) ‘Dracula’s Ruin’ comes back from the dead. The Guardian. Available: http://www.theguardian.com/travel/2007/ oct/14/scotland 15 Edwards, S.E. (2009) The Countess of Erroll. UK: Authorhouse. p.222 16 Vanbrugh, J. (1709) Reasons Offer’d for Preserving some Part of the Old Manor. In: Van Eck, C. (ed.) British Architectural Theory 1540-1750. Aldershot, England: Ashgate Publishing Limited. pp.165-166

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to abolish the ‘baronial’ institutions of Scotland.17 It is apparent that ruins held desirable qualities, that despite their connotations of decay, were most revered in both their ability to convey the passage of time and serve romantic and nostalgic purpose.

Stories and myths become more tangible when the ruin is incomplete or unlabelled as in a museum or cleaned

and set out as an archaeological approach may have it. Whether its connection with Dracula is canonical or not,

Slains castle has assimilated the essence of the Dracula castle due in part to its ruinous nature and isolation, and the stories that are told may be responsible for its popularity with visitors.

fig. 12 The folley at Wimpole Hall, Cambridge

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Woodward, C. (2002) In Ruins. London, England: Vintage Random House pp.128-129

Chapter 2 Intervening in the Ruin

Architects are often inspired by the richness of ruined space and the materiality of decayed fabric. Many alter-

nate approaches to restoration have been found to reinterpret ruins for new use. This chapter will demonstrate and examine the ways in which some architects have interpreted ruins and how they have formed their design

decisions. The typology of function that the ruin once took, or takes in its current state, is of little importance in the selecting of precedents, as building functions conform to changing needs and culture. However, firstly it is

important to establish and understanding of the various theorists and international charters that have shaped

contemporary conservation theory. This chapter will gather evidence through this discussion to ultimately open minds for the way in which Slains Castle can be projected into the future.

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The Dilemma of Restoration vs. Conservation

“[I]t is impossible, as impossible as to raise the dead, to restore anything that has ever been great or beautiful in architecture. That which I have above insisted upon as the life of the whole, that which is given only by the hand and eye of the workman, can never be recalled”.18 - John Ruskin, 1849

In the second half of the nineteenth century there was a widespread restoration of historic buildings in the UK,

particularly churches. This approach, partially spurred on by an institutional reform of the Established Church,

was regarded to improve historic context, that newly built ‘old’ work “exhibited the marks of medieval style more clearly than withered originals”.19 This mass transformation led to the discussion in the philosophical implica-

tions of such restorations. One of the most notable objectors to restoration was William Morris, who founded the Society for the Protection of Ancient Buildings in 1877. Following closely the writing of Ruskin, he argued that

restorers had done more damage to buildings through the destruction of what they considered unimportant in efforts to rebuild a ‘pure’ historical version of the building. He was deeply concerned that the trace of history

would be lost and that the craftsmanship of certain eras would become confused. He argued that the efforts of

a generation unaffected by past traditions would not truly understand the methods or ideology relating to this historical context; that meaning is lost through such “lifeless pieces of reproduction”.20 The manifesto of SPAB

by William Morris, which still persists in the current efforts of the society, states “to put Protection in the place of Restoration”. If a building can be built to endure and maintained to stave off decay, then they need never be intervened with.

On the other hand of the argument were the restorers, who regarded restoration as reconstruction in the style of the original. The most prolific exponent of this movement was Eugene-Emmanuel Viollet-le-Duc. He argued for

the careful restoration of buildings, in all their detail and intricacies, provided they were carried out faithfully and with craftsmanship that would correlate to the original. He argued that the architect should “put oneself in the place of the original architect and try to imagine what he would do if he returned to earth and was handed the

same kind of programs as have been given to us”.21 This was provided that “the restorer be in possession of all the

same resources as the original master – and that he proceeds as the master did”. However, followers of Viollet-

18 Ruskin, J. (1849) The Lamp of Memory. cited in: Wheeler, M. Whitely, N. The Lamp of Memory - Ruskin, Tradition and Architecture (1992) Manchester, UK: Manchester University Press. p.81 19 Miele, C. (1996) The first conservation militants: William Morris and the Society for the Protection of Ancient Buildings. in: Hunter, M. (ed) Preserving the Past, The Rise of Heritage in Modern Britain. Gloucestershire, UK: Alan Sutton Publishing Ltd. p.17 20 Morris, W. (1877) Manifesto of the Society for the Protection of Ancient Buildings. c. in: Price, N., Talley, M., Vaccaro, A. (eds.) Historical and Philosophical Issues in the Conservation of Cultural Heritage. CA: The Getty Conservation Institute Los Angeles. p.320.

21 Viollet-le-Duc, E. (1854) Restoration. in: Price, N., Talley, M., Vaccaro, A. (eds.) Historical and Philosophical Issues in the Conservation of Cultural Heritage. CA: The Getty Conservation Institute Los Angeles. p.318.

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Building is restored as before

Building becomes a ruin

Building is consolidated as a ruin

Building form is restored, but craft is not replicated

fig. 13 Simplified diagram generalising the philosophical approaches to restoration c.1877. (author’s image)

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le-Duc did not adhere to his warnings that “absolute principles for restoration could quickly lead to the absurd”,

instead removing later additions of buildings in an attempt to purify architecture to its original design. This was criticized by followers of Ruskin and Morris and such interventions called ‘falsifications’.

Another important theorist in the restoration debate is Cesare Brandi. As founder of the Istituto Centrale del

Restauro, he was responsible for the safe-guarding of Italian art and architecture following WWII. He discusses

the implications of attempting to ‘purify’ a work of art through the removal of later additions. He argues that, like any other part that constitutes the whole, an addition is “nothing more than a new testimony to human activity and, thus, is part of history”.22 So, in the case of restoration, it can only be legitimate if it does not presume that

time can be reversed or that certain parts of history can be omitted in favour of another ‘pure’ manifestation. He interprets conservation as being the appreciation of a work of art in its historical and aesthetic duality with the intention of projecting this into the future. He summarizes what he believes to be the goal of any form of con-

servation or restoration in a work of art in his Theory of Restoration: “Restoration must aim to re-establish the

potential unity of the work of art, as long as this is possible without producing an artistic or historic forgery and

without erasing every trace of this passage of time left on the work of art”. He suggests that interventions should be truthful of their time of construction, yet unite historic and aesthetic qualities of the entity as a whole. This

ideology is more open to the idea of conservation than previous 19th century philosophy, and is of relevance to current practice and legislation in the field.

An important piece of legislation that is adhered to today is the Venice charter of 1965. It contains an international framework for the conservation and restoration of ancients monuments, and has been adopted by authorities

such as UNESCO and the International Council on Monuments and Sites (ICOMOS). It suggests that the conserva-

tion of a monument mean that it have some “socially useful purpose” provided that this does not “change the layout or decoration of the building”.23 Therefore it is acceptable to find a new usage for the building when it abides

by these parameters. Of restoration, it states “It must stop at the point where conjecture begins, and in this case moreover any extra work which is indispensable must be distinct from the architectural composition and must bear a contemporary stamp”.

These general lines of thought are notable in many works by contemporary architects practicing today. Irish

architect John Tuomey, of O’Donnel & Tuomey architects, recipients of the RIBA Gold medal in 2014, partially re-

jects the notion of restoration, though admits its value for scientific reasons. He states that “working with existing buildings teaches us that a good building remains legible as a ruin, and that alterations and extensions can be

22 Brandi, C. (1963) Theory of Restoration, I. c. in: Price, N., Talley, M., Vaccaro, A. (eds.) Historical and Philosophical Issues in the Conservation of Cultural Heritage. CA: The Getty Conservation Institute Los Angeles. pp.230-235 23 ICOMOS. International Charter for the Conservation and Restoration of Monuments and Sites (The Venice Charter 1964). available: http://www.icomos.org/charters/venice_e.pdf

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incorporated as variations on the theme of the original form�.24 However, he rejects certain notions forwarded by the opposite side of the argument, which imply that we are separate from history. Conversely, Tuomey be-

lieves that architecture should not be compartmentalised into historic periods or zones of heritage, but rather be adopted in an evolutionist stance, which “facilitates a critical dialogue between established and emerging ideas�.

24

Tuomey J. (2004) Architecture, Craft and Culture. Oysterhaven, Ireland: Gandon Editions. p.26.

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Case Study: Astley Castle

Likely built c. 1266, Astley castle in Warwickshire, a former home to three queens of England and parliamentary garrison, was converted into a hotel but later ravaged by fire in 1978.25 The ruins were left in a confused

mess of the partially collapsed outer shell and destroyed inner construction for 29 years, before a competition to conserve the building as a rentable holiday home for the Landmark Trust was won by Witherford Watson Mann

architects. The project later won the 2013 Stirling Prize. Architect and historian Joseph Rykwert, recipient of the 2013 Riba Gold Medal, said that the architects have been “gentle surgeons, saving the essential, eliminating the incidental” and that “there is no comparable recovery of an ancient monument anywhere in this country, and very few elsewhere”.26

The scheme entails the insertion of a solid mass within the building. Long brick is used as opposed to stone like the existing fabric. This allowed the architects to carefully detail the moments of connection between the two

solid construction methods, while simultaneously maintaining a clear distinction between them (fig. 14). The re-

sulting effect is a mass whose form and openings are reduced to simple geometry, further aiding the intervention to be distinguishable from the ruins, but without over-stating its presence. Architect William Mann explains that

they did not view the history of the castle as ended, but rather that the castle “has grown over eight centuries - it

was added to in the 15th century, 16th century, 17th century and 19th century and there was this big catastrophe with the fire in 1978. In a way we treat what we add in the 21st century in the same way - it’s just another layer on top of all the additions already there”.27

Though the ruin was particularly dilapidated and difficult to read, the architects sought to establish a relationship between the intervention and existing fabric that would make the ruin more legible: “Through the acts of looking, drawing, discussing and modelling we negotiated the vast spectrum of found conditions to establish another or-

der. An empathetic order that served to heighten the awareness of what we found rather than dominate it.”28 The

architects have interpreted the building’s historic background, and partially due to financial reasons, decided to

use only a fraction of the ruin’s overall footprint for the new insertion, placing a stacked unit in the centre, where the original 13th century Norman castle is located. (fig. 17) This is where the fabric was most dilapidated and in

need of reinforcement, thus the new insertion inherited a dual-purpose of restructuring and reforming the clarity of the historic layers. (fig.18) This approach allows the creation of spaces that have the full impression of a

25 Landmark Trust (2015) Astley Castle, History. available: http://www.landmarktrust.org.uk/our-landmarks/properties/astleycastle-683/#tabs=History 26 Rykvert, J. (2012) Quiet Intervention. The Architects Journal. available: http://www.architectsjournal.co.uk/quiet-intervention/8632624.article 27 Mann, W. interviewed by Verghese, M. in: The 2013 RIBA Stirling Prize Winner: Astley Castle (2013) [article]. available: http://www. disegnodaily.com/article/the-2013-riba-stirling-prize-winner-astley-castle 28 Mann, W. (2014) Negotiating the ruin: The story of Stirling Prize winning Astley Castle in drawings, The reinhabitation of Astley Castle, told through the drawings of its architects, Witherford Watson Mann. [article] The Architectural Review (eds). available: http://www. architectural-review.com/folio/negotiating-the-ruin-the-story-of-stirling-prize-winning-astley-castle-in-drawings/8658413.article

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fig. 14 (top) General view of completed scheme. fig. 15 (left) The ruined court after being cleared out from a photographic series by HÊlène Binet.

fig. 16 (right) The finished court with skylight above.

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ruined castle, yet act as transition between the true outside and inside of the new insertion. The grand Victorian additions to the outer perimeter of the castle have been left as a consolidated ruin, as these spaces would have been excessively large to accommodate a function of the program. The old dining hall is only sheltered from

above by a light timber veil and skylight. (fig. 16) With the fireplace brought back to functional use, the overall

impression of the space is particularly atmospheric, capturing the beauty of the ruin while remaining an inhabitable and pleasurable space.

The scheme is notable both for its holistic use of material and the way in which it effectively manifests itself both as a ruin and functioning building. Old and new are distinct from one another, though the shared language of the solid construction types retains coherence. This interplay between old and new captures the emotive qualities of a ruin while retaining the comfort of shelter. The ruin becomes more legible due to the interventions, as the

design decisions and forming of spaces were placed within the constraints of historic forms and stages of building, making clear the 13th century ‘keep’.

fig. 17 Historic build-up of Astley castle. Architect’s image.

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fig. 18 The entrance to the new insertion

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Case Study: Neues Museum, Berlin

The Neues Museum conservation by David Chipperfield is highly regarded in the area of conservation and archi-

tecture in general due to the deft handling of complex issues regarding cultural context and fabric. Located on the Museum Island in Berlin, the Neues Museum, originally built between 1841 and 1859 by Friedrich August Stüler, was extensively damaged during WWII. Some areas were completely destroyed while others severely damaged.

Little attempt was made after the war at repairing the ruin, and was left with minimum consolidation during

the GDR period.29 Only in the 1980s that some attempt was made at restoring the ruin, though the predominant approach in Germany during this time was toward restoration, thus a faithful copying of how it previously took

form. However, this did not advance far, and in 1990, the ruin found itself in different administration, and in 1998, the conservation of the museum was appointed to David Chipperfield architects.

The architect’s approach to this complicated ruin was a process that “can be described as a multidisciplinary

interaction between repairing, conserving, restoring and recreating”.30 The first main move of the scheme is the

rebuilding of the large sections destroyed by bombing. (fig. 20) This is however, only a rebuilding of the formal

massing, within keeping of the general architectural language. Rather than attempting to use the same stone as the existing façade, brick is used. The overall impression is a subtle distinction between the 19th century and 21st century architecture.

There is an almost archaeological approach in the value placed on evidence of violence and decay. As M.W.

Thompson notes, “the dominant factor in the minds of those concerned with preserving ruins today is an awareness of the value of the remains as evidence. The ruin is regarded as a document which can tell us a great deal

about its history if we have eyes to see and understand”.31 Bullet holes are left untouched, acting as a document

to understand the positioning of soldiers and direction of gunfire. Patches of damage to ornament or murals are left as they are. Only small sections of damage or poor repairs that over complicate or confuse the damage are

restored to achieve unity. The most iconic space in the project is the main stair hall. The volume of the staircase is rebuilt, but in concrete consisting of white cement and Saxonian marble chips.32 It sits within the brick volume of the original hall, though it is built devoid of its former ornamentation. (figs. 21, 23)

This way of interpreting a ruin, the reinstating of formal structure but with alternate material and allowing damage to persist, is an honest approach and in keeping with guidelines such as in the Venice charter of 1964. Some

29 Taylor, J. (2009) The Neues Museum: A Fresh Approach to Conservation. Available: http://www.buildingconservation.com/articles/ neuesmuseum/neuesmuseum.htm 30 David Chipperfield Website. Neues Museum. available: www.davidchipperfield.co.uk/project/neues_museum 31 Thompson, M.W. (1981) Ruins: Their Preservation and Display. London: British Museum Publications 32 Neues Museum, Berlin, Germany. available: http://www.designbuild-network.com/projects/neues-leaf/

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fig. 19 Rebuilt corner of the Neues Museum. Architect’s image.

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have criticised that the role of archaeology and history in the administration of conservation as having “scared” architecture practice, “as historic and cultural values are the easier to cancel and the most difficult to transmit

and integrate with the contemporary culture”.33 Archaeology can occasionally deter other principles of architectural creativity. However, the Neues Museum has struck a balance between many methods in conservation and restoration, allowing archaeology to play an integral role without hindering the overall integration of the new interventions, which reestablish massing with the clarity of minimalism.

fig. 20 Architect’s concept sketch of re-establishing of form and figure. Architect’s image

33 Gonzales-Longo, C. (2012) Using old stuff and thinking in a new way: material culture, conservation and fashion in architecture”, in P. Emmons, J. Lomholt, J. Hendrix (eds) (2012) The Cultural Role of Architecture: Contemporary and Historical Perspectives. Routledge.

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fig. 21 (top) re-established form of stair hall. Architect’s image.

fig. 22 (left) The stair hall before its ruination c.1900. Architect’s image.

fig.23 (right) Side view of completed stair hall.

Architect’s image.

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Case Study: Barjac Studio Complex

Within the wooded countryside outside of Barjac, France, stand the ruins of an abandoned silk factory site, an

amalgamation of various industrial buildings. This is the location for Anselm Kiefer’s ‘gesamtkunstwerk’, that is,

a total work of art; a collection of pieces that become a part of this industrial, ruined landscape as a cohesive spatial whole. The scale of this project spans acres of sporadic studio space and miles corridors that stretch over the landscape, creating labyrinthine excavations and earthworks.34 The ruin becomes both a container for his work;

spaces that unite with the art to create a whole, but also spaces that act for living. This relationship between the

ruin, the art and the landscape is portrayed in scenes within Over Your Cities Grass will Grow directed by Sophie Fiennes, who spent two years filming the artist. Here is seen the tactile, industrial-like processes that the artist

undertakes in the creation of huge-scale paintings and sculptures. (fig. 26) The ruins of industry set up a relationship not only between the art and the environment, but also the creative processes and techniques.

Within the film is contained an interview with Anselm Kiefer by a German journalist. Kiefer expresses his desire

not to create finished, clean pieces of work, but rather fragments of expression; art that alludes to impermanence and the fate of all matter. Kiefer made a decision to create and present the works in spaces in their ruined form,

without any restoration that would create a more passive space typical to a museum. Thus the ruins in which he works act as inspiration for the art and processes he utilizes. As David Chipperfield speculated in a conversation with Anselm Kiefer at the Royal Academy of Arts as to why the artist prefers ruins as a place of work, “the ruin

is more material, it’s more haptic, it has texture”.35 Were the ruined industrial complex to be restored, the spaces would become too ‘complete’ for the work to take place in.

fig. 24 A sculpture by Anselm Kiefer in ruined space.

34 Prodger, M. (2014) Inside Anselm Kiefer’s astonishing 200-acre art studio. available: www.theguardian.com/artanddesign/2014/ sep/12/anselm-kiefer-royal-academy-retrospective-german-painter-sculptor 35 Royal Academy (2014) Kiefer and Chipperfield talk space and creativity. Available: www.royalacademy.org.uk/article/kiefer-andchipperfield-talk-space

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fig. 25 A space realised by the artist. Photograph by Charles Duprat

fig. 26 Inside one of the excavated spaces at Barjac.

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Discussion

The case studies show that a majority of contemporary conservation practice is more aligned to “Brandi’s Theory of Restoration”, in that formal structure and massing are reestablished, but done so in new materiality and with new techniques to differentiate the intervention from the other stages of building, yet create a unity. Naturally,

this tends to exclude ornamentation, as craft has changed with major shifts in material culture and methods of production.

The conservation of the Neues Museum by David Chipperfield and Julian Harp is the clearest demonstration of

the restoration of form through simplified massing. This treatment of historic buildings effected by war is quite common in Germany, seen also in the restoration of the Alte Pinakothek in Munich, a 19th century art museum

that was heavily damaged in WWII, and resulted in requiring extensive repair. (fig. 28) The architect of the con-

servation, Hans Döllgast (1891-1974), devised that the large bomb crater in the centre of the façade be rebuilt in rubble stone from the museum and nearby military barracks.36 Akin to the Neues Museum, the form and repeti-

tion of the arches and pilasters is continued, but without ornamentation, achieving a ghost-like impression of the original façade that honestly presents the building’s past. (fig. 27)

Slains castle could potentially aim to become part museum, with the reinstating of the artefacts removed from it during the purchase of its library in 1918. Archaeology would likely play a more integral role in the design process, however.

The case of Astley Castle is the most directly relevant to Slains castle, pertaining to the building’s former use

and cultural backdrop, as well as the extent of the damage done to the building. This restructuring of materiality could be undertaken at Slains castle, with distinction between ruined shell and intervening mass of simplified

geometry. The way in which the architects made the original architecture more comprehendable by conforming to historical areas of the building could be applied to the more dilapidated parts of Slains castle. Moreover, the

use of Astley Castle as a rentable holiday home may be more appropriate for Slains castle, should the proposal to create thirty-five holiday flats alienate the ruin from the general public.

In the studio complex in Barjac, the change of use is drastic, yet the new use requires and enhances the vastness of the industrial spaces. Though it is an unconventional form of conservation, it proves that ruins can take on

unexpected function, yet remain fragmented and decayed. This approach is perhaps the antethesis of Ruskin’s romantic view of ruins being inspiration for artists. Indeed, it becomes a part of the work of the artist itself, united by how they enhance one another.

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42

Schröer, A.(2005) Alte Pinakothek, Munich. at www.c20society.org.uk/botm/alte-pinakothek-munich/

fig. 27 The re-established facade of the Alte Pinakothek

fig. 28 The Alte Pinakothek after being bombed in WWII

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Chapter 3 Controversy & The Public Eye Alongside legislation, the public and political backdrop play integral roles in the planning process of ruin con-

servations. In this chapter, Slains group’s proposal for Slains castle is introduced and the details of its drawings are discussed to relate it to previously discussed theory. To contextualise the political and theoretical debate

surrounding Scotland’s built heritage, castle Tioram is discussed, as it encapsulates the major aspects of such a proposal

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Slains Castle Rebuilt?

The £6 million proposal to develop 35 holiday flats within Slains Castle was granted outline planning permis-

sion to the Slains Partnership in November 2004.37 It proved very controversial with the residents of Cruden Bay

and with others further afield, arousing opinion both for and against the proposal. However little has been heard

from the clients since 2009, though permission was granted for elongation of the planning permission in 2014 by another ten years.

Now, the ruin seems to have been forgotten. A meagre metal fence now sits around the perimeter of the site,

though it has been moved aside and ignored, without any notice or signage indicating its position. It is unclear when the proposal will ahead, if ever. Slains castle is not under the protection of an authority such as Historic Scotland, and thus has no inherent tourist infrastructure. Though this is a positive note for ruin enthusiasts

and coastal wanderers who would rather have the experience of the ruin be authentic, it is deteriorating at an

alarming rate due to the violent weather of the north east coast. Moreover, accidents have occurred on the cliffs adjacent to the ruin, claiming multiple lives over the decades. This is likely due in part to the ruined nature of Slains castle.

Indicative elevation drawings of the ruins drafted in 2007 show colour coding denoting the ‘old’ and proposed

‘new’. (fig. 29) The proposal is to rebuild the castle how it stood before the removal of the roof in the early 20th century. The assertion that this particular version of the castle should be rebuilt is potentially problematic as

many different owners have altered the building over time, and the meandering narrative could be lost, freezing

one particular version of the building. However, the decision might be understood logical as this was the last form the stately home took in an inhabited and functioning state, before its collapse into disrepair. It was also the state in which Bram Stoker would have reputedly seen. Of the theories discussed previously, the philosophy of Violletle-Duc is perhaps most relatable to this proposal in terms of its treatment of fabric and form.

The indicative elevations show the differing levels of ruination on each axis. (fig. 29) The east elevation, fac-

ing the sea over the cliffs, is the mostly intact. Here, only a re-roofing is required. However, the west elevation,

which captures the outhouse on the left and the bedroom wing of the main block on the right, suggests extensive restoration of the outhouse entrance facade and rebuilding of the entire west wing wall, which has completely disappeared.

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46

Buildings at Risk Register (2014) Slains Castle, Cruden Bay. available: http://www.buildingsatrisk.org.uk/details/903870

fig. 29 The elevation drawings of the proposal submitted to the Aberdeenshire council in 2005. Edited by Author to remove unnecessary information.

fig. 30 The plan of the first floor of the proposal submitted to the Aberdeenshire council in 2005. Edited by Author to remove unnecessary information.

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The Castle Tioram Debate

A particularly debated case is the ruin of Tioram castle, located on the west coast of Scotland in Moidart. The

ruined castle sits atop a rocky outcrop on the tidal island of Eilean Tioram, where the river Shiel flows into Loch Moidart. (fig. 32) At high-tide the castle can only be accessed by a narrow sand bank, granting it a dominant

defensive point over the landscape.38 Unlike Slains castle, Tioram castle has a long military history. Dating back

to the 14th century, it served as the seat of the Clanranalds and the main base of administration and power of the region. Fragments of cannonballs have been found in the walls dating back to the sieges of the 16th century. In

1715, during the Jacobite rising, the castle was deemed a key strategic point of control and was reputedly put to

the torch by the inhabitants to prevent opposing Hanoverian forces using it to their advantage.39 Being uninhabited from that time forward, the ruin has undergone very little change to its fabric since its abandonment.

The ruin’s historical and cultural importance carries with it greater problems for the conservation debate. In

what has been a turbulent and controversial case, Tioram Castle has polarized two camps of the lobby. The castle was bought in 1997 by Anta estates, owned by Scottish businessman Lex Brown.

His intention was to the ruin into a home for himself with a publicly accessible clan museum, however

the castle remains ruined due to Historic Scotland declining the proposals with backing from the Scottish execu-

tive. The argument to preserve it as a consolidated ruin has not been accepted by the owner, and thus a standstill has been reached, while the castle slowly detiorates.

Historic Scotland argues that the ruin should be retained as a romantic ruin for the public with minimal intervention due to its cultural significance as it serves as “one of the best, relatively untouched illustrations of a second generation of West Highland stone castles”.40 Many papers, such as the Burra charter of 1999 and, set out the

reasoning behind this view, such as the fact the castle was owned by one family line until its abandonment, thus

making it a particularly coherent depiction of a Scottish medieval clan family line. Geoffrey Stell adds to this that

stating that “the castle also gains much by its association with a family which manifests many significant aspects of Gaelic lordship and culture”.Various conservationists share the views of HS, including architect Ben Tindall, of

SPAB. He argues that proposals such as Anta Estates’ “would destroy the character of other castles in the next few years, leaving Scotland very much the poorer, losing its character and good name at home and abroad.”41

38 Evans S. Eilean Tioram (The Dry Island) and Castle Tioram. available: www.moidart.org.uk/datasets/tioram.htm 39 Conventry M. (2008) Castles of the Clans. Scotland:Goblinshead. pp.360-361 40 Stell, G. (2006) Castle Tioram: A Statement of Cultural Significance. Historic Scotland. [online pdf.] available: http://www.historicscotland.gov.uk/tioram-stell-fullversion-part1and2.pdf pp.59-93 41 Cramb, A. (2001) Battle rages around Highland castles. available: http://www.telegraph.co.uk/news/uknews/1340732/Battlerages-around-Highland-castles.html

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fig. 31 Castle Tioram: drawing by Thomas Ross in The Castellated and Domestic Architecture of Scotland, volume 3 (1889)

fig. 32 View of castle Tioram from the tidal passage

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The other side of the argument would rather accept Anta estates’ offer to fund every part of the project and prevent any further decay while it stands. A notable supporter is the current chief of Clanranald,

Ranald MacDonald, who has held clan gatherings and Mass at the castle and believes that the project is the best

method for Tioram to survive. In his extensive paper, a reappraisal of castle Tioram and the proposals, architectural historian and critic and former RIAS secretary Professor Charles McKean lists numerous reasons why the

scheme is culturally and historically fitting. Concerns regarding the proposal’s “inconsistency” with historical and cultural usage are considered far less important than the degree of intervention and amount of damage to the

fabric as a result from the interventions. The ruin, in a similar case to Slains Castle, is also considered dangerous

and as a result cannot be entered. McKean argues that the conservation of Tioram would make it far more educational and culturally accessible, as the ruin is incredibly difficult to decipher as it stands. Citing theorists such as Brandi he argues that HS is essentially “taking a more conservative view than the rest of Europe.”42

Another aspect that has delayed progress is the argument for the ruin’s place in the landscape, and is an issue

also potentially faced by Slains castle. As previously mentioned, nostalgic and romantic qualities attach them-

selves to ruins and untamed landscape. As Rose Macaulay notes about ruined castles- “Until they are ruined, no one but their owners, and those who live under their protection, has liked them; once they are shattered and

dismantled, admiration supervenes; they become pets, the most esteemed ruined objects in a landscape.”43 Thus

it can be argued that castles, serving military function for security, serve only as picturesque objects once ruined and nostalgic fragments in a landscape. Richard Payne Knight (1750-1824) wrote of the romantic qualities assimilated by a ruined castle in ‘The Landscape: A Didatic Poem’: “Bless’d too is he, who, ‘midst his tufted trees, Some ruin’d castle’s lofty tower sees;

Imbosom’d high upon the mountain’s brow,

Or nodding o’er the stream that glides below.”44 The connection between the scenic, yet remote landscape, and the castle is of great importance to many on both sides of the argument. (fig. 33) The notion of a romantic ruin in landscape has a long history of inspiring travel-

lers, writers and artists. However, the castle is disintegrating. Professor Charles McKean notes that for the castle to perform a cultural role, it must be granted a new purpose. He claims that consolidating the ruin would have a negative cultural impact, as the integration of railings, signs and walkways would negate from the scenary regardless of intention.

42 McKean, C. (2002) Castle Tioram Inquiry, Chapter 9: Further Evidence in Support of the Application (Anta). Historic Scotland [online pdf.] available: p.69 43 Macaulay, R. (1953) Pleasure of Ruins. London: Weidenfeld and Nicolson. p.441.

44 Knight, R.P. (1795) The Landscape: A Didatic Poem. Delivered to Uvedale Price, Esq. London: W. Bulmer and co. [e-book] available: https://archive.org/stream/landscapedidacti00knig#page/n3/mode/2up

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There is an assumption that the castle was burned down by the last inhabiting lord as a symbolic gesture to the definite ‘end’ of the buildings existence as the clan home. This is used by the side of the debate supporting His-

toric Scotland. However, this piece of history has not be proven true and various repairs were undertaken in the

20th century regardless. Thus, to argue that the ‘lifeline’ of castle Tioram was ended at this point is philosophically dubious. Moreover, the notion of the past as “forever past”, “separates us from heritage as a living and develop-

ing part of our cultural life”.45As historian Michael Davis argues in his paper regarding the debate, “history has not

actually stopped. We are not standing at the end of time. We feel the duty to preserve and the desire to create”.46

fig. 33 Aerial view showing the castle in its landscape

45 Robert (2006) Totally Authentic. A speech given at a AJ planning conference on conservation by Robert Adam. avilable: www.architectsjournal.co.uk/home/totally-authentic/127695.arcticle 46 Davis, M.C. (2000) Castle Tioram and the Restoration Debate: Conclusion. in: Clow, R. Restoring Scotland’s castles: an account of the restoration or rebuilding of eleven tower houses

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Chapter 4 Slains Castle Revisited

Having contextualised the public and theoretical debate that effects Slains castle, as well as examining various

case studies and methodologies that could potentially apply, the ruin can now be analysed in a more individual

manner. The overall level of degradation will be examined as well as the materiality of the fabric. The quality of ruined spaces and their effect on the building’s narrative and clarity shall also be of discussion in assessing the situation of the ruin. Following this analysis, a critique of the current proposal to turn the ruin into thirty-five holiday flats will take place.

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fig. 34 Black-plan of Slains castle before ruination. (author’s image)

fig. 35 Black-plan of Slains castle in its current state of ruination, 2015. (author’s image) 54

Analysing the Ruin

Today the ruin still attracts visitors, despite the absence of tourist information or infrastructure and the erection of a metal fence around the site intended to keep them out. The ruin is dislocated from the village of Cruden Bay and is accessible by various paths that pass through the flat landscape of fields and past nearby sea caves. The

approaches are long, yet immediately apparent even from a distance is the silhouette of the towers and suggested roof forms that create a jagged composition. (fig. 36)

Considerably more of main courtyard block survives than the outhouse, despite being the older part of the ruin,

though the west façade has almost completely disappeared (fig. 35). Much of the layout of the outhouse has been lost from immediate view, although the grand entrance, flanked by short towers, still stands. It is however difficult to read the function of the rooms through the ruin.

Due to the degree of ruination, the castle can be entered at multiple points at ground level through crumbling

openings. Above, only a small area of the first floor level remains intact; one of the family bedrooms of the south east corner. Level heights suggested by the marking of where timber beams once spanned show how the prin-

cipal floor had a grander ceiling height than the level for services underneath. The distance between the ‘base-

ment’ floor at ground level and the principal floor above is particularly short, implying that the lowest level was excavated slightly into the ground, and that this has now covered with earth. (fig. 2)

Fig. 36 Approaching the site from the south 55

Only certain spaces show the trace of their former use. At ground level, a small crypt-like space, a wine cellar,

sits adjacent to the south east tower, its stone vaults for storage still intact. The central octagonal element in the centre of the courtyard served as a saloon, a grand transition space for the hanging of paintings. Here the small timber members that held up the wall inserts are still visible. Around the courtyard, the square windows set between pilasters have been bricked in, but these would have allowed views inward.

The outhouse still shows traces of the stables that were located adjacent to the entrance. Many features of the

main floor hang suspended on walls; tumbled fireplaces remain attached to the walls where the floor has disappeared, leaving the ghostly impression of the room above and indicating where the living spaces of the castle’s workers were. (fig. 37) Many other chimneys remain intact throughout the ruin, showing the location of the hearths. (fig. 38)

With the bare material of the walls now exposed, it is possible to see how the thick granite walls and mortared brick walls meet, and where these construction choices have taken place. (fig. 40) Older constructions, such

as the base of the tower house, are largely of granite, while inner walls and additions such as the gallery in the

courtyard are solely built in red brick, which would have been dressed to hide it. The outer shell is largely granite, re-faced in the 19th century to suit Victorian taste.

The sea facing façade has managed to retain its screed facing, its smooth face only broken by the gaping hole

where a bay window spanning two floors once was. (fig.41) The tower has also retained much of its exterior shell and screed. (fig. 42) The end shafts of timber members still lodged in the solid walls denote where floor levels

once were. Only in certain places, such as the main tower, do whole timber members survive intact, but most are likely to disappear in the near future due to their exposure. (fig. 44) Recent cracks in the stone walls and segments hanging precariously indicate that the ruin is not withstanding the weathering of the area. (fig. 39)

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fig. 37 (top left) Suspended hearth at first floor level in the outhouse. (author’s image)

fig. 38 (top right) Series of fireplaces and chimney stacks. Shown is the varying heights of interior walls. (author’s image)

fig. 39 (bottom left) South facing facade. Little of the entrance vestibule remains. (author’s image)

fig. 40 (bottom right) An enfilade of red brick and granite planes.

Shown is the contrasting material build-up. (author’s image)

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fig. 41 (top) Sea-facing facade. Large gaping holes where bay windows once were. (author’s image)

fig. 42 (bottom left) Sea-facing facade of tower house. (author’s image)

fig. 43 (bottom right) Sea-facing facade of the outhouse. The

limited decor and small openings reflect the response to the serv-

Ruined Space and Accidental Experiences

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ants’ quarters. (author’s image)

fig. 44 Inside the shell of the tower house. (author’s image)

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Ruined Space and Accidental Experiences

Though a ruined building’s spaces are never how its architect intended them to be experienced, new, coinci-

dental moments occur in ruined spaces. Though random, these spaces can sometimes be more powerful than their original architecture due to the absence of functional constraints that are placed on buildings. This can

sometimes hinder understanding the original planning of the building, but in many cases make more evident the

various phases of building, as is the case in Slains castle. Stripped of dĂŠcor and treatment, the materials show the

true nature of the building. Traces can always be seen, like the impression where a pitched roof once stood, or the remains of a floor construction suspended.

Much of the fabric of Slains castle has become altered by deconstruction. Broken walls grant glimpses to and from spaces that previously had not been visually connected, creating accidental enfilades of red brick and granite

planes. Long, telescopic views to the outside are created via the decaying of interior walls, particularly noticeable in the east end of the ruin. (fig.x) The formal circulation has been partially lost to ruination, replaced by a porous deviation. Movement between spaces becomes fragmented and sporadic, offering new passages through the building. These coincidental routes may by chance create some moments of intrigue.

Where originally timber construction, spiral stairwells have decayed. Stripped of their function, these have be-

come tall cylindrical light wells. The corridors around the courtyard, now missing their roof and principal floor above, create tall, labyrinthine like spaces. Shallow arches intermittently span between the tall walls, offering a trace of the original roof level.

fig. 45 Inside the empty shell of a spiral stairwell. (author’s image)

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fig. 46 View through the remains of the Drawing rooms at principal level. The contrast between red brick and granite is clear, even where the chimney emerges to the left. (author’s image)

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Critique of the Slains Castle Proposal

Having contextualised the philosophical viewpoints on conservation and its cultural role, the current proposal

by Slains Partnership can be assessed from a critical perspective. Despite the fact that the drawings only reached an early stage of the project’s development, one can deduce certain decisions and attributes from the indicative proposals, and examine the various methods that could be undertaken.

In terms of materiality, little can be clearly seen from the indicative drawings. It is however, suggestive of its res-

toration in granite. This would be more aligned to the philosophy of Viollet-le-Duc, as discussed earlier. Concerning its cultural and historical significance, this is potentially damaging to the identity of the building’s stages of

alteration and historical build-up. It is worth remembering, that before its ruination, Slains castle was owned by one family-line for four hundred years, which is, disregarding the change in ownership between 1916 and 1925, its entire life-line as a functioning building. This could tell a considerable amount of the lives of a noble Scottish house. Were the entire building cleaned to hide where ‘old’ meets ‘new’ as the drawings suggest, it is likely that little would be ascertainable of the building’s history. Moreover it is a falsification to simply rebuild as it would blur a passage of time, as Brandi stated, “for Restoration to be a legitimate operation it cannot presume that

time is reversible or that history can be abolished”.47 If there were no trace of the castle’s former life as a ruin, a

time-span of nearly one-hundred years, then a vital piece of the building’s history would be lost, and confuse the historic build-up of its fabric.

Despite these concerns, there are methods in which the rebuilding of the large portion of the building’s facades

can be achieved while maintaining a clear difference between the existing fabric and the rebuilt. The restoration of the Neues Museum in Berlin and Alte Pinakothek in Munich are examples of how a formal facade can be con-

tinued and masses reinstated. Astley castle demonstates how the proposal could deviate from its previous form to achieve a balance of ruined qualities and inhabitable space.

Of the intended usage of the proposal, the historic usage of the castle is only reflected by the proposal in that it is indeed domestic. However the intended size of the flats, likely ascertained through economic reasons, might

not encapsulate the grandeur of the castle. Movement through space would be limited in comparison, although the proposal does suggest that the courtyard space of the main block and the entrance foyer of the outhouse to become circulation between entry and abode. This would

allow a certain amount of transitional experience, though the consolidation of certain spaces as ruins or public

space could aid in creating a more powerful scheme, allowing inhabitants to understand the scale of the rooms

47 Brandi, C. (1963) Theory of Restoration, I. in: Price, N., Talley, M., Vaccaro, A. (eds.) Historical and Philosophical Issues in the Conservation of Cultural Heritage. CA: The Getty Conservation Institute Los Angeles. p. 232

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and their relation to one another. Allowing parts of the building to remain ruined, for example, not only achieves a meeting point between ruin and functioning building in the form of atmospheric spaces, but gives merit and evidence of the buildings former life as a ruin.

In conclusion, if the proposal eventually progressed, it is important that it does not attempt to faithfully rebuild the castle as it stood before abandonment and hide evidence of this in a cleaned and perfected manner. The ap-

proach must sensitively contribute to the evolution of the building, yet establish a relationship to the building’s

former ruination. For a building that has undergone many stylistic changes relating to the present architectural trend deemed approprirate, it would be difficult to decide which version of the building to restore. Thus, the

approach should attempt to evolve the castle further, while retaining as much of the historic fabric to establish an architectural and cultural narrative. As Adam Caruso notes in an essay on tradition, “many architects are

reluctant to consider what they do as being part of a general cultural production and a part of history”.48 It must

consider its action as a historic event and an action taken in accordance to the building’s projected future past, as well as consider how it correlates to previous and present culture.

fig. 47 View of the ruin from across the water. © RCAHMS 48

Caruso, A. (2008) The Feeling of Things. p.12 Barcelona: Ediciones Poligrafa

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Chapter 5 - Conclusion and Recommendations

Slains Castle will continue to deteriorate if no action is taken. This is undoubtedly favourable for the ruin ex-

plorers of the present, but it lacks consideration for future generations. Though it may serve well as romantic

ruin, little can be told of its history in its present state. As recognised in chapter 1, Slains castle is of particular

historic interest in that it served a long family line of Scottish nobles, the alterations to the architecture running consistently to the changing requirements faced by the Hay family. The shifting political landscape and cultural

trends are encapsulated in the decisions made by the Earls of Erroll to their home and headquarters. It is perhaps through the connections to figures of recent history, such as Bram Stoker as well as James Boswell and Dr Johnson, that the importance of this family is better understood.

There is a tendency for people to regard the present as somehow separate from history, and act with agency upon this. It is imperative to remember that whatever action is taken, it will become symbolic and meaningful to later generations, and will tell much of attitudes and culture of the time. Thus it is important for the intervention in a ruin to determine its place in history, not to pretend it belongs to a lost time. “History has never copied earlier

history and if it ever had done so that would not matter in history; in a certain sense history would come to a half with that act. The only act that qualifies as historical is that which in some way introduces something additional, a new element, in the world, from which a new story can be generated and the thread taken up anew.�49

In chapter 2, the analysis of contemporary philosophy in conservation and restoration brings to light this atti-

tude, and it is clear that the completely historically faithful method of restoration would render our present time

and culture obsolete. History should not be considered separate from the present. Instead, the culture of present architecture should be reflected in the actions taken upon ruined buildings and a dialogue between the built

heritage and contemporary scene established. The various case studies explored suggested different possibili-

ties for Slains castle, whether alterations to the current proposal, or conveying other usages entirely. Witherford

Watson Mann’s approach to the ruin of Astley castle was to rebuild only certain areas and leave others as ruined

spaces. This could be done at Slains castle to achieve a greater appreciation for the overall scheme. Otherwise, the separation of the rooms into holiday flats may prove restrictive and rob the building of its grandeur. The use may not necessarily be the only way for Slains castle to be conserved. In the case of Barjac shows, ruins can take on

unconventional and artist function, establishing a dual purpose as container of art, and ruined space exhibited.

49 Bergdoll, B. (1994) Karl Friedrich Schinkel. An Architecture for Prusia. New York: Rizzoli. c. Caruso, A. The Feeling of Things. Barcelona: Ediciones Poligrafa, 2008 p.12

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In chapter 3, the political aspects of aforementioned legislation and the public response was discussed, with

reference to the debate surrounding castle Tioram. It was found that a strong divide in opinion exists in Scotland, and that this can potentially stall attempts to conserve historic buildings. Through the discussion of contem-

porary conservation legislation, and its originating philosophies, the international attitudes towards ruins and

their conservation was understood in relation to Scottish approaches. While the legislation of Scotland keeps a

great deal of ancient monuments and buildings to a high standard of maintenance and care, there is a danger, as illustrated in the castle Tioram debate, that legislation can at times hinder the evolution and survival of a ruin.

Although set rules can maintain standards and prevent the cultural destruction of historic buildings, such as

seen in the 19th century, each ruin has different cultural and physical contexts, alongside other historical intricacies. Each case must be considered separately and the various aspects weighed against one another. As stated by

Charles McKean,“true conservation is not about words of paper: it is about making judgements that will support a building’s future”.50

Through the analysis of the ruin’s fabric in chapter 4, an understanding was achieved of how the materiality and structure has been informed. The layer of granite and brick additions is revealed through the decay of decor.

Thus decisions can be informed as to the levels of importance of alterations in red brick. It is clear that the ruin

is vulnerable to the harsh weather of the area, and will require saving to avoid further degradation; the outhouse is already considerably ruined, some walls of which have already disappeared entirely. The complete destruction of the bay windows and main entrance has resulted in vast openings that will require re-structuring should the

proposal go ahead. The critique of the proposal noted how it compared to aforementioned philosophy of conservation and restoration. It was found, despite the vague indicative drawings, that the scheme is likely too focused on the original architecture. It is possible, however, within certain guidelines and approaches, that the scheme

can unite the fabrics of various building stages, while marking itself as a contemporary and fundamentally poignant event in the building’s evolution.

50

McKean, C. Castle Tioram Public Inquiry Precognition. Historic Scotland. p.20

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The recommendations are composed as points, aimed at a variety of persons potentially involved in the conservation of Slains castle: the architects and planners, the boards of legislation and the general public. This is a summary of the main findings, but also introduces new ideas informed by the research.

- No alterations or additions to the castle should be removed in pursuit of an older version of the building, unless for technical reasons or very specific spatial reasoning. The acts of the past are significant in that what they can tell of the Earls of Erroll, even if they are deemed a less ‘fortunate’ period of the family’s history.

- If restoration of building form conforms to previously existing massing, then it is important that it is done so in a way that it leaves the trace of intervention visible, acknowledging the time it is taking place, and does not attempt to cover this intervention by the cleaning and neutralising of the surfaces.

- The proposal to create thirfy-five apartments may limit the spatial experience of the overall building and thus

prevent an understanding and appreciation for the building’s importance as a historic stately home of the Earls of Erroll, and thus cause confusion as to the building’s cultural significance. Either more generous flats, or commu-

nal spaces set between would allow the building to remain a place of discovery. The social aspects encouraged by these spaces of intrigue may enhance an appreciation of the building with the inhabitants.

- Legislation and charters, while important documents to refer to, should not dictate every aspect of the conservation of Slains castle. Though this is unlikely, as the ruin is currently unlisted, it may still prove an issue later in the process. Every ruin or historic building is different, with a wide range of possible factors. These charters cannot

define every project, but can guide. Every case has subjective issues that are too difficult to be dictated by legislation.

- A museum could be included in the brief. If the artefacts sold in 1918 were to brought back to their original site,

they could tell more of the Earls of Erroll, who’s history has been overshadowed by the story of Bram Stoker’s visit and the connection with Dracula.

- The ruin could be used in a temporary manner while the proposal is stalled. There are ways in which ‘light-

weight’ interventions could re-connect the public to the isolated ruin. Anselm Kiefer’s studio complex at Barjac,

though involving a lot of infrastructure, could be a source of inspiration for the way in which a temporary ‘exhibition’ of the spaces may unfold.

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- Any potential proposal should be evaluated in how it relates to the coastal landscape of Cruden and whether this enhances the quality of the landscape or not. Samuel Johnson, noted how “the walls of one of the towers

seemed only a continuation of a perpendicular rock, the foot which is beaten by the waves”.51 The relationship

between the functioning building and landscape has impressed upon many visitors and artists, the paintings and

postcards showing this. The conservationists of Slains castle should acknowledge the ruins current state and how this lends a characteristic to the landscape and vice-versa, and whether this can carry through to the restoration.

fig. 48

51

View along the west wing with outhouse in the distance (author’s image)

McKean, C.(1990) Banff and Buchan, An Illustrated Architectural Guide. Edinburgh: Mainstream Publications. p.166.

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Boswell, J. and Johnson, S. (2006) A Journey to the Western Islands of Scotland and the Journal of a Tour to the Hebrides. ed. Levi, P. London: Penguin Publishing UK. (original work published 1775) Caruso, A. (2008) The Feeling of Things. Barcelona, Spain: Edicionas Poligrafa Colcock, C.J. (1959) Family of Hay. Gretna, LA: Pelican Publishing Conventry, Martin (2008) Castles of the Clans. Scotland:Goblinshead Davis, M C. (2000) Castle Tioram and the Restoration Debate: Conclusion in Clow, R Restoring Scotland’s castles: an account of the restoration or rebuilding of eleven tower houses Edwards, S.E. (2009) The Countess of Erroll. UK: Authorhouse Glasgow Corporation Public Libraries. (estimated 1918) A List of Books and Manuscripts Acquired from the Earls of Erroll by Glasgow Corporation Public Libraries for the Mitchell Library. Glasgow

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Stoker, B. (1897) Dracula. London: Archibald Constable and Company Thompson, M.W. (1981) Ruins: Their Preservation and Display. London: British Museum Publications Thompson, M.W. (1987) The Decline of the Castle. Cambridge, England: Cambridge University Press Tuomey, J. (2004) Architecture, Craft and Culture. p.26. Oysterhaven, Ireland: Gandon Editions Vanbrugh, J. (1709) Reasons Offer’d for Preserving some Part of the Old Manor. In: Van Eck, C. (ed.) British Architectural Theory 1540-1750. Aldershot, England: Ashgate Publishing Limited. pp.165-166

Viollet-le-Duc, E. (1854) Restoration. in: Price, N., Talley, M., Vaccaro, A. (eds.) Historical and Philosophical Issues in the Conservation of Cultural Heritage. CA: The Getty Conservation Institute Los Angeles.

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List of Figures Fig. 1 Inside the ruin of Slains castle (author’s image) fig. 2 Alongside the ruined courtyard (author’s image) fig. 3 The coastal approach along the cliffs (author’s image) fig. 4 Historic photograph showing general view c.1900 © RCAHMS. available: http://canmore.rcahms.gov.uk/ en/details/868765/

fig. 5 Historic photograph showing general view of drawing room c.1900 © RCAHMS. available: http://canmore. rcahms.gov.uk/en/details/1150885/

fig. 6 View of the west wing from one of the gardens. © 2015 ClanHay.org. available: http://www.clanhay.org/ wp-content/uploads/vbc-slains1.jpg

fig. 7 Historic photograph showing general view c.1900 © RCAHMS available: http://canmore.rcahms.gov.uk/ en/details/1150885/

fig. 8 Plan of principal floor level of the main courtyard block. Image altered by author. Original image purchased from © RCAHMS.

fig. 9 Plan of ground level of outhouse. Image altered by author. Original image purchased from © RCAHMS. fig. 10 Plan of basement level of main courtyard block. Image altered by author. Original image purchased from © RCAHMS.

fig. 11 Dramatic lithograph of Slains castle in its landscape by R. Brandard. © RCAHMS Available: http://canmore.rcahms.gov.uk/en/site/21149/details/slains+castle/

fig. 12 The folley at Wimpole Hall, Cambridge. Available: https://s-media-cache-ak0.pinimg.com/originals/ c4/0f/9c/c40f9cc516c61e89b519213c2d589347.jpg

fig. 13 Simplified diagram generalising the philosophical approaches to restoration c.1877. (author’s image)

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fig. 14 General view of completed scheme. © The Landmark Trust 2015. available: https://themodernhouseblog. files.wordpress.com/2013/09/astley-castle-71.jpg

fig. 15 The ruined court after being cleared out from a photographic series by Hélène Binet. Available: http://

www.architectural-review.com/folio/negotiating-the-ruin-the-story-of-stirling-prize-winning-astley-castle-indrawings/8658413.article

fig. 16 The finished court with skylight above. © The Landmark Trust 2015. Available: http://www.landmarktrust.org.uk/Global/property-images/A%20to%20C/Astley%20Castle/Astley%20Castle-387.jpg

fig. 17 Historic build-up of Astley castle. Architect’s image. Available: http://www.ajbuildingslibrary.co.uk/projects/display/id/5341

fig. 18 The entrance to the new insertion.

Fig. 19 Rebuilt corner of the Neues Museum. Architect’s image. available: http://www.davidchipperfield.co.uk/ project/neues_museum

Fig. 20 fig. 20 Architect’s concept sketch of re-establishing of form and figure. Architect’s image. available: http://www.davidchipperfield.co.uk/project/neues_museum

fig. 21 re-established form of stair hall. Architect’s image. available: http://www.davidchipperfield.co.uk/project/neues_museum

fig. 22 (left) The stair hall before its ruination c.1900. Architect’s image. available: http://www.davidchipperfield.co.uk/project/neues_museum

fig.23 (right) Side view of completed stair hall. Architect’s image. available: http://www.davidchipperfield. co.uk/project/neues_museum

fig. 24 A sculpture by Anselm Kiefer in ruined space. Available: https://s-media-cache-ak0.pinimg. com/236x/4a/f4/63/4af4632f5173155e4d758087128af154.jpg

fig. 25 A space realised by the artist. Photograph by Charles Duprat. Available: http://www.theguardian.com/ artanddesign/2014/sep/12/anselm-kiefer-royal-academy-retrospective-german-painter-sculptor

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fig. 26 Inside one of the excavated spaces at Barjac. Available: https://donnafleischer.files.wordpress. com/2010/11/kiefer-barjac.jpg

fig. 27 The re-established facade of the Alte Pinakothek. © 1999-2015 Citysam AG Berlin Hotels & Hotel-Reisen Available: http://www.muenchen.citysam.de/fotos-muenchen-p/alte-pinakothek-1.jpg

fig. 28 The Alte Pinakothek after being bombed in WWII. Available: http://www.pinakothek.de/en/node/578 fig. 29 The elevation drawings of the proposal submitted to the Aberdeenshire council in 2005. Edited by Author to remove unnecessary information. Copyright of Aberdeenshire Council. Available: https://upa.aberdeenshire. gov.uk/online-applications/files/62FF5DB2C141F3F046E709C44075AE46/pdf/APP_2004_0321-INDICATIVE_ ELEVATIONS-69.pdf

fig. 30 The plan of the first floor of the proposal submitted to the Aberdeenshire council in 2005. Edited by Au-

thor to remove unnecessary information. Available: https://upa.aberdeenshire.gov.uk/online-applications/files/ 62A4047AAF9A99CA5B684E65036BA5C7/pdf/APP_2004_0321-INDICATIVE_FIRST_FLOOR_PLAN-70.pdf

fig. 31 Castle Tioram: drawing by Thomas Ross in The Castellated and Domestic Architecture of Scotland, volume 3 (1889)

fig. 32 View of castle Tioram from the tidal passage. Available: http://www.bbc.co.uk/china/specials/images/1423_ukcastles/3143638_tioram.jpg

fig. 33 Aerial view showing the castle in its landscape. © 2015 ИГЕО-ПОРТАЛ Available: http://www.igeografija.mk/Portal/?p=3338

fig. 34 Black-plan of Slains castle before ruination. (author’s image) fig. 35 Black-plan of Slains castle in its current state of ruination, 2015. (author’s image)

Fig. 36 Approaching the site from the south. © 2015 www.traveladventures.org. Available: http://www.traveladventures.org/countries/united-kingdom/images/slains-castle06.jpg

fig. 37 Suspended hearth at first floor level in the outhouse. (author’s image) fig. 38 Series of fireplaces and chimney stacks. Shown is the varying heights of interior walls. (author’s image) fig. 39 South facing facade. Little of the entrance vestibule remains. (author’s image)

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