Doubling Back | Design Report

DOUBLING BACK T O T H E C I T Y/ G A R D E N T R A D I N G , T R AV E L L I N G A N D E VA L U AT I N G O B J E C T S DESIGN REPORT

ANGUS HENDERSON WITH DAN ANDERSON

ABSTRACT

In the National Museum of Scotland, a travelling service sits in front of an oak-panelled wall. Nearby, nestled in a cabinet in the Royal Botanic Gardens, a seed of the lodoicea maldivica, the ‘coco-de-mer’, slowly shrinks and shrivels. All three objects have been on journeys, and tell complex stories. The travelling service belonged to Pauline Bonaparte-Borghese, Napoleon’s sister, and was willed upon her death to her ‘friend’, Alexander 10th Duke of Hamilton. The panelling was salvaged from the Drawing Room of Hamilton Palace prior to its demolition, sold and transported to New York, returning to Scotland to be put on display in 1992. The seed, named for the Maldives but native to the Seychelles, was believed to be the Biblical forbidden fruit, or perhaps produced by a giant underwater tree. All three objects exemplify a strangeness, a sense of being in-place and yet outof-place furthered by an exoticisation engendered by the curation of gaze. Doubling Back(s) establishes a dialogue between these objects. It excavates and develops a thickened edge to the Botanic Garden — between the back of the Gardens and the back gardens of the city — as a site of exchange. Two hybrid programmes overlap one another, one concerned with the production of specific soils, one concerned with the valuation, documentation and exchange of objects. An oyster bar, coffee shop, restoration workshop and fire generate rich waste, supporting the production of acidic and alkaline soils. A wall for hanging walls, a drum of busts and a garden of ephemera hold and enable the viewing of strange objects. Things are seen closely by the macro-photographer, sampled by the edaphologist and forgotten in the grotto. In this thickened edge, the picturesque views established by the wandering paths of the Botanics, the perspectival axes of Hamilton Palace, the macro-photography of a cataloguer, and the aerial images analysed by an edaphologist collapse onto one another, establishing a new way of seeing and perceiving objects and landscapes.

VI

NOTE OF THANKS

NOTE ON STUDIO

This project is one to which many have contributed their very welcome thoughts. Thanks to Chris and Michael for their diligent and kind leadership of the studio along with their salient advice, attention to detail and their practical and intellectual support. Thanks also to guest critics who contributed at different times throughout the semester: Suzanne Ewing, Mark Dorrian and Victoria Bernie and Harriet Garbutt. Also thank you to Malcolm, Paul and Paul for their patient help throughout this year. Thanks to Dr. Godfery Evans also, for his helping hand and unparralled expertise in all things Hamilton Palace. Personal thanks also to Sarah for her support, bearing-with and advice, and to my Father who formed me

This project is one of a number with the studio ‘Countryside [INSIDE] Architecture’ of the MArch programme at ESALA which is led by Chris French and Michael Lewis. There are 14 to 25 other projects depending on how you count them. As such our project is contextualised by the studio.

from the soil and breathed life in my nostrils. The pH of said soil is cause for speculation.

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N O T E O N F O R M AT

The necessaire de voyage of Pauline Borghese as exotic object acts as an operating logic for this document. Spaces are indexed in the case for the disparate objects, character and themes, which can be pulled out, inspected and packed back into the page, the same dimensions in plan as the case. As a project concerned with object assemblage, seeing things together and seeing them strangely, this document does not utilise chapters and sections but rather juxtaposes these items against one another. Within this format space will be hollowed out in order to expand on insurgent themes.

NOTE ON FONT This document is typeset in Neue Haas Grotesk by Christian Schwartz N O T E O N D O C U M E N TAT I O N This is not the project. This is a document to present a certain vision of the project. The project also exists within other documentation. Namely the Portfolio and Pamphlet and Installation of Semester One and the Renderings, Recordings, Index and Installation of Semester Two.

NOTE ON METHOD This is a (primarily) manual project. A working method was established within the context of the gradual de-escalation of the COVID-19 crisis. Whilst there were certain degrees of restrictions to university facilities throughout the duration of the academic year, the project enjoys

NOTES

the return to the studio and workshop and as such places a great degree of emphasis on hand drawing and model making.

N O T E O N C O L L A B O R AT I O N

This is a collaborative project. In semester one work was undertaken with Dan Anderson and Kate O’Driscoll. In semester two, we splintered to spend a brief spell developing individual architectural languages for sites in Hamilton, after this Dan and I returned to the Royal Botanic Gardens Edinburgh to develop the proposal there.

The bulk of this document outlines this last proposal. For the sake of clarity I have not included Kate’s proposal in this document, As both Kate and Dan are MArch 1 students, this document is produced my myself and as such is skewed towards my labours.

PROJECT SUMMARY

BRIEF 1 E XOT I C O B J ECT S

The project began with investigations into exotic objects, oriented around an understanding of the exotic as a separation of the object and the viewer. The exotic objects that emerged for this study were a dissected seed of the lodoicea maldivica in the Herbarium collection of the Royal Botanic Gardens Edinburgh and a travelling service which formerly belonged to Pauline Bonaparte-Borghese and Alexander, 10th Duke of Hamilton and which is now housed adjacent to a panelled wall from Hamilton Palace in the National Museum of Scotland.

Both objects shared a number of thematic familiarities; both had travelled extensively before coming to be in Scotland, and these travels imbued each with associative memories and tangential narratives within their stories. Both performed a function of holding and encasement, and were designed, to hold particular pieces with great care and specificity.

From the contemporary habitat of the seed within the Herbarium of the Botanic Gardens Edinburgh, and the uncovered connections between the travelling case and the vanished world of Hamilton Palace, two sites of interest emerged. These sites acted initially not as locations in which to build, but landscapes and contextual histories through which to explore dialogues between objects, collections and landscapes.

BRIEF 2 ( I N ) D R AW N T H I N G S

XIV

The two sites invoked a study of the place of vision within the landscape, and the vertical layering of geology, soils, water & plants that grounds each environment. The landscape of the Hamilton Palace estate, subjugated and dominated on the surface for human benefit, belies a more complex relationship of geology, landscape and historical collection concealed beneath. The inverse of this is true of the Botanics, where a meandering pastoral setting of unexpected connections and vistas belies a careful curation of landscape and total categorisation of objects.

The conclusions of these studies embraced coalescing layers of geology, landscape, history and mythical narrative, as well as the interrelationships and connections between objects and viewers and the impositions of both onto the landscapes between them.

The Botanic Gardens and the Hamilton Estate become locations for an architectural exchange, which cements the emerging dialectal relationship between them, founded in their contrasting rurality/urbanity, their differing histories of collection and dispersal and their contrasting contemporary characteristics.

A new cast of collectors were introduced in the form of the macro-photographer who undertakes detailed studies of plants and seeds and the edaphologist who studies the relationships between soil conditions and plant life through aerial imagery and site sampling.

BRIEF 3 G AT H E R I N G S

An outpost for the edaphologist and a study for the macro-photographer were positioned in the former Hamilton Estate at points of tight coalescence between landscape, soils, and water; through these smaller studies an architectural language of encasement, framing, doubling and carving, derived from the material qualities of the exotic objects themselves, began to emerge.

This language is redeployed within the proposals for the Botanic Gardens. A dual site of collection & exchange alongside research and study, the programme occupies a thickened edge between the city and the gardens, where urban activity feeds into the botanic picturesque and creates a ‘double backed’ character.

The macro-photographer & edaphologist have counter-studies in the Botanics to emphasise the dialogue between the two locations, amongst an environment for collecting, exchange and revaluing under-appreciated or unconsidered objects. Hedonistic urban programmes; coffee shop, oyster and wine bar, firepit and restoration workshop generate waste products which support edaphological study, whilst the macro-photographer contributes to the exchange process by separating ordinary objects from the viewer and creating new vessels of exotic value.

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1986.5.38

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CONTENTS E XOT I C

10 T H E PA L AC E

20

30

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8 38 6.

THE DUKE 5.

COLLECTING

40

H A M I LT O N 43

19 86. 5.

50 DOUBLE THE SEED

60 I N S TA L L AT I O N

70 EMPTYING H A M I LT O N

80

90 42

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6.

5.

BACK

100

D R AW I N G

110 DOUBLING

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2

198

XVI

120

V

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OBJECT

5

1 9 8 6 . 5 .1 5 + A

THE CASE

15

25

35

AS SEMBL AGE

THE PRINCESS

45

DOUBLE

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65

R E -V I E W

75

FILLING

T H E B O TA N I C S

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95 BACK

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MAKING 198 4

BACK

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115

125 XVII

E XOT I C O B J ECTS Selected as objects exhibiting exoticism, the case and the seed also carry complimentary stories and themes of encasement, voyage and myth/anecdote.

The material nature of these objects betray their other qualities; excessively layered. The seed’s clear delineation of seed case, endosperm, sucker of cotyledonetc., parallels the case’s veneer, wood, veneer, object (which may again be ivory, wood, steel or silver-gilt (gold, silver)). Over time these strata have warped, twisted and shrunk at different rates. For the seed, this manifests as shoogle room; a gap between each layer allowing for possibility. For the case, objects pop out, no longer fitting the tight tolerance of their encasement.

T H E PA L AC E

1986.5.33

The obvious verisimilitude with the female form of the seed intersects with the personal domain that the case operates in. These are both objects which speak to notions of privacy but in complimentary ways.

The clear metaphorical coherence of the seed’s form and function coupled with its habit of falling upwards from the seabed after lying there rotting for some months, have given rise to several myths encircling themes of love, fertility, forbidden fruit, good and evil.

Curious stories also arose that on stormy nights the male trees (who have no seeds but phallic catkins) uprooted themselves in order to make love to the female trees. That these objects only obtain this mythic quality through voyage to distant lands under water that strips them of their genetic purpose establishes an exchange between types of fertility; biological to mythic.

The case however (when closed) is a standard shape, it’s multifarious uses hidden in the veneered mahogany box, inlaid with brass and silver-gilt, a key-hole and the inscribed initials ‘PB’ the clues to the personal nature of the case. Whilst the case itself has not quite accumulated a mythic milieu akin to the seed, it functions as symbol, instru42 5. ment and image of Pauline, whose life was surrounded by tales and anecdotes, the truthfulness of which meant little. Her biographers, despite their best efforts, write like gossip columnists trying to decipher how incredulous is too incredulous. The traveling service formally and symbolically encases secrecy.

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NATIONAL MUSEUM OF SCOTLAND

FIG. 2.1

Lodoicea Maldivica from the Herbarium collection Levon Biss Digital Photograph

Acknowledging and opening ourselves to the difficulties within the term ‘exotic’, the … studio will explore the capacity of selected Exotic Objects to challenge the disassociation of an object and its histories, and will instead position the object as a revelatory thing, a thing through which we might understand and subsequently re-negotiate architecture’s relationship with the countryside, with inside and outside. “...not that kaleidoscopic vision of the tourist or of the mediocre spectator, but the forceful and curious reaction... in response to some object whose distance from oneself [the viewer] alone can perceive... not an adaptation to something... [or] the perfect comprehension of something outside one’s self that one has managed to embrace fully, but the keen and immediate perception of an eternal incomprehensibility.”

Chris French and Michael Lewis, Countryside [INSIDE] Architecture Project Brief: Vol. 1, Edinburgh School of Architecture & Landscape Architecture,September 2019. p. i

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NATIONAL MUSEUM OF SCOTLAND

1 9 8 6 . 5 .1 5 + A

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FIG. 3.1+ 2

THE CASE

Néccesaire de Voyage Martin-Guillaume Biennais 1803

SEEING THINGS AGAINST OTHER THINGS This mirror is one of two, the other being set into the inside foldable lid of the case. This mirror is handheld, portable, allowing the user to carry it on their person and position it to see otherwise difficult things to see, the back of the head, the zip of a dress etc. It is for seeing things against other things, for seeing things strangely. Yet the mirror evades the eye, it’s surface becomes immaterial, only the shield profiled edge prevents it being erased by gaze.

This project is in many ways, about seeing things against other things. This is partly brought on by the challenging juxtaposition of these found exotic objects; how might we understand these things against one another? How are they similar? How are they different? How do they want to be seen and what types of vision to they engender? This project repeats these questions continually like the optician; “And how about now?”

FIG. 4.1

Néccesaire de Voyage Martin-Guillaume Biennais 1803 NATIONAL MUSEUM OF SCOTLAND

3

FIG. 6.1

Néccesaire de Voyage 1986.5.104 Martin-Guillaume Biennais Steel 1803 NATIONAL MUSEUM OF SCOTLAND

T H E PA L AC E

IN SITU

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Within the case lies the capacity to screw it into the furniture or floor of where it is placed. The point is almost mute as a security measure as the excessive weight of the case makes it, at least, problematic to steal. It is possible to see this as a mode of collecting sites into itself, encasing architectures.

6

CANDLELIGHT

1 9 8 6 . 5 .1 5 + A

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Néccesaire de Voyage 1986.5.14+15 Marie-Joseph-Gabriel Genu Silver-gilt 1803 NATIONAL MUSEUM OF SCOTLAND

198 6 . 5 .1 0

4

THE CASE

“The princess was also happy, upon occasion, to show the Canova statue of herself as Venus, which now resided in Camilllo [Borghese’s] apartments. During its years in Turin a mechanism had been installed within the painted base that allowed the statue to revolve before the spectator. Seen at night, illuminated by the light of small torches, the life-size portrait of Pauline on her marble mattress took on a fleshy tone, and, from the grave head to the cocked toes, by way of a titillating display of the derriere, became one of the sights of Rome.” 228

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19 8 38 6.

T H E PA L AC E

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FIG. 9.1

Néccesaire de Voyage Martin-Guillaume Biennais Wood, brass, leather, ormolu, ebony and steel 1803 NATIONAL MUSEUM OF SCOTLAND

1 9 8 6 . 5 .1 5 + A

THE CASE

N É C E S S A I R E D E V O YA G E Travelling services were originally created for the upper echelons of the military class which they would take on their campaigns. As the typology progressed traveling services were commissioned for aristocratic ladies to house all the necessaries they would need for travelling. During the late 18th century and early 19th century, these cases became increasingly lavish, with a focus on miniaturisation and efficiency of packing. This Necessaire de voyage was commissioned by Napoleon Bonaparte as a gift for his sister Pauline Bonaparte’s wedding to Prince Camillo Borghese in 1803. The silver-gilt was mainly made by Marie-Joseph-Gabriel Genu and assembled by Martin-Guillaume Biennais, and contains over a 100 items for beauty, consumption, communication, hygiene and defence. An exceptionally heavy item and cumbersome to manoeuvre, the service can be locked in place by a locating screw. The complexity of packing and nature of the items inside (personal letters, tongue scraper, mirror etc) disclose the intensely personal relationship of this service. Pauline’s bequeathment of the service to Alexander, 10th Duke of Hamilton upon her death indicates the particularly intimate nature of their relationship, particularly as this was the 6th entry in her will, in amongst her immediate family.

198 6 . 5 .1 0

4

FIG. 9.2

Néccesaire de Voyage Martin-Guillaume Biennais Wood, brass, leather, ormolu, ebony and steel 1803

NATIONAL MUSEUM OF SCOTLAND

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FIG. 10.1

Hamilton Palace 1909 ©Canmore

R I S E & FA L L

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FIG. 10.2

Hamilton Palace Grounds Alexander Edward 1708 ©Canmore

Hamilton Palace was the seat of the Dukedom of Hamilton and Douglas around ten miles south-east of Glasgow. The Hamiltons were, and remain to be, the premier noble family of Scotland, significantly embroiled in the history of island, particularly from the inception of the Dukedom in 1683. The initial 13th C tower house (known both as The Orchard and Castle of Hamilton) was significantly rebuilt and expanded by the 3rd Duchess of Hamilton, Anne at the turn of the 17thC. Included in this scheme is an enormous remoulding of the landscape of Hamilton for the view of the Duchess and later dukes (fig 10.2). This Palladian U-Plan country house was later enlarged by Alexander, 10th Duke, ‘il magnifico’ to house the ever-expanding collection amassed by the Hamilton family which was consolidated by the Alexander’s marriage to Susan Beckford of Fonthill Abbey which led to the Beckford library being re-sited to Hamilton Palace.

Alexander took particular interest in collecting items of reputable provenance and was preoccupied with collecting large geological items, particularly porphyry. He also became increasingly keen on Napoleonic items and the associated Egyptomania. This expansion and collection was funded mainly by coal sales from collieries owned by the duke. The 10th Duke’s tenure may be considered a high watermark in the Palace, as the family fell into debt and site begins to consume itself. In order to settle these debts the vast collection was dispersed through two great auctions.

After a brief stint as a military hospital during the First World War the palace was finally demolished due to subsidence caused due to the hollowing out of the ground beneath the palace. An expanded history of Hamilton Palace reads as a series of moral fables.

T H E PA L AC E

1 9 8 6 . 5 .1 5 + A

THE CASE

INVENTORIES The travelling service was acquired for the National Museum of Scotland (then the Royal Scottish Museum) in 1986 for £420,00 from the Hamilton Estate.

Upon receiving the service, it was unpacked, assessed and inventoried, the detailed analysis of over 130 pages being recorded in the List of Accessions.

This extremely helpful guide was photographed and continuously referred to throughout this project in as a survey and programme of the case.

198 4

List of Accessions Notebook 1986

6 . 5 .1 0

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FIG. 11.1

Item Name No. Material Notes Chest 1 Mahogany, inlaid brass Large Wooden Tray 1 Mahogany Small Wooden Tray 1 Mahogany Wooden Plate Holder with Br 1 Mahogany, Brass Writing Drawer 1 Mahogany, Brass, EGold on red leather?

Money Tray 1 Mahogany, Brass, Ebony Key 1 Steel Small Key 1 Steel Small Key 1 Steel Large Canister 1 Silver-gilt w/ cover Beaker 1 Silver-gilt w/ card and silk liner Tall Canister 1 Silver-gilt w/ cover Teapot 1 Silver-gilt, Ebony w/ cover Tea Caddy 1 Silver-gilt, Ebony w/ cover, card and silk liner Tea Caddy Liner 1 Card, Green Silk see above Dairy Jug 1 Silver-gilt Coffee Pot 1 Silver-gilt Fantastic Animal Spout Chocolate Pot 1 Silver-gilt, Ebony, Ivw/ detachable ebony and ivory handle Beaker 1 Silver-gilt w/ card and silk liner Tumbler 1 Glass Spirit Lamp & Stand 1 Silver-gilt, Ebony, IvIn 7 parts Ewer 1 Silver-gilt Screw on foot Candlestick 2 Silver-gilt Separate Circular Base Cup 2 Silver-gilt, Ebony Medium Canister 1 Silver-gilt w/ pierced cover, card and silk liner Canister Liner 1 Card, Silk see above Medium Canister 1 Silver-gilt w/ two compartments, cover, card and silk-liner Canister Liner 1 Card, Silk see above Small Canister 1 Silver-gilt w/ cover Small Canister 1 Silver-gilt w/ two compartments, cover Oval Spice Box 1 Silver-gilt w/ two hinged compartments Chamber Candlestick 1 Silver-gilt Cylindrical Bottle 1 Glass, Silver-gilt Screw Top Cylindrical Bottle 1 Glass, Silver-gilt Screw Top Rectangular Bottle 1 Glass, Silver-gilt Screw Top Rectangular Bottle 1 Glass, Silver-gilt Screw Top Rectangular Jar 1 Glass, Silver-gilt Hinged Lid Rectangular Jar 1 Glass, Silver-gilt Hinged Lid Perfume Flask 1 Glass, Silver-gilt Screw Top, w/glass stopper Perfume Flask 1 Glass, Silver-gilt Screw Top, w/glass stopper Perfume Flask 1 Glass, Silver-gilt Screw Top, w/glass stopper Hand Mirror 1 Silver-gilt, Mirror Glass, Ebony, Ivory Tea Strainer 1 Silver-gilt Small Funnel 1 Silver-gilt, Ebony w/ ebony stand Eye Bath 1 Silver-gilt, Ebony w/ ebony stand Sugar Tongs 1 Silver-gilt Tongue Scraper 1 Silver-gilt Etui 1 Ivory, Silver-gilt w/ screw on cover, wooden reel with five thread compartments Etui 1 Ivory, Silver-gilt, wow/ pull-off cover Thimble 1 Gold Engraved with P Thimble Stand 1 Ebony Pin-cushion 1 Ebony, Fabric, Card Ebony Stand 1 Ebony Stiletto 1 Steel, Ivory, Silver-gilt Multi-pupose tool 1 Steel, Ivory, Silver-gilt Nail Brush 1 Ivory, Bristle, Silver-gilt Folding Measure 1 Ivory, Silver-gilt Basin 1 Silver-gilt Oval Container 1 Mahogany, Silver - gilt Etui 1 Gold w/ pull-off top Cutting-out scissors 1 Steel, Silver-gilt Small sewing scissors 1 Steel, gold Small scissors 1 Steel Toothbrush 2 Silver-gilt, ivory, br w/ removable head Hook 1 Silver-gilt Bodkin 1 Silver-gilt Tweezers 1 Silver-gilt Rectangular Nail File 1 Steel, Silver-gilt Rectangular Nail File 1 Steel, Silver-gilt Manicure Instrument 1 Steel, Silver-gilt, Mother of Pearl Manicure Instrument 1 Steel, Silver-gilt, Mother of Pearl Manicure Instrument 1 Steel, Silver-gilt, Mother of Pearl Manicure Instrument 1 Steel, Silver-gilt, Mother of Pearl Manicure Instrument 1 Steel, Silver-gilt, Mother of Pearl Manicure Instrument 1 Steel, Silver-gilt, Mother of Pearl Manicure Instrument 1 Steel, Silver-gilt, Mother of Pearl Round Ended Knife 1 Silver-gilt, Mother of Pearl Ecuelle 1 Silver-gilt Teaspoon 2 Silver-gilt Toothbrush Head 3 Ivory, Bristles Spare Dinner Knife 4 Steel, Silver-gilt, Mother of Pearl Desset Knife 4 Silver-gilt, Mother of Pearl Penknife 1 Steel, Silver-gilt, Mother of Pearl Tambour Hook Holder 1 Gold, Silver-gilt, Mo5 Parts Plates 6 Silver-gilt Folding Corkscrew 1 Steel Fork 4 Silver-gilt Spoon 4 Silver-gilt Inkwell 1 Silver-gilt Rectangular, Key-screw cover Pounce Pot 1 Silver-gilt Pierced Top. Swivel cover, nut Dividers?

1 Silver-gilt Key 1 Steel Screwing down the chest Awl 1 Steel Large Mirror 1 Mirror, Silver-gilt, wood, hinged support Comb 3 Tortoiseshell 3 varieties

NATIONAL MUSEUM OF SCOTLAND

11

FIG. 12.2

Hamilton Palace Dining Room Boston Museum of Fine Arts ©Brennan O’Hara

T H E PA L AC E

FIG. 12.2-5

Pages from the 1919 Auction Catalogue Christie’s Public Domain

C O L L AT E R A L At the auction of 1919, a day was given over for the buying and selling of interiors, a practice that was proliferating, Included in these sales were the panelled rooms by William Morgan for the 3rd Duchess, that were later ensconced by the 10th Duke’s extension and remodelling of the palace.

At least 11 rooms were bought by William Randolph Hearst, a very different kind of collector to the 10th Duke. The rooms were kept in storage along with his enormous collection of historic rooms.

In order to manage his ever mounting debts, Hearst later tried to sell the room along with many others in his collection, and erected them on the fifth storey of Gimbel Brothers Department Store at 32nd/33rd Street and Broadway, who cannibalised other rooms in the Hamilton Palace collection in order to turn a half-panelled room into a full-panelled room. They did not sell and were eventually ‘gifted’ to the Met, before finding their way back to Scotland.

Twice used as collateral to settle debt, these interiors position Hamilton palace as an architecture of credit.

12

FIG. 12.2-5

Living Room At Beacon Towers, Sands Point, NY, Gothic ceiling, French Mantlepiece and oak panelling from Hamilton Palace. ©ArtStor

FIG. 13.1-4

Néccesaire de Voyage 1986.5.

Marie-Joseph-Gabriel Genu 1803 NATIONAL MUSEUM OF SCOTLAND

1 9 8 6 . 5 .1 5 + A

GIFT Twice gifted, once upon Pauline’s marriage and again upon her death, the case presents as a propagating gift. For instance, at one point there are found needles and thread, encased within a gold etui, encase in a pull-out, mahogany, butterfly tray, encased in a silver-gilt basin, encased within another mahogany pull-out tray, finally encased within the chest itself.

This matryoshka realtionship is reworked ad infinitum

by Biennais and Genu: combs within mirrors within fold-down writing drawer, secret cubbies for letters in hidden pull out drawers, tripods within oil lamps within chocolate pots.

This continuous unpacking of surprise opens up to an architecture of generosity.

198 6 . 5 .1 0

4

THE CASE

13

FIG. 14.1-2

Drawing Room Assembled and dissasembled Public Domain NATIONAL MUSEUM OF SCOTLAND

T H E PA L AC E ENCASES FIG. 14.1-2

Drawing Room X-Ray by conservation team, led

by Charles Stable NATIONAL MUSEUM OF SCOTLAND

Drawing Room X-Ray by conservation team, led

by Charles Stable NATIONAL MUSEUM OF SCOTLAND

14

FIG. 14.1-2

Laying out the Drawing Room NATIONAL MUSEUM OF SCOTLAND

FIG. 14.1-2

Having been shipped over the Atlantic, and in some cases back, the panelled walls are in varying states of repair and wholeness, spread out across various locations such as the Boston Museum of fine Arts, Detroit Institute of Arts and a private owner in Dallas, Texas.

The wall in the National Museum was turned from a half panelled room into a full one by cannibalising some of the picture gallery. As such it arrived in disarray at the Museum, with missing and extra parts. A wall had to be constructed on which to mount the wall and enable it’s restoration, after it had been roughed out on the floor of the main exhibition hall.

FIG. 15.1

Néccesaire de Voyage Exploded Axonmetric

1 9 8 6 . 5 .1 5 + A

THE CASE

198 6 . 5 .1 0

4

15

FIG. 16.1

Hamilton Palace First floor Plan of the 3rd Duchess’s scheme ©Canmore

T H E PA L AC E

16

FIG. 16.1

Hamilton Palace Ground floor Plan the 10th Duke’s Scheme by Thomas Hamilton ©Canmore

FIG. 17.1

Copenhagen Curves Drawing for laser cutter

1 9 8 6 . 5 .1 5 + A

SHIP CURVES In surveying and drawing the nécessaire it became necessery to manufacture curves to draw the complex geometry of Biennais. An expansive set of curves were made from 2mm clear acrylic.

198 6 . 5 .1 0

4

THE CASE

17

FIG. 18.1

Hamilton Palace First Floor Plan Layer’s of Historical Fabric, linings, and items sold at auction 1:250

5.

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8 38 6.

T H E PA L AC E

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2

198

22

FIG. 22.1

Art of Living National Museum of Scotland Plan 1:100

THE PRINCESS

198 6 . 5 .1 0

4

23

FIG. 24.1

Pool Case/ Wall for Hanging Walls Composite Plan 1:100

POOL CASE A WA L L FO R H A N G I N G WA L L S When the visitor enters the proposal either from A from the gardens or B through the filled house garden they encounter the case and the palace in their most explicit examples. Firstly, they traverse over a tight packing of pools at different micro temperatures.

These pools pick up the geometry of 1986.5.1¿, the (described) for which a double was milled that is held in Pauline’s skirt frame. Cast in-situ with lime concrete, these pools would gradually become more and more alkaline, and so the curation of aquatic flora would continue to change. Past the pool case, the visitor comes along a wall for hanging walls. Here different pieces of architectural salvage could be mounted, worked on and assembled, then closed up for the evening, rain, or to dry out.

6.5.4

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198

24

FIG. 24.1

Pool Case/ Wall for Hanging Walls Model fragment Plaster, sycamore, ebonised oak, walnut, beech, brass, clay et al.

1:100 Cornice and column fragments at 1:20

T H E PA L AC E

1 9 8 6 . 5 .1 5 + A

THE CASE

25

THE DUKE

THE PRINCESS

FIG. 28.1

Bust Drum Thrown at 1:91 to accommodate shrinkage

5.

19

8 38 6.

THE DUKE

BUST DRUM BUST DRUM After the visitor has passed the wall for hanging walls, their view is terminated in the bust drum. A cylinder open to the sky for gathering busts, and allowing the busts to see and be seen by one another and the visitor.

These pieces were thrown in clay on the wheel, trimmed and then carved when leather-hard. To be simple brick construction, glazed brick face to exterior of drum, unglazed brick face to interior.

6.5.4

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198

28

FIG. 28.2

Bust Drum and Fire pit Thrown at 1:91 to accommodate shrinkage Drying in the sun as they travel across Edinburgh from my ceramics studio

THE PRINCESS

29

FIG. 30.1

Hamilton Mausoleum David Hamilton 1:100

F O L LY

ST AN Eb D FO ac o ny.

R or T ur TH nFr n s en I ha ed ch pe , sh M B L He dt (P a igh ar op ped E t5 i s) fo .3 ;a r t st a n cm bo he dw ut s tu it 18 m 03 ble h .

5.

19 8 38 6.

If princess had taken the good sense to guard herself with a thimble then the world may have been spared the story of Sleeping Beauty. If the duke had not sold of the mining rights under his palace, or fathered a degenerate gambling son, Hamilton Palace may still be standing. The Mausoleum, the empty thimble stand, remains to memorialise folly with phallus.

NATIONAL MUSEUM OF SCOTLAND

6.5.4

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30

FIG. 30.1

Néccesaire de Voyage 1986.5.104 Martin-Guillaume Biennais Steel 1803

THE DUKE

TONGUE-SCRAPER

Silver-gilt. Sugar tongs shaped iten with thin bow and two twisted ends.

French (Paris); about 1800 - 3

Length 8.3 cms

THE PRINCESS

PA L AT E This silver-gilt tongue scraper would be used to clean the tongue in order to remove bad breath and allow Pauline to taste things with a clean palate; the silver-gilt barely reacting with the enzymes on the tongue.

Although the whole service is full of exceptionally personal items, this is perhaps the most intimate item in the collection, bent with use.

“This appears to be a single piece of metal, whose ends have been twisted to form spiral grips and whose centre has been hammered very thin and flat, cut to shape and bent through 180°, on one side the section of the flat metal has been engraved with the a script letter P” From the List of Accessions.

1986.5.38

FIG. 31.1-4

Néccesaire de Voyage 1986.5.

Marie-Joseph-Gabriel Genu 1803 NATIONAL MUSEUM OF SCOTLAND

31

FIG. 32.1

Alexander douglas-Hamilton Sir Joshua Reynolds Oil on Canvas 1782 NATIONAL GALLERIES SCOTLAND

D U K E O F H A M I LT O N

5.

19

8 38 6.

Sir David Wilkie’s painting of George IV’s entrance to Holyroodhouse upon his visit to Edinburgh in 1822 is a maelstrom of pomp and circumstance, encapsulating the event that is totemic of national identity and relations that has been discussed at length.

The painting centres on two figures, George IV, generously rendered by Wilkie in Field Marshal’s uniform, and Alexander, 10th Duke of Hamilton, in full highland dress bowing with impressive poise, holding out the keys of the Palace.

The numerous titles of the Duke of Hamilton (17671852) – 6th Duke of Brandon, Knight of the Garter, Lord Lieutenant of country Lanark, Grandmaster of the Freemasons, Fellow of the Royal Society, Fellow of the Society of Antiquaries, MP for Lancaster, Ambassador to Russia – exhibit his role as a compound representative: many things to many people.

He is known now primarily for his work as a patron and collector, amassing hoards of art and artefacts across his many properties, but primarily Hamilton Palace, which he enlarged in order to encase this ever-growing collection. This collection took great interest in provenance, something which the duke was also personally concerned with in his standing in society, convinced that he was the true heir to the Scottish throne.

ROYAL COLLECTIONS TRUST

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32

FIG. 32.2

The Entrance of George IV at Holyrood Sir David Wilkie Oil on Mahogany 1822-30

THE DUKE

FIG. 33.3

Hitler and Mussolina behold Venus Victrix 1938

FIG. 33.2

Venus Victrix Canova Plaster 1805

VILLA BORGHESE

MUSEU CANOVA

THE PRINCESS

PRINCESS BORGHESE Pauline Bonaparte-Borghese is continually given definition by her relationship with men of power. The younger sister of Napoleon, the wife of the general who captured Toussaint L’Overture, the widow of that general, the mother of a deceased son, the wife of a Prince, serially promiscuous and embroiled in affairs and finally petrified by Canova as Venus Victrix in a particularly risqué marble sculpture. She is famed for being an incredible hostess of incredibly flamboyant parties and amassed around her an extensive court and numerous admires (including Alexander, 10th Duke of Hamilton) both in Paris at Hôtel de Charost (now the British embassy as she sold it to the Duke of Wellington), and in Rome. She cultivated a deep relationship with the Duke of Hamilton, both financial and personal, through the exchanging of letters and gifts (including busts by Thomas Campbell) culminating in her gift of the travelling service. This gift encouraged the Duke to make his Napoleonic collection the primary focus in acquisitioning pieces, as well as commissioning Charles Percier to design interiors for the Palace he was expanding to house how collections.

Much of the financial capital which was used to extend the palace, acquire the pieces and financially support Pauline was raised through the extraction of Coal in his collieries in Falkirk and Hamilton.

FIG. 33.4

Pauline Borghese Robert Lefevre Oil on Canvas 1806 PALACE OF VERSAILLES

33

©Canmore

©Canmore

FIG. 34.2

the Duke in a Sarcophagus Hamilton Mausoleum

FIG. 34.1

Chatelhaurault Sand Quarrying to front 1950

5.

19

8 38 6.

THE DUKE

UNDERMININGS The Duke has a curious legacy of underminings or ironies. Famously, and previously noted in this report, the Palace was undermined by the coal mines which the Duke had built his fortune upon. Chatelhaurault, the hunting lodge marking the counterpoint to the Palace on the main axis, almost suffered a similar fate; extensive sand quarrying in front of the lodge caused considerable subsidence which was only saved by extensive restoration in the 70s. The auctions of 1882 and 1919 present further irony; the lifelong task undertaken by the 10th Duke was undone in a matter of two short weeks, the proliferation of the collection shows the auction as the antitheses of collecting. Finally, the Duke immortalised himself perpetually undermined or kneecapped; the sarcophagus he acquired to preserve his embalmed body was, upon the event of his death, found to be too short for his tall frame and his legs were cut of below the knee and stuffed in the sarcophagus with him.

©Ordnance Survey

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198

34

FIG. 34.3

Hamilton Palace Scar Aerial photograph

FIG. 35.1

Sketch for a Bust Front + Side Elevations 1:10

FIG. 35.4

Pauline Borghese Robert Lefevre Oil on Canvas 1806

THE PRINCESS

PALACE OF VERSAILLES

35

1986.5.47

COLLECTING AND ASSEMBLAGE

5.

19

8 38 6.

The Herbarium collection at the Royal Botanic Gardens Edinburgh numbers over 3 million specimens of plants, seeds and fruits, each meticulously recorded, photographed and stored.[522] Across the gardens themselves are nearly 14000 living plants, collected from across the globe during three centuries of exploration, research and accession.[607] Alexander, 10th Duke of Hamilton’s vision for his greatly expanded home at Hamilton Palace betrayed a similar aspiration for global acquisition, and the extravagance of the contents of the auction catalogues of 1882 & 1919, whilst an act of anti-collection, enable others, notably Hearst to expand their collection.

Pauline’s time in both Paris and Rome saw her collect a court through her social talents. Each of these modes of collecting carry with them modes of cataloguing, ranging from index cards to party invites.

In collecting, one is immediately opened up to questions of curation; how do we hold these things together? Curation in the case of the botanics becomes taxonomic, for the Palace thematic or formal, for Pauline, drama, fashion and valences of personalities.

However, when these modes of curation are brought together, there is middle ground. Instead a practice of assemblage is adopted. Referencing the work of Richard James and Joseph Cornell, assemblage offers the potential to hold these differing logics together.

Doubling Back provides spaces to support the processes of collecting, from acquisition to cataloguing and research, to exhibition, reuse, storage, and eventually forgetting. It also draws out the collections of the existing Herbarium, carving openings into the built structure to liberate its contents to be explored and approached in new ways. Beyond the scale of the object, the site strategy invokes a collecting in of landscapes and ecologies, through condensed studies of edaphological conditions and botanic plants. The collections which result from these moves are deliberately unconventional, drawing on the peculiarity of the 10th Duke’s collections and the collisions with other things and places at the centre of the each object’s journey.

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36

FIG. 37.1

Example Specimen from Herbarium Catalogue Photography of cutting on paper

37

S O U T H G AT H E R I N G S PA C E CASE CASE

5.

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8 38 6.

The south gathering space offers a specific opportunity for curious objects to be gathered together, assembled, seen against one another and exchanged.

The gathering space centres around a controlled environment for holding the travelling service. The walls of the gathering space are, like the bust drum, double leafed glazed brick, tapering outwards. Encaseed within, the case case is a double walled glass volume, shelter by a folded metal canopy above.

6.5.4

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38

THE DUKE

THE PRINCESS

FIG. 39.1

South Gathering Space 1:50 Section Scanned drawing on model photograph

FIG. 39.2

South Gathering Space 1:100 Sectional Model Plaster, Mahogany, paper, card, brass, PLA, aluminium mesh among others.

39

[17]

[16]

[1]

[2]

THE DUKE

[14]

[3] [15]

5.

19

8 38 6.

[6]

[4]

[13] [5]

[7]

[12]

[8]

[11]

[10] [9]

6.5.4

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198

LOWER LEVEL PLAN

40

N

[7]

[9] [8]

THE PRINCESS

[10]

[3]

[6]

[4]

[2]

[5] [1]

LOWER FLOOR PLAN

[1] WORKSHOP [2] STAIRS TO VIEWING [15] FRAME FOR TOWER HANGING OBJECTS [3] EXHIBITED STORAGE [16] WALKWAY TO SPACE ISLAND [4] GROTTO MINOR [17] RAMP TO BOTANIC [5] EXHIBITION SPACE GARDENS [6] WASTE WOOD STORE [7] COFFEE SHOP UPPER FLOOR PLAN [8] BUST DRUM [1] COFFEE SHOP [9] GROTTO MAJOR SEATING [10] SOIL PIT [2] PUBLIC RESTROOM [11] DOOR FOR WALL[3] LIFT HANGING WALL [4] LOWER SEATING [12] RAMP TO TEAPOT AREA [13] CASE FOR [5] DUMB WAITER TRAVELLING SERVICE [6] LIGHTWELL [14] VIEWING PLATFORM [7] BRIDGE TO NORTH FOR TRAVELLUING GATHERING SPACE SERVICE [8] RAMP TO LOWER LEVEL [9] VIEWING TOWER [10] CANOPY OVER OBJECT WALL

[208]

SOUTH GATHERING SPACE FLOOR PLANS

UPPER LEVEL PLAN

SCALE: 1:100

41

T H E PA L AC E

42

THE CASE

43

FIG. 44.1

Néccesaire de Voyage 1986.5.104 Martin-Guillaume Biennais Steel 1803 NATIONAL MUSEUM OF SCOTLAND

FIG. 44.1

Visions of Landscape Composite of plans of coal fields and contemporary aerial view.

19 86. 5.

ab

ed

ap

on

y, f

pin

43

sh

Eb

PI

N

CU

SH

IO N ric ho an cu d sh l Fre i o n l ow c c a r nc ylin d. T f i tt h( He urn e de P d igh ari i r e n w s t3 the ); a ith d, .8 bo to p cm ut . s 18 03

H A M I LT O N

COLLAPSED HORIZON The fortunes of the town of Hamilton are inextricably linked to that of the Palace and the Hamilton family. Once a prosperous industrial town with trade links via rail and the Clyde, the town suffered similar fates to that of many Scottish post industrial towns after the collapse of the mining industry.

The layers of palimpsestic urban, rural and subterranean fabric, read of extraction and collapse, the mines spreading like tumours through the strata. Now the site is characterised by the motorway and managed landscapes; the M74 runs along the artificially straightened Clyde, beyond which lies Strathclyde Loch, and artificial body of water flooded in 1975 for recreation, sport and leisure, flooded. On the other side of the loch to the river a theme park is seen cresting over the tops of the pines, the screams carrying over the quiet water, broken only by the sound of rowing boats and greylag geese.

19

8 6.

5.

44

FIG. 45.2

Visions of Landscape Composite of Alexander Edward’s 1708 layout and an aerial photograph of 1941

FIG. 45.3

Pauline Waist piece Mahogany

FIG. 45.4

THE PRINCESS

During the course of Pauline and the Duke’s relationship a series of exchanges were made, some financial, some less tangible. A curious exchange undertaken was that of marble busts between the pair. Thomas Campbell was commissioned by the duke to produce a bust of both himself and the princess, which he undertook. The fate of the commission is reasonably uncertain, having been delayed by the princess falling out with the duke over her brother’s death in 1821.

However, inventories and the auction catalogue list at least two busts of Pauline, one in the Duke’s bedroom and one in his cabinet. The princess definitely received a bust of the duke, which was found after her death in a Roman antiquity shop in Rome by Campbell and returned to the duke.

FIG. 45.1

BUST

Mahogany folding table £30 from Edinburgh Furniture Initiative Mahogany, Stained pine

Pauline Back face awaiting wax Mahogany

A heavy thing held off the ground, the busts present a present a case of curious value, enough for a good deal of toil and drama for the commissioners and sitters, their significance for these two characters cannot be refound.

45

5.

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8 38 6.

H A M I LT O N

6.5.4

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46

THE PRINCESS

47

The View down the axis from Chatelhaurault

FIG. 48.1

Hamilton Palace On the site of the historic Hamilton Palace, I kid you not, they called it Hamilton Palace

FIG. 48.1

THE DUKE S E E I N G FA R

5.

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8 38 6.

The axis which radiated from the gaze of the duke in the Palace is now mostly erased, but the language of looking far is maintained in the fabric of Hamilton. The zones created by the M74, the river and the loch erase the mid ground.

Curious architectures rise from the loch in concert with the roller-coaster and the high-rise flats of Motherwell beyond. Chatelhaurault remains as a ter-minus of the axis, looking back on Hamilton Palace, now an office building for a leisure company. ndscapes; the M74 runs along the artificially straightened Clyde, beyond which lies Strathclyde Loch, and artificial body of water flooded in 1975 for recreation, sport and leisure, flooded. On the other side of the loch to the river a theme park is seen cresting over the tops of the pines, the screams carrying over the quiet water, broken only by the sound of rowing boats and greylag geese.

19 86. 5.

43

48

FIG. 48.1

Rowing Club Tower Strathclyde Loch

FIG. 49.1

Pauline Exploded Axonometric

THE PRINCESS

49

FIG. 50.1

Lodoicea maldivica Shell husk Pencil on Paper

FIG. 50.1

Néccesaire de Voyage 1986.5.42 Martin-Guillaume Biennais 1803

5.

198

6.

NATIONAL MUSEUM OF SCOTLAND

50

42

U VE I C I vo TY ON cy r y, P E TA on lind Wo S INI N O c a i vo r i c a o d a G F a r ve r y c l i v n d T R H flo d o EE ov r y Th th R w w r e E e c ith e r. T o ea AD L F w nt d O ith bas r. A a h .P a ha b e R s e n d f i ve of i l ve a n d to p i n e r l a i n Fr t r le e . c o m h e c - g i l of b of t w i t h He nch p a ov t ( ? ) e a h e s i ( g r tm er. b a d i n c o c re w Pa Di ht am ris en Wo nd g a ver 10 ) . od ar nd ts ; 8 3. a c bo an en ou 2 cm ms n d ut . a n re e d s.

18 l 03 i vo ry

Within the warm white of the ivory, lie five compartment for thread. The casing hides the complexity of the innards. The seed too presents much differently from inside to outside. Externally, the seed speaks of fertility, fruitfulness and bodies, internally, having dried out, the shoogly layers speak persuasively of material encasement

ET

E XOT I C O B J ECT S

FI

5.

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8 38 6.

THE SEED

FIG. 51.1-2

Standing Bowl Jean-Baptiste-Claude Odiot Silver-gilt c.1810

FIG. 51.3

Study on a reclaimed Isthmus Photograph of Section NTS

FIG. 51.4

Enmouldings Sycamore, Terracotta

C H A M PAG N E S AU C E R This “breast bowl” is reputed to be modelled on the breast of Pauline Borghese. Made from silver-gilt to be nestled in a wreath of forget-me-nots held aloft by a faun, a butterfly delicately perches on the rim. This piece is modelled on breast of Pauline.

THE PRINCESS

Pauline appears to have been extremely proud of her body, which became symbolic of her ability to influence, exert power and collect people into her sphere.

Our double of Pauline is also expressed as a body in space, that collects objects and expresses ways of seeing, From this double moulds were made of the body, in particular the double of the case within the skirt.

51

DOUBLES

5.

19 8 38 6.

The exotic objects manifest complexity, difficult to penetrate the many layers of the veneer or encasement, and difficult to hold together. In order to work with these exotic objects, doubles were made of part of each of them that would contain the qualities which we were intrigues by, innate to the seed and the case.

For the seed this took the form of a stainless-steel bowl, heated and beaten into shape at around 1:1, for the case a CNC’d sycamore piece from the case at 3:4 scale (due to material limitations). These became a helpful mode to bring these disparate objects into conversation, whilst also being architecturally suggestive.

The materials imbedded within these doubles also provided a rich palate for moving forwards.

FIG. 52.1

Pauline Double Steel, Mahogany, Brass, Ash, Linen, Wax

198

6.

5.

6.5.4

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198

52

42

FIG. 53.2

Botanics: Scales of Operation Exploded Axonometric NTS

FIG. 53.3

Seed case double Beaten satainless steel

1 9 8 6 . 5 .1 5 + A

FIG. 53.1

Travelling Service Double CNC’d Sycamore 3:4

53

FIG. 54.1

Tracing the Voyage Pencil on Paper over digital projection

THE SEED

5.

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8 38 6.

COCO DE MER

The scale of the seed and the rarity of the plant made the lo- doicea a source of great interest historically. The scientific name maldivica originated from prior to the habitation of the Seychelles, when the seed was only known for washing up on the shorelines of the Maldives, over 2000km away across the Indian Ocean. These mysterious seeds were prized by locals and international travellers, with specimens collected by colonial travellers to take back to European royal courts for display.

However, after 1769 when Jean Duchemin loaded a huge haul of the seeds onto L’Heureuse Marie to sell in Indian markets their value collapsed.

FIG. 54.2

Bathymetric Chart of Indian Ocean from ‘La Carte Générale Bathymétrique des Océans’ 1892

198

6.

5.

54

42

FIG. 55.1

Serpentine Pavilion 2014 Smiljan Radic ©Iwan Baan

FIG. 55.1

‘Kewpie and Cheesgrater’ Still from lecture by Smiljan Radic Plastic, Grace and Gravity, 2019, E.A.T.

G A R D E N F O L LY The garden folly acts as a tool for measuring landscape with the eye, but also suspends or cheats time and scale and allow alternative modes of reading landscape. Smiljan Radic, for his serpentine pavilion, utilises strangeness as a tool to de-hitch scale and time from orthodox ontologies,

THE PRINCESS

CASTING THRESHOLDS Pieces for viewing and measuring landscape and cheating time were first formed in clay, a development of the above pieces which were moulded onto the case. These were then bisque fired, and a clay mould was made around them, from which a two part mould of silicone rubber was made. From these wax copies were made of the original which were then cast in plaster and steamed out. This final plaster mould was placed in the kiln with broken glass on top of the mould and fired up to 870°C for a 5 hour soak, and then cooled with appropriate annealing soaks. Another piece was also cast in aluminium. Many thanks to Uist Corrigan and Ingrid Phillips in the casting and glass department for their help with this.

“The true folly reaps the harvest of a silent eye, suspending truth in a delightful way.

Contemplation in solitude is essential, if only for a split second. The folly distorts time, place and space, and in so doing mixes magic with mystery, fun with fantasy, now with then. Humour is essential in its creator, and comes with a bonus. In effect, the successful folly encourages the observer to suspend with alacrity any belief in the rational.”

Hans Ulrich Obrist and Cedric Price, Conversation Series: Vol. 21. Cologne: Walther König, 2009

55

1986.5.47

5.

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THE SEED

LANDSCAPE THRESHOLD SEED BACKDROP The pieces developed left are not follies proper, however, they operate as landscape thresholds, peeking through the chain-mail screen to the garden, they break the visual threshold, whilst also modulating internal views out. Concieved as double walled fibreglass forms with inset windows, these pieces both cover and reveal moments of privacy and contemplation through the project.

The piece below sits of the sitting area of the macro photographers study, it’s sister lies behind the screen.

Each piece allows curated views of the garden behind whilst also creating a curiously lit backdrop to photograph objects. .4 2 198

6.

5

56

THE PRINCESS

57

FIG. 58.1

Moving the Lodoicea Royal Botanic Gardens Edinburgh 2021

5.

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8 38 6.

THE SEED

E XOT I C O B J ECT S

FIG. 58.3

5.

6.

FIG. 58.2

Planting the Lodoicea Royal Botanic Gardens Edinburgh 2007

198

Lodoicea Maldivica Pencil on Paper

The Lodoicea Maldivica tree in the Botanics collection is currently in a state of storage having been moved from the Victorian Palm Houses which are under refurbishment as part of the Edinburgh ‘biomes’ project, a project that will see the palm tree houses in the new glasshouses sutured onto the west façade of the herbarium. The tree is still only ten years old, but will hopefully grow to over 30 m height and produce fruit

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58

42

FIG. 59.1

Landscape thresholds Terracotta, Aluminium 1:100

FIG. 59.2

Landscape thresholds Contours from digital scans

THE PRINCESS

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198

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19

THE PRINCESS

61

I N S TA L L AT I O N

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THE DUKE

REVIEWING Throughout this project, installation at key points – reviews and submissions – has functioned as opportunities to play out some of the themes present within the project; assemblage, encasing, seeing things together, seeing things strangely. As a project with many threads, installation was utilised to visually tie some of those threads, to bridge some of the informational gaps which always exist, and also to be quite suggestive as to where the project was going from there. As well as this, the installation always offers a surprise, seeing a new connection, remembering a past piece of work or simply refiguring the space we were working in.

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THE PRINCESS

63

ML: What I would like to see emerge is a more overt spatial quality, one way I can see into that is a careful analysis of the types of unfolding happening... a series of drawing sin which you unpack the ways in which these orchestrated views unfold.

CF: That it would become a strange landscape that would have residues of found landscapes within it. What you’ve got is a really interesting conflation of things through scales.

SE: What I quite enjoy is this economic brutality where value shifts very quickly. The other words that occurs to me is inventory. That auction is really interesting. This are broken down into parts, things are catalogued.

64

MD: On one hand the Hamilton landscape becomes one of extractions, where stuff is taken away, it’s dug out, it’s moved to factories, it’s combusted; it moves into the atmosphere and the house collapses. The Botanic garden become a landscape of addition. That kind of back-to-back quality is quite interesting, along with the country/urban condition.

VB: I keep thinking about town mouse and country mouse. That you might make two architectures. One of which is in Hamilton, whatever that might be… the other would be looking at the Botanics and a more urban contained landscape…

The possibility of this doubling.

CF: These town country pieces could be ways of seeing landscape, seeing particular things in landscape.

MD: It might be quite useful to test and direct architectural moves, and one way to do this might be as a series of architectural exchanges… It becomes quite a doable project where you can pay attention to the specificity of the site.

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6.5.4

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19

THE DUKE

2

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198

THE PRINCESS

67

1986.5.47

68

Height 3.8 cms

French (Paris); about 1803

Silver-gilt or gilt metal, ivory or bone and bristles. Rectangular nail brush. The gilt top engrave with the letter P

NAIL BRUSH

Beech Hedge

FIG. 69.2

T H E B O TA N I C S

FIG. 69.2

It is unlikely that the nail brush of the travelling service was

FIG. 69.1

H O LY G R O U N D

Foot Scraper

Nail Brush Page from list of accessions

ROYAL BOTANIC GARDENS EDINBURGH

ROYAL BOTANIC GARDENS EDINBURGH

ever used to remove something as profane as soil from Pauline’s milky white hands. The brush figures within the Botanics as a marker of its exoticism, its wholly otherness as a landscape. The arrival into the Botanics passes over the threshold of the foot brush with its glue-like aroma, telling the visitor they are on holy ground.

THRESHOLDS In the curation, cultivation and indexing of species, thresholds play a key role in both the visual, programmatic and physical space of the botanics. There exist within the site datums of threshold; Trees, hedges and shrubs etc deal with visual thresholds of space, rockeries, planters and fences deal with thresholds within planting., the hard line of mown grass, tarmac and soil delineate programmatic thresholds. Likewise, differing degrees of enclosure create environmental thresholds between outside/inside, sun/ shade, hot/cold etc.

NATIONAL MUSEUM OF SCOTLAND

69

1986.5.47

[19]

[18]

B-B SECTION

5.

19

8 38 6.

[20]

[17]

T H E B O TA N I C S

[16]

B [6]

A [8]

[7]

B

70

[9]

FIG. 71.1

Foot Scraper Card, paper, brass 1:100

VATIO E L E R A E R

N

THE PRINCESS

71

1986.5.47

H A M I LT O N

19 86. 5.

43

72

T H E B O TA N I C S

73

1986.5.47

EMPTYING AND FILLING

19 86. 5.

43

74

In our exploration of the two sites of Hamilton and the Botanics, it became clear that a back to back relationship was found where Hamilton is a site of emptying – the Hamilton auctions, the excavation of the mines, the erasure of the palace – and the Botanics is a site of filling, both in the living collection and the herbarium. As such a language of exchange became a way of relating these sites. Programmatically this was to present as two architectures, one in Hamilton, a curiously rural outpost of the Botanics, and one in the Botanics, that brought the themes, characters and languages that had emerged from the studies in Hamilton. The two drawing presented above were drawn and folded into each other, three areas of rich botanical soil were excavated to reveal sites in Hamilton belown one each, where architectural proposals were suggested.

A comparative pair of exercises were made in the other direction. On was a similar paper exercise, areas of note regarding the palace, the water and the axis were cut and then sprayed through onto the botanics. The other presented as more material; items were collected from the botanics in reference to positional information from the refigured botanic landscape which were then held in a vitrine, held in the carcass of a folding mahogany table from which much of Pauline’s bust was constructed.

FIG. 75.2

Collecting from the botanics

FIG. 75.3

Finding emptiness in the paper Paper and Spray Paint

1 9 8 6 . 5 .1 5 + A

FIG. 75.1

Emptying and Filling Plaster with steel and oak squeegees 1:200

198 6 . 5 .1 0

4

The language of emptying and filling were to continue throughout the project. The main body of the proposal in the botanics presents as an infilling of an excavation along the double back. Two houses along Inverleith Row were also folded into the project, and enact this process of emptying and filling. 18 is an emptied house, stripped back, only planters and a route through remain. 11 is a filled house, curious architectures inserted into the building fabric to hold the filling volume. A dwelling for the macro photographer is inserted into the attic volume.

75

1986.5.47

H A M I LT O N

19 86. 5.

43

76

T H E B O TA N I C S

77

[13]

A

[12]

[2]

[6]

[3]

[1]

[8]

[10]

[11]

[4]

[9]

43

SECTION A-A

[7]

GROUND FLOOR PLAN

19 86. 5.

1986.5.47

[5]

A

KEY

FRONT ELEVATION

[1] VIEWING PLATFORM [2] PLANTERS [3] ENLARGED ROOFLIGHT [4]FOOTBRIDGE TO ISLAND [5] RECESS IN EXISTING WALL [6] VIEWS TO VIEWING TOWER [7] THRESHOLD DOORMAT [8] RAISED WALKWAY [9] VIEWS TO ISLAND [10] STEPS TO VIEWING PLATFORM [11] PLANTERS [12] STEPS TO GARDEN [13] URBAN VIEWPOINT [14] FOOTBRIDGE TO ISLAND [15] STEPS TO GARDEN [16] SIGNBOARD

[206]

EMPTIED HOUSE

SCALE: 1:100

FLOOR PLAN, SECTION, ELEVATIONS

78

N

REAR ELEVATION

[15]

[14]

[16]

KEY

SECTION A-A

[14]

[12]

[11]

[5]

[13]

[18]

[1] HOLDER FOR SNOOKER CUES [2] HOME FOR THE MACROPHOTOGRAPHER [3] STAIRS DOWN FROM ATTIC [4]VAULTS FOR FILLING [5] HOLDERS FOR SNOOKER CUES [6] PLINTH FOR SPECIAL OBJECTS [7] THRESHOLD DOORMAT [8] CANOPY SHELTER [9] FOOTBRIDGE TO MACROPHOTOGRAPHERS STUDY [10] PRINCIPAL STAIR [11] HOME FOR THE MACROPHOTOGRAPHER [12] FIRST FLOOR VAULTS FOR FILLING [13] GROUND FLOOR VAULTS FOR FILLING [14] BASEMENT VAULTS FOR FILLING [15] CANOPY SHELTER [16] PLINTH FOR SPECIAL OBJECTS [17] CANOPY SHELTER [18] THRESHOLD DOORMAT [19] CANOPY SHELTER [20] THRESHOLD DOORMAT

[10]

[3]

[6]

[7]

[17]

GROUND FLOOR PLAN

A

[4]

ATTIC FLOOR PLAN

[2]

SECTION

HOLDER FOR SNOOKER CUES

[1]

[16]

B

B

B-B

79

[15]

[8]

[9]

[19]

A

VATIO REAR ELE

N

[20]

FLOOR PLANS, SECTION

1986.5.47

FIG. 80.1

Study on a reclaimed Isthmus Site Plan 1:2500

H A M I LT O N

ST U DY O N A R E C L A I M E D I ST H M U S 19 86. 5.

43

The area where I developed my architectural proposal was the reclaimed, isthmus between the loch and the river. The site exhibits as a strange terrain-vague, a long stretch between river and loch, annexed from the town by the motorway. The proposal is for a macro-photographer, referencing Levon Biss, the photographer who took the image of the Lodoicea maldivica seed which first introduced the seed as exotic object. The proposal seeks to utilise the erasure of mid-ground by the loch and motorway to allow a juxtaposition of views; small things very close against things far away.

80

FIG. 80.2

Pulling ground through the Botanics Composite Scales

FIG. 81.1

Doubling Back Location Plan 1:2500

FIG. 81.1

Keying into the back garden Card, paper, terracotta 1:200

T H E B O TA N I C S

E XC H A N G E H O U S E Having nomadically moved around a few sites in Edinburgh, the Botanics is now encased within the city block which was formally the part of the Inverleith estate. Over time, the edges of this have frayed and been built up. The gardens townhouses and villas of Inverleith Row and Place begin to spill down, encroaching on the each of this exotic space. The proposal seeks to thicken this edge, establishing the territory of the Botanics, whilst also keying into the city by knitting it through the houses of Inverleith Row.

81

1986.5.47

H A M I LT O N

19 86. 5.

43

82

T H E B O TA N I C S

83

1986.5.47

H A M I LT O N

19 86. 5.

43

84

FIG. 84.1

Study on a reclaimed Isthmus Initial Site Plan 1:1250 Pencil and ink on trace

T H E B O TA N I C S

FIG. 85.1

Doubling Back Inital sketch, thickening the edge 1:1250

85

1986.5.47

FIG. 86.1-3

Study on a reclaimed Isthmus Model Photographs 1:200 Mahogany, Brass, Paper, Ash

H A M I LT O N ST U DY O N A R E C L A I M E D I ST H M U S The proposal takes structural queues from Pauline to hollow out a spine with two backs; heavy suspended walls which cradle space for the movement of water through the site. On one side, the study is inserted within the hollow between the frame and the hanging wall, on the other side a public toilet nestles into the wall, a privacy screen hangs off the frame. The project perches over the floodplain between the river and the loch, and a cast piece below modelled after the travelling service modulates water heated from the mines below.

19 86. 5.

43

86

FIG. 86.1

Study on a reclaimed Isthmus Initial Site Plan 1:1250 Pencil and ink on trace

FIG. 87.1

Doubling Back Wet plaster with aggregate, plywood, duct tape 1:200

FIG. 87.2

Doubling Back Dry plaster with aggregate, plywood 1:200

FIG. 87.2

Doubling Back Plaster, Plywood, graphite, oak, card 1:200

FIG. 87.2

Doubling Back Plaster, Plywood, graphite, oak, ebonised oak, sycamore, mahogany, ash, card 1:200

T H E B O TA N I C S

87

1986.5.47

8

H A M I LT O N 2

1

3 19 86. 5.

43

7

ST U DY O N A R E C L A I M E D ISTHMUS

1. Public Route 2. Entrance 3. Gutter over Warm and Cool Ponds for aquatic plants 4. Salmon Ladder 5. Macro Study 6. Layout Table 7. Public toilet 8. Strathclyde Loch 9. Clyde River

88

4

5

T H E B O TA N I C S

6

9

89

90

FIG. 91.1

Doubling Back Contours from digital scan NTS

91

1986.5.47

Copse/Island Hamilton

FIG. 92.1

Edaphological Lookout Site Plan NTS

FIG. 92.2

H A M I LT O N

E DA P H O LO G I CA L LO O KO U T 19 86. 5.

43

Dan’s proposal was for an edaphological study in the space between the motorway and the town, a surprising wildlife haven within reed beds of the collapsing Hamilton landscape. The proposal picked up the vertical form of Pauline and dealt with the movement of the body through horizons,; tree line, reeds water.

92

FIG. 92.3

Edaphological Lookout Model View

T H E B O TA N I C S

93

19 86. 5.

1986.5.47

H A M I LT O N

43

[103]

HAMILTON REEDBED SITE STRATEGY

NTS

SITE PLAN, SAMPLE ZONES & CYCLES OF GROWTH

94

T H E B O TA N I C S

95

1986.5.47

H A M I LT O N

19 86. 5.

43

96

T H E B O TA N I C S

97

1986.5.47

BACK TO BACK

19 86. 5.

43

8 38 6.

19

FIG. 98.2

Pauline Double Steel, Mahogany, Brass, Ash, Linen, Wax, Sycamore, Plaster, Resin, clay, Acrylic

Where Janus is a well-trodden architectural motif, a figure with two backs as opposed to two faces is not found in the cultural canon. Possibly the closest we have is the beast with two back of Othello, a reference not necessarily out of place among the strange objects and characters gathered into the project thus far. Doubling back enjoys the backs of things, the scraped retained surface, the back elevations and gardens of the villas of Inverleith Row, the storage of lights over the summer, the bins.

5.

VILLA BORGHESE

FIG. 98.1

Venus victrix Antonio Canova Marble

A chain-mail screen delineated the boundary of the project; a perforated double back hung on a tilting frame. The frame uses the screen as a counterweight, as it also holds the heavy walls skirting the garden side of the proposal, whilst also holding black pipes which use solar energy to heat the water running through them to be used to heat the pool case .

98

FIG. 98.1

Study on a reclaimed Isthmus Gutter Mahogany, Brass, Paper, Ash 1:200

FIG. 99.1

Doubling Back Exploded Axonomoteric 1:40

FIG. 99.2

Doubling Back Muslin Screen on Beech frame 1:200

99

1986.5.47

5.

19

8 38 6.

H A M I LT O N

100

T H E B O TA N I C S

FIG. 101.1

Doubling Back Section through Macro Study Scan over model photograph, drawn at 1;50, shown at 1:100

101

1986.5.47

DOUBLING BACK The final proposal aligns a series of spaces which support acts of collection and exchange with other urbanising programmes, underlaid by the study and alteration of soil and plant conditions.

These three programmatic strands move apart and come together, at times complementary and at times confrontational, within the overall spatial logic.

19 86. 5.

43

The proposal principally operates over two levels, with vertical emphasis provided by the viewing tower & the oyster bar & restaurant. The lower level is between the old retaining walls of the urban back gardens and the new retaining walls of the excavated edge, hidden behind an architectural spine. Most programmed spaces are accessed at this lower level. Above, the visitor moves principally through open, flexible space for resting, gathering, and engaging in the processes of collecting and exchanging which are supported by programmed facilities below.

Held against the edge of the Botanics, facing away from both the city and the garden, the project presents two backs; one formed by the existing high walls at the end of the back gardens of villas along Inverleith Row, and one by a translucent screen which wraps around the garden edge, softening the architecture as though seen through a dappled canopy and separating this world of productive collection, exchange, reuse and research from the picturesque meanderings of the rest of the gardens.

The themes of the project are sewn together in this film, which tells quickly outlines the base material of the case, the seed, the palace, the princess and the garden, and then goes on to explain the process of developing the site through the this model.

Click or scan the code to view the short film.

102

H A M I LT O N

T H E B O TA N I C S

103

D R AW I N G , M A K I N G , WO R K I N G S

Developed in tandem with the themes of doubling, installation and seeing things together, a mode of practice gradually emerged between Dan and myself.

We primarily worked in manual modes, hand drawing and model-making, I tended to work on the model side, and Dan tended to be producing drawings. The drawings and models constantly tested each other, and allowed repetition with a sense of freedom that embraced the growing and shrinking gaps between things. Crucial too to the development of the project was tracing paper, a medium with two back, that allows things to be seen together; the final installation is primarily printed in trace.

Present in the making and drawing was a effort towards large tolerance that would allow things to move: shrink, grow shoogle. This seemed particularly appropriate in the context of the botanic landscape, where currently movers and diggers are moving earth in enormous volumes as part of the biomes project.

This engendered an “up-a-bit”, “left-a-bit”, “bit more”, “woah, back, back back”. This found its most explicit outworking the 1:200 plaster site model, where we worked with wet plaster, necessarily quickly, to rough out the project, which was then worked into with increasingly finer grades of tools.

104

FIG. 105.1

Doubling Back Foot Washer Card, Paper 1:100

FIG. 105.2

Drawing in things Studio 3

105

T H E PA L AC E

106

THE CASE

107

[202]

LOWER LEVEL FLOOR PLAN SCALE: 1:500

[203]

UPPER LEVEL FLOOR PLAN SCALE: 1:500

N

[1]

[8]

[7]

[1]

[6]

[2]

[2]

[3]

[3]

[7]

[10]

[4]

[9]

[8]

[5]

[9]

[6]

C

SE N

TI O

[11]

A

A-

[10]

[13]

[12]

[1 ]

[14]

]

[2

[15]

B

FIRST FLOOR PLAN

A

[4]

[5]

[3

]

[16]

A

[4

]

]

[5

[11] PUBLIC RESTROOMS FIRST FLOOR PLAN [12] GARDENER’S LUNCH SPACE [1] FRAME & SCREEN [13] LOWER LEVEL ACCESS TO [2] RAMP TO LOWER LEVEL OYSTER BAR [3] OUTDOOR SEATING AREA [14] ENCLOSED COFFEE POT [4]SEATING AREA GARDEN [5] STAIR TO LOWER LEVEL [15] STAIR TO OYSTER BAR [6] OUTDOOR TERRACE [16] SHELTERED SEATING NOOK [7] ARRIVAL POINT [8] RESTROOM SECTIONS [9] BAR [1] STAIR TO OUTOOR SEATING [10] KITCHEN AREA [2] RAMP TO COFFEE POT LOWER LEVEL PLAN [3] FLOWER PRESSING [1] GARDEN STORE WORKSHOP [2] STAIR TO UPPER LEVEL [4] UPPER ENTRANCE TO [3] EXHIBITION GALLERY OYSTER BAR FOR HERBARIUM RESEARCH [5] COFFEE POT GARDEN [4] PRESSED FLOWER STALL [6] FOOTBRIDGE TO ISLAND [5] ILLUMINATIONS STORE [7] COFFEE POT GARDEN [6] EDAPHOLOGIST’S STUDY [8] OYSTER BAR FIRST FLOOR [7] EDAPHOLOGIST’S [9] OYSTER BAR SECOND LIBRARY/ SOIL STORES FLOOR [8] ACCESS TO REEDBED [10] OYSTER BAR UNDERCROFT [9] FLOWER PRESSING & SHADE GARDEN WORKSHOP [10] VEHICLE ACCESS TO WORKSHOP

[6]

[7]

SECTIO

N B-B

[8]

[9]

[210]

SCALE: 1:100

FLOOR PLANS, SECTION, ELEVATION

NORTH GATHERING SPACE & OSYTER BAR

[10]

LOWER LEVEL PLAN

B

N

B

[2]

[3]

[4]

[5]

[5]

[18]

[5] [6]

[9]

[10]

[17]

B-B SECTION A-A

[2] [5]

[4]

[3]

[1] RAMP TO LOWER LEVEL [1] LOWER ENTRANCE TO [2] STAIRS DOWN TO OYSTER BAR EDAPHOLOGIST’S STUDY [2] GARDENER’S REST SPACE [3] ROOFLIGHT OVER [3] RAMP TO COFFEE POT EDAPHOLOGIST’S DESK GARDEN [4] LOWER SEATING AREA [4] BRIDGE OVER RAMP [5] SOIL TEST PITS [5] PLANT PRESSING WORKSHOP [6] ROOFLIGHT OVER [6] ILLUMINATIONS STORE ILLUMINATIONS STORE [7] WINDOW INTO [7] OUTDOOR SEATING FOR EDAPHOLOGIST’S STUDY OYSTER BAR [8] VIEWING PLATFORM [8] BRIDGE TO OYSTER BAR SEATING SECTION B-B [9] FOOTBRIDGE TO ISLAND [1] STAIR TO UPPER LEVEL [10] ARRIVAL POINT GATHERING SPACE [11] LIFT TO LOWER LEVEL [2] UPPER LEVEL GATHERING [12] SEATING AREA SPACE [13] STAIR TO LOWER LEVEL [3] EXHIBITION GALLERY FOR [14] OUTDOOR TERRACE HERBARIUM RESEARCH [15] RESTROOMS [4] ILLUMINATIONS STORE [16] BAR [5] LOWER SEATING AREA [17] KITCHEN [6] VIEWING PLATFORM [18] VIEWING PLATFORM & [7] REEDBED ISLAND STAIR TO ISLAND

UPPER FLOOR PLAN

[16]

[15]

[1]

[1]

[8]

[7]

[11]

ON

[12]

TI SEC [14]

[1]

[13]

[209]

[3] [5]

SECTION A-A

A

A

B SCALE: 1:100

UPPER PLAN & SECTIONS

NORTH GATHERING SPACE

[4]

[2] [8]

[6]

[7]

[6]

[7]

SOUTH ELEVATION

[6]

[2]

[1]

[4]

[7]

[5]

[9]

[10]

[3]

[12]

[8]

[13]

[11]

N

KE

[1] [2] VI [3] ACC HERBARIU [4]THRESHO [5] EXISTIN SPACES [6] EXISTING H LIBRARY [7] GATHERING SP [8] EXHIBITION SPA [9] OPENED WINTER GARDEN [10] EXTERNAL STAIR [11] SEATING AREA & PLANTING [12] DRAINING SLOPE INTO WATER EDGE

HERBARIU

UPPER FLOOR

[20]

[22]

[21]

N

IO

CT

SE

DETAIL SECTION THROUGH FIREPIT

[17]

A

A-

[19]

[23]

[18]

A

FIREPIT ROOF PLAN

[2]

KEY

[1] EXISTING BASEMENT STORE [2] EXISTING STAIR TO [13] STAIR TO OYSTER LIBRARY LEVEL BAR [3] EXISTING SERVICE [14] GARDENER’S LUNCH SPACES SPACE [4]OPENED WINTER [15] RAMP TO BOTANIC GARDEN GARDENS [5] STAIR TO [16] GREEN ROOF EXHIBITION SPACE [17] SHELTERED SEATING [6] THRESHOLD STAIR NOOK [7] SEATING AREA [18] DOUBLE ENCASEMENT [8] PLANTED EDGE [19] FIREPIT/ [9] FIREPIT/ PERFORMANCE SPACE PERFORMANCE SPACE [20] DRAINAGE CHANNEL [10] EXCAVATED EDGE [21] FRAMED INNER CASE [11] COFFEE POT [22] SOLID OUTER CASE GARDEN [23] SOIL PIT [12] SHELTERED SEATING NOOK

[16]

A

[15]

[1]

[14]

[13]

[12]

[7]

[9]

[11]

[8]

[3]

SCAL

FLOOR PLANS

[10]

FIREPIT & HERBARIUM AL

[6]

[5]

[4]

WER LEVEL PLAN

[4]

[7]

[1]

[8]

[5]

[3]

[17]

[9]

[6]

[2]

[12]

[15]

[14]

[11]

[13]

[16]

[10]

UPPER LEVEL PLAN

[2]

[1]

[3]

[7]

[4]

[8]

[5]

[6]

[9]

LOWER FLOOR PLAN

SOUTH GATHE

[1] WORKSHOP [2] STAIRS TO VIEWING [15] TOWER HANGIN [3] EXHIBITED STORAGE [16] WA SPACE ISLAND [4] GROTTO MINOR [17] RAMP [5] EXHIBITION SPACE GARDENS [6] WASTE WOOD STORE [7] COFFEE SHOP UPPER FLOOR [8] BUST DRUM [1] COFFEE SHOP [9] GROTTO MAJOR SEATING [10] SOIL PIT [2] PUBLIC RESTROO [11] DOOR FOR WALL[3] LIFT HANGING WALL [4] LOWER SEATING [12] RAMP TO TEAPOT AREA [13] CASE FOR [5] DUMB WAITER TRAVELLING SERVICE [6] LIGHTWELL [14] VIEWING PLATFORM [7] BRIDGE TO NORTH FOR TRAVELLUING GATHERING SPACE SERVICE [8] RAMP TO LOWER LEVEL [9] VIEWING TOWER [10] CANOPY OVER OBJECT WALL

[10]

N

[11]

[1]

[9]

[3]

[2]

[10]

[5]

A A

[5]

[3]

[6]

[4]

[8]

[7]

[12]

[3]

[2]

[6] [4]

[5]

[6]

[1]

SECTION B-B

B B

SECTION A-A

[4]

[2]

[6]

[1]

[207]

SCALE: 1:100

FLOOR PLAN & SECTIONS

MACRO-PHOTOGRAPHER’S STUDY

[1] GROTTO [2] MOULDED THICKENED WINDOW [3] GLAZED ROOF [4] THRESHOLD DOORMAT [5] STAIRS INTO STUDY [6] WALKWAY INTO BOTANIC GARDENS

SECTION B-B

[1] DARKROOM [2] VIEWING VOID BELOW LAYOUT DESK [3] CANOPY [4] GROTTO [5] FRAME FOR SCREEN [6] MOULDED THICKENED WINDOW

SECTION A-A

[1] SEATING AREA [2] DOUBLE BACKED SEAT [3] THRESHOLD DOORMAT [4] OBJECT LIFT [5] LAYOUT DESK [6] DARKROOM [7] RAMP TO LOWER LEVEL [8] PHOTOGRAPHY TABLE [9] STAIRS INTO STUDY [10] WALKWAY FROM FILLED HOUSE [11] WALKWAY UNDERNEATH STUDY INTO GROTTO [12] WALL FOR HANGING WALLS

PLAN

N

DOUBLED BACK The closing of the project marks the refolding of the proposal into an earlier drawing, a contortion of the botanic landscape; a straightening of the meander over rich soils. The proposal is planted back into these rich soils, and understood within the gaze of the perambulating visitor. The project did not do what it wanted to do, or at least what I wanted it to do at first (a pretty droll reflection on the contemporary debt crisis and new modes of currency). The project meandered, was surprised by things, and allowed things to jostle within the gaze. One would of course, like another few months to really wrestle with the thing, give it a good go at again, do the drawings that were always intended and hoped for to explore and describe other aspects of the project. The success of the project is not for me to comment on here, now. However, there is a sense that the themes within the project, the questions of value, exchange, waste, exoticism, the female body, hedonism and collapse are juxtaposed in curious ways, and are allowed to be seen as what they are; strange.

120

121

INDEX REGISTER INDICATES RENDERING DRAWING DISPLAYED IN STUDIO EXHIBITION [RECORDINGS & INDEX CARDS ARE ALSO HELD IN THE EXHBITION] IC [INDEX CARDS]

REN [STUDIO RENDERINGS]

REC [DIGITAL RECORDINGS]

DIMENSIONS INDICATES SIZE OF SHEET SHOWING EACH INDEXED ITEM: THIS SHEET MAY ALSO HOUSE OTHER IMAGES & DRAWINGS.

INDEX

[000] DRAWINGS OF EXOTIC OBJECTS INDEX TITLE

SCALE

DIMENSIONS

LOCATION

001

AXONOMETRIC DRAWING OF TRAVELLING CASE

NTS

152X101mm

IC

002

COPENHAGEN SHIPS CURVES

NTS

152X101mm

IC

003

LAYERS OF STACKING SEED MODEL

NTS

152X101mm

IC

004

SEED SPECIMEN DRAWING

NTS

152X101mm

IC

005

AXONOMETRIC DRAWING OF PAULINE

NTS

152X101mm

IC

006

PLAN & SECTION OF PAULINE

1:5/1:2 900X2000MM

REN

INDEX TITLE

SCALE

DIMENSIONS

LOCATION

101

SITE PLAN OF EDAPHOLOGIST’S LOOKOUT

NTS

152X101mm

IC

102

VIEW OF EDAPHOLOGIST’S LOOKOUT

NTS

152X101mm

IC

103

HAMILTON REEDBED SITE STRATEGY

NTS

841X594mm

REC

104

STUDY ON AN ISTHMUS, MODEL PLAN

NTS

152X101mm

IC

106

BOTANIC GARDENS CONTORTED LANDSCAPE

1:2500

1500X500mm

REN

107

BOTANIC GARDENS SITE PLAN

1:1250

900X2000mm

REN

[9]

[100] SITE DRAWINGS

9

[200] GENERAL ARRANGEMENT DRAWINGS

[400] IMAGES OF EXOTIC OBJECTS

INDEX TITLE

SCALE

DIMENSIONS LOCATION

INDEX TITLE

DIMENSIONS

LOCATION

201

AXONOMETRIC DRAWING OF PROGRAMME

NTS

900X2000mm REN

401

NECESSAIRE DE VOYAGE

152X101mm

IC

202

LOWER FLOOR PLAN

1:200

900X2000mm REN

402

DECONSTRUCTED TIMBER PANELLED WALL

152X101mm

IC

203

UPPER FLOOR PLAN

1:200

900X2000mm REN

403

TRAVELLING SERVICE AND WALL ON DISPLAY

152X101mm

IC

204

FLOOR PLAN INSTALLATION

1:100

1981X726mm REN

404

LODOICEA MALDIVICA

152X101mm

IC

205

FILLED HOUSE PLANS/SECTIONS/ELEVATIONS

VARIES

841X594mm

REC

405

BOTANICAL DRAWINGS OF LODOICEA MALDIVICA

152X101mm

IC

206

EMPTIED HOUSE PLAN/SECTION/ELEVATIONS

1:100

841X594mm

REC

207

MACRO-PHOTOGRAPHER’S STUDY PLANS/SECTIONS

1:100

841X594mm

REC

INDEX TITLE

DIMENSIONS

LOCATION

208

SOUTH GATHERING SPACE PLANS/SECTIONS

1:100

841X594mm

REC

501

PAULINE BONAPARTE-BORGHESE

152X101mm

IC

209

NORTH GATHERING SPACE PLANS/SECTIONS

1:100

841X594mm

REC

502

BUST OF PAULINE

152X101mm

IC

210

OYSTER BAR PLANS/SECTIONS

1:100

841X594mm

REC

503

BUST OF ALEXANDER, 10TH DUKE OF HAMILTON

152X101mm

IC

211

FIREPIT & HERBARIUM PLANS/SECTIONS

VARIES

841X594mm

REC

504

HAMILTON PALACE

152X101mm

IC

212

HERBARIUM ALTERATIONS PLANS/ELEVATION

VARIES

841X594mm

REC

505

GROUND FLOOR PLAN OF HAMILTON PALACE

152X101mm

IC

506

LAYOUT OF HAMILTON PALACE GROUNDS

152X101mm

IC

507

HAMILTON PALACE AUCTION CATALOGUE

152X101mm

IC

508

LODOICEA MALDIVICA AT ROYAL BOTANIC GARDENS

152X101mm

IC

509

BATHYMETRIC CHART OF INDIAN OCEAN

152X101mm

IC

510

MAP OF SOIL TYPES IN LOTHIANS

152X101mm

IC

511

GEOLOGICAL MODEL

152X101mm

IC

512

MAIN LIBRARY, MUSEUM OF ECONOMIC GEOLOGY

152X101mm

IC

513

EXCHANGE HALL, LONDON COAL EXCHANGE

152X101mm

IC

[300] THRESHOLD STUDIES

122

INDEX TITLE

SCALE

DIMENSIONS LOCATION

301

SECTION THROUGH MACRO-PHOTOGRAPHER’S STUDY

1:50

900X2000mm REN

302

SECTION THROUGH SOUTH GATHERING SPACE

1:50

900X2000mm REN

303

EXPLODED AXONOMETRIC OF SCREEN FRAME

1:20

900X2000mm REN

[500] REFERENCE IMAGES

514

STILL FROM FINAL SCENE OF CITIZEN KANE

152X101mm

IC

[700] PROCESS IMAGES

515

URANIA’S MIRROR

152X101mm

IC

INDEX TITLE

DIMENSIONS

LOCATION

516

LEVON BISS, MACRO-PHOTOGRAPHER

152X101mm

IC

701

BOTANIC GARDENS: SCALES OF OPERATION

152X101mm

IC

517

UCC GLUCKSMAN GALLERY, CORK

152X101mm

IC

702

HAMILTON & BOTANICS: RUPTURE & EXCAVATION

152X101mm

IC

518

STAIRCASE, MÄDCHENINTERNAT KLOSTER DISENTIS

152X101mm

IC

703

STUDY ON AN ISTHMUS BUILDING PROPOSAL

152X101mm

IC

519

GYPSOTHECA, MUSEO CANOVA

152X101mm

IC

704

STUDY ON AN ISTHMUS DEVELOPMENT MODEL

152X101mm

IC

520

MODEL OF ADELE LEVY MEMORIAL PARK

152X101mm

IC

705

EARLY SITE DEVELOPMENT MODEL

152X101mm

IC

521

PIUS XII SQUARE, BARCELONA

152X101mm

IC

706

MACRO-PHOTOGRAPHER’S STUDY SITE MODEL

152X101mm

IC

522

EXAMPLE SPECIMEN FROM HERBARIUM COLLECTION

152X101mm

IC

707

EXCAVATION TESTS

152X101mm

IC

523

EXTRACT FROM INDEX OF TRAVELLING SERVICE

152X101mm

IC

524

MAP OF COAL FIELDS AND MINE WORKINGS, HAMILTON

152X101mm

IC

525

MAP OF AN INDECISIVE RIVER, HAMILTON

152X101mm

IC

INDEX TITLE

DIMENSIONS

LOCATION

801

PAULINE

152X101mm

IC

[600] SITE IMAGES

[800] MODEL IMAGES

INDEX TITLE

DIMENSIONS

LOCATION

802

FINAL SITE MODEL

152X101mm

IC

601

HAMILTON REEDBED

152X101mm

IC

803

MODEL OF SOUTH GATHERING SPACE & TEAPOT

152X101mm

IC

602

HAMILTON ISTHMUS

152X101mm

IC

804

MODEL OF MACRO-PHOTOGRAPHER’S STUDY

152X101mm

IC

603

BOTANIC GARDENS HERBARIUM BUILDING

152X101mm

IC

604

BOTANIC GARDENS ENCASEMENT

152X101mm

IC

605

BOTANIC GARDENS FRAMES & CASES

152X101mm

IC

606

BOTANIC GARDENS SCREENS & TRANSPARENCY

152X101mm

IC

607

PLANT SPECIMENS FROM BOTANIC GARDENS

152X101mm

IC

READING THE PROJECT INDEX

DWG

[DRAWING SERIES] 000 OBJECTS 1:1-1:10

FURTHER RELATED IMAGES

100 SITES 1:200-1:1000000 ARRANGEMENTS 200 GENERAL 1:50-1:200

INDEX NUMBER

INDEX TITLE

700 PROCESS

1:100 BOTANICS HAMILTON BEYOND

SITE LOCATION FOR IMAGE/DRAWING

SCALE

800 MODELS

Travelling services were a popular commission for aristocratic ladies to house all the necessaries they would need for travelling. During the late 18th century and early 19th century, these cases became increasingly lavish, with a focus on miniaturisation and efficiency of packing. This necessaire de voyage was commissioned by Napoleon Bonaparte as a gift for his sister Pauline Bonaparte’s wedding to Prince Camillo Borghese in 1803. The silver-gilt was mainly made by Marie-Joseph-Gabriel Genu and assembled by Martin-Guillaume Biennais, and contains over a 100 items for beauty, consumption, communication, hygiene and defence. An exceptionally heavy item and cumbersome to manoeuvre, the service can be locked in place by a locating screw. The complexity of packing and nature of the items inside (personal letters, tongue scraper, mirror etc) disclose the intensely personal relationship of this service. Pauline bequeathed the service to Alexander, 10th Duke of Hamilton upon her death, an indication of the particularly intimate nature of their relationship. It is now on display at the National Museum of Scotland.

[001/002/402/403/501/502/503/504/505/506/507/801]

[001/002/402/403/501/502/503/504/505/506/507/801] CONNECTED INDICES FOR POSITIONING

IMG

MATERIAL

600 SITES

DWG

CURATION

500 REFERENCES

[401]

Photograph from collections of National Museum of Scotland

[THEMES] SITE/STRUCTURE ENVIRONMENT

MATERIALS

LANDSCAPE

FRAMED

SOILS

SOLID

PLANTS

DOUBLED

WATER

CARVED CAST

PRODUCTION

400 OBJECTS

NECESSAIRE DE VOYAGE

1:100

[IMAGE SERIES]

BOTANICS HAMILTON BEYOND

IMG

ENVIRONMENT

STUDIES 300 THRESHOLD 1:20-1:50

DESCRIPTION / POSITION IN PROJECT

PROGRAMME CURATION

PRODUCTION

ACCESSION

RESEARCHING

DIALOGUE

RECORDING

VIEWING

REUSING

ENCASING

CREATING WASTE

FORGETTING

MANIPULATING

VALUING

URBANIZING

123