Saint Peter's Seminary, Cardross: An Ekphrastic Journey Through Liturgies and Leaks

Saint Peter’s Seminary, Cardross: An Ekphrastic Journey Through Liturgies and Leaks

Daniel Lomholt-Welch Architecture MA(Hons) Dissertation S1539047

Saint Peter’s Seminary, Cardross: An Ekphrastic Journey Through Liturgies and Leaks

Daniel Lomholt-Welch Architecture MA(Hons) Dissertation S1539047

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Preface Growing up in a family of architects in central Scotland, it was nearly impossible to avoid the ghost of Gillespie Kidd & Coia, and the architecture that they proliferated across Scotland. In fact, I knew of Saint Peter’s Seminary well over a decade before I started at architecture school, and at least fifteen years before I started writing my dissertation. So, to say that this has been brewing for a while is perhaps an understatement.

I would firstly like to thank my supervisor, Dr. Dorian Wiszniewski, for his guidance, patience and encouragement during the project. I would also like to thank Adrian Welch and Dr. Jane Lomholt for their constant advice and support with proof-reading throughout the process. And finally, I would like to thank all of my family and friends, to whom this dissertation is dedicated.

This dissertation, much like its author, is steeped in sentimentality. The following piece of work is an attempt to plot a course not only through a building’s decaying matter, but through the sentiments that cling to it and the leaking theories that we would use to explain them.

Daniel Lomholt-Welch Glasgow 02.12. 2020

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Preface Growing up in a family of architects in central Scotland, it was nearly impossible to avoid the ghost of Gillespie Kidd & Coia, and the architecture that they proliferated across Scotland. In fact, I knew of Saint Peter’s Seminary well over a decade before I started at architecture school, and at least fifteen years before I started writing my dissertation. So, to say that this has been brewing for a while is perhaps an understatement.

I would firstly like to thank my supervisor, Dr. Dorian Wiszniewski, for his guidance, patience and encouragement during the project. I would also like to thank Adrian Welch and Dr. Jane Lomholt for their constant advice and support with proof-reading throughout the process. And finally, I would like to thank all of my family and friends, to whom this dissertation is dedicated.

This dissertation, much like its author, is steeped in sentimentality. The following piece of work is an attempt to plot a course not only through a building’s decaying matter, but through the sentiments that cling to it and the leaking theories that we would use to explain them.

Daniel Lomholt-Welch Glasgow 02.12. 2020

vi

Abstract This dissertation is an ekphrastic journey through Saint Peter’s Seminary, the sentiments surrounding it, and the theories that attempt to bring definition to it. Previous research has hinted at the Seminary having a profound effect upon those who visit it, but has stopped short of actually investigating their experiences. By charting these experiences and exploring them in tandem with theoretical approaches to the space, it is hoped that the research can contribute a novel perspective of Saint Peter’s.

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Abstract This dissertation is an ekphrastic journey through Saint Peter’s Seminary, the sentiments surrounding it, and the theories that attempt to bring definition to it. Previous research has hinted at the Seminary having a profound effect upon those who visit it, but has stopped short of actually investigating their experiences. By charting these experiences and exploring them in tandem with theoretical approaches to the space, it is hoped that the research can contribute a novel perspective of Saint Peter’s.

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Contents

62

v

Abstract

6

1. Spectres of Spirit: A Deconstruction of the Genius Loci

1.1 The Genius Loci 1.2 Imagery 1.3 Subjective Experiences 1.4 Narrative 1.5 Spectres

92

80

A Brief History of Saint Peter’s Seminary

Saint Peter’s Seminary vii iii

Contents

Preface

18 1

4. Sacred Space: An Argument Over Meaning 4.1 The Imago Mundi 4.2 Space Experienced 4.3 Meaningful Space 4.4 Objective Dichotomies

119

3. Illeity, Idolatry and a Thing that Leaks 3.1 The Fourfold 3.2 The Altar 3.3 The Four(Five)fold 3.4 Things 3.5 Leaks

141 111

An Ekphrastic Journey Through Saint Peter’s

2. Corpus Incorporeum 2.1 The Singular Plural 2.2 The Art(s) 2.3 The Body 2.4 The Bodies

Appendix B: Interview with Father Hugh Kelly

147

Bibliography

5. Vague Definitions: The Sublime and the Numinous 5.1 The Numinous 5.2 Interpretation 5.3 The Sublime 5.4 Distinctions 5.5 Indefinitions

Appendix D: Interview with Ed Hollis

Saint Peter’s Seminary 163

113

102

157

Conclusion

Introduction 72

List of Plates, Illustrations and Figures

133

Appendix A: Survey

Appendix C: Interview with Angus Farquhar

Final Thoughts

viii

Contents

62

v

Abstract

6

1. Spectres of Spirit: A Deconstruction of the Genius Loci

1.1 The Genius Loci 1.2 Imagery 1.3 Subjective Experiences 1.4 Narrative 1.5 Spectres

92

80

A Brief History of Saint Peter’s Seminary

Saint Peter’s Seminary vii iii

Contents

Preface

18 1

4. Sacred Space: An Argument Over Meaning 4.1 The Imago Mundi 4.2 Space Experienced 4.3 Meaningful Space 4.4 Objective Dichotomies

119

3. Illeity, Idolatry and a Thing that Leaks 3.1 The Fourfold 3.2 The Altar 3.3 The Four(Five)fold 3.4 Things 3.5 Leaks

141 111

An Ekphrastic Journey Through Saint Peter’s

2. Corpus Incorporeum 2.1 The Singular Plural 2.2 The Art(s) 2.3 The Body 2.4 The Bodies

Appendix B: Interview with Father Hugh Kelly

147

Bibliography

5. Vague Definitions: The Sublime and the Numinous 5.1 The Numinous 5.2 Interpretation 5.3 The Sublime 5.4 Distinctions 5.5 Indefinitions

Appendix D: Interview with Ed Hollis

Saint Peter’s Seminary 163

113

102

157

Conclusion

Introduction 72

List of Plates, Illustrations and Figures

133

Appendix A: Survey

Appendix C: Interview with Angus Farquhar

Final Thoughts

2

Introduction Saint Peter’s Seminary is a building that is written about frequently, featuring in both the mainstream and architectural media regularly. So why write any more about it?

In this rhetoric lies the precise reason for doing so. Since its conception in the mid-20th century the Seminary has indeed been the subject of a variety of written works, ranging from brief articles in architectural magazines such as Prospect, to longer histories such as Diane Watters’ St Peter’s Cardross: Birth, Death and Renewal. However, what these discourses have arguably failed to engage with is the issue of why Saint Peter’s causes such debate in the first place. For some, it is an architectural masterpiece, for others it is an eyesore. For some, it is still hallowed ground, for others it forfeited any sacred qualities long ago. It is a building that gives rise to an extensive variety of experiences, and therefore holds a variety of meanings. This variation leads to another rhetorical question: which Saint Peter’s is being experienced?

The research focuses on this question, an issue which has had very little scholarly attention paid to it. This has dictated an approach which has combined material on the history and corporality of the Seminary with, on the one hand, theoretical material on the experience of space; and on the other, original first-hand accounts of Saint Peter’s. The theoretical material chosen is wide-ranging and attempts to investigate various aspects of the Seminary. Notions of plurality are scrutinised through Jean-Luc Nancy, before Martin Heidegger’s theory of ‘the fourfold’ is elaborated within the context of the Seminary.

Mircea Eliade then provides a starting point for the discussion on the nature of sacred space, which is developed by Rudolf Otto’s concept of ‘the numinous’.

The primary source material, which forms the central empirical element of the work, firstly includes an ekphrastic composition of my own experiences of the Seminary, portrayed as a journey through the building itself. This is followed by a survey of a diverse range of those who have visited the Seminary, resulting in a broad spectrum of attitudes relating to Saint Peter’s.

Through the analysis of this survey certain correlations are

brought to light regarding the proclivity of the space to induce certain reactions over others. Finally, interviews of Angus Farquhar, Ed Hollis, and Father Hugh Kelly were conducted in order to elucidate a more profound understanding of how the space is experienced. Each of these interviewees have differing relationships to Saint Peter’s, however all have a deep understanding and experience of the Seminary.

What this dissertation attempts to do is to frame Saint Peter’s in a way that gives consideration to the diversity of sentiments surrounding the building. By engaging with the perspectives of a multitude of those who have experienced the space in conjunction with some of the theories that work to define the space, it is hoped that an understanding of Saint Peter’s, or rather a series of understandings, can be conveyed.

2

Introduction Saint Peter’s Seminary is a building that is written about frequently, featuring in both the mainstream and architectural media regularly. So why write any more about it?

In this rhetoric lies the precise reason for doing so. Since its conception in the mid-20th century the Seminary has indeed been the subject of a variety of written works, ranging from brief articles in architectural magazines such as Prospect, to longer histories such as Diane Watters’ St Peter’s Cardross: Birth, Death and Renewal. However, what these discourses have arguably failed to engage with is the issue of why Saint Peter’s causes such debate in the first place. For some, it is an architectural masterpiece, for others it is an eyesore. For some, it is still hallowed ground, for others it forfeited any sacred qualities long ago. It is a building that gives rise to an extensive variety of experiences, and therefore holds a variety of meanings. This variation leads to another rhetorical question: which Saint Peter’s is being experienced?

The research focuses on this question, an issue which has had very little scholarly attention paid to it. This has dictated an approach which has combined material on the history and corporality of the Seminary with, on the one hand, theoretical material on the experience of space; and on the other, original first-hand accounts of Saint Peter’s. The theoretical material chosen is wide-ranging and attempts to investigate various aspects of the Seminary. Notions of plurality are scrutinised through Jean-Luc Nancy, before Martin Heidegger’s theory of ‘the fourfold’ is elaborated within the context of the Seminary.

Mircea Eliade then provides a starting point for the discussion on the nature of sacred space, which is developed by Rudolf Otto’s concept of ‘the numinous’.

The primary source material, which forms the central empirical element of the work, firstly includes an ekphrastic composition of my own experiences of the Seminary, portrayed as a journey through the building itself. This is followed by a survey of a diverse range of those who have visited the Seminary, resulting in a broad spectrum of attitudes relating to Saint Peter’s.

Through the analysis of this survey certain correlations are

brought to light regarding the proclivity of the space to induce certain reactions over others. Finally, interviews of Angus Farquhar, Ed Hollis, and Father Hugh Kelly were conducted in order to elucidate a more profound understanding of how the space is experienced. Each of these interviewees have differing relationships to Saint Peter’s, however all have a deep understanding and experience of the Seminary.

What this dissertation attempts to do is to frame Saint Peter’s in a way that gives consideration to the diversity of sentiments surrounding the building. By engaging with the perspectives of a multitude of those who have experienced the space in conjunction with some of the theories that work to define the space, it is hoped that an understanding of Saint Peter’s, or rather a series of understandings, can be conveyed.

Glossary

Being

Desacralisation

Dwelling

Ekphrasis

Liturgy

Metaphysics

Martin Heidegger defines ‘Being’ using his concept of ‘Dasein’, that is ‘Being-in-the-world’, in his essay Being and Time. This refers to the particular experience of being as human being.

It is a form of being that is aware of its existence in the world and is constantly conscious of its actions. Heidegger’s theory of Being is fundamental in order to understand his notion of ‘Dwelling’.

Antithetical to sacralisation. It is the result of the conversion of a structure formerly used for a specific religious purpose, to either a different religious, or profane purpose.

The notion of ‘Dwelling’ was developed by Martin Heidegger in conjunction with his concept of ‘Dasein’, in the essay Building Dwelling Thinking. It can be elucidated slightly by considering Dwelling as the distinctive manner in which Dasein is in the world.

An account of something that is vivid enough to stimulate the reader or listener ‘see’. It is a subcategory of rhetoric and could be considered an art form as much as a factual account. It has links to poetry in its use of rhythm, mood, tone and literary style. An ekphrastic account could relate to anything from a person to a experience to a physical object.

The ritualised worship performed by a religious group. It is a communal act that represents a participation in the sacred through various activities reflecting remembrance, praise, thanksgiving, supplication or repentance.

A branch of philosophy that deals in abstract theory, with no basis in reality. It is the study of that which cannot be studied through material reality.

Glossary

Being

Desacralisation

Dwelling

Ekphrasis

Liturgy

Metaphysics

Martin Heidegger defines ‘Being’ using his concept of ‘Dasein’, that is ‘Being-in-the-world’, in his essay Being and Time. This refers to the particular experience of being as human being.

It is a form of being that is aware of its existence in the world and is constantly conscious of its actions. Heidegger’s theory of Being is fundamental in order to understand his notion of ‘Dwelling’.

Antithetical to sacralisation. It is the result of the conversion of a structure formerly used for a specific religious purpose, to either a different religious, or profane purpose.

The notion of ‘Dwelling’ was developed by Martin Heidegger in conjunction with his concept of ‘Dasein’, in the essay Building Dwelling Thinking. It can be elucidated slightly by considering Dwelling as the distinctive manner in which Dasein is in the world.

An account of something that is vivid enough to stimulate the reader or listener ‘see’. It is a subcategory of rhetoric and could be considered an art form as much as a factual account. It has links to poetry in its use of rhythm, mood, tone and literary style. An ekphrastic account could relate to anything from a person to a experience to a physical object.

The ritualised worship performed by a religious group. It is a communal act that represents a participation in the sacred through various activities reflecting remembrance, praise, thanksgiving, supplication or repentance.

A branch of philosophy that deals in abstract theory, with no basis in reality. It is the study of that which cannot be studied through material reality.

3

In order to make it easier to digest, this dissertation is split into four sections. The first of these offers a brief history of Saint Peter’s Seminary and the reasons for its current existence.

The second section is a vivid account, or ekphrasis, of a journey through the Seminary. This is a composite formed of multiple visits to Saint Peter’s in the past year.

The third section is the main body of the dissertation, where the critical arguments are. There are five chapters within the main body. Each of them is fronted by a collage image which thematises the discussion that follows.

The fourth section contains the appendices. These contextualise and support the content of the main body, offering a deeper understanding of certain arguments throughout the dissertation.

4

3

In order to make it easier to digest, this dissertation is split into four sections. The first of these offers a brief history of Saint Peter’s Seminary and the reasons for its current existence.

The second section is a vivid account, or ekphrasis, of a journey through the Seminary. This is a composite formed of multiple visits to Saint Peter’s in the past year.

The third section is the main body of the dissertation, where the critical arguments are. There are five chapters within the main body. Each of them is fronted by a collage image which thematises the discussion that follows.

The fourth section contains the appendices. These contextualise and support the content of the main body, offering a deeper understanding of certain arguments throughout the dissertation.

4

Saint Peter’s Seminary: A Brief History of Liturgies and Leaks

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7 Saint Peter’s Seminary, situated just outside the village of Cardross, Scotland, was first conceived in 1953 due to the

destruction of the previous Saint Peter’s in Bearsden in a fire in 1946. Having moved between various buildings, a permanent home was finally devised as an extension to Kilmahew House, a 19th century mansion shrouded in the woods north of Cardross.

A

A

First-floor plan of Saint Peter’s, 1:1000.

Saint Peter’s was designed by the Glasgow-based firm Gillespie, Kidd & Coia, with the design widely attributed to architects Andy MacMillan and Isi Metzstein. The building was planned to Modernist ideals, paying direct homage to the renowned Modernist architect Le Corbusier in places.

Saint Peter’s Seminary: A Brief History of Liturgies and Leaks

6

8

7 Saint Peter’s Seminary, situated just outside the village of Cardross, Scotland, was first conceived in 1953 due to the

destruction of the previous Saint Peter’s in Bearsden in a fire in 1946. Having moved between various buildings, a permanent home was finally devised as an extension to Kilmahew House, a 19th century mansion shrouded in the woods north of Cardross.

A

A

First-floor plan of Saint Peter’s, 1:1000.

Saint Peter’s was designed by the Glasgow-based firm Gillespie, Kidd & Coia, with the design widely attributed to architects Andy MacMillan and Isi Metzstein. The building was planned to Modernist ideals, paying direct homage to the renowned Modernist architect Le Corbusier in places.

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Section AA, cutting through the existing Kilmahew House and showing the main seminary building in the background, 1:500.

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However, due in part to the extreme ambition of its design, the Seminary took until 1968 to be completed and was born into a world which had changed drastically in the fifteen years that had passed. Due to the decrees of the Second Vatican Council, a whole raft of liturgical changes were made as well as the decision that priests should no longer be educated in exclusion from society, but should be taught in the very communities that they would go on to serve.

The Sanctuary

This shift in purpose rang the death knell for the Seminary and was exacerbated by the persistent issues of maintenance that resulted from its daring design. The building was notoriously draughty and prone to leaks, as well as being dysfunctional in its efforts to control acoustics. The Archdiocese eventually abandoned Saint Peter’s in 1980, at that point only accomodating two priests-in-training out of a total capacity for over one hundred. The Seminary was open for less than thirteen years.

10

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Section AA, cutting through the existing Kilmahew House and showing the main seminary building in the background, 1:500.

12

11

However, due in part to the extreme ambition of its design, the Seminary took until 1968 to be completed and was born into a world which had changed drastically in the fifteen years that had passed. Due to the decrees of the Second Vatican Council, a whole raft of liturgical changes were made as well as the decision that priests should no longer be educated in exclusion from society, but should be taught in the very communities that they would go on to serve.

The Sanctuary

This shift in purpose rang the death knell for the Seminary and was exacerbated by the persistent issues of maintenance that resulted from its daring design. The building was notoriously draughty and prone to leaks, as well as being dysfunctional in its efforts to control acoustics. The Archdiocese eventually abandoned Saint Peter’s in 1980, at that point only accomodating two priests-in-training out of a total capacity for over one hundred. The Seminary was open for less than thirteen years.

13

14 In the wake of its redundancy it was briefly used as a drug rehabilitation centre and was also the subject of a variety of architectural proposals such as a hotel, luxury housing, health spa, and art college.

None have come to pass. Instead, Saint Peter’s Seminary has sat rotting for over forty years, its leaking skeleton constantly covered and re-covered by graffiti that seems to permeate its very fabric.

It has accrued a cult-following among many who revel in the brutal architectural style, the omnipresent decay, and the seemingly infinite narrative of change that the building embodies. Despite being protected from ingress, the site is constantly visited by those who wish to lament the death of a building whose life had barely begun before it was over.

The ruined Chapel

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14 In the wake of its redundancy it was briefly used as a drug rehabilitation centre and was also the subject of a variety of architectural proposals such as a hotel, luxury housing, health spa, and art college.

None have come to pass. Instead, Saint Peter’s Seminary has sat rotting for over forty years, its leaking skeleton constantly covered and re-covered by graffiti that seems to permeate its very fabric.

It has accrued a cult-following among many who revel in the brutal architectural style, the omnipresent decay, and the seemingly infinite narrative of change that the building embodies. Despite being protected from ingress, the site is constantly visited by those who wish to lament the death of a building whose life had barely begun before it was over.

The ruined Chapel

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Saint Peter’s Seminary, Cardross: An Ekphrastic Journey

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19 ‘DANGER. DO NOT ENTER’ reads the fading sign tacked onto the fence. Although what exactly we are entering is yet unknown. Abandoning our futile efforts to scale the barricade, we tentatively advance into the forest that adjoins the barrier, crossing a small burn as we do so. Trampling through thickets of brambles, we begin to move among cracked columns and ornate stonework, relics that litter the narrow path that we have made our way on to.

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Saint Peter’s Seminary, Cardross: An Ekphrastic Journey

18

20

19 ‘DANGER. DO NOT ENTER’ reads the fading sign tacked onto the fence. Although what exactly we are entering is yet unknown. Abandoning our futile efforts to scale the barricade, we tentatively advance into the forest that adjoins the barrier, crossing a small burn as we do so. Trampling through thickets of brambles, we begin to move among cracked columns and ornate stonework, relics that litter the narrow path that we have made our way on to.

20

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21 Finally, something glinting silver peers out through the enveloping jungle. Another fence. Squeezing ourselves through the slender gap in the railings, we emerge into a dank, squalid space, which is vaguely recognisable as the ruined Convent of Saint Peter’s Seminary.

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Taking a short interlude to catch our breath, we squint out into the mist as the hulking skeleton of the Seminary looms over us. The influences of Le Corbusier’s Sainte Marie de La Tourette are all too apparent.

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21 Finally, something glinting silver peers out through the enveloping jungle. Another fence. Squeezing ourselves through the slender gap in the railings, we emerge into a dank, squalid space, which is vaguely recognisable as the ruined Convent of Saint Peter’s Seminary.

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Taking a short interlude to catch our breath, we squint out into the mist as the hulking skeleton of the Seminary looms over us. The influences of Le Corbusier’s Sainte Marie de La Tourette are all too apparent.

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Clambering down the inside of the Convent walls, the stains of graffiti are ubiquitous.

One sinisterly proclaims, ‘Your soul is mine’. Moving through the rubble, we find ourselves standing in the central courtyard, now completely overgrown. The jungle is rampant both inside and outside the Seminary grounds. The dilapidated

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main building appears clearer now, giving lucidity to its unsightly blemishes and

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deformities.

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27 Descending the elegant angled steps, we pass through yet another disfigured fence. The building clearly has problems with the inward leakage of both rainwater and unwanted visitors.

We ascend a tight curving staircase and are suddenly standing inside a vast chamber, broken open on all sides.

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Clambering down the inside of the Convent walls, the stains of graffiti are ubiquitous.

One sinisterly proclaims, ‘Your soul is mine’. Moving through the rubble, we find ourselves standing in the central courtyard, now completely overgrown. The jungle is rampant both inside and outside the Seminary grounds. The dilapidated

27

main building appears clearer now, giving lucidity to its unsightly blemishes and

28

deformities.

25

28

27 Descending the elegant angled steps, we pass through yet another disfigured fence. The building clearly has problems with the inward leakage of both rainwater and unwanted visitors.

We ascend a tight curving staircase and are suddenly standing inside a vast chamber, broken open on all sides.

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The wind howls through the carcass of Saint Peter’s, rain beginning to speckle the column exteriors.

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The crumbling interior arches draw one’s focus to a maelstrom of metalwork and fencing at the end of the space. As we approach the sanctuary, it becomes clear that the framework is obscuring the fragmented altar from sight.

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The wind howls through the carcass of Saint Peter’s, rain beginning to speckle the column exteriors.

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The crumbling interior arches draw one’s focus to a maelstrom of metalwork and fencing at the end of the space. As we approach the sanctuary, it becomes clear that the framework is obscuring the fragmented altar from sight.

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Standing in the sanctuary, there is an ethereal sense of being. The original space’s delicate treatment of light has been condemned, its roof burned away to the timbers by arsonists – energised architectural purists, perhaps??

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We scramble down the crypt ramp, avoiding the stanchions that support the last few roof joists. We descend in a calamitous manner, irreconcilable with the way in which the priests-in-training would have moved through the space.

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34 36

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Standing in the sanctuary, there is an ethereal sense of being. The original space’s delicate treatment of light has been condemned, its roof burned away to the timbers by arsonists – energised architectural purists, perhaps??

36

35

We scramble down the crypt ramp, avoiding the stanchions that support the last few roof joists. We descend in a calamitous manner, irreconcilable with the way in which the priests-in-training would have moved through the space.

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Looking back towards the chapel through the stramash of metal framing, the seeping rainwater has evidently made its mark on the building. We are kept company by the constant noise of leaks dripping onto the floor.

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Entering the sunken crypt, even more homages to Le Corbusier appear, this time to his Chapelle Notre Dame du Haut in Ronchamp.

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Looking back towards the chapel through the stramash of metal framing, the seeping rainwater has evidently made its mark on the building. We are kept company by the constant noise of leaks dripping onto the floor.

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Entering the sunken crypt, even more homages to Le Corbusier appear, this time to his Chapelle Notre Dame du Haut in Ronchamp.

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The spectral light that streams through his windows puddles upon the opposite wall, revealing yet more sprawling works of graffiti. The puddles of water, however, reveal only the detritus accumulated through years of neglect.

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43 Leaving the crypt behind,

we fumble along pitch-black passageways that eventually lead us back to the main space,

relieved to have withdrawn from the dark abyss beneath.

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41

The spectral light that streams through his windows puddles upon the opposite wall, revealing yet more sprawling works of graffiti. The puddles of water, however, reveal only the detritus accumulated through years of neglect.

44

43 Leaving the crypt behind,

we fumble along pitch-black passageways that eventually lead us back to the main space,

relieved to have withdrawn from the dark abyss beneath.

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45 Ascending the external stairway at the far end of the Seminary, the inverted-ziggurat section of the space becomes apparent, the intimacy of the spaces enhanced from the vast expanses below.

48 46

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We amble along the decaying walkways that form the perimeter of each of the Seminary’s three upper floors, punctuated the whole way along by the former students’ rooms. With trepidation, we test the strength of the rotting interior arches by crawling across them towards the inner space.

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46

45 Ascending the external stairway at the far end of the Seminary, the inverted-ziggurat section of the space becomes apparent, the intimacy of the spaces enhanced from the vast expanses below.

48 46

47

16

17

We amble along the decaying walkways that form the perimeter of each of the Seminary’s three upper floors, punctuated the whole way along by the former students’ rooms. With trepidation, we test the strength of the rotting interior arches by crawling across them towards the inner space.

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Returning to the external walkway and ascending another floor, we move towards the opposite end of the main building to investigate the burnt-out sanctuary roof. Our investigation rewards us with a fascinating aerial view of the fractured altar, revealing the cruciform support below.

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Looking back through the Seminary, the volume is now more enclosed, its moss-covered concrete beams giving a defined sense of form to the space.

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49

50

52

Returning to the external walkway and ascending another floor, we move towards the opposite end of the main building to investigate the burnt-out sanctuary roof. Our investigation rewards us with a fascinating aerial view of the fractured altar, revealing the cruciform support below.

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51

Looking back through the Seminary, the volume is now more enclosed, its moss-covered concrete beams giving a defined sense of form to the space.

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The delicate lightness of the concrete beams is amplified in parts where the arches have decomposed, allowing the slender forms of the beams to come to the fore.

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56 58

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The decay within the building is to such an extent that one can see through the concrete skeleton to the ground floor in places.

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The delicate lightness of the concrete beams is amplified in parts where the arches have decomposed, allowing the slender forms of the beams to come to the fore.

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56 58

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The decay within the building is to such an extent that one can see through the concrete skeleton to the ground floor in places.

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Having paused for a moment, we then return to a sturdy looking tiled chamber in order to make our final ascent.

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Having paused for a moment, we then return to a sturdy looking tiled chamber in order to make our final ascent.

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1. Spectres of Spirit: A Deconstruction of the Genius Loci

1. Spectres of Spirit: A Deconstruction of the Genius Loci

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1.1 The Genius Loci

1 Rowan Wilken, ‘Critical Reception of Norberg-Schulz’s Writings on Heidegger and Place,’ Architectural Theory Review 18, no. 3 (2013): 341.

2 Christian Norberg-Schulz, Genius Loci: Towards a Phenomenology of Architecture (New York: Rizzoli, 1980), 18.

3 Ibid.

4 Ibid., 19.

5

Wilken, ‘Critical Reception,’ 343.

6

Norberg-Schulz, Genius Loci, 23.

In his book entitled Genius Loci: Towards a Phenomenology of Architecture, the Norwegian architectural theorist Christian Norberg-Schulz proposes a theory of genius loci, a notion which has consistently attracted critical attention since it was first presented.1 Norberg-Schulz identifies genius loci as an ancient Roman concept which can be traced etymologically to mean ‘spirit of place’ in English. The genius loci of Roman times was a widely held belief that each autonomous being had its own spirit, often represented in the form of a deity.

It was supposed that this spirit brought about the existence of certain people or places, even determining their very essence.2 It is important to note that the notion of ‘spirit’ will be used throughout this dissertation in a series of guises; as an invocation of a Roman deity and hence any deity; as a ghost or haunting of a disturbed past; as an uncanny, good or bad; as an unreliable memory; as a sentimentally prefaced memory (real or imagined); and as a prejudicial recollection of history.

Norberg-Schulz claims that genius loci has remained a core aspect of existence throughout our history, and that although the term is no longer a part of our active vocabulary, the concept remains just as important. He references how artists and writers capture this spirit of place, often finding inspiration in the true essence of local character.3 Norberg-Schulz grounds his concept in Heidegger’s notion of ‘dwelling’, and the dual aspects of ‘space’ and ‘character’ (the character of an environment) which form the totality of genius loci. These two aspects are responsible respectively for the orientation and identification of man, in an environment which is constituted by ‘things’ which all have inherent ‘meaning’.4 Norberg-Schulz understands place as the concrete manifestation of man’s dwelling, the physical matter which gives rise to the total phenomenon that is genius loci.5 He asserts genius loci as a singular essence of place that is vital to Holderlin’s pronouncement that it is through poetry that man dwells on earth.6 Norberg-Schulz argues that in order for us to do so, we must bring this essence to visibility. He implores

that we ‘concretise the Genius Loci,’7 entreating us to design with a focus on the communication of a spirit of place. This is something that was clearly central to Gillespie Kidd & Coia’s intentions for the design of Saint Peter’s. In articulating the liturgical function of the building they strove to ‘concretise the Genius Loci’. And yet despite their initial success, this concrete has fractured with the passing of time.

7 Ibid.

1.2 Imagery Norberg-Schulz supports his argument with images of various places which can be determined to bring visibility to genius loci due to their ability to give orientation and identification to man.

The use of images is vital in order to prove the instantaneous wholeness of genius loci, that it is possible for one to grasp its entirety much like one would perceive an image in its entirety.8 The specific example of Saint Peter’s Seminary provides an intriguing case study for the consideration of how NorbergSchulz’s theory relates to imagery. As a highly articulated space for religious practice its design sought to communicate the essence of those rituals and the meaning inherent to them, an essence one could equate to genius loci.9 As a building with a very specific singular purpose one could reason that the Seminary plausibly had a strong genius loci. Visibly enhanced by the daily rituals, religious imagery and architectural language, it would have been clear to visitors what the function of the building was.10 Photos from the Seminary’s functioning years portray a space of distinct qualities, a space one could consider to have a strong genius loci. However, it is in the use of images that we encounter the first phantom of NorbergSchulz’s ideology.

In observing the image of Saint Peter’s shown above, we may perceive some aesthetic signifiers of narrative, such as the priest walking down the ramp towards the crypt. This identifies the space as being used for religious purposes, and that there is a form of ritual inherent to the usage of the space. But we

8 Alberto Perez-Gomez, ‘The City is not a PostCard,’ in An Eye for Place: Christian Norberg-Schulz: Architect, Historian and Editor, ed. Gro Lauvland (Oslo: Arkitektur Publisering, 2009), 28.

9 Karen Wenell, ‘St Peter’s College and the Desacralisation of Space,’ Literature and Theology 21, no. 3 (Autumn 2007): 263.

10 Wenell, ‘St Peter’s College and the Desacralisation of Space,’ 262.

65

66

1.1 The Genius Loci

1 Rowan Wilken, ‘Critical Reception of Norberg-Schulz’s Writings on Heidegger and Place,’ Architectural Theory Review 18, no. 3 (2013): 341.

2 Christian Norberg-Schulz, Genius Loci: Towards a Phenomenology of Architecture (New York: Rizzoli, 1980), 18.

3 Ibid.

4 Ibid., 19.

5

Wilken, ‘Critical Reception,’ 343.

6

Norberg-Schulz, Genius Loci, 23.

In his book entitled Genius Loci: Towards a Phenomenology of Architecture, the Norwegian architectural theorist Christian Norberg-Schulz proposes a theory of genius loci, a notion which has consistently attracted critical attention since it was first presented.1 Norberg-Schulz identifies genius loci as an ancient Roman concept which can be traced etymologically to mean ‘spirit of place’ in English. The genius loci of Roman times was a widely held belief that each autonomous being had its own spirit, often represented in the form of a deity.

It was supposed that this spirit brought about the existence of certain people or places, even determining their very essence.2 It is important to note that the notion of ‘spirit’ will be used throughout this dissertation in a series of guises; as an invocation of a Roman deity and hence any deity; as a ghost or haunting of a disturbed past; as an uncanny, good or bad; as an unreliable memory; as a sentimentally prefaced memory (real or imagined); and as a prejudicial recollection of history.

Norberg-Schulz claims that genius loci has remained a core aspect of existence throughout our history, and that although the term is no longer a part of our active vocabulary, the concept remains just as important. He references how artists and writers capture this spirit of place, often finding inspiration in the true essence of local character.3 Norberg-Schulz grounds his concept in Heidegger’s notion of ‘dwelling’, and the dual aspects of ‘space’ and ‘character’ (the character of an environment) which form the totality of genius loci. These two aspects are responsible respectively for the orientation and identification of man, in an environment which is constituted by ‘things’ which all have inherent ‘meaning’.4 Norberg-Schulz understands place as the concrete manifestation of man’s dwelling, the physical matter which gives rise to the total phenomenon that is genius loci.5 He asserts genius loci as a singular essence of place that is vital to Holderlin’s pronouncement that it is through poetry that man dwells on earth.6 Norberg-Schulz argues that in order for us to do so, we must bring this essence to visibility. He implores

that we ‘concretise the Genius Loci,’7 entreating us to design with a focus on the communication of a spirit of place. This is something that was clearly central to Gillespie Kidd & Coia’s intentions for the design of Saint Peter’s. In articulating the liturgical function of the building they strove to ‘concretise the Genius Loci’. And yet despite their initial success, this concrete has fractured with the passing of time.

7 Ibid.

1.2 Imagery Norberg-Schulz supports his argument with images of various places which can be determined to bring visibility to genius loci due to their ability to give orientation and identification to man.

The use of images is vital in order to prove the instantaneous wholeness of genius loci, that it is possible for one to grasp its entirety much like one would perceive an image in its entirety.8 The specific example of Saint Peter’s Seminary provides an intriguing case study for the consideration of how NorbergSchulz’s theory relates to imagery. As a highly articulated space for religious practice its design sought to communicate the essence of those rituals and the meaning inherent to them, an essence one could equate to genius loci.9 As a building with a very specific singular purpose one could reason that the Seminary plausibly had a strong genius loci. Visibly enhanced by the daily rituals, religious imagery and architectural language, it would have been clear to visitors what the function of the building was.10 Photos from the Seminary’s functioning years portray a space of distinct qualities, a space one could consider to have a strong genius loci. However, it is in the use of images that we encounter the first phantom of NorbergSchulz’s ideology.

In observing the image of Saint Peter’s shown above, we may perceive some aesthetic signifiers of narrative, such as the priest walking down the ramp towards the crypt. This identifies the space as being used for religious purposes, and that there is a form of ritual inherent to the usage of the space. But we

8 Alberto Perez-Gomez, ‘The City is not a PostCard,’ in An Eye for Place: Christian Norberg-Schulz: Architect, Historian and Editor, ed. Gro Lauvland (Oslo: Arkitektur Publisering, 2009), 28.

9 Karen Wenell, ‘St Peter’s College and the Desacralisation of Space,’ Literature and Theology 21, no. 3 (Autumn 2007): 263.

10 Wenell, ‘St Peter’s College and the Desacralisation of Space,’ 262.

67

have little idea of the wider context of the situation pictured, whether the priest carried this out every day for example, or whether he did indeed truly believe in the cause for which his vocation existed. These signifiers are ambiguous, and only communicate a faint trace of the spirit of place.

11 Perez-Gomez, ‘The City is not a Post-Card,’ 30.

Alberto Perez-Gomez comments that to perceive any cultural milieu in such a two-dimensional, material, and inanimate way is extremely reductive to an argument that seeks humans to dwell poetically. He claims that issues such as the ones that Norberg-Schulz seeks to relate to architecture and place are deserving of an equally deep portrayal, and not one that is inherently superficial.11 The use of the image as a medium to correspond to the depth of meaning inherent to a place is surely contradictory and falls short of truly orientating and identifying man within his place. Regardless of the meaning that is inherent within the place pictured by the image, such a depiction will always be a shadow of itself. The use of images is arguably counter-productive, leading to an understanding of architecture’s role in giving meaning to a place that is based more on aesthetics than sensual experience.

12 Refer to Appendix A, Survey

What then, can be said for how this affects the experience of Saint Peter’s? As a building which attracts many visitors purely for its photogenic qualities, it features frequently on social media sites such as Instagram. If we are to assume NorbergSchulz’s theory to be true, then the images of Saint Peter’s on these sites would be able to communicate the essence of the space successfully. And in some respects they do. Aspects of the building’s decay, architectural style and graffiti are portrayed through imagery with relative success. However, many visitors respond that the actual feeling of being in the space results in a profound sensation, one that would be extremely difficult to convey through images.12 Therefore, the spirit of place imparted through images of the Seminary is only a phantom of its true self.

68

1.3 Subjective Differences The issues that arise when Norberg-Schulz’s use of imagery is interrogated are symptomatic of wider problems that permeate his theory in general. Another aspect of the theory of genius loci that is troubling is the potential for subjective differences in such a phenomenon.

In the specific case of Saint Peter’s, this weakness of genius loci is exemplified in the difference between the subjective experiences of a religious and non-religious person when visiting the Seminary when it was functional.13 For a spiritual person, the space may have held an essence that was steeped in its denomination as a space for religious practice (in fact, even as a ruin it may still give rise to this feeling for some people).14 However, for a non-spiritual person the space would undoubtedly have had qualities of orientation and identification that differ, thus leading to a different spirit of place and contradicting its totalising nature.

The architectural historian Harriet Edquist questions how genius loci, if it does indeed exist, manifests itself. For NorbergSchulz, she claims, it appears to manifest itself directly to the human consciousness.15 This implies a universality to the spirit of a certain place, that it is the same objective essence irrelevant of the subject who experiences it. For Edquist, this suggests ‘the obliteration of the human subject’.16 It is clear that Norberg-Schulz avoids mention of the human subject in his theory, instead grounding his work in Heidegger’s notion of dasein, or ‘being in the world’.17 This notion emphasises a oneness between subject and object, but fails to provide for any form of differentiation between the dasein of one person to another.

13 Erik Champion, ‘Norberg-Schulz: Culture, Presence and a Sense of Virtual Place,’ in The Phenomenology of Real and Virtual Places, ed.

Erik Champion (London: Routledge, 2018), 218.

14 Refer to Appendix A, Survey

15 Harriet Edquist, ‘Genius Loci,’ Transition 4, no.

1 (Spring 1988): 81.

16 Edquist, ‘Genius Loci,’ 81.

17 Martin Heidegger, Being and Time (Oxford: Wiley-Blackwell, 1978), 106.

1.4 Narrative In the same way that it concretises the subjective perception of the spirit of a certain place into one definite essence, the theory attempts to concretise narrative into genius loci.18 In asserting a totality of spirit, the theory implies the compression of layers of history into a singular essence, which denies the importance, or even presence, of time. In the above image

18 Perez-Gomez, ‘The City is not a Post-Card,’ 31.

67

have little idea of the wider context of the situation pictured, whether the priest carried this out every day for example, or whether he did indeed truly believe in the cause for which his vocation existed. These signifiers are ambiguous, and only communicate a faint trace of the spirit of place.

11 Perez-Gomez, ‘The City is not a Post-Card,’ 30.

Alberto Perez-Gomez comments that to perceive any cultural milieu in such a two-dimensional, material, and inanimate way is extremely reductive to an argument that seeks humans to dwell poetically. He claims that issues such as the ones that Norberg-Schulz seeks to relate to architecture and place are deserving of an equally deep portrayal, and not one that is inherently superficial.11 The use of the image as a medium to correspond to the depth of meaning inherent to a place is surely contradictory and falls short of truly orientating and identifying man within his place. Regardless of the meaning that is inherent within the place pictured by the image, such a depiction will always be a shadow of itself. The use of images is arguably counter-productive, leading to an understanding of architecture’s role in giving meaning to a place that is based more on aesthetics than sensual experience.

12 Refer to Appendix A, Survey

What then, can be said for how this affects the experience of Saint Peter’s? As a building which attracts many visitors purely for its photogenic qualities, it features frequently on social media sites such as Instagram. If we are to assume NorbergSchulz’s theory to be true, then the images of Saint Peter’s on these sites would be able to communicate the essence of the space successfully. And in some respects they do. Aspects of the building’s decay, architectural style and graffiti are portrayed through imagery with relative success. However, many visitors respond that the actual feeling of being in the space results in a profound sensation, one that would be extremely difficult to convey through images.12 Therefore, the spirit of place imparted through images of the Seminary is only a phantom of its true self.

68

1.3 Subjective Differences The issues that arise when Norberg-Schulz’s use of imagery is interrogated are symptomatic of wider problems that permeate his theory in general. Another aspect of the theory of genius loci that is troubling is the potential for subjective differences in such a phenomenon.

In the specific case of Saint Peter’s, this weakness of genius loci is exemplified in the difference between the subjective experiences of a religious and non-religious person when visiting the Seminary when it was functional.13 For a spiritual person, the space may have held an essence that was steeped in its denomination as a space for religious practice (in fact, even as a ruin it may still give rise to this feeling for some people).14 However, for a non-spiritual person the space would undoubtedly have had qualities of orientation and identification that differ, thus leading to a different spirit of place and contradicting its totalising nature.

The architectural historian Harriet Edquist questions how genius loci, if it does indeed exist, manifests itself. For NorbergSchulz, she claims, it appears to manifest itself directly to the human consciousness.15 This implies a universality to the spirit of a certain place, that it is the same objective essence irrelevant of the subject who experiences it. For Edquist, this suggests ‘the obliteration of the human subject’.16 It is clear that Norberg-Schulz avoids mention of the human subject in his theory, instead grounding his work in Heidegger’s notion of dasein, or ‘being in the world’.17 This notion emphasises a oneness between subject and object, but fails to provide for any form of differentiation between the dasein of one person to another.

13 Erik Champion, ‘Norberg-Schulz: Culture, Presence and a Sense of Virtual Place,’ in The Phenomenology of Real and Virtual Places, ed.

Erik Champion (London: Routledge, 2018), 218.

14 Refer to Appendix A, Survey

15 Harriet Edquist, ‘Genius Loci,’ Transition 4, no.

1 (Spring 1988): 81.

16 Edquist, ‘Genius Loci,’ 81.

17 Martin Heidegger, Being and Time (Oxford: Wiley-Blackwell, 1978), 106.

1.4 Narrative In the same way that it concretises the subjective perception of the spirit of a certain place into one definite essence, the theory attempts to concretise narrative into genius loci.18 In asserting a totality of spirit, the theory implies the compression of layers of history into a singular essence, which denies the importance, or even presence, of time. In the above image

18 Perez-Gomez, ‘The City is not a Post-Card,’ 31.

69

19 Gunila Jiven and Peter J. Larkham, ‘Sense of Place, Authenticity and Character: A Commentary,’ Journal of Urban Design 8, no. 1 (2003): 68.

20 Massimo Cacciari, Architecture and Nihilism on the Philosophy of Modern Architecture (New Haven: Yale University Press, 1993), 108.

21 Richard Waite, ‘Renewed hope for Cardross seminary after church finds new owner,’ in Architects Journal, July 27, 2020, https://www.architectsjournal.co.uk/news/ renewed-hope-for-cardross-seminary-afterchurch-finds-new-owner 22 Diane Watters, St Peter’s, Cardross: Birth, Death and Renewal (Edinburgh: Historic Environment Scotland, 2016), 188.

23 Refer to Appendix A, Survey

multiple layers of history have been exposed within one spatial dimension, and yet within that there are still countless more layers of history that are not conveyed. To argue that Saint Peter’s has a concretised genius loci is to reject the temporal aspect of the building. In presenting his theory, NorbergSchulz portrays architecture as a timeless relic, unchanging in its nature.19 Saint Peter’s is antithetical to this.

By denying time an active role in the conception of genius loci, he creates a conflict: genius loci must be able to evolve as time progresses if it is to be seen to be as anything more than a transient phenomenon, or it must be a static, unchanging thing that persists despite changes to the objective physical realm that it is manifested in. Norberg-Schulz seems to opt for the latter, a choice which has led to critics accusing him of being too traditional.20 Using a lexicon of terms such as ‘concretise’, it can indeed appear that he desires to fossilise the process of time. Again, Saint Peter’s provides strong evidence to counter NorbergSchulz’s theory, by virtue of its clear aura of multiple narratives that continue into the present day.21 This narrative fragmented from the singular into the plural at the point when the Seminary was deconsecrated and abandoned, shifting its purpose to indeterminacy. This indeterminacy resulted in the contestation of the space by various usages, and the conflict over its purpose by numerous opinions.22 This pluralistic existence contradicts the theory of genius loci that is based on a space having a singular, total essence, and yet the space continues to evoke meaning for many of those who visit it, finding it to have a certain spirit.23

1.5 Spectres In recent years various organisations have attempted to find new purpose for the decaying shell of Saint Peter’s, invariably failing in their attempts to do so. What each of these attempts to bring determinacy and purpose back to the Seminary could be seen as is an attempt to resuscitate genius loci of the space. There is an evident drive amongst some, many from the architectural profession, that something must be done to return

24

a purpose to Saint Peter’s in order to save Saint Peter’s. The notion that the building must serve a purpose, that it must retain a singular essence, is one that haunts it and leads to the contention that the theory of genius loci is a spectre of the Seminary.

As the French philosopher Jacques Derrida points out, spectres occupy the past and the future, if not actually the present.

They are, for him, a future possibility.25 The statement that architecture must ‘concretise the genius loci’ is one that must ring with familiarity for those who propose the revitalisation of Saint Peter’s, if not faintly ironic due to the dilapidated state of its concrete vaults. What can be said of genius loci at the Seminary in its current state then, is that it is not present as a whole, but fragmented and transitory. Angus Farquhar stresses the constant fluctuation of the spirits of the place, inextricably linked to its continuing narrative.26 The building’s essence, if such a thing does exist, is constantly in flux – there is no ‘stabilitas loci’, to borrow the words of Norberg-Schulz.27

Christian Norberg-Schulz’s ideology relating to genius loci is one that is fraught with flaws, such as its lack of engagement with subjectivity, and its relationship to narrative of place. It asserts an authorial view of place that is based on a vague consensus within certain communities of thought. The theory emphasises the singular totality of spirit of place, and yet its existence has been haunted by its failure to engage with plurality. Its exhortion of a homogenous essence that unites all difference has resulted in the haunting of its very own spirit by spectres.

70 24 NVA, ‘Debate of the future of St Peter's Seminary at the Venice Architectural Biennale 2010,’ July 30, 2018, https://www.youtube.com/ watch?v=LDuiqcRnMXM

25 Jacques Derrida, Specters of Marx: The State of the Debt, the Work of Mourning and the New International (Routledge: London, 2006), 9.

26 Refer to Appendix C, Angus Farquhar Interview 27 Norberg-Schulz, Genius Loci, 19.

69

19 Gunila Jiven and Peter J. Larkham, ‘Sense of Place, Authenticity and Character: A Commentary,’ Journal of Urban Design 8, no. 1 (2003): 68.

20 Massimo Cacciari, Architecture and Nihilism on the Philosophy of Modern Architecture (New Haven: Yale University Press, 1993), 108.

21 Richard Waite, ‘Renewed hope for Cardross seminary after church finds new owner,’ in Architects Journal, July 27, 2020, https://www.architectsjournal.co.uk/news/ renewed-hope-for-cardross-seminary-afterchurch-finds-new-owner 22 Diane Watters, St Peter’s, Cardross: Birth, Death and Renewal (Edinburgh: Historic Environment Scotland, 2016), 188.

23 Refer to Appendix A, Survey

multiple layers of history have been exposed within one spatial dimension, and yet within that there are still countless more layers of history that are not conveyed. To argue that Saint Peter’s has a concretised genius loci is to reject the temporal aspect of the building. In presenting his theory, NorbergSchulz portrays architecture as a timeless relic, unchanging in its nature.19 Saint Peter’s is antithetical to this.

By denying time an active role in the conception of genius loci, he creates a conflict: genius loci must be able to evolve as time progresses if it is to be seen to be as anything more than a transient phenomenon, or it must be a static, unchanging thing that persists despite changes to the objective physical realm that it is manifested in. Norberg-Schulz seems to opt for the latter, a choice which has led to critics accusing him of being too traditional.20 Using a lexicon of terms such as ‘concretise’, it can indeed appear that he desires to fossilise the process of time. Again, Saint Peter’s provides strong evidence to counter NorbergSchulz’s theory, by virtue of its clear aura of multiple narratives that continue into the present day.21 This narrative fragmented from the singular into the plural at the point when the Seminary was deconsecrated and abandoned, shifting its purpose to indeterminacy. This indeterminacy resulted in the contestation of the space by various usages, and the conflict over its purpose by numerous opinions.22 This pluralistic existence contradicts the theory of genius loci that is based on a space having a singular, total essence, and yet the space continues to evoke meaning for many of those who visit it, finding it to have a certain spirit.23

1.5 Spectres In recent years various organisations have attempted to find new purpose for the decaying shell of Saint Peter’s, invariably failing in their attempts to do so. What each of these attempts to bring determinacy and purpose back to the Seminary could be seen as is an attempt to resuscitate genius loci of the space. There is an evident drive amongst some, many from the architectural profession, that something must be done to return

24

a purpose to Saint Peter’s in order to save Saint Peter’s. The notion that the building must serve a purpose, that it must retain a singular essence, is one that haunts it and leads to the contention that the theory of genius loci is a spectre of the Seminary.

As the French philosopher Jacques Derrida points out, spectres occupy the past and the future, if not actually the present.

They are, for him, a future possibility.25 The statement that architecture must ‘concretise the genius loci’ is one that must ring with familiarity for those who propose the revitalisation of Saint Peter’s, if not faintly ironic due to the dilapidated state of its concrete vaults. What can be said of genius loci at the Seminary in its current state then, is that it is not present as a whole, but fragmented and transitory. Angus Farquhar stresses the constant fluctuation of the spirits of the place, inextricably linked to its continuing narrative.26 The building’s essence, if such a thing does exist, is constantly in flux – there is no ‘stabilitas loci’, to borrow the words of Norberg-Schulz.27

Christian Norberg-Schulz’s ideology relating to genius loci is one that is fraught with flaws, such as its lack of engagement with subjectivity, and its relationship to narrative of place. It asserts an authorial view of place that is based on a vague consensus within certain communities of thought. The theory emphasises the singular totality of spirit of place, and yet its existence has been haunted by its failure to engage with plurality. Its exhortion of a homogenous essence that unites all difference has resulted in the haunting of its very own spirit by spectres.

70 24 NVA, ‘Debate of the future of St Peter's Seminary at the Venice Architectural Biennale 2010,’ July 30, 2018, https://www.youtube.com/ watch?v=LDuiqcRnMXM

25 Jacques Derrida, Specters of Marx: The State of the Debt, the Work of Mourning and the New International (Routledge: London, 2006), 9.

26 Refer to Appendix C, Angus Farquhar Interview 27 Norberg-Schulz, Genius Loci, 19.

2. Corpus Incorporeum: Disembodiment and the Singular Plural

2. Corpus Incorporeum: Disembodiment and the Singular Plural

73

74

73

74

75

76

28 Jean-Luc Nancy, Being Singular Plural, trans.

Robert Richardson (Palo Alto (CA): Stanford University Press, 2001), 6.

29 Marie-Eve Morin, Jean-Luc Nancy, (Cambridge: Polity, 2012), 2.

30 Morin, Jean-Luc Nancy, 3.

31 Jean-Luc Nancy, Ego Sum, trans. Marie-Eve Morin (New York: Fordham University Press, 2016), 8.

32 Morin, Jean-Luc Nancy, 83.

33 Morin, Jean-Luc Nancy, 84.

2.1 The Singular Plural

2.2 The Art(s)

In his book entitled Being Singular Plural, the French philosopher Jean-Luc Nancy advocates his theory of the ‘singular plural’, which develops upon the notion of Being (‘Dasein’) proposed

by Heidegger.28 Put simply, Nancy’s theory highlights that the identity of singular entities can be found only in their ‘relation’ to other singular entities: what exists finds itself in in constant correlation to other entities, in such a way that nothing exists or makes sense on its own.29

In order to perceive the Seminary in terms of the singular plural it may be prudent to examine how it considers other entities. The key example explored by Nancy in terms of plural singularity is that of the arts. The German philosopher Georg Hegel pronounces art as ‘the sensuous presentation of the idea’, an ideology which attempts to subsume the arts into one overreaching category of art.34 He also contends that art is also the dissolution ‘of its own end in the element of thought’.

This generates the conclusion that art is the tension between the poles of plural singularity and unified wholeness.35

Building upon Heidegger’s ideology of Being, Nancy stresses that instead of simply ‘being’, we are always ‘being “with”’.

This leads to the summary that within the ‘oneness’ of the world that is a key tenet of Heidegger’s philosophy, there are plural singularities which exist in relation to each other.30 The integration of ‘with’ into that key statement results in the equality of ontological priority between ‘I am’ and ‘We are’, a subject which is investigated by Nancy in his book Ego Sum.31 By saying ‘We’, it frames the world as the infinite correlation of fact and sense, and we expose the singularity of finite entities as plural singularity.32 The theory is inextricably linked to the notions of embodiment and disembodiment.

In order to investigate further, it is useful to analyse disembodiment in the context of Saint Peter’s Seminary. Taking Nancy’s definition of ontology to be true, Saint Peter’s exists as a singular body in relation to others, forming the oneness of the world.33 As a functional building it is clear that it existed as an embodied space in terms of having a singular purpose, as detailed in the previous chapter. To say that it had a certain soul, spirit or consciousness is not far-fetched, heightened by the sentimental connotations of its original purpose. As a place of spirit in its original form we could have determined it to be embodied. However, since its abandonment the narrative of the building is one that has tended towards disembodiment.

A reading of Nancy’s singular plural may therefore present novel understandings of Saint Peter’s as a site of fluctuating embodiment.

Heidegger also attempts to contain the arts within one overreaching category, namely poetry – he claims art to be the ‘poetising of truth’. He believes that poetry was the subcategory of art most similar in nature to that of human thought, and therefore gave primacy to it in its role as the encompassing classification of art.36 Each of these beliefs, while differing in content, speak of the same ultimate singularity of art. Nancy retaliates against this, claiming that instead of art existing as a totality of its subcategories, it only occurs at the interstices of these subcategories.37 This is typical of Nancy’s resistance to overarching totalities, attempting to highlight the role of the fragment wherever possible.

34 Jean-Luc Nancy, The Muses, trans. Peggy Kamuf (Palo Alto (CA): Stanford University Press, 1996), 9.

35 Morin, Jean-Luc Nancy, 124.

36 Martin Heidegger, ‘The Origin of the Work of Art,’ trans. David Farrell Krell, in Basic Writings: Martin Heidegger (London: Routledge, 1993), 17.

37 Morin, Jean-Luc Nancy, 147.

2.3 The Body Recalling Hegel’s definition of art as being inextricably reliant on sense, in conjunction with Descartes view that the body is the realm of the sense,38 focus returns to ‘the body’ which provides the basis for Nancy’s development of Heidegger’s Dasein. In the ritual of laying the foundation stone, Saint Peter’s was embodied both literally and metaphysically. This can be seen to be an important instance of oneness at Saint Peter’s, despite its incomplete construction as a piece of architecture at the time. This ritual, alongside others such as the cutting of the first sod, placing of the altar and consecration of the space, also represent examples of the embodiment of Saint Peter’s.

38 Rene Descartes, Descartes: Meditations on First Philosophy: With Selections from the Objections and Replies, trans. John Cottingham, ed. John Cottingham (Cambridge: Cambridge University Press, 1996), 17.

75

76

28 Jean-Luc Nancy, Being Singular Plural, trans.

Robert Richardson (Palo Alto (CA): Stanford University Press, 2001), 6.

29 Marie-Eve Morin, Jean-Luc Nancy, (Cambridge: Polity, 2012), 2.

30 Morin, Jean-Luc Nancy, 3.

31 Jean-Luc Nancy, Ego Sum, trans. Marie-Eve Morin (New York: Fordham University Press, 2016), 8.

32 Morin, Jean-Luc Nancy, 83.

33 Morin, Jean-Luc Nancy, 84.

2.1 The Singular Plural

2.2 The Art(s)

In his book entitled Being Singular Plural, the French philosopher Jean-Luc Nancy advocates his theory of the ‘singular plural’, which develops upon the notion of Being (‘Dasein’) proposed

by Heidegger.28 Put simply, Nancy’s theory highlights that the identity of singular entities can be found only in their ‘relation’ to other singular entities: what exists finds itself in in constant correlation to other entities, in such a way that nothing exists or makes sense on its own.29

In order to perceive the Seminary in terms of the singular plural it may be prudent to examine how it considers other entities. The key example explored by Nancy in terms of plural singularity is that of the arts. The German philosopher Georg Hegel pronounces art as ‘the sensuous presentation of the idea’, an ideology which attempts to subsume the arts into one overreaching category of art.34 He also contends that art is also the dissolution ‘of its own end in the element of thought’.

This generates the conclusion that art is the tension between the poles of plural singularity and unified wholeness.35

Building upon Heidegger’s ideology of Being, Nancy stresses that instead of simply ‘being’, we are always ‘being “with”’.

This leads to the summary that within the ‘oneness’ of the world that is a key tenet of Heidegger’s philosophy, there are plural singularities which exist in relation to each other.30 The integration of ‘with’ into that key statement results in the equality of ontological priority between ‘I am’ and ‘We are’, a subject which is investigated by Nancy in his book Ego Sum.31 By saying ‘We’, it frames the world as the infinite correlation of fact and sense, and we expose the singularity of finite entities as plural singularity.32 The theory is inextricably linked to the notions of embodiment and disembodiment.

In order to investigate further, it is useful to analyse disembodiment in the context of Saint Peter’s Seminary. Taking Nancy’s definition of ontology to be true, Saint Peter’s exists as a singular body in relation to others, forming the oneness of the world.33 As a functional building it is clear that it existed as an embodied space in terms of having a singular purpose, as detailed in the previous chapter. To say that it had a certain soul, spirit or consciousness is not far-fetched, heightened by the sentimental connotations of its original purpose. As a place of spirit in its original form we could have determined it to be embodied. However, since its abandonment the narrative of the building is one that has tended towards disembodiment.

A reading of Nancy’s singular plural may therefore present novel understandings of Saint Peter’s as a site of fluctuating embodiment.

Heidegger also attempts to contain the arts within one overreaching category, namely poetry – he claims art to be the ‘poetising of truth’. He believes that poetry was the subcategory of art most similar in nature to that of human thought, and therefore gave primacy to it in its role as the encompassing classification of art.36 Each of these beliefs, while differing in content, speak of the same ultimate singularity of art. Nancy retaliates against this, claiming that instead of art existing as a totality of its subcategories, it only occurs at the interstices of these subcategories.37 This is typical of Nancy’s resistance to overarching totalities, attempting to highlight the role of the fragment wherever possible.

34 Jean-Luc Nancy, The Muses, trans. Peggy Kamuf (Palo Alto (CA): Stanford University Press, 1996), 9.

35 Morin, Jean-Luc Nancy, 124.

36 Martin Heidegger, ‘The Origin of the Work of Art,’ trans. David Farrell Krell, in Basic Writings: Martin Heidegger (London: Routledge, 1993), 17.

37 Morin, Jean-Luc Nancy, 147.

2.3 The Body Recalling Hegel’s definition of art as being inextricably reliant on sense, in conjunction with Descartes view that the body is the realm of the sense,38 focus returns to ‘the body’ which provides the basis for Nancy’s development of Heidegger’s Dasein. In the ritual of laying the foundation stone, Saint Peter’s was embodied both literally and metaphysically. This can be seen to be an important instance of oneness at Saint Peter’s, despite its incomplete construction as a piece of architecture at the time. This ritual, alongside others such as the cutting of the first sod, placing of the altar and consecration of the space, also represent examples of the embodiment of Saint Peter’s.

38 Rene Descartes, Descartes: Meditations on First Philosophy: With Selections from the Objections and Replies, trans. John Cottingham, ed. John Cottingham (Cambridge: Cambridge University Press, 1996), 17.

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39 Morin, Jean-Luc Nancy, 88.

40 Morin, Jean-Luc Nancy, 82.

41 Morin, Jean-Luc Nancy, 85.

This embodiment does not strengthen the body as such, but brings it closer to other singular bodies in a metaphysical sense.39 For Nancy, the world itself does not constitute a body as such, but that is constituted of bodies. He continues, building upon Gaston Bachelard’s ‘materialism of matter’ to denote that the ontology of ‘being-with’ must not focus upon the substance of that ontology, but rather upon the nature of that very ‘being-with’, irrespective of physical location or substance.40 He emphasises that the relation between singular bodies is precisely not-bodied. This, the incorporeal, is actually what allows bodies to be perceived as being singular.41 The plural singularity of the body implies plural singular embodiment, therefore also inferring concurrent disembodiment associated with such bodies. The rituals that embodied Saint Peter’s can be seen to bring it closer in relation to other singular bodies such as the people who witnessed it, or the spirit of place.

42 Morin, Jean-Luc Nancy, 187.

43 Morin, Jean-Luc Nancy, 85.

Upon its abandonment by the Archdiocese in 1980, the Seminary tended towards disembodiment, the separation of its original purpose from its physical reality leaving only phantoms of that spirit behind. This process can be seen as the manifestation of Nancy’s belief that to sense a ‘body of art’, is impossible. For him, an attempt to sense a body of art, such as the Ekphrastic Journey, is futile. Due to its potentially infinitesimal fragmentation and sub-fragmentation, the singularity is broken down into further singularities again and again.42 This perpetuation of categorisation results in our inability to truly grasp a body of art for what it is.

Nancy summarises this rather perplexing notion of ‘the infinite’ concisely, in direct contrast to ‘the finite’: if ‘finition’ signifies the process of finishing, then ‘infinition’ is the exact refusal of the boundary where the process would be obliged to stop.43 In the context of Saint Peter’s, the continued disembodiment of any singular spirit from its body is manifested by the rotting concrete, crumbling arches and flooded vaults. This persistent decay represents the constant fragmentation and subfragmentation of the singular physical body of the Seminary.

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2.4 The Bodies In recent years various organisations have attempted to preserve, revitalise, document, present, choreograph and profit from the ruined building. What these attempts constitute are efforts to recover the singular oneness of Saint Peter’s as an entity, as opposed to the plurality of it in its indeterminate state.

But one could say that the consequence of such a varied and fluctuating stream of attempted embodiments has only been an increase in the fragmentation, and thus singular plurality, of the Seminary. Is it the ruined building, flawed hotel proposal, canvas for graffiti, haven for vagrants, or lifeless shell? Is it each of them and all of them simultaneously? This questioning is symptomatic of a wider issue in Nancy’s theorisations, that of where to draw the boundary of finition.44 Nancy’s hypotheses, much like the carcass of Saint Peter’s Seminary, is insistently resistant to any form of overarching totality.

In Nancy’s rebuttal of wholeness what we find is a wholeness of rebuttal. In his unwavering belief in the singular plurality, his inference is undermined by the realisation that it simultaneously constitutes that which it fights against.45 We could seek to analyse Saint Peter’s in the same way. In a constant state of transition towards disembodiment, it has come to be embodied not as any singular building of purpose or site of sacredness, but as a place of constant disembodiment itself. Returning to the conclusion drawn from Hegel that art is the tension between the poles of multiple singularity and unity, this posits both the theory of Nancy and the ontology of Saint Peter’s as examples of this assertion. In the case of Saint Peter’s, it also gives rise to the question of whether a place can be both embodied and disembodied simultaneously.

44 Jean-Luc Nancy, A Finite Thinking (Cultural Memory in the Present), ed. Simon Sparks (Palo Alto, (CA): Stanford University Press, 2003), 41.

45 Morin, Jean-Luc Nancy, 2.

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39 Morin, Jean-Luc Nancy, 88.

40 Morin, Jean-Luc Nancy, 82.

41 Morin, Jean-Luc Nancy, 85.

This embodiment does not strengthen the body as such, but brings it closer to other singular bodies in a metaphysical sense.39 For Nancy, the world itself does not constitute a body as such, but that is constituted of bodies. He continues, building upon Gaston Bachelard’s ‘materialism of matter’ to denote that the ontology of ‘being-with’ must not focus upon the substance of that ontology, but rather upon the nature of that very ‘being-with’, irrespective of physical location or substance.40 He emphasises that the relation between singular bodies is precisely not-bodied. This, the incorporeal, is actually what allows bodies to be perceived as being singular.41 The plural singularity of the body implies plural singular embodiment, therefore also inferring concurrent disembodiment associated with such bodies. The rituals that embodied Saint Peter’s can be seen to bring it closer in relation to other singular bodies such as the people who witnessed it, or the spirit of place.

42 Morin, Jean-Luc Nancy, 187.

43 Morin, Jean-Luc Nancy, 85.

Upon its abandonment by the Archdiocese in 1980, the Seminary tended towards disembodiment, the separation of its original purpose from its physical reality leaving only phantoms of that spirit behind. This process can be seen as the manifestation of Nancy’s belief that to sense a ‘body of art’, is impossible. For him, an attempt to sense a body of art, such as the Ekphrastic Journey, is futile. Due to its potentially infinitesimal fragmentation and sub-fragmentation, the singularity is broken down into further singularities again and again.42 This perpetuation of categorisation results in our inability to truly grasp a body of art for what it is.

Nancy summarises this rather perplexing notion of ‘the infinite’ concisely, in direct contrast to ‘the finite’: if ‘finition’ signifies the process of finishing, then ‘infinition’ is the exact refusal of the boundary where the process would be obliged to stop.43 In the context of Saint Peter’s, the continued disembodiment of any singular spirit from its body is manifested by the rotting concrete, crumbling arches and flooded vaults. This persistent decay represents the constant fragmentation and subfragmentation of the singular physical body of the Seminary.

78

2.4 The Bodies In recent years various organisations have attempted to preserve, revitalise, document, present, choreograph and profit from the ruined building. What these attempts constitute are efforts to recover the singular oneness of Saint Peter’s as an entity, as opposed to the plurality of it in its indeterminate state.

But one could say that the consequence of such a varied and fluctuating stream of attempted embodiments has only been an increase in the fragmentation, and thus singular plurality, of the Seminary. Is it the ruined building, flawed hotel proposal, canvas for graffiti, haven for vagrants, or lifeless shell? Is it each of them and all of them simultaneously? This questioning is symptomatic of a wider issue in Nancy’s theorisations, that of where to draw the boundary of finition.44 Nancy’s hypotheses, much like the carcass of Saint Peter’s Seminary, is insistently resistant to any form of overarching totality.

In Nancy’s rebuttal of wholeness what we find is a wholeness of rebuttal. In his unwavering belief in the singular plurality, his inference is undermined by the realisation that it simultaneously constitutes that which it fights against.45 We could seek to analyse Saint Peter’s in the same way. In a constant state of transition towards disembodiment, it has come to be embodied not as any singular building of purpose or site of sacredness, but as a place of constant disembodiment itself. Returning to the conclusion drawn from Hegel that art is the tension between the poles of multiple singularity and unity, this posits both the theory of Nancy and the ontology of Saint Peter’s as examples of this assertion. In the case of Saint Peter’s, it also gives rise to the question of whether a place can be both embodied and disembodied simultaneously.

44 Jean-Luc Nancy, A Finite Thinking (Cultural Memory in the Present), ed. Simon Sparks (Palo Alto, (CA): Stanford University Press, 2003), 41.

45 Morin, Jean-Luc Nancy, 2.

3. Illeity, Idolatry, and a Thing that Leaks

3. Illeity, Idolatry, and a Thing that Leaks

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82

81

82

83

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3.1 The Fourfold

46 Markus Weidler, ‘Critique of Idolatry,’ Monatshefte 104, no. 4 (Winter 2012): 489.

47 Adam Sharr, Heidegger for Architects (London: Routledge, 2007), 24.

Julian Young, ‘The Fourfold,’ in The Cambridge Companion to Heidegger, ed. Charles B. Guignon. (Cambridge: Cambridge University Press, 2006), 377-8.

48 49 Sharr, Heidegger for Architects, 26.

50 Sharr, Heidegger for Architects, 25.

In his essay ‘Building Dwelling Thinking’, published in 1954, Martin Heidegger introduces the concept of ‘the fourfold’, or Geviert in his native German. It is a concept that has remained elusive since he first postulated it, and is a subject of much debate amongst philosophers.46 Within it are aspects that take on mystic dimensions, which can cause doubt to arise amongst the mainly secular Western school of thinking. However, Heidegger uses these dimensions in a specific way and with a certain purpose.47 In its complex relationship to spirituality, Saint Peter’s has the potential to enframe Heidegger’s theory of the fourfold.

The theory states that the world is comprised of ‘things’, each of which may allow a human to feel nearer to their own existence, a nearness which he claimed was diminishing due to the rise of modernism. This ability for a ‘thing’ to provide humans with this proximity to themselves is based on a set of preconditions, namely, the fourfold. The fourfold consists of earth, sky, mortals, and divinities. These are placed upon two intersecting axes, that of nature (earth, sky) and that of culture (mortals, divinities).48 It is by gathering the fourfold that a ‘thing’ is said to be ‘thinging’, derived from the High German etymology of ‘thing’ (ding) which also means ‘to gather’.49 ‘A thing’ was not to be seen as ‘an object’, but something with the capabilities to gather the fourfold. By gathering, it was not necessary that the elements were physically proximate, but that they were near in terms of what he called ‘nearness’, that being people’s conception of what was potential to their existence.50 The architecture of Saint Peter’s is one that inadvertently aimed to gather the fourfold in order to allow the priests-in-training to feel nearer to themselves, and God. In the architects’ manipulation of earth and sky it was hoped that mortals and divinities could be brought near to one another. Heidegger’s usage of the terms ‘mortals’ and ‘divinities’ can seem fairly complex, but it is possible to say that the divinities can be seen to be an inescapable dimension of mortals. That is not to say that mortals are divinities, or that divinities are mortals, but that

through their imaginations, mortals can give place to divinities.

By claiming that the divinities are an inescapable dimension of mortals, it rejects any form of hierarchy applied by organised religion.51

51 Weidler, ‘Critique of Idolatry,’ 490.

It is clear that such loaded terms as ‘mortals’ and ‘divinities’ can cause due consternation to those attempting to make sense of the fourfold, but Heidegger did use these terms for specific reasons. The term ‘divinity’ represents a nomination that is distinct, and non-relational. ‘God’ never speaks back.

Arguably this highlights an ‘absence of the presence of transcendence’ and creates a duality of the world as either possessing the transcendent, or lacking it, hence the usage of the terms ‘mortals’ and ‘divinities’.

3.2 The Altar The high altar at Saint Peter’s Seminary, shown in the image above, was an example of ‘a thing’.52 A chthonic element, it thrusted up from the ground, emphasising the qualities of the earth. Illuminated from above by a ziggurat glass roof, light was also a key element in the sanctuary space, which highlights the presence of the sky. And much like Heidegger’s jug, the altar had a clear ability to gather both mortals and divinities together. As a material entity involved in the liturgy, it allowed humans to feel nearer to their own existence. It was a highly emphasised architectural manifestation of the gathering of the fourfold, however the altar was far from the only ‘thing’ present in the Seminary: the side chapels, the crypt, and even the study bedrooms all had the potential to gather the fourfold.

In fact, the Seminary abounded with ‘things’.

One could even go as far to say that the entire building constituted a ‘thing’ due to its ability to gather the fourfold – Heidegger places no distinction between what would be considered an object, or what would be considered a space, when assessing its ability to be a ‘thing’. Each of the aforementioned ‘things’, whether a space with expressed limits or an object of solidity, have their own respective literal or metaphorical voids.

52 Heidegger uses the example of the common jug to clarify his notion of ‘things’. The jug, by being made of the matter of the earth, by being ‘under’ the sky, and having the potential to be utilised for drinking from (mortals), or being used for libation (divinities), thus has the potential to gather the fourfold, and was therefore ‘a thing’.

Sharr, Heidegger for Architects, 33.

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3.1 The Fourfold

46 Markus Weidler, ‘Critique of Idolatry,’ Monatshefte 104, no. 4 (Winter 2012): 489.

47 Adam Sharr, Heidegger for Architects (London: Routledge, 2007), 24.

Julian Young, ‘The Fourfold,’ in The Cambridge Companion to Heidegger, ed. Charles B. Guignon. (Cambridge: Cambridge University Press, 2006), 377-8.

48 49 Sharr, Heidegger for Architects, 26.

50 Sharr, Heidegger for Architects, 25.

In his essay ‘Building Dwelling Thinking’, published in 1954, Martin Heidegger introduces the concept of ‘the fourfold’, or Geviert in his native German. It is a concept that has remained elusive since he first postulated it, and is a subject of much debate amongst philosophers.46 Within it are aspects that take on mystic dimensions, which can cause doubt to arise amongst the mainly secular Western school of thinking. However, Heidegger uses these dimensions in a specific way and with a certain purpose.47 In its complex relationship to spirituality, Saint Peter’s has the potential to enframe Heidegger’s theory of the fourfold.

The theory states that the world is comprised of ‘things’, each of which may allow a human to feel nearer to their own existence, a nearness which he claimed was diminishing due to the rise of modernism. This ability for a ‘thing’ to provide humans with this proximity to themselves is based on a set of preconditions, namely, the fourfold. The fourfold consists of earth, sky, mortals, and divinities. These are placed upon two intersecting axes, that of nature (earth, sky) and that of culture (mortals, divinities).48 It is by gathering the fourfold that a ‘thing’ is said to be ‘thinging’, derived from the High German etymology of ‘thing’ (ding) which also means ‘to gather’.49 ‘A thing’ was not to be seen as ‘an object’, but something with the capabilities to gather the fourfold. By gathering, it was not necessary that the elements were physically proximate, but that they were near in terms of what he called ‘nearness’, that being people’s conception of what was potential to their existence.50 The architecture of Saint Peter’s is one that inadvertently aimed to gather the fourfold in order to allow the priests-in-training to feel nearer to themselves, and God. In the architects’ manipulation of earth and sky it was hoped that mortals and divinities could be brought near to one another. Heidegger’s usage of the terms ‘mortals’ and ‘divinities’ can seem fairly complex, but it is possible to say that the divinities can be seen to be an inescapable dimension of mortals. That is not to say that mortals are divinities, or that divinities are mortals, but that

through their imaginations, mortals can give place to divinities.

By claiming that the divinities are an inescapable dimension of mortals, it rejects any form of hierarchy applied by organised religion.51

51 Weidler, ‘Critique of Idolatry,’ 490.

It is clear that such loaded terms as ‘mortals’ and ‘divinities’ can cause due consternation to those attempting to make sense of the fourfold, but Heidegger did use these terms for specific reasons. The term ‘divinity’ represents a nomination that is distinct, and non-relational. ‘God’ never speaks back.

Arguably this highlights an ‘absence of the presence of transcendence’ and creates a duality of the world as either possessing the transcendent, or lacking it, hence the usage of the terms ‘mortals’ and ‘divinities’.

3.2 The Altar The high altar at Saint Peter’s Seminary, shown in the image above, was an example of ‘a thing’.52 A chthonic element, it thrusted up from the ground, emphasising the qualities of the earth. Illuminated from above by a ziggurat glass roof, light was also a key element in the sanctuary space, which highlights the presence of the sky. And much like Heidegger’s jug, the altar had a clear ability to gather both mortals and divinities together. As a material entity involved in the liturgy, it allowed humans to feel nearer to their own existence. It was a highly emphasised architectural manifestation of the gathering of the fourfold, however the altar was far from the only ‘thing’ present in the Seminary: the side chapels, the crypt, and even the study bedrooms all had the potential to gather the fourfold.

In fact, the Seminary abounded with ‘things’.

One could even go as far to say that the entire building constituted a ‘thing’ due to its ability to gather the fourfold – Heidegger places no distinction between what would be considered an object, or what would be considered a space, when assessing its ability to be a ‘thing’. Each of the aforementioned ‘things’, whether a space with expressed limits or an object of solidity, have their own respective literal or metaphorical voids.

52 Heidegger uses the example of the common jug to clarify his notion of ‘things’. The jug, by being made of the matter of the earth, by being ‘under’ the sky, and having the potential to be utilised for drinking from (mortals), or being used for libation (divinities), thus has the potential to gather the fourfold, and was therefore ‘a thing’.

Sharr, Heidegger for Architects, 33.

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53

What was key in the consideration of a ‘thing’ was its potential.

The French philosopher Maurice Merleau-Ponty asserts that we perceive the whole before the parts, giving primacy to bodily senses over reason. It follows that since we are also aware of our bodies, we relate the world to our bodily capacities. Our primary interest lies not in what the world is, but rather what we can do with the world.53

Jonathan Hale, Merleau Ponty for Architects (London: Routledge, 2016), 74.

3.3 The Four(Five)fold An issue with Heidegger’s theory is the concreteness of the number of folds. He specifies four, however there is little basis to say that this denomination is true, or plausible in any sense.

According to Julian Young, there exists at least a fifth dimension of the fourfold, that of the holy. To Young, the presence of this

54

dimension is based on Heidegger’s own claim that in order for a lifeworld to be a place which can accommodate ‘dwelling’, it must preserve the dimension of ‘the holy’. Heidegger notes that this dimension can only be ‘measured’ by the poetic, a subject he discusses in his essay ‘Poetically Man Dwells’.54

Young, ‘The Fourfold,’ 375.

But how do we get any clear definition of his term ‘lifeworld’, or how presence is given to the holy? To which axis of the four(five) fold would the holy belong, and in what way does it interrelate with the other four folds? Questions can also be raised over the potential for even more folds than already mentioned, such as the presence of absence. Heidegger fails to explain how the fourfold relates to that which is not gathered within it, which is surely a vital component of its existence. The theory of the fourfold is nebulous, vague, and leaky. It leaks, much like the decaying matter of Saint Peter’s Seminary leaks.

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3.4 Things It is interesting to revisit the example of his jug, and importantly the presence of its void. In similarity with the jug, the working Seminary could have been said to be full, with its contents potential for worship resembling the jug’s contents for potential libation. As a derelict building, it could be seen to contain a void, a receptacle awaiting use. Heidegger asserts that the jug remains a ‘thing’ whether full or not; the same could potentially be said for St Peter’s.

As a functional building, the Seminary was quite an accomplished gathering of the fourfold, in its delicate treatment of light, chthonic forms and highly ritualised planning. As Patrick Nuttgens explains, ‘the whole building is an architectural expression of its liturgical function, a house of God where living, contemplation and working all combine in a single act of worship’.55 Clearly paying homage to the works of the Modernist architecture of Le Corbusier, it ironically contradicts Heidegger’s claim that modernism has distanced ourselves from our own existence. By gathering the fourfold, the Modernist architecture successfully gave priests-in-training nearness to their own existences.

55 Karen Wenell, ‘St Peter’s College and the Desacralisation of Space,’ Literature and Theology 21, no. 3 (September 2007): 263.

In light of the Seminary’s deconsecration and subsequent ruination, the validity of many of its elements as ‘things’ is perhaps compromised due to the lack of active belief, and ritual participation within it. This has arguably diminished the presence of ‘mortals’ and ‘divinities’, resulting in a sense of illeity, the absence of transcendental presence. A reminder of this diminished presence of mortals and divinities is the broken high altar, its chthonic strength vanquished, drawing attention to the debatable presence of the fourfold within the Seminary in its current state.

The Archdiocese of Glasgow’s decision to jackhammer the altar to pieces in 2015 to prevent the continuation of profane acts upon it had the result of damaging the fold of the ‘earth’.56 The fracture of the altar, much like the deconsecration of the building 35 years earlier, were not rituals of celebration, in fact quite the opposite – they were rituals of shame and an acknowledgement of the building’s failure.57

56 Refer to Appendix C, Angus Farquhar Interview

57 Wenell, ‘Desacralisation of Space,’ 268.

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53

What was key in the consideration of a ‘thing’ was its potential.

The French philosopher Maurice Merleau-Ponty asserts that we perceive the whole before the parts, giving primacy to bodily senses over reason. It follows that since we are also aware of our bodies, we relate the world to our bodily capacities. Our primary interest lies not in what the world is, but rather what we can do with the world.53

Jonathan Hale, Merleau Ponty for Architects (London: Routledge, 2016), 74.

3.3 The Four(Five)fold An issue with Heidegger’s theory is the concreteness of the number of folds. He specifies four, however there is little basis to say that this denomination is true, or plausible in any sense.

According to Julian Young, there exists at least a fifth dimension of the fourfold, that of the holy. To Young, the presence of this

54

dimension is based on Heidegger’s own claim that in order for a lifeworld to be a place which can accommodate ‘dwelling’, it must preserve the dimension of ‘the holy’. Heidegger notes that this dimension can only be ‘measured’ by the poetic, a subject he discusses in his essay ‘Poetically Man Dwells’.54

Young, ‘The Fourfold,’ 375.

But how do we get any clear definition of his term ‘lifeworld’, or how presence is given to the holy? To which axis of the four(five) fold would the holy belong, and in what way does it interrelate with the other four folds? Questions can also be raised over the potential for even more folds than already mentioned, such as the presence of absence. Heidegger fails to explain how the fourfold relates to that which is not gathered within it, which is surely a vital component of its existence. The theory of the fourfold is nebulous, vague, and leaky. It leaks, much like the decaying matter of Saint Peter’s Seminary leaks.

86

3.4 Things It is interesting to revisit the example of his jug, and importantly the presence of its void. In similarity with the jug, the working Seminary could have been said to be full, with its contents potential for worship resembling the jug’s contents for potential libation. As a derelict building, it could be seen to contain a void, a receptacle awaiting use. Heidegger asserts that the jug remains a ‘thing’ whether full or not; the same could potentially be said for St Peter’s.

As a functional building, the Seminary was quite an accomplished gathering of the fourfold, in its delicate treatment of light, chthonic forms and highly ritualised planning. As Patrick Nuttgens explains, ‘the whole building is an architectural expression of its liturgical function, a house of God where living, contemplation and working all combine in a single act of worship’.55 Clearly paying homage to the works of the Modernist architecture of Le Corbusier, it ironically contradicts Heidegger’s claim that modernism has distanced ourselves from our own existence. By gathering the fourfold, the Modernist architecture successfully gave priests-in-training nearness to their own existences.

55 Karen Wenell, ‘St Peter’s College and the Desacralisation of Space,’ Literature and Theology 21, no. 3 (September 2007): 263.

In light of the Seminary’s deconsecration and subsequent ruination, the validity of many of its elements as ‘things’ is perhaps compromised due to the lack of active belief, and ritual participation within it. This has arguably diminished the presence of ‘mortals’ and ‘divinities’, resulting in a sense of illeity, the absence of transcendental presence. A reminder of this diminished presence of mortals and divinities is the broken high altar, its chthonic strength vanquished, drawing attention to the debatable presence of the fourfold within the Seminary in its current state.

The Archdiocese of Glasgow’s decision to jackhammer the altar to pieces in 2015 to prevent the continuation of profane acts upon it had the result of damaging the fold of the ‘earth’.56 The fracture of the altar, much like the deconsecration of the building 35 years earlier, were not rituals of celebration, in fact quite the opposite – they were rituals of shame and an acknowledgement of the building’s failure.57

56 Refer to Appendix C, Angus Farquhar Interview

57 Wenell, ‘Desacralisation of Space,’ 268.

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58 Refer to Appendix C, Angus Farquhar Interview

Interestingly enough however, these rituals of desacralisation deepen the narrative of the building. Angus Farquhar, who spearheaded the attempted revival of the Seminary by the arts group NVA, feels that these acts and their visual reminders, such as the fractured altar, are integral to the quality of the space.58 While perhaps damaging the fourfold’s impact in its purest sense, they have the ability to modulate our experience of the space and understanding of its legacy.

Even the manifestation of the ‘sky’ in the sanctuary space has changed as the building’s fabric has deteriorated. As the roof has collapsed, leaving only charred timbers bearing traces of arson, the space has opened up to the sky. Mircea Eliade highlights this quality of the ‘hypaethral’ as being characteristic of the earliest spiritual sanctuaries, their opening to the sky representing a breakthrough from one plane to another, enab-

59 Mircea Eliade, The Sacred and The Profane, trans. Willard R. Trask, (New York: Harcourt, 1959), 146.

60 Refer to Appendix C, Angus Farquhar Interview

61 Eliade, The Sacred and The Profane, 20.

62 Refer to Appendix A, Survey

ling communication with the transcendent.59 Angus Farquhar concurs with this notion in his experience of Saint Peter’s, noting the transcendent nature of the exposed sanctuary in conjunction with the light and shadows.60 What the dereliction of the sanctuary, and in particular the altar, represents is the destruction of the ‘axis mundi’. Eliade hypothesizes the concept of the axis mundi as being a vertical feature that linked all three cosmic levels together: heaven, earth, and underworld. The architecture of the altar presented itself as an axis mundi, a spiritual centre of space according to Eliade. By destroying it, he would assert that the link between the three cosmic levels is therefore broken.61 Despite their dilapidation the sanctuary and its destroyed altar remain a focus for those who seek to repurpose the Seminary.

The continuous efforts to revive the building to a new purpose support the notion that it still holds potential - not the original potential of the building, but potential nonetheless. Heidegger’s theory fails to give much clarity on the impact upon ‘the thinging’ of the seminary in its current state. Indeed, it still holds the physical potential to be a gatherer of the fourfold, however fanciful it is to conceive of a mass being held amongst the ruins of the altar. Few would attach those kinds of values to the hulking mass of concrete now.62

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3.5 Leaks There is no doubt that Heidegger’s theory of the fourfold makes an interesting case. It highlights the role that our environment plays in our lives, and how certain elements within them are appropriated by our perception of them. However, Heidegger’s theory of the fourfold has certain issues. By placing such importance on the role that these ‘things’ have by claiming them to be responsible for the gathering of earth, sky, mortals and divinities, we negate these element’s ability to give presence to themselves without the ‘thinging of a thing’.63 This can result in idolatry, to suppose that divinities are dependent on ‘things’ in order to bring about their presence in the world, and the assumption that their presence is in a specific place.

By its containment the ‘thing’ is seen as an idol due to its ability to gather the divinities. In specific terms, the god is not represented or signified by the idol, but is embodied by it, and is therefore able to witness any act of devotion to the god by mortals in its presence. 64 The link between idolatry, at least in the traditional sense, and architecture, has been well covered by writers such as Joseph Lyle in his Paradise Lost.65 However, Saint Peter’s constitutes a building that is no longer the site of the idolisation of God, but idolatrous attitudes concerning the state of the architecture.

What the building is, objectively speaking, is a large abandoned concrete structure in a forest nearby a small village. But the subjective opinions relating to it often speak of it as much more than that, sometimes going as far as to portray it as some form of exalted architectural realm.66

63 Weidler, ‘Critique of Idolatry,’ 491.

64 Anselm K. Min, ‘Naming the Unnameable God: Levinas, Derrida, and Marion,’ International Journal for Philosophy of Religion 60, no. 1, (December 2006): 104.

65 Joseph Lyle, ‘Architecture and Idolatry in Paradise Lost,’ Studies in English Literature, 1500-1900 40, no. 1 (Winter 2000): 76.

66 Refer to Appendix A, Survey

The design of the building is mentioned frequently as deserving better than its current dilapidated state, with some seeing this as a desecration. This implies that the architecture itself is sacred to some, its decay meriting offence. It is interesting to note that very few see it as a religious desecration, thus calling into question Van der Leeuw’s belief that ‘the consciousness of the sacred character of the locality that has once been chosen is, therefore, always retained.’67 67 G. van der Leeuw, Religion in Essence and Manifestation: A Study in Phenomenology, trans. J.E. Turner (London: George Allen & Enwin, 1938), 393.

87

58 Refer to Appendix C, Angus Farquhar Interview

Interestingly enough however, these rituals of desacralisation deepen the narrative of the building. Angus Farquhar, who spearheaded the attempted revival of the Seminary by the arts group NVA, feels that these acts and their visual reminders, such as the fractured altar, are integral to the quality of the space.58 While perhaps damaging the fourfold’s impact in its purest sense, they have the ability to modulate our experience of the space and understanding of its legacy.

Even the manifestation of the ‘sky’ in the sanctuary space has changed as the building’s fabric has deteriorated. As the roof has collapsed, leaving only charred timbers bearing traces of arson, the space has opened up to the sky. Mircea Eliade highlights this quality of the ‘hypaethral’ as being characteristic of the earliest spiritual sanctuaries, their opening to the sky representing a breakthrough from one plane to another, enab-

59 Mircea Eliade, The Sacred and The Profane, trans. Willard R. Trask, (New York: Harcourt, 1959), 146.

60 Refer to Appendix C, Angus Farquhar Interview

61 Eliade, The Sacred and The Profane, 20.

62 Refer to Appendix A, Survey

ling communication with the transcendent.59 Angus Farquhar concurs with this notion in his experience of Saint Peter’s, noting the transcendent nature of the exposed sanctuary in conjunction with the light and shadows.60 What the dereliction of the sanctuary, and in particular the altar, represents is the destruction of the ‘axis mundi’. Eliade hypothesizes the concept of the axis mundi as being a vertical feature that linked all three cosmic levels together: heaven, earth, and underworld. The architecture of the altar presented itself as an axis mundi, a spiritual centre of space according to Eliade. By destroying it, he would assert that the link between the three cosmic levels is therefore broken.61 Despite their dilapidation the sanctuary and its destroyed altar remain a focus for those who seek to repurpose the Seminary.

The continuous efforts to revive the building to a new purpose support the notion that it still holds potential - not the original potential of the building, but potential nonetheless. Heidegger’s theory fails to give much clarity on the impact upon ‘the thinging’ of the seminary in its current state. Indeed, it still holds the physical potential to be a gatherer of the fourfold, however fanciful it is to conceive of a mass being held amongst the ruins of the altar. Few would attach those kinds of values to the hulking mass of concrete now.62

88

3.5 Leaks There is no doubt that Heidegger’s theory of the fourfold makes an interesting case. It highlights the role that our environment plays in our lives, and how certain elements within them are appropriated by our perception of them. However, Heidegger’s theory of the fourfold has certain issues. By placing such importance on the role that these ‘things’ have by claiming them to be responsible for the gathering of earth, sky, mortals and divinities, we negate these element’s ability to give presence to themselves without the ‘thinging of a thing’.63 This can result in idolatry, to suppose that divinities are dependent on ‘things’ in order to bring about their presence in the world, and the assumption that their presence is in a specific place.

By its containment the ‘thing’ is seen as an idol due to its ability to gather the divinities. In specific terms, the god is not represented or signified by the idol, but is embodied by it, and is therefore able to witness any act of devotion to the god by mortals in its presence. 64 The link between idolatry, at least in the traditional sense, and architecture, has been well covered by writers such as Joseph Lyle in his Paradise Lost.65 However, Saint Peter’s constitutes a building that is no longer the site of the idolisation of God, but idolatrous attitudes concerning the state of the architecture.

What the building is, objectively speaking, is a large abandoned concrete structure in a forest nearby a small village. But the subjective opinions relating to it often speak of it as much more than that, sometimes going as far as to portray it as some form of exalted architectural realm.66

63 Weidler, ‘Critique of Idolatry,’ 491.

64 Anselm K. Min, ‘Naming the Unnameable God: Levinas, Derrida, and Marion,’ International Journal for Philosophy of Religion 60, no. 1, (December 2006): 104.

65 Joseph Lyle, ‘Architecture and Idolatry in Paradise Lost,’ Studies in English Literature, 1500-1900 40, no. 1 (Winter 2000): 76.

66 Refer to Appendix A, Survey

The design of the building is mentioned frequently as deserving better than its current dilapidated state, with some seeing this as a desecration. This implies that the architecture itself is sacred to some, its decay meriting offence. It is interesting to note that very few see it as a religious desecration, thus calling into question Van der Leeuw’s belief that ‘the consciousness of the sacred character of the locality that has once been chosen is, therefore, always retained.’67 67 G. van der Leeuw, Religion in Essence and Manifestation: A Study in Phenomenology, trans. J.E. Turner (London: George Allen & Enwin, 1938), 393.

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68 Hale, Merleau Ponty for Architects, 74.

A key aspect behind the decomposition of the Seminary as a ‘thing’ is the reorganisation of the presence of mortals, divinities, earth and sky within the building. No longer is the building a space purely for those of a very specific faith, but an indeterminate space ‘open’ to all. Again, the singular fragments into the plural. The variety of mortals that present themselves in the Seminary is much greater, each with their own purpose and ideals of the space’s potential, as per Merleau-Ponty.68 This suggests the potential for the fourfold not only to be gathered in the ‘thing’ but to actually be able to reform the ‘thing’ itself.

This continued idolatry, although not of a conventional form, presents a challenge to Heidegger’s theory of the fourfold: what drives the reconstruction of a certain phenomenon of the gathering of the fourfold? Is it the reformation of the ‘thing’ itself as an entity, its values and potentials remade in the process?

Or is it actually the fourfold’s constituent elements that are re-orientated and gathered within new things that drive this process?

89

68 Hale, Merleau Ponty for Architects, 74.

A key aspect behind the decomposition of the Seminary as a ‘thing’ is the reorganisation of the presence of mortals, divinities, earth and sky within the building. No longer is the building a space purely for those of a very specific faith, but an indeterminate space ‘open’ to all. Again, the singular fragments into the plural. The variety of mortals that present themselves in the Seminary is much greater, each with their own purpose and ideals of the space’s potential, as per Merleau-Ponty.68 This suggests the potential for the fourfold not only to be gathered in the ‘thing’ but to actually be able to reform the ‘thing’ itself.

This continued idolatry, although not of a conventional form, presents a challenge to Heidegger’s theory of the fourfold: what drives the reconstruction of a certain phenomenon of the gathering of the fourfold? Is it the reformation of the ‘thing’ itself as an entity, its values and potentials remade in the process?

Or is it actually the fourfold’s constituent elements that are re-orientated and gathered within new things that drive this process?

4. Sacred Space: An Argument Over Meaning

4. Sacred Space: An Argument Over Meaning

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94

93

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69 Mircea Eliade, The Sacred and The Profane, trans. Willard R. Trask (New York: Harcourt, 1959), 20.

70 Eliade, The Sacred and The Profane, 21.

71 Larry E. Shiner, ‘Sacred Space, Profane Space, Human Space,’ Journal of the American Academy of Religion 40, no. 4 (December 1972): 426.

72 Levi Clancy, ‘Mircea Eliade: The Sacred and the Profane: The Nature of Religion,’ Student Reader, last modified April 2017, https://studentreader.com/JXZNL/eliade-the-sacred-andthe-profane/

73 Eliade, The Sacred and the Profane, 12.

4.1 The Imago Mundi

4.2 Space Experienced

In his book entitled The Sacred and the Profane, the Romanian historian of religion Mircea Eliade introduces his theory of how we experience the sanctity of space. He seeks to create a dichotomy between the ‘homo religiosus’ (religious man) and the ‘homo a-religiosus’ (non-religious man) by investigating how they perceive the spatial aspect of the world. The theory contends that the homo religiosus is synonymous with primitive man, while the homo a-religiosus is comparable to the modern man that dwells in the secular world. This sharp distinction suggests a break between the two modes of being in the world.69 It is a dichotomy that Saint Peter’s straddles, having been experienced as both a religious and a secular space.

Eliade’s theory is problematic for a number of reasons. Firstly, it creates a duality between the lived experience of the homo religiosus and the homo a-religiosus based on the notion that the former is attuned to be able to perceive a hierophany, and the latter is not, therefore experiencing the world as meaningless. He elucidates that for a profane experience of the world there are no qualitative interruptions, no ways of truly differentiating one space from another, and that we need only recall the Euclidean fundamentals of space.74 This dogmatic view places a highly objective value on what would be defined as ‘meaningful’, denying it to the homo a-religiosus, and granting it only to the homo religiosus.

Eliade asserts that for the homo a-religiosus the world is experienced as homogenous uniform neutrality, whereas for the homo religiosus this was not the case. For him, the world is experienced as having a sacred centre (or centres) which he seeks to inhabit. This sacred centre leads to the artifice of the homo-religiosus as being an ‘imago mundi’, the representation of the cosmos upon the ground which is centred upon the ‘axis mundi’.70

Experiencing Saint Peter’s in its functional state would therefore have been meaningless to those who experienced it in a secular way, as opposed to those who experienced it in a religious way. However this theory fails to take any form of fluctuation in belief into account. For Eliade, you are either religious or you aren’t. But as a place of religious education, the ways in which the priests-in-training experienced the Seminary would surely have evolved as their understanding of religion developed over time. There were potentially aspects of their beliefs that could have oscillated between the sacred and the profane depending on the way in which they were educated.

The beliefs that they held were not static, and therefore the meaning that they encountered within the world was not static either.

Therefore at this juncture of imago mundi and axis mundi there exists an opening between cosmic levels, equating to what Eliade claims is the founding of a world.71 What is critical to Eliade’s theory is the term ‘hierophany’, the manifestation of the sacred. Etymologically this can be traced back to mean ‘to bring the holy to light’, rather than the more frequently used ‘to bring God to light’ which shares connotations of idolatry.72 A hierophany such as Saint Peter’s was not worshipped due to its qualities as raw material, but for its ability to show something other than its objective self, at least to those who perceived the Seminary to do so. He ventures to say that everything within the cosmos, even the cosmos in its entirety, could become a hierophany.73

The philosopher Larry Shiner would offer a different perspective, retaliating that there is no distinction between the value of the meaning experienced by the two, and pointing towards a difference in the nature of the meaning instead. This difference in nature suggests that sacred and profane space stand as polarities of the primary human environment, which Shiner calls ‘lived space’.75 This lived space constitutes a blend of the sacred and profane space, thus placing more weight on the subjective perception of those that inhabit the environment.

Eliade seems to portray the pious as another species, divorced

74 Eliade, The Sacred and the Profane, 22.

75 Shiner, ‘Sacred Space, Profane Space, Human Space,’ 426.

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69 Mircea Eliade, The Sacred and The Profane, trans. Willard R. Trask (New York: Harcourt, 1959), 20.

70 Eliade, The Sacred and The Profane, 21.

71 Larry E. Shiner, ‘Sacred Space, Profane Space, Human Space,’ Journal of the American Academy of Religion 40, no. 4 (December 1972): 426.

72 Levi Clancy, ‘Mircea Eliade: The Sacred and the Profane: The Nature of Religion,’ Student Reader, last modified April 2017, https://studentreader.com/JXZNL/eliade-the-sacred-andthe-profane/

73 Eliade, The Sacred and the Profane, 12.

4.1 The Imago Mundi

4.2 Space Experienced

In his book entitled The Sacred and the Profane, the Romanian historian of religion Mircea Eliade introduces his theory of how we experience the sanctity of space. He seeks to create a dichotomy between the ‘homo religiosus’ (religious man) and the ‘homo a-religiosus’ (non-religious man) by investigating how they perceive the spatial aspect of the world. The theory contends that the homo religiosus is synonymous with primitive man, while the homo a-religiosus is comparable to the modern man that dwells in the secular world. This sharp distinction suggests a break between the two modes of being in the world.69 It is a dichotomy that Saint Peter’s straddles, having been experienced as both a religious and a secular space.

Eliade’s theory is problematic for a number of reasons. Firstly, it creates a duality between the lived experience of the homo religiosus and the homo a-religiosus based on the notion that the former is attuned to be able to perceive a hierophany, and the latter is not, therefore experiencing the world as meaningless. He elucidates that for a profane experience of the world there are no qualitative interruptions, no ways of truly differentiating one space from another, and that we need only recall the Euclidean fundamentals of space.74 This dogmatic view places a highly objective value on what would be defined as ‘meaningful’, denying it to the homo a-religiosus, and granting it only to the homo religiosus.

Eliade asserts that for the homo a-religiosus the world is experienced as homogenous uniform neutrality, whereas for the homo religiosus this was not the case. For him, the world is experienced as having a sacred centre (or centres) which he seeks to inhabit. This sacred centre leads to the artifice of the homo-religiosus as being an ‘imago mundi’, the representation of the cosmos upon the ground which is centred upon the ‘axis mundi’.70

Experiencing Saint Peter’s in its functional state would therefore have been meaningless to those who experienced it in a secular way, as opposed to those who experienced it in a religious way. However this theory fails to take any form of fluctuation in belief into account. For Eliade, you are either religious or you aren’t. But as a place of religious education, the ways in which the priests-in-training experienced the Seminary would surely have evolved as their understanding of religion developed over time. There were potentially aspects of their beliefs that could have oscillated between the sacred and the profane depending on the way in which they were educated.

The beliefs that they held were not static, and therefore the meaning that they encountered within the world was not static either.

Therefore at this juncture of imago mundi and axis mundi there exists an opening between cosmic levels, equating to what Eliade claims is the founding of a world.71 What is critical to Eliade’s theory is the term ‘hierophany’, the manifestation of the sacred. Etymologically this can be traced back to mean ‘to bring the holy to light’, rather than the more frequently used ‘to bring God to light’ which shares connotations of idolatry.72 A hierophany such as Saint Peter’s was not worshipped due to its qualities as raw material, but for its ability to show something other than its objective self, at least to those who perceived the Seminary to do so. He ventures to say that everything within the cosmos, even the cosmos in its entirety, could become a hierophany.73

The philosopher Larry Shiner would offer a different perspective, retaliating that there is no distinction between the value of the meaning experienced by the two, and pointing towards a difference in the nature of the meaning instead. This difference in nature suggests that sacred and profane space stand as polarities of the primary human environment, which Shiner calls ‘lived space’.75 This lived space constitutes a blend of the sacred and profane space, thus placing more weight on the subjective perception of those that inhabit the environment.

Eliade seems to portray the pious as another species, divorced

74 Eliade, The Sacred and the Profane, 22.

75 Shiner, ‘Sacred Space, Profane Space, Human Space,’ 426.

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76 Marie Clausen, Sacred Architecture in a Secular Age (New York: Routledge, 2016), 150.

from the rest of humanity by virtue of their beliefs. Does the homo a-religiosus too not seek answers to the fundamental existential questions? Surely what is distinct are not the motives, but the approaches.76

4.3 Meaningful Space

77 Eliade, The Sacred and the Profane, 13.

78 Refer to Appendix A, Survey 79 Refer to Appendix B, Father Hugh Kelly Interview

Clausen, Sacred Architecture in a Secular Age, 158.

80 81 Clausen, Sacred Architecture in a Secular Age, 159.

Eliade would see Saint Peter’s as an illustration of a wider trend across society, a trend which makes it increasingly difficult to take on the existential dimensions that the homo religiosus had in archaic civilisations. Eliade believed that something that is desacralised is profane, resulting in the definition of Saint Peter’s Seminary as a profane space.77 But this statement is one that denies importance to the beliefs of the individual as opposed to the official declaration of the religious organisation.

It is clear to see from looking at the experiences of those who visit the Seminary in its ruined state that many still find it to be a meaningful space giving rise to meaningful experiences, despite the profane natures of the perceiver and the environment.78 Father Hugh Kelly emphasises the building’s absence of religious sacredness, noting that ‘the Church is always about living stones, not dead ones.’79 By doing so, he calls into question the inability of a hierophany to fluctuate in its meaning, placing the focus of sacred space not upon hierophanies, but upon the people who are invested in them.

This counteracts Eliade’s notion of hierophanies being the basis for all sacred space, and while it would be hard to find many that still regard the abandoned building as sacred, it is clear that it often evokes a profound reaction from those that experience it today.

The art-historian Marie Clausen postulates that we live in a society that is still, contrary to Eliade’s theory, comprised of existential beings, and therefore it follows that we still have a need for existential buildings, ‘for existential thoughts made manifest materially.’80 She elaborates that certain sacred buildings can be experienced by people of any belief, or nonbelief, as being existentially sacred.81 Saint Peter’s arguably goes beyond this statement on the basis of its faded sanctity, and begs the question whether this is not possible of forms of architecture other than the sacred.

Clausen goes on to investigate this possibility by looking at the example of cultural buildings that have little to no religious significance, such as libraries or art galleries. She claims that such buildings ‘seem to want to reach through to our souls via our minds, whereas a church seems to suggest the possibility of conversing with our souls through our senses.’82 This standpoint is potentially due to historical connotations of libraries and art galleries as places of learning, thus knowledge, contrasting churches which may hold connotations of rituals and embodiment, thus senses.

This dichotomy is echoed by Jean-Luc Nancy, but he develops this hypothesis by stating that it is the union of knowing and sensing that gives rise to experience.83 It is at this point of union that I would place Saint Peter’s, as a space of experience. As a reservoir of historical culture and a building which is constantly

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82 Clausen, Sacred Architecture in a Secular Age, 2.

83 Marie Morin, Jean-Luc Nancy, 81.

covered and re-covered by art, it certainly attempts to converse with our soul via our minds, to borrow the terminology of Clausen. And through its traces of sanctity one could say that it also attempts to converse with our soul through our senses.

Therefore, it stands at the intersection of knowing and sensing, and could be seen as space of experience. Of course, the unconventionality of its component parts that give rise to this definition continue to haunt it within this fusion of terms. It is an unconventionality that one could describe as ‘otherness’.

Clausen herself notes that in this otherness lies a great deal of what one would consider attractive, even meaningful, about a space. She advocates the importance of counterpoints in life that allow us to escape from an otherwise ubiquitously mundane reality, finding in their otherness a sense of liberation.84

84 Clausen, Sacred Architecture in a Secular Age, 2.

4.4 Objective Dichotomies Reflecting on this notion, it is worthwhile to contextualise it in terms of Eliade’s definitions of sacred and profane space. It is clear that both Eliade and Clausen consider sacred space to be set apart, at least to an extent.85 However, it is unclear as to how much further the common ground extends between their ideologies. For Eliade, the idea that a homo a-religiosus, could find meaning of any sort in their homogenous neutrality of existence is unthinkable, reserving the ability to find meaning

85 Clausen, Sacred Architecture in a Secular Age, 96.

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76 Marie Clausen, Sacred Architecture in a Secular Age (New York: Routledge, 2016), 150.

from the rest of humanity by virtue of their beliefs. Does the homo a-religiosus too not seek answers to the fundamental existential questions? Surely what is distinct are not the motives, but the approaches.76

4.3 Meaningful Space

77 Eliade, The Sacred and the Profane, 13.

78 Refer to Appendix A, Survey 79 Refer to Appendix B, Father Hugh Kelly Interview

Clausen, Sacred Architecture in a Secular Age, 158.

80 81 Clausen, Sacred Architecture in a Secular Age, 159.

Eliade would see Saint Peter’s as an illustration of a wider trend across society, a trend which makes it increasingly difficult to take on the existential dimensions that the homo religiosus had in archaic civilisations. Eliade believed that something that is desacralised is profane, resulting in the definition of Saint Peter’s Seminary as a profane space.77 But this statement is one that denies importance to the beliefs of the individual as opposed to the official declaration of the religious organisation.

It is clear to see from looking at the experiences of those who visit the Seminary in its ruined state that many still find it to be a meaningful space giving rise to meaningful experiences, despite the profane natures of the perceiver and the environment.78 Father Hugh Kelly emphasises the building’s absence of religious sacredness, noting that ‘the Church is always about living stones, not dead ones.’79 By doing so, he calls into question the inability of a hierophany to fluctuate in its meaning, placing the focus of sacred space not upon hierophanies, but upon the people who are invested in them.

This counteracts Eliade’s notion of hierophanies being the basis for all sacred space, and while it would be hard to find many that still regard the abandoned building as sacred, it is clear that it often evokes a profound reaction from those that experience it today.

The art-historian Marie Clausen postulates that we live in a society that is still, contrary to Eliade’s theory, comprised of existential beings, and therefore it follows that we still have a need for existential buildings, ‘for existential thoughts made manifest materially.’80 She elaborates that certain sacred buildings can be experienced by people of any belief, or nonbelief, as being existentially sacred.81 Saint Peter’s arguably goes beyond this statement on the basis of its faded sanctity, and begs the question whether this is not possible of forms of architecture other than the sacred.

Clausen goes on to investigate this possibility by looking at the example of cultural buildings that have little to no religious significance, such as libraries or art galleries. She claims that such buildings ‘seem to want to reach through to our souls via our minds, whereas a church seems to suggest the possibility of conversing with our souls through our senses.’82 This standpoint is potentially due to historical connotations of libraries and art galleries as places of learning, thus knowledge, contrasting churches which may hold connotations of rituals and embodiment, thus senses.

This dichotomy is echoed by Jean-Luc Nancy, but he develops this hypothesis by stating that it is the union of knowing and sensing that gives rise to experience.83 It is at this point of union that I would place Saint Peter’s, as a space of experience. As a reservoir of historical culture and a building which is constantly

98

82 Clausen, Sacred Architecture in a Secular Age, 2.

83 Marie Morin, Jean-Luc Nancy, 81.

covered and re-covered by art, it certainly attempts to converse with our soul via our minds, to borrow the terminology of Clausen. And through its traces of sanctity one could say that it also attempts to converse with our soul through our senses.

Therefore, it stands at the intersection of knowing and sensing, and could be seen as space of experience. Of course, the unconventionality of its component parts that give rise to this definition continue to haunt it within this fusion of terms. It is an unconventionality that one could describe as ‘otherness’.

Clausen herself notes that in this otherness lies a great deal of what one would consider attractive, even meaningful, about a space. She advocates the importance of counterpoints in life that allow us to escape from an otherwise ubiquitously mundane reality, finding in their otherness a sense of liberation.84

84 Clausen, Sacred Architecture in a Secular Age, 2.

4.4 Objective Dichotomies Reflecting on this notion, it is worthwhile to contextualise it in terms of Eliade’s definitions of sacred and profane space. It is clear that both Eliade and Clausen consider sacred space to be set apart, at least to an extent.85 However, it is unclear as to how much further the common ground extends between their ideologies. For Eliade, the idea that a homo a-religiosus, could find meaning of any sort in their homogenous neutrality of existence is unthinkable, reserving the ability to find meaning

85 Clausen, Sacred Architecture in a Secular Age, 96.

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for the homo religiosus alone. This dichotomy is not shared

by Clausen, who defends the potential for all humans to attain meaning in their lives regardless of their sacred beliefs, or lack thereof. But in her development of the notion of counterpoints and otherness in our lives she does form a duality within human existence based on the division between the experiences we have in the normal and abnormal places that make up our reality.

In actuality, this shares the same priority of meaningful centres as opposed to the supposedly uniform mundane space that forms the remainder of our physical reality.The only difference is that Eliade places an objective distinction on the ability to perceive these differences between the homo religiosus and homo a-religiosus, whereas Clausen does not.

Saint Peter’s, while arguably a subject of these dichotomies, does not conform to them. As a space of experience, it is

prone to inducing meaningful reactions, however it forfeited any sacred qualities long ago. Its visitation by a mainly secular public which frequently find the place meaningful does not certify it as being set apart in its otherness, but that it has certain characteristics of otherness.

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for the homo religiosus alone. This dichotomy is not shared

by Clausen, who defends the potential for all humans to attain meaning in their lives regardless of their sacred beliefs, or lack thereof. But in her development of the notion of counterpoints and otherness in our lives she does form a duality within human existence based on the division between the experiences we have in the normal and abnormal places that make up our reality.

In actuality, this shares the same priority of meaningful centres as opposed to the supposedly uniform mundane space that forms the remainder of our physical reality.The only difference is that Eliade places an objective distinction on the ability to perceive these differences between the homo religiosus and homo a-religiosus, whereas Clausen does not.

Saint Peter’s, while arguably a subject of these dichotomies, does not conform to them. As a space of experience, it is

prone to inducing meaningful reactions, however it forfeited any sacred qualities long ago. Its visitation by a mainly secular public which frequently find the place meaningful does not certify it as being set apart in its otherness, but that it has certain characteristics of otherness.

5. Vague Definitions: The Sublime and The Numinous

5. Vague Definitions: The Sublime and The Numinous

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104

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5.1 The Numinous

86 Rudolf Otto, The Idea of the Holy, trans. John W. Harvey (London: Oxford University Press, 1923), 7.

87 Clausen, Sacred Architecture in a Secular Age, 96.

The reaction of a sizeable share of those who visit the Seminary use a lexicon that gives rise to ideas of conventional sacred architectural experiences, using words such as ‘awe’, ‘breathtaking’, ‘surreal’, and ‘mystical’. A term that comes close to describing this reaction is ‘the numinous’. The numinous is a notion developed by the German theologian Rudolf Otto in 1917 and can be explained as a ‘non-rational, non-sensory experience or feeling whose primary and immediate object is outside the self.’86 This reaction is not limited to a certain place or person – theoretically it could be experienced by anyone, anywhere. It does not necessarily pertain to any specific religious practice, but more to a general atmospheric experience.

In the context of Saint Peter’s, the numinous is a theory that contradicts Eliade’s notion of the homo religiosus and homo a-religiosus by breaking down the objective dualism of spatial experience and proposing that more focus might be paid to the subjectivity of this experience. It does not deny the potential for our objective reality to give rise to such a reaction but shifts the emphasis to a less polarised position. Clausen shares this view, concluding that the sacred doesn’t lie within an object or phenomenon, nor is it something that we incite from the world, but that it actually lies somewhere between the objective physical world and our subjective interpretation of it.87 If this reaction is reliant on both of the aforementioned factors then why does a building that ceased active religious practice over forty years ago, now being experienced by a mainly secular general public, continue to generate a reaction that tends towards the numinous?

each other are dark and murky. The architectural historian William Whyte questions whether we project meanings onto buildings, giving them specific attributes that are perhaps not inherent to their existence.88 The philosopher Umberto Eco goes even further, to suggest that buildings can operate as ‘open works’, in that they are open to meaning-making and interpretation.89 These arguments certainly hold some weight when considering the Seminary. The majority of visitors to the building go there of their own volition and are at the least aware of its past as a place of religious practice, suggesting that there may be a degree of projection of meaning onto the building.90 Clausen

draws attention to the ‘willing experience’ of the subject as being critical to how a space induces a sense of profundity, significance or sacredness, highlighting the brain’s ‘righthemisphere’ qualities such as atmospheric perception and imagination in this reaction.91

A sizeable minority of visitors to the Seminary reference its former use as a place of worship having an effect upon them, giving weight to the notion that we project meaning onto buildings.92 This projection is dependent on the subject, as there has not been any religious practice present in the building for a long time, therefore requiring the subject’s imagination to provoke such a reaction. The variation of experiences recorded at the Seminary also provides a connection to Eco’s notion of buildings having the potential to act as open works, not having any singular ‘true meaning’.93 For some, the building retains vestiges of sacredness despite its desacralisation, even going as far to say that the current state of the building constitutes a desecration.94

5.2 Interpretation

5.3 The Sublime

One viable path for exploration might be to return to the complex debate between subject and object. It is clear that both are active participants in provoking a reaction tending towards the numinous, but the ways in which they manipulate

What is made clear by the number of subjectivities surrounding the building, however, is that there must also exist certain objectivities relating to it that give rise to such a prominence in experiences tending towards the sublime within its crumbling

William Whyte, ‘How do buildings mean?

Some issues of interpretation in the history of architecture,’ History and Theory 45, no.2 (May 2006): 165.

88

89 Umberto Eco, The Open Work (Cambridge, Massachusetts: Harvard University Press, 1989), 48.

90 Refer to Appendix A, Survey

91 Clausen, Sacred Architecture in a Secular Age, 96.

92 Refer to Appendix A, Survey

93 Eco, The Open Work, 52.

94 Refer to Appendix A, Survey

105

106

5.1 The Numinous

86 Rudolf Otto, The Idea of the Holy, trans. John W. Harvey (London: Oxford University Press, 1923), 7.

87 Clausen, Sacred Architecture in a Secular Age, 96.

The reaction of a sizeable share of those who visit the Seminary use a lexicon that gives rise to ideas of conventional sacred architectural experiences, using words such as ‘awe’, ‘breathtaking’, ‘surreal’, and ‘mystical’. A term that comes close to describing this reaction is ‘the numinous’. The numinous is a notion developed by the German theologian Rudolf Otto in 1917 and can be explained as a ‘non-rational, non-sensory experience or feeling whose primary and immediate object is outside the self.’86 This reaction is not limited to a certain place or person – theoretically it could be experienced by anyone, anywhere. It does not necessarily pertain to any specific religious practice, but more to a general atmospheric experience.

In the context of Saint Peter’s, the numinous is a theory that contradicts Eliade’s notion of the homo religiosus and homo a-religiosus by breaking down the objective dualism of spatial experience and proposing that more focus might be paid to the subjectivity of this experience. It does not deny the potential for our objective reality to give rise to such a reaction but shifts the emphasis to a less polarised position. Clausen shares this view, concluding that the sacred doesn’t lie within an object or phenomenon, nor is it something that we incite from the world, but that it actually lies somewhere between the objective physical world and our subjective interpretation of it.87 If this reaction is reliant on both of the aforementioned factors then why does a building that ceased active religious practice over forty years ago, now being experienced by a mainly secular general public, continue to generate a reaction that tends towards the numinous?

each other are dark and murky. The architectural historian William Whyte questions whether we project meanings onto buildings, giving them specific attributes that are perhaps not inherent to their existence.88 The philosopher Umberto Eco goes even further, to suggest that buildings can operate as ‘open works’, in that they are open to meaning-making and interpretation.89 These arguments certainly hold some weight when considering the Seminary. The majority of visitors to the building go there of their own volition and are at the least aware of its past as a place of religious practice, suggesting that there may be a degree of projection of meaning onto the building.90 Clausen

draws attention to the ‘willing experience’ of the subject as being critical to how a space induces a sense of profundity, significance or sacredness, highlighting the brain’s ‘righthemisphere’ qualities such as atmospheric perception and imagination in this reaction.91

A sizeable minority of visitors to the Seminary reference its former use as a place of worship having an effect upon them, giving weight to the notion that we project meaning onto buildings.92 This projection is dependent on the subject, as there has not been any religious practice present in the building for a long time, therefore requiring the subject’s imagination to provoke such a reaction. The variation of experiences recorded at the Seminary also provides a connection to Eco’s notion of buildings having the potential to act as open works, not having any singular ‘true meaning’.93 For some, the building retains vestiges of sacredness despite its desacralisation, even going as far to say that the current state of the building constitutes a desecration.94

5.2 Interpretation

5.3 The Sublime

One viable path for exploration might be to return to the complex debate between subject and object. It is clear that both are active participants in provoking a reaction tending towards the numinous, but the ways in which they manipulate

What is made clear by the number of subjectivities surrounding the building, however, is that there must also exist certain objectivities relating to it that give rise to such a prominence in experiences tending towards the sublime within its crumbling

William Whyte, ‘How do buildings mean?

Some issues of interpretation in the history of architecture,’ History and Theory 45, no.2 (May 2006): 165.

88

89 Umberto Eco, The Open Work (Cambridge, Massachusetts: Harvard University Press, 1989), 48.

90 Refer to Appendix A, Survey

91 Clausen, Sacred Architecture in a Secular Age, 96.

92 Refer to Appendix A, Survey

93 Eco, The Open Work, 52.

94 Refer to Appendix A, Survey

107

95 Otto, The Idea of the Holy, 9.

Kant’s distinctions of the sublime’s etymologies fascinating Beauty Good

delight Erotic

Sublime terrifying noble

glamour

Holy

splendid

uncanny mysterium

charisma

96 Otto, The Idea of the Holy, 15.

97 Malcolm Budd, ‘The Aesthetic Appreciation of Nature as Nature,’ in The Aesthetic Appreciation of Nature: Essays on the Aesthetics of Nature, ed. Malcolm Budd (Oxford: Clarendon, 2002), 16.

98 Refer to Appendix D, Ed Hollis Interview

99 Otto, The Idea of the Holy, 41.

100 Immanuel Kant, Observations on the Feeling of the Beautiful and Sublime (Cambridge: Cambridge University Press, 2011), 126.

101 Refer to Appendix A, Survey

vaults. The sublime is not only associated with positive reactions such as awe or inspiration, but with reactions such as fear and grief.95 While many do experience Saint Peter’s in a positive way, it is undeniable that there are aspects to it that some react to in a negative way. As a place of isolation far it can provoke sentiments of eeriness, its dark passageways and decaying skeleton giving rise to reactions akin to fear.

For some, the atmosphere of abandonment heightens this, referencing the former function as a spiritual building as being unnerving. Much of the graffiti that daubs the Seminary can also be unsettling, often referencing distasteful acts of a violent or sexual nature.

One could liken some of these reactions to the ‘Mysterium Tremendum’ that Otto claimed to ‘loom before the mind and touch the feelings.’96 The philosopher Malcolm Budd claims that the ‘hallmark of an experience of the sublime’ involves a feeling of wonder and an experience of vulnerability of one’s individual self.97 If we take this to be true, then it is easy to see that the Seminary could be prone to inducing such an experience. By looking at experiences such as Ed Hollis’, the dual aspects of wonder and vulnerability can be seen to happen simultaneously in some cases.98

The sublime is defined as an aesthetic term by Otto, and has a complex relationship to the numinous.99 The etymologies of these terms may give clues as to how we can perceive this relationship, and how it is represented in the contemporary experiences of those who visit the seminary today. In distinguishing the various subsets of aesthetic appreciation, Immanuel Kant provides a framework for exploring how the sublime is experienced in Saint Peter’s.100 Acknowledging the potential for imprecision of vocabulary that may occur in the survey, the recurrences of certain words from Kant’s delineation within the responses illuminates notions of holiness and the sublime regarding the space.101 In his seminal exploration of the sublime, Kant relates holiness to the sublime, citing common elements between them such as terror, nobility and charisma. Otto goes on to separate holiness from the sublime and instead associates it to his term of the numinous, creating a key distinction between the two terms. This can be seen as a fragmentation of the singular body of the sublime experience into singular plural forms of experience.

108

5.4 Distinctions Mary Jones develops the discussion about the relationship between the sublime and the numinous by considering their respective associations towards religion. The sublime, she claims, is not associated to religion or religious practice,102 although some scholars such as Longinus have attempted to relate the sublime to religious values in order to give it more backing as a concept.103 Jones asserts that in comparison to the numinous, the sublime is easier to comprehend, and thus draws on a larger body of work.The numinous, however, is deemed to be far more mysterious and inscrutable, a concept that is inextricably linked to the divinities.104 She proceeds to say that a sense of rationality, or mortality, is not vital to experience the numinous.105 This contrasts the definitions of the sublime given by Otto, which claims that the sublime is a phenomenon that is frequently experienced in tandem with fear, which inherently involves a sense of mortality.

Both Otto and Jones are in agreement in claiming that ‘the sublime is a pale reflection of the numinous.’106 This statement gives priority to the experience of the religious, and is reminiscent of the dichotomy that Mircea Eliade created between the lived experience of the homo religiosus and homo a-religiosus as discussed in the previous chapter. However, given that Otto and Jones stop short of precluding any humanbeing from experiencing either the sublime or numinous at any given point, their argument is less obtrusive in this discussion.

Mary Jones, ‘The Discourses of the Secular Sublime and the Concepts of the Numinous and Mysterium Tremendum in the Work of Rudolf Otto’ (Master’s Thesis, University of Leicester, 2017), 190.

102

103 Cassius Longinus, Longinus on the Sublime: The Peri Hupsous, trans. Nicolas Boileau-Depreaux (New York: Scholars Facsimilies & Reprint, 1975), 12.

104 Jones, ‘Discourses of the Secular Sublime,’ 192.

105 Jones, ‘Discourses of the Secular Sublime,’ 196.

106 Jones, ‘Discourses of the Secular Sublime,’ 37.

5.5 Indefinitions What can be said with certainty about the concepts of the sublime and the numinous is that they are ineffable at best.107 It is worthwhile, therefore, to acknowledge the speculative nature of the investigation due to such vague definitions and subjective beliefs about the meanings of the two concepts.

James Elkins, in attempting to define the sublime and calling for a moratorium on its usage, inadvertently acts to destroy the very notion he seeks to elucidate.108 Its inability to be grasped is its virtuous quality. The relationship between such an elusive concept as the sublime, and one reckoned to be even more

107 Jones, ‘Discourses of the Secular Sublime,’ 194.

108 James Elkins, ‘Against the Sublime,’ in Beyond the Finite: The Sublime in Art and Science, ed.

Roald Hoffmann and Iain Boyd White (New York: Oxford University Press, 2011), 21.

107

95 Otto, The Idea of the Holy, 9.

Kant’s distinctions of the sublime’s etymologies fascinating Beauty Good

delight Erotic

Sublime terrifying noble

glamour

Holy

splendid

uncanny mysterium

charisma

96 Otto, The Idea of the Holy, 15.

97 Malcolm Budd, ‘The Aesthetic Appreciation of Nature as Nature,’ in The Aesthetic Appreciation of Nature: Essays on the Aesthetics of Nature, ed. Malcolm Budd (Oxford: Clarendon, 2002), 16.

98 Refer to Appendix D, Ed Hollis Interview

99 Otto, The Idea of the Holy, 41.

100 Immanuel Kant, Observations on the Feeling of the Beautiful and Sublime (Cambridge: Cambridge University Press, 2011), 126.

101 Refer to Appendix A, Survey

vaults. The sublime is not only associated with positive reactions such as awe or inspiration, but with reactions such as fear and grief.95 While many do experience Saint Peter’s in a positive way, it is undeniable that there are aspects to it that some react to in a negative way. As a place of isolation far it can provoke sentiments of eeriness, its dark passageways and decaying skeleton giving rise to reactions akin to fear.

For some, the atmosphere of abandonment heightens this, referencing the former function as a spiritual building as being unnerving. Much of the graffiti that daubs the Seminary can also be unsettling, often referencing distasteful acts of a violent or sexual nature.

One could liken some of these reactions to the ‘Mysterium Tremendum’ that Otto claimed to ‘loom before the mind and touch the feelings.’96 The philosopher Malcolm Budd claims that the ‘hallmark of an experience of the sublime’ involves a feeling of wonder and an experience of vulnerability of one’s individual self.97 If we take this to be true, then it is easy to see that the Seminary could be prone to inducing such an experience. By looking at experiences such as Ed Hollis’, the dual aspects of wonder and vulnerability can be seen to happen simultaneously in some cases.98

The sublime is defined as an aesthetic term by Otto, and has a complex relationship to the numinous.99 The etymologies of these terms may give clues as to how we can perceive this relationship, and how it is represented in the contemporary experiences of those who visit the seminary today. In distinguishing the various subsets of aesthetic appreciation, Immanuel Kant provides a framework for exploring how the sublime is experienced in Saint Peter’s.100 Acknowledging the potential for imprecision of vocabulary that may occur in the survey, the recurrences of certain words from Kant’s delineation within the responses illuminates notions of holiness and the sublime regarding the space.101 In his seminal exploration of the sublime, Kant relates holiness to the sublime, citing common elements between them such as terror, nobility and charisma. Otto goes on to separate holiness from the sublime and instead associates it to his term of the numinous, creating a key distinction between the two terms. This can be seen as a fragmentation of the singular body of the sublime experience into singular plural forms of experience.

108

5.4 Distinctions Mary Jones develops the discussion about the relationship between the sublime and the numinous by considering their respective associations towards religion. The sublime, she claims, is not associated to religion or religious practice,102 although some scholars such as Longinus have attempted to relate the sublime to religious values in order to give it more backing as a concept.103 Jones asserts that in comparison to the numinous, the sublime is easier to comprehend, and thus draws on a larger body of work.The numinous, however, is deemed to be far more mysterious and inscrutable, a concept that is inextricably linked to the divinities.104 She proceeds to say that a sense of rationality, or mortality, is not vital to experience the numinous.105 This contrasts the definitions of the sublime given by Otto, which claims that the sublime is a phenomenon that is frequently experienced in tandem with fear, which inherently involves a sense of mortality.

Both Otto and Jones are in agreement in claiming that ‘the sublime is a pale reflection of the numinous.’106 This statement gives priority to the experience of the religious, and is reminiscent of the dichotomy that Mircea Eliade created between the lived experience of the homo religiosus and homo a-religiosus as discussed in the previous chapter. However, given that Otto and Jones stop short of precluding any humanbeing from experiencing either the sublime or numinous at any given point, their argument is less obtrusive in this discussion.

Mary Jones, ‘The Discourses of the Secular Sublime and the Concepts of the Numinous and Mysterium Tremendum in the Work of Rudolf Otto’ (Master’s Thesis, University of Leicester, 2017), 190.

102

103 Cassius Longinus, Longinus on the Sublime: The Peri Hupsous, trans. Nicolas Boileau-Depreaux (New York: Scholars Facsimilies & Reprint, 1975), 12.

104 Jones, ‘Discourses of the Secular Sublime,’ 192.

105 Jones, ‘Discourses of the Secular Sublime,’ 196.

106 Jones, ‘Discourses of the Secular Sublime,’ 37.

5.5 Indefinitions What can be said with certainty about the concepts of the sublime and the numinous is that they are ineffable at best.107 It is worthwhile, therefore, to acknowledge the speculative nature of the investigation due to such vague definitions and subjective beliefs about the meanings of the two concepts.

James Elkins, in attempting to define the sublime and calling for a moratorium on its usage, inadvertently acts to destroy the very notion he seeks to elucidate.108 Its inability to be grasped is its virtuous quality. The relationship between such an elusive concept as the sublime, and one reckoned to be even more

107 Jones, ‘Discourses of the Secular Sublime,’ 194.

108 James Elkins, ‘Against the Sublime,’ in Beyond the Finite: The Sublime in Art and Science, ed.

Roald Hoffmann and Iain Boyd White (New York: Oxford University Press, 2011), 21.

109

109 Jones, ‘Discourses of the Secular Sublime,’ 195.

110 Otto, The Idea of the Holy, 47.

elusive, the numinous, is consequently a nebulous one. Jones believes that they are distinct concepts based primarily on their leanings towards, and away from, religion. She concludes that the sublime is clearly a signifier of the numinous.109 Recalling Otto’s definition, it is important to note that the sublime is an experience that is promoted from within the subject by what they perceive in the objective physical world, and not promoted from the world itself. This, he states, is where the sublime differs from the numinous in its induction from the objective physical world.110 This proclivity to induce the sublime supports the notion that Saint Peter’s Seminary has the power to generate reactions tending towards the numinous within the subject.

109

109 Jones, ‘Discourses of the Secular Sublime,’ 195.

110 Otto, The Idea of the Holy, 47.

elusive, the numinous, is consequently a nebulous one. Jones believes that they are distinct concepts based primarily on their leanings towards, and away from, religion. She concludes that the sublime is clearly a signifier of the numinous.109 Recalling Otto’s definition, it is important to note that the sublime is an experience that is promoted from within the subject by what they perceive in the objective physical world, and not promoted from the world itself. This, he states, is where the sublime differs from the numinous in its induction from the objective physical world.110 This proclivity to induce the sublime supports the notion that Saint Peter’s Seminary has the power to generate reactions tending towards the numinous within the subject.

112

Conclusion In setting out the objectives of this dissertation it is hoped that through a combination of historical, theoretical and primary source material, it is possible to arrive at a series of understandings of Saint Peter’s. In journeying through this material these understandings represent certain ways of framing the Seminary, each framing as a singularity in constant relation to the others. By adopting a holistic standpoint, it is possible to build up a perspective of Saint Peter’s as the synthesis of these framings.

The first of these framings is encountered within Christian Norberg-Schulz’s theory of genius loci, or ‘spirit of place’.

Angus Farquhar highlights the strength of genius loci within

Saint Peter’s, as well as how elements such as the fractured altar can enhance this through their materialities. However, the theory struggles to deal with the depth of narrative that the Seminary holds and fails to truly encapsulate its spirit in one single essence. It is contended that Saint Peter’s has no single spirit, but multiple spectres.

This theme is continued in the investigation of Jean-Luc Nancy’s singular plural, in the context of the disembodiment of the Seminary. The liminal existence of Saint Peter’s, being positioned between mind and body, is explored through this dialogue. The exchange between the theory and the architecture leads to the correlation that both constitute that which they are antithetical to. Nancy’s singular plural, which counteracts wholeness, is found to be whole in its counteraction. Likewise, Saint Peter’s is considered as a building which is in a constant process of disembodiment, leading to the conclusion that it is embodied in its disembodiment.

The journey continues by addressing how Martin Heidegger’s theory of the fourfold can be seen in the light of the Seminary.

Saint Peter’s poses questions of the theory, challenging the power of Heidegger’s fourfold to be able to reform itself, evolve and develop within a changing context. Again, the altar is a central point of this discussion. While its fragmentation could be seen as damaging the purity of Heidegger’s fourfold, it has also inadvertently led to some, such as Angus Farquhar,

to experience the space in a more profound way. Notions of idolatry concerning the space are also encountered, leading in to the following two chapters which focus on the personal meanings held within the space.

In chapter four, Mircea Eliade’s conception of sacred space sets up a dichotomy between how religious and profane people experience space. This dualism is explored within the context of Saint Peter’s, a building that holds varying conceptions of sacred space. In assessing the traces of sacredness that linger around the space, Father Hugh Kelly’s interview is critical to this debate. Eliade’s polarity is challenged by the Seminary, being postulated not as a religious or profane space, but as a space of experience.

The final chapter engages with the results of the survey, studying the ways in which people react to the building. Ed Hollis’ interview elucidates the varying ways in which the building can evoke a certain reaction, an evocation which has fluctuated with the Seminary’s existence. In tandem with the experiences recorded in the survey, this portrays the variation in how Saint Peter’s is experienced.This develops into a discussion between the concepts of the sublime and the numinous, tying into the previous chapter’s debate on sacred space. These nebulous ideas are contextualised within Saint Peter’s, highlighting their subtle differences and the complex relationship they have to one another.

Throughout this journey there is repeated engagement with plurality, and discussion with dichotomies. Saint Peter’s plays an active role in challenging dualisms and totalities during the journey, and therefore challenges the way in which they portray the Seminary. By charting the experiences of thos who have visited the Seminary, various understandings have been reached which have each attempted to consider Saint Peter’s in different ways. By evaluating them in correlation to one another it is hoped that a novel perspective of the Seminary can be obtained.

112

Conclusion In setting out the objectives of this dissertation it is hoped that through a combination of historical, theoretical and primary source material, it is possible to arrive at a series of understandings of Saint Peter’s. In journeying through this material these understandings represent certain ways of framing the Seminary, each framing as a singularity in constant relation to the others. By adopting a holistic standpoint, it is possible to build up a perspective of Saint Peter’s as the synthesis of these framings.

The first of these framings is encountered within Christian Norberg-Schulz’s theory of genius loci, or ‘spirit of place’.

Angus Farquhar highlights the strength of genius loci within

Saint Peter’s, as well as how elements such as the fractured altar can enhance this through their materialities. However, the theory struggles to deal with the depth of narrative that the Seminary holds and fails to truly encapsulate its spirit in one single essence. It is contended that Saint Peter’s has no single spirit, but multiple spectres.

This theme is continued in the investigation of Jean-Luc Nancy’s singular plural, in the context of the disembodiment of the Seminary. The liminal existence of Saint Peter’s, being positioned between mind and body, is explored through this dialogue. The exchange between the theory and the architecture leads to the correlation that both constitute that which they are antithetical to. Nancy’s singular plural, which counteracts wholeness, is found to be whole in its counteraction. Likewise, Saint Peter’s is considered as a building which is in a constant process of disembodiment, leading to the conclusion that it is embodied in its disembodiment.

The journey continues by addressing how Martin Heidegger’s theory of the fourfold can be seen in the light of the Seminary.

Saint Peter’s poses questions of the theory, challenging the power of Heidegger’s fourfold to be able to reform itself, evolve and develop within a changing context. Again, the altar is a central point of this discussion. While its fragmentation could be seen as damaging the purity of Heidegger’s fourfold, it has also inadvertently led to some, such as Angus Farquhar,

to experience the space in a more profound way. Notions of idolatry concerning the space are also encountered, leading in to the following two chapters which focus on the personal meanings held within the space.

In chapter four, Mircea Eliade’s conception of sacred space sets up a dichotomy between how religious and profane people experience space. This dualism is explored within the context of Saint Peter’s, a building that holds varying conceptions of sacred space. In assessing the traces of sacredness that linger around the space, Father Hugh Kelly’s interview is critical to this debate. Eliade’s polarity is challenged by the Seminary, being postulated not as a religious or profane space, but as a space of experience.

The final chapter engages with the results of the survey, studying the ways in which people react to the building. Ed Hollis’ interview elucidates the varying ways in which the building can evoke a certain reaction, an evocation which has fluctuated with the Seminary’s existence. In tandem with the experiences recorded in the survey, this portrays the variation in how Saint Peter’s is experienced.This develops into a discussion between the concepts of the sublime and the numinous, tying into the previous chapter’s debate on sacred space. These nebulous ideas are contextualised within Saint Peter’s, highlighting their subtle differences and the complex relationship they have to one another.

Throughout this journey there is repeated engagement with plurality, and discussion with dichotomies. Saint Peter’s plays an active role in challenging dualisms and totalities during the journey, and therefore challenges the way in which they portray the Seminary. By charting the experiences of thos who have visited the Seminary, various understandings have been reached which have each attempted to consider Saint Peter’s in different ways. By evaluating them in correlation to one another it is hoped that a novel perspective of the Seminary can be obtained.

Bibliography: List of sources referenced in text.

114

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Cacciari, Massimo. Architecture and Nihilism on the Philosophy of Modern Architecture. New Haven: Yale University Press, 1993.

Champion, Erik. ‘Norberg-Schulz: Culture, Presence and a Sense of Virtual Place.’ In The Phenomenology of Real and Virtual Places, edited by Erik Champion. London: Routledge, 2018.

Clancy, Levi. ‘Mircea Eliade: The Sacred and the Profane: The Nature of Religion,’ Student Reader, last modified April 2017, https://studentreader.com/JXZNL/eliade-the-sacredand-the-profane/ Clausen, Marie. Sacred Architecture in a Secular Age. New York: Routledge, 2016.

Derrida, Jacques. Specters of Marx: The State of the Debt, the Work of Mourning and the New International. Routledge: London, 2006.

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Eliade, Mircea. The Sacred and The Profane. Translated by Willard R. Trask. New York: Harcourt, 1959.

Elkins, James. ‘Against the Sublime.’ In Beyond the Finite: The Sublime in Art and Science, edited by Roald Hoffmann and Iain Boyd White, 11-25. New York: Oxford University Press, 2011.

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Jones, Mary. ‘The Discourses of the Secular Sublime and the Concepts of the Numinous and Mysterium Tremendum in the Work of Rudolf Otto.’ Master’s Thesis, University of Leicester, 2017.

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Cacciari, Massimo. Architecture and Nihilism on the Philosophy of Modern Architecture. New Haven: Yale University Press, 1993.

Champion, Erik. ‘Norberg-Schulz: Culture, Presence and a Sense of Virtual Place.’ In The Phenomenology of Real and Virtual Places, edited by Erik Champion. London: Routledge, 2018.

Clancy, Levi. ‘Mircea Eliade: The Sacred and the Profane: The Nature of Religion,’ Student Reader, last modified April 2017, https://studentreader.com/JXZNL/eliade-the-sacredand-the-profane/ Clausen, Marie. Sacred Architecture in a Secular Age. New York: Routledge, 2016.

Derrida, Jacques. Specters of Marx: The State of the Debt, the Work of Mourning and the New International. Routledge: London, 2006.

Descartes, Rene. Descartes: Meditations on First Philosophy: With Selections from the Objections and Replies, Translated by John Cottingham. Cambridge: Cambridge University Press, 1996. della Dora, Veronica. ‘Infrasecular Geographies: Making, Unmaking, and Remaking Sacred Space.’ Progress in Human Geography 42, no. 1 (Spring 2018): 44-71. https://doi-org. ezproxy.is.ed.ac.uk/10.1177/0309132516666190 Eco, Umberto. The Open Work. Cambridge, Massachusetts: Harvard University Press, 1989.

Edquist, Harriet. ‘Genius Loci.’ Transition 4, no. 1 (Spring 1988): 69-85.

Eliade, Mircea. The Sacred and The Profane. Translated by Willard R. Trask. New York: Harcourt, 1959.

Elkins, James. ‘Against the Sublime.’ In Beyond the Finite: The Sublime in Art and Science, edited by Roald Hoffmann and Iain Boyd White, 11-25. New York: Oxford University Press, 2011.

Hale, Jonathan. Merleau Ponty for Architects. London: Routledge, 2016.

Heidegger, Martin. Being and Time. Oxford: Wiley-Blackwell, 1978.

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London: Routledge, 1993.

Jiven, Gunila and Peter J. Larkham. ‘Sense of Place, Authenticity and Character: A Commentary.’ Journal of Urban Design 8, no. 1 (2003): 63-79.

Johnston, Mark. Saving God: Religion after Idolatry. Princeton: Princeton University Press, 2009.

Jones, Mary. ‘The Discourses of the Secular Sublime and the Concepts of the Numinous and Mysterium Tremendum in the Work of Rudolf Otto.’ Master’s Thesis, University of Leicester, 2017.

Kant, Immanuel. Observations on the Feeling of the Beautiful and Sublime. Cambridge: Cambridge University Press, 2011. van der Leeuw, Gerard. Religion in Essence and Manifestation: A Study in Phenomenology. London: George Allen & Enwin, 1938.

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Lyle, Mark. ‘Architecture and Idolatry in Paradise Lost.’ Studies in English Literature, 1500-1900 40, no. 1 (Winter 2000): 139-55.

Perez-Gomez, Alberto. ‘The City is not a Post-Card.’ In An Eye for Place: Christian Norberg-Schulz: Architect, Historian and Editor, edited by Gro Lauvland. Oslo: Arkitektur Publisering, 2009.

Sharr, Adam. Heidegger for Architects. London: Routledge, 2007.

Min, Anselm K. ‘Naming the Unnameable God: Levinas, Derrida, and Marion.’ International Journal for Philosophy of Religion 60, no. 1, (December 2006): 99-116.

Shiner, Larry E. ‘Sacred Space, Profane Space, Human Space.’ Journal of the American Academy of Religion 40, no.

4 (December 1972): 425-436.

Morgan, Michael L. Discovering Levinas. Cambridge: Cambridge University Press, 2007.

Waite, Richard. ‘Renewed hope for Cardross seminary after church finds new owner.’ Architects Journal, July 27, 2020, https://www.architectsjournal.co.uk/news/renewed-hope-forcardross-seminary-after-church-finds-new-owner.

Morin, Marie-Eve. Jean-Luc Nancy. Cambridge: Polity, 2012.

Nancy, Jean-Luc. Being Singular Plural. Translated by Robert Richardson. Palo Alto, California: Stanford University Press, 2001.

Nancy, Jean-Luc. Ego Sum. Translated by Marie-Eve Morin.

New York: Fordham University Press, 2016.

Nancy, Jean-Luc. A Finite Thinking (Cultural Memory in the Present). Palo Alto, California: Stanford University Press, 2003.

Nancy, Jean-Luc. The Muses. Translated by Peggy Kamuf.

Palo Alto, California: Stanford University Press, 1996.

Norberg-Schulz, Christian. Genius Loci: Towards a Phenomenology of Architecture. New York: Rizzoli, 1980.

NVA, ‘Debate of the future of St Peter's Seminary at the Venice Architectural Biennale 2010,’ July 30, 2018, https://www. youtube.com/watch?v=LDuiqcRnMXM Otto, Rudolf. The Idea of the Holy, Translated by John W. Harvey. London: Oxford University Press, 1923.

Watters, Diane M. St Peter’s, Cardross: Birth, Death and Renewal. Edinburgh: Historic Environment Scotland, 2016.

Weidler, Markus. ‘Critique of Idolatry.’ Monatshefte 104, no. 4 (Winter 2012): 482-496.

Wenell, Karen. ‘St Peter’s College and the Desacralisation of Space.’ Literature and Theology 21, no. 3 (Autumn 2007): 259-275. https://doi-org.ezproxy.is.ed.ac.uk/10.1093/litthe/ frmo24.

Whyte, William. ‘How do buildings mean? Some issues of interpretation in the history of architecture’ History and Theory 45, no.2 (May 2006): 153-177.

Wilken, Rowan. ‘Critical Reception of Norberg-Schulz’s Writings on Heidegger and Place.’ Architectural Theory Review 18, no. 3 (2013): 337-352.

Young, Julian. ‘The Fourfold.’ In The Cambridge Companion to Heidegger, edited by Charles B. Guignon, 377-88. Cambridge: Cambridge University Press, 2006.

116

115

Longinus, Cassius. Longinus on the Sublime: The Peri Hupsous. Translated by Nicolas Boileau-Depreaux. New York: Scholars Facsimilies & Reprint, 1975.

Lyle, Mark. ‘Architecture and Idolatry in Paradise Lost.’ Studies in English Literature, 1500-1900 40, no. 1 (Winter 2000): 139-55.

Perez-Gomez, Alberto. ‘The City is not a Post-Card.’ In An Eye for Place: Christian Norberg-Schulz: Architect, Historian and Editor, edited by Gro Lauvland. Oslo: Arkitektur Publisering, 2009.

Sharr, Adam. Heidegger for Architects. London: Routledge, 2007.

Min, Anselm K. ‘Naming the Unnameable God: Levinas, Derrida, and Marion.’ International Journal for Philosophy of Religion 60, no. 1, (December 2006): 99-116.

Shiner, Larry E. ‘Sacred Space, Profane Space, Human Space.’ Journal of the American Academy of Religion 40, no.

4 (December 1972): 425-436.

Morgan, Michael L. Discovering Levinas. Cambridge: Cambridge University Press, 2007.

Waite, Richard. ‘Renewed hope for Cardross seminary after church finds new owner.’ Architects Journal, July 27, 2020, https://www.architectsjournal.co.uk/news/renewed-hope-forcardross-seminary-after-church-finds-new-owner.

Morin, Marie-Eve. Jean-Luc Nancy. Cambridge: Polity, 2012.

Nancy, Jean-Luc. Being Singular Plural. Translated by Robert Richardson. Palo Alto, California: Stanford University Press, 2001.

Nancy, Jean-Luc. Ego Sum. Translated by Marie-Eve Morin.

New York: Fordham University Press, 2016.

Nancy, Jean-Luc. A Finite Thinking (Cultural Memory in the Present). Palo Alto, California: Stanford University Press, 2003.

Nancy, Jean-Luc. The Muses. Translated by Peggy Kamuf.

Palo Alto, California: Stanford University Press, 1996.

Norberg-Schulz, Christian. Genius Loci: Towards a Phenomenology of Architecture. New York: Rizzoli, 1980.

NVA, ‘Debate of the future of St Peter's Seminary at the Venice Architectural Biennale 2010,’ July 30, 2018, https://www. youtube.com/watch?v=LDuiqcRnMXM Otto, Rudolf. The Idea of the Holy, Translated by John W. Harvey. London: Oxford University Press, 1923.

Watters, Diane M. St Peter’s, Cardross: Birth, Death and Renewal. Edinburgh: Historic Environment Scotland, 2016.

Weidler, Markus. ‘Critique of Idolatry.’ Monatshefte 104, no. 4 (Winter 2012): 482-496.

Wenell, Karen. ‘St Peter’s College and the Desacralisation of Space.’ Literature and Theology 21, no. 3 (Autumn 2007): 259-275. https://doi-org.ezproxy.is.ed.ac.uk/10.1093/litthe/ frmo24.

Whyte, William. ‘How do buildings mean? Some issues of interpretation in the history of architecture’ History and Theory 45, no.2 (May 2006): 153-177.

Wilken, Rowan. ‘Critical Reception of Norberg-Schulz’s Writings on Heidegger and Place.’ Architectural Theory Review 18, no. 3 (2013): 337-352.

Young, Julian. ‘The Fourfold.’ In The Cambridge Companion to Heidegger, edited by Charles B. Guignon, 377-88. Cambridge: Cambridge University Press, 2006.

116

Bibliography: Further reading that was indirectly influential.

118

Blundell Jones, Peter. Architecture and Ritual: How Buildings Shape Society. London: Bloomsbury, 2016.

Canmore. ‘Cardross, St Peter’s College.’ Accessed August 4, 2020. https://canmore.org.uk/site/113509/cardross-st-peterscollege.

E-architect. ‘St Peter's Seminary, Cardross.’ Accessed August 3, 2020. https://www.e-architect.co.uk/scotland/st-peters-seminary-cardross.

Gauthier, Francois. ‘Rave and religion? A contemporary youth phenomenon as seen through the lens of religious studies.’ Studies in Religion 33, no. 3 (Autumn 2004): 397413. https://journals-sagepub-com.ezproxy.is.ed.ac.uk/doi/ pdf/10.1177/000842980403300307 Glendinning, Miles. Rebuilding Scotland: The Postwar Vision.

Edinburgh: Tuckwell Press, 1997.

Grigor, Murray. ‘Space and Light.’ Filmed June 1972 at St Peter’s Seminary, Cardross. Video, 20:21. https://www.youtube. com/watch?v=5K8d2n1j-ak Hart, Tom. ‘The raver’s Brigadoon.’ Discovering Britain, February 3, 2015. https://geographical.co.uk/uk/discovering-britain/item/734-the-raver-s-brigadoon Metzstein, Isi, and Andy MacMillan. “Designing St Peter’s Sem-inary, Cardross.” Interviewer unkown. BAHighLife, October 1, 2014. Video, 3:18. https://www.youtube.com/ watch?v=Zi1F-WEfQzAY BBC. ‘Modernist ruin given away by Catholic church after years of decay.’ Accessed July 24, 2020. https://www.bbc. co.uk/news/uk-scotland-53530257?fbclid=IwAR0rFdnJmrMRXPdyuMWhshI7mJ7RTAcOjnIKF8-StmFD55CVEB1huSVIw24 NVA. ‘Hinterland.’ Accessed August 3, 2020. http://nva.org. uk/artwork/hinterland/

Petersson, Anna. ‘Architecture in Secular and Post-secular Conditions. On the Aesthetics of Objectionable Matter.’ PhD Dissertation, KTH School of Architecture, 2012.

Margry, Peter Jan. ‘Secular Pilgrimage: A Contradiction in Terms?’ In Shrines and Pilgrimage in the Modern World: New

Itineraries into the Sacred, edited by Peter Jan Margry, 13-46.

Amsterdam: Amsterdam University Press, 2008.

‘Project Updates: St Peter’s Seminary.’ Hidden Glasgow Forums, Last modified August 1, 2020. http://www.hiddenglasgow.com/forums/viewtopic.php?f=15&t=90&sid=69b0d65f71f5d334239edf89c3ead097&start=330.

Rodger, Johnny. Gillespie, Kidd and Coia 1956-87. Glasgow: RIAS, 2007.

‘Saint Peter's Seminary, Cardross.’ Urban Glasgow, Last mod-ified August 2, 2020. https://urbanglasgow.co.uk/saintpeters-seminary-cardross-t50-s10.html.

Bibliography: Further reading that was indirectly influential.

118

Blundell Jones, Peter. Architecture and Ritual: How Buildings Shape Society. London: Bloomsbury, 2016.

Canmore. ‘Cardross, St Peter’s College.’ Accessed August 4, 2020. https://canmore.org.uk/site/113509/cardross-st-peterscollege.

E-architect. ‘St Peter's Seminary, Cardross.’ Accessed August 3, 2020. https://www.e-architect.co.uk/scotland/st-peters-seminary-cardross.

Gauthier, Francois. ‘Rave and religion? A contemporary youth phenomenon as seen through the lens of religious studies.’ Studies in Religion 33, no. 3 (Autumn 2004): 397413. https://journals-sagepub-com.ezproxy.is.ed.ac.uk/doi/ pdf/10.1177/000842980403300307 Glendinning, Miles. Rebuilding Scotland: The Postwar Vision.

Edinburgh: Tuckwell Press, 1997.

Grigor, Murray. ‘Space and Light.’ Filmed June 1972 at St Peter’s Seminary, Cardross. Video, 20:21. https://www.youtube. com/watch?v=5K8d2n1j-ak Hart, Tom. ‘The raver’s Brigadoon.’ Discovering Britain, February 3, 2015. https://geographical.co.uk/uk/discovering-britain/item/734-the-raver-s-brigadoon Metzstein, Isi, and Andy MacMillan. “Designing St Peter’s Sem-inary, Cardross.” Interviewer unkown. BAHighLife, October 1, 2014. Video, 3:18. https://www.youtube.com/ watch?v=Zi1F-WEfQzAY BBC. ‘Modernist ruin given away by Catholic church after years of decay.’ Accessed July 24, 2020. https://www.bbc. co.uk/news/uk-scotland-53530257?fbclid=IwAR0rFdnJmrMRXPdyuMWhshI7mJ7RTAcOjnIKF8-StmFD55CVEB1huSVIw24 NVA. ‘Hinterland.’ Accessed August 3, 2020. http://nva.org. uk/artwork/hinterland/

Petersson, Anna. ‘Architecture in Secular and Post-secular Conditions. On the Aesthetics of Objectionable Matter.’ PhD Dissertation, KTH School of Architecture, 2012.

Margry, Peter Jan. ‘Secular Pilgrimage: A Contradiction in Terms?’ In Shrines and Pilgrimage in the Modern World: New

Itineraries into the Sacred, edited by Peter Jan Margry, 13-46.

Amsterdam: Amsterdam University Press, 2008.

‘Project Updates: St Peter’s Seminary.’ Hidden Glasgow Forums, Last modified August 1, 2020. http://www.hiddenglasgow.com/forums/viewtopic.php?f=15&t=90&sid=69b0d65f71f5d334239edf89c3ead097&start=330.

Rodger, Johnny. Gillespie, Kidd and Coia 1956-87. Glasgow: RIAS, 2007.

‘Saint Peter's Seminary, Cardross.’ Urban Glasgow, Last mod-ified August 2, 2020. https://urbanglasgow.co.uk/saintpeters-seminary-cardross-t50-s10.html.

120

List of Plates Ordered by Page Number Front Cover

Title Page, Digital Collage by Author.

Collage of altar, Digital Collage by Author.

Historic Background Image: Glasgow School of Art, Gillespie Kidd & Coia Archives.

Accessed November 3rd, 2020. https://www.bbc.co.uk/news/in-pictures-38884020

Historic Background Image: Glasgow School of Art, Gillespie Kidd & Coia Archives.

Accessed November 3rd, 2020. https://www.architectsjournal.co.uk/news/opinion/ cardross-a-scottish-tragedy

Contemporary Frontal Image: Photograph by Author, 2018.

63-64

73-74

81-82

Contemporary Frontal Image: Photograph by Gareth Gardner, Accessed November 3rd, 2020. https://garethgardner.com/portfolio/st-peters-seminary

Spectre of Crypt Ramp, Digital Collage by Author.

Collage through Chapel, Digital Collage by Author.

Background Image: Glasgow School of Art, Gillespie Kidd & Coia Archives.

Accessed November 6th, 2020. https://www.theguardian.com/uk-news/2019/feb/08/scottishmodernist-ruin-awaits-a-saviour-a-photo-essay-st-peters-seminary-cardross

Historic Background Image: Glasgow School of Art, Gillespie Kidd & Coia Archives.

Accessed November 6th, 2020. https://www.apollo-magazine.com/st-peters-seminary-incardross-better-off-ruined/

Contemporary Frontal Image: Photograph by Russell Anley Accessed November 6th, 2020. https://www.flickr.com/photos/russardo/albums/72157650824929122

Contemporary Frontal Image: ArchDaily.

Accessed November 5th, 2020. https://www.archdaily.com/576234/avanti-and-nordselected-to-revitalize-st-peter-s-seminary-in-scotland/5487684ae58ecec795000189-space_light_stills_012ajpg

Spectres of Ritual, Digital Collage by Author.

Collage of Chapel, Digital Collage by Author.

Historic Background Image: Archdiocese of Glasgow, Accessed November 3rd, 2020. https://www.historicenvironment.scot/about-us/news/first-fullhistory-of-modernist-ruin-to-be-published/

Historic Background Image: Glasgow School of Art, Gillespie Kidd & Coia Archives.

Accessed November 3rd, 2020. https://www.bbc.co.uk/news/in-pictures-38884020

Contemporary Frontal Image: Photograph by wolfism.

Accessed November 3rd, 2020. https://www.flickr.com/photos/wolfism/albums/72157687022127751

Contemporary Frontal Image: Photograph by Author, 2018.

93-94

103-104

120

List of Plates Ordered by Page Number Front Cover

Title Page, Digital Collage by Author.

Collage of altar, Digital Collage by Author.

Historic Background Image: Glasgow School of Art, Gillespie Kidd & Coia Archives.

Accessed November 3rd, 2020. https://www.bbc.co.uk/news/in-pictures-38884020

Historic Background Image: Glasgow School of Art, Gillespie Kidd & Coia Archives.

Accessed November 3rd, 2020. https://www.architectsjournal.co.uk/news/opinion/ cardross-a-scottish-tragedy

Contemporary Frontal Image: Photograph by Author, 2018.

63-64

73-74

81-82

Contemporary Frontal Image: Photograph by Gareth Gardner, Accessed November 3rd, 2020. https://garethgardner.com/portfolio/st-peters-seminary

Spectre of Crypt Ramp, Digital Collage by Author.

Collage through Chapel, Digital Collage by Author.

Background Image: Glasgow School of Art, Gillespie Kidd & Coia Archives.

Accessed November 6th, 2020. https://www.theguardian.com/uk-news/2019/feb/08/scottishmodernist-ruin-awaits-a-saviour-a-photo-essay-st-peters-seminary-cardross

Historic Background Image: Glasgow School of Art, Gillespie Kidd & Coia Archives.

Accessed November 6th, 2020. https://www.apollo-magazine.com/st-peters-seminary-incardross-better-off-ruined/

Contemporary Frontal Image: Photograph by Russell Anley Accessed November 6th, 2020. https://www.flickr.com/photos/russardo/albums/72157650824929122

Contemporary Frontal Image: ArchDaily.

Accessed November 5th, 2020. https://www.archdaily.com/576234/avanti-and-nordselected-to-revitalize-st-peter-s-seminary-in-scotland/5487684ae58ecec795000189-space_light_stills_012ajpg

Spectres of Ritual, Digital Collage by Author.

Collage of Chapel, Digital Collage by Author.

Historic Background Image: Archdiocese of Glasgow, Accessed November 3rd, 2020. https://www.historicenvironment.scot/about-us/news/first-fullhistory-of-modernist-ruin-to-be-published/

Historic Background Image: Glasgow School of Art, Gillespie Kidd & Coia Archives.

Accessed November 3rd, 2020. https://www.bbc.co.uk/news/in-pictures-38884020

Contemporary Frontal Image: Photograph by wolfism.

Accessed November 3rd, 2020. https://www.flickr.com/photos/wolfism/albums/72157687022127751

Contemporary Frontal Image: Photograph by Author, 2018.

93-94

103-104

122

List of Illustrations Ordered by Page Number 7

St Peter’s College ground floor plan, Gillespie, Kidd & Coia Archive, Glasgow School of Art. Accessed November 17th, 2020. https://gsaarchives.net/collections/index.php/gkc-cc-3-1-11

9-10

West Elevation of St Peter’s, December 1961, Gillespie, Kidd & Coia Archive, Glasgow School of Art. Accessed November 17th, 2020. https://gsaarchives.net/collections/index.php/gkc-cc-3-10-11

19

Map of Saint Peter’s Seminary grounds, Drawn by Author.

22

Plan of Saint Peter’s Seminary, Drawn by Author.

26

Plan of Saint Peter’s Seminary, Drawn by Author.

30

Plan of Saint Peter’s Seminary, Drawn by Author.

33

Plan of Saint Peter’s Seminary, Drawn by Author.

40

Plan of Saint Peter’s Seminary, Drawn by Author.

45

Plan of Saint Peter’s Seminary, Drawn by Author.

49

Plan of Saint Peter’s Seminary, Drawn by Author.

53

Plan of Saint Peter’s Seminary, Drawn by Author.

Kantian Etymologies of the Sublime, Diagram by Author

107

Survey Results, Diagram by Author

138

122

List of Illustrations Ordered by Page Number 7

St Peter’s College ground floor plan, Gillespie, Kidd & Coia Archive, Glasgow School of Art. Accessed November 17th, 2020. https://gsaarchives.net/collections/index.php/gkc-cc-3-1-11

9-10

West Elevation of St Peter’s, December 1961, Gillespie, Kidd & Coia Archive, Glasgow School of Art. Accessed November 17th, 2020. https://gsaarchives.net/collections/index.php/gkc-cc-3-10-11

19

Map of Saint Peter’s Seminary grounds, Drawn by Author.

22

Plan of Saint Peter’s Seminary, Drawn by Author.

26

Plan of Saint Peter’s Seminary, Drawn by Author.

30

Plan of Saint Peter’s Seminary, Drawn by Author.

33

Plan of Saint Peter’s Seminary, Drawn by Author.

40

Plan of Saint Peter’s Seminary, Drawn by Author.

45

Plan of Saint Peter’s Seminary, Drawn by Author.

49

Plan of Saint Peter’s Seminary, Drawn by Author.

53

Plan of Saint Peter’s Seminary, Drawn by Author.

Kantian Etymologies of the Sublime, Diagram by Author

107

Survey Results, Diagram by Author

138

124

List of Figures Ordered by Page Number Inside Cover

Misty view of Seminary Roof, Photograph by Lewis Murray

View inside Convent, Photograph by Lewis Murray

21

4

Seminary Exterior, Gillespie, Kidd & Coia Archive, Glasgow School of Art. Accessed November 17th, 2020. http://www.unofficialbritain.com/an-exploration-of-st-peterscardross/

View from Convent to Seminary, Photograph by Lewis Murray

23

Misty view of Seminary, Photograph by Lewis Murray

25

11

The Sanctuary, Gillespie, Kidd & Coia Archive, Glasgow School of Art. Accessed November 3rd, 2020. https://www.architectsjournal.co.uk/news/opinion/ cardross-a-scottish-tragedy

13-14

The ruined Chapel, Photograph by Author

15

Damaged Altar, Photograph by the justified sinner.

Accessed November 19th, 2020. https://www.flickr.com/photos/the_justified_sinner/3600336047/in/photolist-6u9Etr-6uaPJX-KTMNT-5rW1ov6uaxZk-5mrT5c-6qyweG-4MNKk2-KTMKM-2wXpu9-KTDbM-6ueJeJ-4XweTm-4EEnjd-FpEge-6ub4E4-FpCJA-FpCWE6u9DKM-6uetzs-6ueSBd-6uestj-9wezNJ-9wbymc-FpCMU4TJyYS-6ueqp9-6uaFEV-6uak3B-6qyhnj-8c1YVY-9weyRU6u9PAD-6qytR3-2wXvsA-szzr1-2wSKrn-6qynwE-2wSspz2wSuZK-6AKAbF-2fBMpi-5s1ikj-5rW1GB-6vFkoL-szzrB-2wXi7q-6AKAmV-2wSQAX-6vB8vc/

Courtyard steps, Photograph by Paula Szturc Accessed November 17th, 2020. https://www.instagram.com/p/CETk5o7pTrm/

27

Basement staircase, Photograph by Author

28

Refectory, St Peter’s Seminary, Cardross, Scotland, Photograph by Quintin Lake, The Perimeter, Accessed November 14th, 2020. https://theperimeter.uk/2018/06/30/day-206-dumbarton-tohelensburgh-st-peters-seminary/

29

View of Chapel, Photograph by Lewis Murray

32

Framework, Photograph by Author

34

Crypt ramp, Photograph by Lewis Murray

36

18

Misty view of Seminary, Photograph by Lewis Murray

Metalwork, Photograph by Lewis Murray

38

20

Seminary fence, Photograph by Luke Sewell, Accessed November 19th, 2020. https://lukeprints.co.uk/st-peters-seminary-the-lost-future/

Descent into the Crypt, Photograph by Lewis Murray

39

124

List of Figures Ordered by Page Number Inside Cover

Misty view of Seminary Roof, Photograph by Lewis Murray

View inside Convent, Photograph by Lewis Murray

21

4

Seminary Exterior, Gillespie, Kidd & Coia Archive, Glasgow School of Art. Accessed November 17th, 2020. http://www.unofficialbritain.com/an-exploration-of-st-peterscardross/

View from Convent to Seminary, Photograph by Lewis Murray

23

Misty view of Seminary, Photograph by Lewis Murray

25

11

The Sanctuary, Gillespie, Kidd & Coia Archive, Glasgow School of Art. Accessed November 3rd, 2020. https://www.architectsjournal.co.uk/news/opinion/ cardross-a-scottish-tragedy

13-14

The ruined Chapel, Photograph by Author

15

Damaged Altar, Photograph by the justified sinner.

Accessed November 19th, 2020. https://www.flickr.com/photos/the_justified_sinner/3600336047/in/photolist-6u9Etr-6uaPJX-KTMNT-5rW1ov6uaxZk-5mrT5c-6qyweG-4MNKk2-KTMKM-2wXpu9-KTDbM-6ueJeJ-4XweTm-4EEnjd-FpEge-6ub4E4-FpCJA-FpCWE6u9DKM-6uetzs-6ueSBd-6uestj-9wezNJ-9wbymc-FpCMU4TJyYS-6ueqp9-6uaFEV-6uak3B-6qyhnj-8c1YVY-9weyRU6u9PAD-6qytR3-2wXvsA-szzr1-2wSKrn-6qynwE-2wSspz2wSuZK-6AKAbF-2fBMpi-5s1ikj-5rW1GB-6vFkoL-szzrB-2wXi7q-6AKAmV-2wSQAX-6vB8vc/

Courtyard steps, Photograph by Paula Szturc Accessed November 17th, 2020. https://www.instagram.com/p/CETk5o7pTrm/

27

Basement staircase, Photograph by Author

28

Refectory, St Peter’s Seminary, Cardross, Scotland, Photograph by Quintin Lake, The Perimeter, Accessed November 14th, 2020. https://theperimeter.uk/2018/06/30/day-206-dumbarton-tohelensburgh-st-peters-seminary/

29

View of Chapel, Photograph by Lewis Murray

32

Framework, Photograph by Author

34

Crypt ramp, Photograph by Lewis Murray

36

18

Misty view of Seminary, Photograph by Lewis Murray

Metalwork, Photograph by Lewis Murray

38

20

Seminary fence, Photograph by Luke Sewell, Accessed November 19th, 2020. https://lukeprints.co.uk/st-peters-seminary-the-lost-future/

Descent into the Crypt, Photograph by Lewis Murray

39

125

42

Light and Meditations, Photograph by Lewis Murray

44

Shadowy Depths, Photograph by Lewis Murray

46

View of Main Space, Photograph by Lewis Murray

East Kilbride Church, Gillespie, Kidd & Coia Archive, Glasgow School of Art. Accessed November 24th, 2020. https://gsaarchives.net/2013/11/gillespie-kidd-coias-st-brideschurch-in-east-kilbride-scoops-third-prize-in-top-10-modernchurch-in-britain/

143

145

48

Seminary Walkway, Photograph by Lewis Murray

50

Fractured altar, Photograph by Lewis Murray

Laying of the foundation stone, 8th September 1964, Archdiocese of Glasgow Accessed November 24th, 2020. https://sometimes-interesting.com/2015/03/14/specter-of-st-peters-seminary/

52

Secondary view of Main space, Photograph by Lewis Murray

Aftermath of Arson, Photograph by the justified sinner.

54

View through Skeleton, Photograph by Lewis Murray

56

Concrete Carcass, Photograph by Lewis Murray

58

View of Tiled Cell, Photograph by Lewis Murray

60

Misty view of Seminary Roof, Photograph by Lewis Murray

141

142

Archbishop Scanlan cutting the first sod, Archdiocese of Glasgow Accessed November 24th, 2020. https://www.theglasgowstory.com/image/?inum=TGSX00001

Opening Ceremony at St Peter’s, 1966, Archdiocese of Glasgow Accessed November 24th, 2020. https://www.historicenvironment.scot/about-us/news/first-fullhistory-of-modernist-ruin-to-be-published/

147

Accessed November 25th, 2020. https://www.flickr.com/photos/the_justified_sinner/3600506745/in/photostream/

Le Corbusier’s Monastery of La Tourette, Photograph by Mary Gaudin Accessed November 19th, 2020. https://divisare.com/projects/380530-le-corbusier-mary-gaudin-la-tourette

149

The smashed altar, Photograph by James Johnson, in Diane Watters, St Peter’s Cardross: Birth, Death and Renewal (Edinburgh: Historic Environment Scotland, 2016), 216.

150

Barbecue on Altar, Photograph by lucky poet Accessed November 19th, 2020. http://www.hiddenglasgow.com/forums/viewtopic. php?f=15&t=90&hilit=st.+peters+seminary&start=180

151

Hinterland Light Modulation, Photograph by NVA Accessed November 19th, 2020. http://nva.org.uk/artwork/kilmahew-st-peters/

152

126

125

42

Light and Meditations, Photograph by Lewis Murray

44

Shadowy Depths, Photograph by Lewis Murray

46

View of Main Space, Photograph by Lewis Murray

East Kilbride Church, Gillespie, Kidd & Coia Archive, Glasgow School of Art. Accessed November 24th, 2020. https://gsaarchives.net/2013/11/gillespie-kidd-coias-st-brideschurch-in-east-kilbride-scoops-third-prize-in-top-10-modernchurch-in-britain/

143

145

48

Seminary Walkway, Photograph by Lewis Murray

50

Fractured altar, Photograph by Lewis Murray

Laying of the foundation stone, 8th September 1964, Archdiocese of Glasgow Accessed November 24th, 2020. https://sometimes-interesting.com/2015/03/14/specter-of-st-peters-seminary/

52

Secondary view of Main space, Photograph by Lewis Murray

Aftermath of Arson, Photograph by the justified sinner.

54

View through Skeleton, Photograph by Lewis Murray

56

Concrete Carcass, Photograph by Lewis Murray

58

View of Tiled Cell, Photograph by Lewis Murray

60

Misty view of Seminary Roof, Photograph by Lewis Murray

141

142

Archbishop Scanlan cutting the first sod, Archdiocese of Glasgow Accessed November 24th, 2020. https://www.theglasgowstory.com/image/?inum=TGSX00001

Opening Ceremony at St Peter’s, 1966, Archdiocese of Glasgow Accessed November 24th, 2020. https://www.historicenvironment.scot/about-us/news/first-fullhistory-of-modernist-ruin-to-be-published/

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Accessed November 25th, 2020. https://www.flickr.com/photos/the_justified_sinner/3600506745/in/photostream/

Le Corbusier’s Monastery of La Tourette, Photograph by Mary Gaudin Accessed November 19th, 2020. https://divisare.com/projects/380530-le-corbusier-mary-gaudin-la-tourette

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The smashed altar, Photograph by James Johnson, in Diane Watters, St Peter’s Cardross: Birth, Death and Renewal (Edinburgh: Historic Environment Scotland, 2016), 216.

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Barbecue on Altar, Photograph by lucky poet Accessed November 19th, 2020. http://www.hiddenglasgow.com/forums/viewtopic. php?f=15&t=90&hilit=st.+peters+seminary&start=180

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Hinterland Light Modulation, Photograph by NVA Accessed November 19th, 2020. http://nva.org.uk/artwork/kilmahew-st-peters/

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Graffiti, Photograph, in Diane Watters, St Peter’s Cardross: Birth, Death and Renewal (Edinburgh: Historic Environment Scotland, 2016), 229.

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Still from Space & Light (at 10:14), by Murray Grigor Accessed November 28th, 2020. https://www.youtube.com/watch?v=5K8d2n1j-ak&t=1030s

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Still from Space & Light Revisited (at 5:34), by Murray Grigor Accessed November 28th, 2020. https://vimeo.com/130985792

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Still from Space & Light Revisited (at 5:34), by Murray Grigor Accessed November 28th, 2020. https://vimeo.com/130985792

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Still from Space & Light Revisited (at 14:08), by Murray Grigor Accessed November 28th, 2020. https://vimeo.com/130985792

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Still from Space & Light Revisited (at 14:08), by Murray Grigor Accessed November 28th, 2020. https://vimeo.com/130985792

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Graffiti, Photograph by Angus Farquhar Accessed November 29th, 2020. http://www.uncubemagazine.com/blog/15571685

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Graffiti, Photograph by gorecki Accessed November 29th, 2020. https://www.28dayslater.co.uk/threads/st-peters-seminarycardross-march-2011.58816/

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Graffiti, Photograph by Abandoned Scotland Accessed November 29th, 2020. http://www.abandonedscotland.com/st-peters-seminary-december-2011-guest-article/

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Graffiti, Photograph, in Diane Watters, St Peter’s Cardross: Birth, Death and Renewal (Edinburgh: Historic Environment Scotland, 2016), 229.

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Still from Space & Light (at 10:14), by Murray Grigor Accessed November 28th, 2020. https://www.youtube.com/watch?v=5K8d2n1j-ak&t=1030s

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Still from Space & Light Revisited (at 5:34), by Murray Grigor Accessed November 28th, 2020. https://vimeo.com/130985792

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Still from Space & Light Revisited (at 5:34), by Murray Grigor Accessed November 28th, 2020. https://vimeo.com/130985792

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Still from Space & Light Revisited (at 14:08), by Murray Grigor Accessed November 28th, 2020. https://vimeo.com/130985792

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Still from Space & Light Revisited (at 14:08), by Murray Grigor Accessed November 28th, 2020. https://vimeo.com/130985792

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Graffiti, Photograph by Angus Farquhar Accessed November 29th, 2020. http://www.uncubemagazine.com/blog/15571685

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Graffiti, Photograph by gorecki Accessed November 29th, 2020. https://www.28dayslater.co.uk/threads/st-peters-seminarycardross-march-2011.58816/

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Graffiti, Photograph by Abandoned Scotland Accessed November 29th, 2020. http://www.abandonedscotland.com/st-peters-seminary-december-2011-guest-article/

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Saint Peter’s Seminary

The building itself is deconsecrated so I do not feel it has been desecrated The building itself is deconsecratedItso I do not feel it has been It very and historical looked very interesting anddesecrated historical ifitlooked they did not want it mystique desecrated they have kept the building running.

There's also a interesting sort ofbut about it should There's also a sort of mystique about it if they did not ,want it desecrated they should have kept the building running. , had an eery feel the structure of the building was beautiful it had an eery feel but the structureThe of the building was beautiful high, openarchitecture ceilings withThe each floor The high, open ceilings with each floor We were studying the lasting effects of brutalist architecture We were studying the lasting effects of brutalist integrity of the structure.

The light and the sounds The integrity ofWould the structure. light the soundsHauntingly beautiful Would definitely say that this is disrespectful definitelyThe say thatand this isbeautiful disrespectful Hauntingly The desolation ofgood the building.

IItconsider the building totouted bedesign, artwork.

Too an opportunity to pass up.

I consider the building itself to be artwork.

Too good an opportunity to pass up.

Throughout my studies itbrutalist was andand shared as an exemplar Scottish Modernism Throughout my studies it was touted and shared as an exemplar of Scottish Modernism stillsay has acurrent powerto inthe itsitself almostof unique It still has a power in its brutalist design, and which seems almost unique within Scotland I think the current condition of the building is beautiful so I would no I think the condition of the building is which beautiful so I would say no within Scotland There is sadness building in its current state seems I went on a field trip with my class There is sadness to the building in its current state I went on a field trip with my class Breathtaking through the building however, there’s anofeerie ambience; it’s quiet, nothing but your own echoes The ofBreathtaking the Walking through the building eerie ambience; quiet, nothing but ownbuilding. echoesWalking the factrecommended that it shows the ravages of time is part its story and its signficance the however, fact that itthere’s showsan the ravages of timeit’s isIt part of its desolation story andyour its It was to me by a that friend was recommended to me by friend Brutalist architecture, crumbling.

It’s sort ofeven apocalyptic.

Brutalist architecture, crumbling.

It’s of signficance apocalyptic.

As a result much of the ruination covered theinsite had been removed - in a way sterilising the site a very interesting and photogenic building its dilapidated condition a very interesting andhad photogenic building insort its dilapidated condition As a result much of the ruination that covered the site been removed - ineven a way sterilising theasite It was coldisand night in March It was a was coldinside andthe dark ininside March Igrand think there alotdark ofyou disrespect to itwhat the building was with the art work inside The desolation of thea building.

I think there is alot of disrespect to what thewhen building with artnight work feeling when get inside looks massive grand feeling you get it looks massive theres a lot of water damage I'd say and most of the place looks quite beat up Very interesting, quite a sight to behold interesting, quite a sight to Yea Yea theres a lot of water damage I'd say and mostVery ofit the place looks quite beat up itbehold was an amazing experience was an amazing experience IIt's was intrigued!

I think Scottish modernist architecture can be really fascinating Ino was intrigued!

I think Scottish modernist architecture can belike really fascinating The desolation of the building. size and presence.

It's like no building I have ever seen sobuildings imposing but yet hidden in nature.

I have never experienced a building likeyou that so close It's size and presence. It'sThe likeloss building I have ever seen before.

It is so imposing but yet hidden in nature.

I have never experienced a building that so close The loss of walls and partitions certainly have altered the dynamics ofisthe of walls and partitions certainly have theto dynamics ofyou the buildings “secret building inaltered Glasgow that makes feel like you’re invery Berlin “secret building in Glasgow thatvery makes feel like you’re inbefore.

Berlin It It was hard to get into and muddy It was very hard get into and very muddy The brutalist architecture fascinates me.

It is ugly yet compelling at the same time.

The brutalist architecture fascinates me.

It is ugly yet compelling at the same time.

The desolation of the building.

Yes, the current condition of St.Peter’s seminary has been violated by the public Enjoyable but with little freedom Yes, the current condition St.Peter’s seminary has been violated by the public Enjoyable but with little freedom It never became completed so in my mind itaisn’t a time holy ago place.

It neverof became completed so in my mind it isn’t a holy place.

No, as it had stopped being a holy building long No, as it had stopped being a holy building a long time ago It was hard to get to, but that added to the experience Itdetailed was hard to graffiti, get to, but added to the experience detailed with graffiti, the siteaspects definitelyare didn’t disappoint with thethat site definitely didn’t disappoint The desolation ofspecifically the building.

I art can’t what particularly lamentable The arches.

The artsay I can’t specifically say what aspects are particularly lamentable The arches.

TheYes, absolutely.

We just took pictures and listened to music and sat and chattedarchitecture Yes, absolutely.

We just took pictures and listened to music and sat and chatted The combination of the location and dramatic.. even pompous so unusual Its highly unique even as just a bare structure so is still something of worth, it’s arguably even and moreunique than if it were wholly complete. of the and dramatic.. evenarguably pompous architecture unusual and unique Its highly unique even asThe justcombination a bare structure solocation is still something of worth, even more thanit’s if itsowere wholly complete.

Other than graffiti, no Other than graffiti,ItThe ano feeling of what could become openness to itthe building makes it light, inviting and easy to explore and also all the grafitti. a feeling of Itwhat itallcould become thenature/unusual building makesarchitecture it light, inviting and easy toadventure explore was really interested to see the contrast of the nature/unusual architecture felt like an adventure was really interested to seeThe the openness contrast oftothe and also the grafitti. felt like an I all do not believe it itand toisbe a desecration at all placesurroundings was areligious nostalgia Idetrimental do from not believe it immediate toIt be a adesecration atItwouldn't all sorts of graffiti vandalism taken in the location which is a real shame and takes away from the architecture of the building all sorts of graffiti and vandalism have taken place in the location which is a real shame andreligious takes thetoarchitecture ofnostalgia the building was trip say that detrimental to its immediate I'm not sotrip Iby wouldn't usehave the word desecration wouldn't that it isaway itsthe surroundings I'm say not so I wouldn't use the word desecration I'd got been fascinated thepresents place for some time.

I'd been fascinated by place for some time.We took a lot of pictures We took a lot of pictures Its a unique look and an excellent canvas for graffiti art and photography Its got a unique look and presents an excellent canvas for graffiti art and photography The wonder of the location, the exploration the forbidden The wonder of the location, exploration aspect theconstructed forbidden Primarily I consider was interested to the aspect buildingand to enjoy its design and also to learn about how it works and how it was constructed The desolation of the building.

Primarily I was interested to experience the building to enjoy its design and also to learn aboutthe how it works consider and howand it was wouldn't to beexperience desecrated.

I through wouldn't to be desecrated. visited with a tothe explore the premises, take and skateboard through it,decay although was toonature rocky taking over man made structure am not one forfriend the this so called ""rubble porn"" school of photography that romanticises anditrelishes took a lot ofaphotographs about thisChurch intriguing placepictures II.building view it as failure of Catholic I visited with a friendoftophotography explore the premises, take pictures it, although itof was too rocky I am not one for the so called ""rubble porn"" school that romanticises decayand andskateboard relishes nature taking over man made structure took a lot of photographs about thisthis intriguing placeChurch I view it as a failure the Catholic It’s a pretty large building with lots of floors but the main part is pretty awesome.

It’s open andand spacious that looked like an abandoned car park . It’s a- Ipretty large building with is lots of floors together but the main part is which pretty awesome.

It’sanopen andintangible spacious building thatis looked like abandoned car park the decay totallywhat natural theinteresting decay is totally natural Not at all - is I think it represents is aa melding together of cultures which is really interesting intangible Not at all think what it represents a melding of cultures really and I think perhaps if you were religious you may find it lamentable The place had acquired something of mythical status in my mind and I needed to see it with my own eyes perhaps if you were religious you may itvandalism lamentable The place had acquired something of a mythicalI think status in my mind and I needed see it withfind my own eyes Unfortunately, The desolation of thearound building. there are a lot of graffitis and you’re vandalism Unfortunately, there are asoon lottoof graffitis and walked perimeter and soonwhen found a gapstanding in the fence walked around the perimeter and found a gap inaat the fence vast space itthe encapsulates inside atnever the the vast space itwe encapsulates inside when you’re standing the topthe hardly recognisable asarrived athat seminary hardly recognisable asof seminary It was eerie, when we we realised the buildings were fully completed It was eerie, when we arrived realised the buildings were never fully completed I would definitely agree it is desecration in the truest sense of top the word I would definitely agree that it is desecration in the truest sense the word they were rather negative about the building saying its ugly they were rather negative about the building saying its ugly and wondering what it was like when the building was still in use The strange dome shaped cells are curious and beautiful, they add aelse. level of aesthetic design to an otherwise brutish looking building and wondering what it was like when the building was still in use The strange dome shaped cells are curious and beautiful, theyAsadd a level of aesthetic design to an otherwise brutish looking building There's something quite nice about going where you shouldn't be going There's something quite nice about going where you shouldn't be going As I eluded to earlier I think the building has evolved into something I also felt it would add an additional layer of interest that the building was formerly used for religious purposes I of eluded to earlier I think the building has evolved into something else.

Photography uses I also felt it would add an additional layerIt's interest that the building was formerly used for religious purposes It's been a victim of changing circumstances and its remote location.

Photography uses Its been aconcrete victim of skeleton changingbecomes circumstances and its remote location.

Large concrete skeleton becomes a canvas for art and expression.

Large a canvas for art and expression. bizarrely uninviting It aareally great time honestly albeit seeing the wrecked altar ropesthat attached, andissubsequently seeing the of altar did provoke a negative reaction Its uninviting albeit seeing the wrecked altar with ropes attached, andI subsequently seeingisthe altar destroyed, did abizarrely negative reaction It wasprovoke a an really great time honestly I’mwas religious person so while I think the graffiti a bit much, that’s more an destroyed, aesthetic preference the building had been ruined bywith graffiti I’m not a religious person so while think that the graffiti a bit much, that’s more of aesthetic preference the building had been ruined by graffitiit's anot complex/compound it's athis complex/compound was very interesting, yet strange IIIt dont find this to abe unrespectful It was very interesting, yet strange I dont find to be unrespectful haven't been the site in quite a while, but at the time I felt nothing of the sort the broken cross, which wouldve been the altar I haven't been to the site in quite a while, but at the time I felt nothing of the sort the broken cross, which wouldve been the altar went there with friend of mine who also studies architecture think it goes without saying that the concrete skeleton is the most crucial aspect of what I went there with a friend of mine whomost also crucial studiesaspect architecture I think it goes without saying that the concrete skeleton isBrutalist/Modernist the of what Fascinated about architecture Fascinated about architecture Scary, but more inBrutalist/Modernist an unsafe Don't get me wrong, i liked the idea that they were going for towe turn it into a useable space again, but now that the project fallen through, they've spoiled a near holy place with ugly metal fencing Scary, but more in an unsafe wayNature was the most interesting of allway the places have been exploring in terms of architecture, location andhas history reclaiming something so man made. was the most interesting of all the places we have been exploring inNature terms of architecture, location and history reclaiming something so man made.

There was no deliberate damage to the building There was no deliberate damage to the building I find the slow destruction sad but unsurprising it is an important site architecturally and religiously so important to keep it safe and well looked after it is an important site architecturally and religiously so important to keep it safe and well looked after I find the slow destruction sad but unsurprising The over grow approach paths.

The over grow approach paths. ,I Ibelieve don't like acondition desecration toan me.

Overall ifeel think theit's whole building ishad architectural masterpiece, thesuggested different rooms, stairwells and placements are amazing OverallI believe i think the building is an masterpiece, the different rooms, stairwells and placements are amazing ,suggested don't feel it's desecration toA me. the current is quite damaged and has been and shown a lack ofcorridors, but I think the building more interesting was tutored by Mark Banes who worked with Izi Metstein Irespect look at the work ofthat G.Kit&makes C window thewhole current condition is architectural quite damaged andMark has Banes been shown a corridors, lack of respect I think and that itI window makes the building more interesting I was tutored by who had worked with Izibut Metstein Ilike look atathe work of G.K & C serene experience A the serene experience It's remoteness and thewalls large central spacehas showing the concretebut arches The artthe work onmoss all the isopen the best part It's remoteness and the large open central space showing concrete arches The art work on all the walls is the best part I think poor condition/upkeep of the building been regrettable, not on grounds of religion I think the poor condition/upkeep of the building has been regrettable, but not on grounds of religion the water and inside the building I booked tickets online and got aand train and a bus from Edinburgh the location the and moss inside building I booked tickets online andThe got building a train and awater bus from Edinburgh tothe the location The building isbuilding clearly ain skeleton of once was is clearly ainskeleton ofso what once was The industrial used feel the holds.

Regardless of religious beliefs, the space itself it's concrete walls almost felt to layered in years of study, worship and prayer. It had personality and more of a sense of holiness or being sacred than most churches.

Had awith few hours to kill Glasgow sowhat made the trip.

Had a few hours tothrough, kill Glasgow made the trip.

To me I feel like the condition oftothe building add's more character The industrial used feel with the building holds.

To me I feel like the condition ofugly the building add's more character Don't get me wrong, i liked the idea that they were going for to turn it into a useable space again, but now that the project has fallen they've spoiled a near holy place with ugly metal fencing It’s now covered in ugly fences restrict certain areas It’s now covered in fences to restrict certain areas Yes I could consider it to Seminary be a desecration as it has lots of graffiti and damage done to the building It was difficult to find the at first Yes I could consider it to be a desecration as it has lots ofItgraffiti and damage done to the building was difficult to find the Seminary at first I’m attempting tosomething visit allwith remaining buildings designed

by Isi Metzstein The industrial used feel the building holds.

I’m attempting tothe visit all remaining buildings designed by building Isi Metzstein It does feel like out of a dangerous dystopian/ fairytale The industrial used feel the holds.

The industrial used feel with the building holds.

It does feel like something ofwith adangerous dystopian/ fairytale the building was horrible and very fordescribed people building was horrible andout very for people puts you in story. your place, makes you feel small and humble, puts you in awe. puts you in place, makes you feel small and humble, puts you in awe.

Some would say that the graffiti art in general is as tainting somewhere that was destined to be ‘holy’ or ‘respected.’

Some would say that the graffiti art in general is described asyour tainting somewhere that was destined to be ‘holy’ or ‘respected.’

Interesting Interesting architecture to photograph Interesting story.

Interesting architecture to photograph the condition of the building add's more character the condition of the never building add's more character The architecture is very unique, never seen anything like it before The architecture is very unique, seen anything like it before I would not say so, the fencing seems a bit much but I can understand why beenlike put years in place must admit when I visited i sorted of disassociated the religious element toitithas I must admit when I visited i sorted of disassociated the religious element to it I would not say so, the fencing seems a bit much but I can understand why it has been put in place It was extremely fascinating walking around inside the building knowing what itoflooked like years ago before it wasshell abandoned It was extremely fascinating walking around inside the building knowing what agotobefore it was we loved the idea of exploring somewhere you usually can't/being able to seeitto alooked place striped down its outer shellabandoned we loved the idea of exploring somewhere you usually can't/being able tocan see aspace place striped down todeteriorating itsthe outer Obviously some the building had been but I’m not sure if that was from natural causes or from people The sounds were amplified in the central space and it was incredible to listen The sounds were amplified in the central and it was incredible to listen to I like how you can see the original structure of the building.

I like how you see the original structure of building.

Mythical feel too.

My boss was a close friend of Isi Metzstein and it came up in conversation one day My boss was a close friend of Isi Metzstein and it came up in conversation one day Mythical feel too. it just became an interesting building rather than a seminary. it just became an interesting building rather than seminary.

IThe theinterest graffiti alldesign over the building a desecration I think but the graffiti over thedue building is a adesecration I think also contacted the church to get an is official letter get access butme this refused due to the site being unsafe I also contacted the church get an official letterof to getmain access this wasall refused to theto site being unsafe Have an in Modernism structure and of the main building weretowhat attracted to was the building Have interest in Modernism The to structure and design the were what me the building Thean industrial feel with the building holds.

Rain water dripped and pooled all over the Seminary.

Rainbuilding water dripped andattracted pooled all over theused Seminary.

For architectural appreciation and for fun When I arrived I thought it was eerie For architectural appreciation and for fun When I arrived I thought it was eerie experienced a mix of awe at the scale and ambition of the place, yet also an overwhelming air of sadness at the state it had now been left in people making their mark, mostly through graffiti experienced a mix of awe at the scale and ambition of the place, yet also an overwhelming air of sadness at the state it had now been left in people making their mark, mostly through graffiti amost day of urban exploration and taking pictures the building and the graffitiexamples outside of utopian a day of urban exploration and taking of the building and the graffiti am fascinated by brutalist architecture and, inofparticular, expired or failed style architecture graffiti within it be was superb I am by brutalist and, in particular, expired orpictures failed examples of graffiti utopian style Regardless of religious beliefs, the space itself and it's concrete walls almost felt layered in fascinated years of study, worshiparchitecture and prayer.

It had personality and more of a sense ofconsidered holiness or being sacred than IIThe churches.

The brutality architecture The within itarchitecture was outside superb I suppose it would be to be a desecration suppose it would considered to be a desecration a sad reminder that once this place would’ve been one of worship. a sad reminder that once this place would’ve been one of worship.

Curiosity We had no clue where it was and info was quite hard to find on the internet We had no clue where itvery wasparadoxical and info was quite hard to find on the internet it is very paradoxical to the original use for the building it is to the original use for the building Curiosity Not from holy point ofgraffiti viewbehind as the sitewhich was deconsecrated, butrefers purely to aof historically The story the buildings sounded Its covered graffiti creates a very cool atmosphere The story behind buildings sounded cool!

Its covered graffiti which creates athe very atmosphere isinsometimes an eyesore IThe wouldn’t necessarily say desecration ascool! that todue a form damage. important piece of Scottish architecture being allowed to fall into such a poor condition The graffiti is sometimes anaof eyesore I wouldn’t necessarily sayin desecration as thatinrefers to acool form damage. the place was covered inabandon tags and varied artwork the place was covered tags and varied artwork my friend and I like cool buildings my friend and I like cool abandon buildings The graffiti was something that attracted to visit as i like graffiti We then went upit each flight of stairs and filmed/took photos/recordings of the noises and the echoes The was something that attracted visit as ialike graffiti Webut then wentdue up each flight of stairs and graffiti filmed/took photos/recordings ofbeing the to noises and the echoes Not from a holy point of view as the site was deconsecrated, purely to a historically important piece ofOne Scottish architecture allowed to fall into such a condition IOne don't consider to are beabout aa desecration I don't consider it to be Unfortunately, a lot oftotowards graffitis and vandalism. ofpoor thethe best things the is the graffiti Unfortunately, there lot of graffitis and vandalism. ofwell thethere best things about the place isdesecration the graffiti The freedom to do what you want with it.

I’m not bothered about the lack ofplace respect towards theaholy side of space The are freedom doIn you want with it.

I thought place was oddly well respected for such neglected not bothered about the lack of respect the holy side of I thoughtI’m the place was oddly respected for such awhat neglected space itsaIt’s current state the building istoaand monument in flux sad see such a place left to ruin Ialways wouldn't use the word desecration It was a cool place. sad to see a building deteriorate like that I wouldn't use the word desecration always sad to see such place left to ruin The buildings layout and appearance is very unique structure architecture The buildings layout and appearance is very unique The structure and architecture had no problem accessing the seminary and the weather was soinwe had no problem accessing the seminary and the weather wasIt lovely so we spent a while just exploring the whole structure It is an abandoned and uncared for building that holds no gods is anI abandoned and uncared for building that holds no gods thought there was still a strong ofindustrial beauty and awe to bean found in italone thought there was stillisfeel abeautiful strong sense of beauty and awe toto belovely found it spent a while just exploring the whole structure ItIthe has eery look and Itsense has an eery look and feel architecture and should be something be celebrated. the architecture alone is beautiful should be something to be celebrated.

The used feel with the building holds. the altar was a little shocking to see fact that it's a ruin made it more interesting the altar was a little shocking to see the and fact that it's a ruin made it more interesting id read it be named the 'scottish berghain' id read it be named the the 'scottish berghain' IAs wouldn’t sayvery so as is abandoned and is nosun longer for the purpose it was built for took pictures, had somebuilding lunchof&organised a smoke, watched the set, used then left I wouldn’t say so as the building abandoned is lunch no longer used forwatched the purpose it was built for tookispictures, had and some & a smoke, sun set, then left someone suspicious religion itObviously felt rawcertainly and in, there washad a palpable presence and sense ofsure purpose to thefrom space Well it's atmospheric someone very suspicious of organised religion it felt raw and lived in, there was a palpable As presence and sense of it's purpose to the space Well certainly atmospheric the graffiti, thelived symmetry the graffiti, the symmetry some of the building been deteriorating but I’m not if that was some things sprayed onthe thebuildings wall element were strange andplaces creepy and gave a very eerie feel natural causes or from people some things sprayed on themy wall were strangelove andto creepy and gave a very eerie feel never really considered the holy element to it. love to explore abandoned my love of photographing/documenting forgotten never really considered holy to it. explore abandoned buildings love of photographing/documenting forgotten places dark, worn dark, worngraffiti and general deterioration ofmy the building make it so much more enjoyable graffiti and general deterioration ofmany the building make it sointerest much more enjoyable have visited many times, due to interest ininarchitecture I haveIn visited times, due my infor architecture don’t consider it content desecrated all. itswere current state the building is aand monument flux felt slightly creepy Primarily to shoot for aat short film don’t consider it desecrated at IIIIn all. its current state the building iscontent a monument increepy flux Primarily totoshoot a short film II would not consider it to be desecration would not consider itthis to be desecration We there alone time too the whole place We were there alone this time too and the whole place felt slightly The used feel with the building holds. fulland The graffiti artthe throughout the building I industrial feel is a key quality ofThe the building graffiti artitthroughout the building Isome feelinisthe a the key quality of the building IAs liked the raw concrete the repetition shapes I liked raw concrete and the repetition in the shapes I think due to being of graffiti and of type of graffiti there, yesjoining of course it’s disrespectful to afloor previous holy building I think due to it being full of graffiti and some of the type of graffiti that’s there, yes of course it’s disrespectful to a previous holy building itbuilding wasphotos raining ourdo visit wasfilming soundtracked by the drip drop that’s of water slowly puddles on the ground As it was raining our visit was soundtracked by the drip drip drop ofTo water joining puddles on the ground floor The (although decaying) was well worth thedrip visit.

The building (although decaying) was well worth the visit.

To take and some for a project takeslowly photos and do some filming for a project A friend and I drove down from Glasgow A friend and I drove down from Glasgow it was also interesting to imagine how it would have been as a seminary and 'house of God' it was also interesting to imagine howplace. it would have been as atoseminary and pictures 'house ofetc God' I thought itabandoned/derelict looked really cooltoand wanted to go and take like pictures etc I thought looked really cool and wanted go and take It was aof cool place.

It’s are sad see a feel building deteriorate that wasita sad see a building deteriorate like that Interest in buildings some aspects, yes inatabandoned/derelict buildings .Not Some the hallways and eeriecontext - whether or not that is a quality I do not know - but it makes for an unusual experience. desecration as such, atdark least not thispretty particular ItIn was really cool! . Some of the hallways are dark and feel pretty eerie - whether or not that is a Itquality I cool dodesecration not knowIt’s - Interest but itto makes for an unusual experience.

In some aspects, yes Not as such, least not this particular context It was really cool! grew up in cardross and as a child walked my dog and played with friends in the grounds I don’t believe it to be disrespectful as it is known as St Peters Seminary I don’t it towalked be disrespectful asStill it isthe known as St Peters Seminary I grew up in cardross and believe as a child my dog and played with friends the grounds Still the architecture, its understated. architecture, understated. completely wrecked No, I is dislike that they've closed parts of it the off but I get and it see what remains altar is completely wrecked dislike that they've closed parts ofinits itwhat off but I get italtar It was very interesting and fun to explore building It was very interesting No, andI fun to explore the building and see remains It’s local to where I stay but had never visited it fact that anyone and everyone can enter some of the spray painting was very artistic and gave the area a different feel It’svery local to where I stay but had never visited it the the artistic fact that anyone and everyone can enter Even though the abuilding is heavy damaged, is very run down and can’t be used for much as itthrough is really Even though the building is heavy damaged, some ofitthe spray painting was and gave the area amuch different it is very run can’t be used for as itfeel isNot itit was coincidentally near our route while travelling Scotland. was coincidentally near ourdown routeand while travelling through Scotland.

Not really It was no longer religious building It was no longer a religious building We were slightly nervous walking along the path to the building Its covered in graffiti which creates a very cool atmosphere We were nervous walking along the path to the building one of the most interesting buildings i’ve ever encountered one ofslightly therelatively most interesting buildings i’ve ever encountered I think the building shows a huge amount of I think the building shows a huge amount of relatively well preserved some of the main parts well preserved some of the main parts IMy likea it's also just ato skeleton the so building faith is less do withof places ofgood, worship than wonder at the world.

I like it'sofbuilding also just are athan skeleton of really the building the stairs offar the main building are really beautiful My faith is far less do with places worship at the world.

For photo shoot thetostairs of the main sowonder good, beautiful For ainphoto shoot walked around main concourse taking videos walked the and maindecided concourse taking videos It is beautiful in the itsspent ruinous state It is beautiful its ruinous state We came across St Peters Seminary on instagram and decided to take a trip to it We came across St Peters Seminary on around instagram to take a trip to it Definitely the graffiti It was amazing I a lot of my teenage years there It was amazing I spent a lot of my teenage years there Definitely the graffiti In its current state it’s barely possible to get around it mysterious In its current state it’s barely possible toIt's get around itIt's mysterious fascinating to see the shell of this old building For a photography project fascinating to see the shell of this old building For walking abeen photography project IWe have been numerous times There is no the architecture have numerous times There noIbuilding escaping the architecture spent hour there walking around the space festival Wewas spent an is hour there around the space shame, ifanaescaping bit more care wasduring taken the building has huge potential shame, a bit more during care the huge potential Ia have been many times went to see NVA’s Hinterland the Scottish of architecture in 2016 I went to asee NVA’sif Hinterland thetaken Scottish festival ofhas architecture in 2016 I have been many times The graffiti covering much of the buildings walls around The graffiti covering much of the buildings walls has an eerie feeling to it, fascinating to navigate has an eerie feeling to it, fascinating to navigate around thought it presented an interesting opportunity to do some photography and urban exploration remote and unusual location for such a building thought it presented an interesting opportunity to remote do some photography and urban exploration and unusual location for such a building Quite but read the up on around siteitderelict is a big building quality Quite spooky but read up onlandscape itspooky around thethe site is apersonally. big quality adon’t, fun exploring the Ithe personally. a the fun landscape adventure exploring derelict building I don’t, the fact that anyone andadventure everyone can enter Thought it looked cool and somewhere wasn't supposed to be Thought it lookedonce cool inside and somewhere I wasn't supposed to be once inside it was entirely covered with it was entirely covered with graffiti As building someone who's everywhere who's explored everywhere IAs amsomeone interested in abandoned buildings Igraffiti I am the interested inIabandoned The graffiti art throughout feel is explored a keybuildings quality of the building

Saint Peter’s Seminary

Saint Peter’s Seminary

The building itself is deconsecrated so I do not feel it has been desecrated The building itself is deconsecratedItso I do not feel it has been It very and historical looked very interesting anddesecrated historical ifitlooked they did not want it mystique desecrated they have kept the building running.

There's also a interesting sort ofbut about it should There's also a sort of mystique about it if they did not ,want it desecrated they should have kept the building running. , had an eery feel the structure of the building was beautiful it had an eery feel but the structureThe of the building was beautiful high, openarchitecture ceilings withThe each floor The high, open ceilings with each floor We were studying the lasting effects of brutalist architecture We were studying the lasting effects of brutalist integrity of the structure.

The light and the sounds The integrity ofWould the structure. light the soundsHauntingly beautiful Would definitely say that this is disrespectful definitelyThe say thatand this isbeautiful disrespectful Hauntingly The desolation ofgood the building.

IItconsider the building totouted bedesign, artwork.

Too an opportunity to pass up.

I consider the building itself to be artwork.

Too good an opportunity to pass up.

Throughout my studies itbrutalist was andand shared as an exemplar Scottish Modernism Throughout my studies it was touted and shared as an exemplar of Scottish Modernism stillsay has acurrent powerto inthe itsitself almostof unique It still has a power in its brutalist design, and which seems almost unique within Scotland I think the current condition of the building is beautiful so I would no I think the condition of the building is which beautiful so I would say no within Scotland There is sadness building in its current state seems I went on a field trip with my class There is sadness to the building in its current state I went on a field trip with my class Breathtaking through the building however, there’s anofeerie ambience; it’s quiet, nothing but your own echoes The ofBreathtaking the Walking through the building eerie ambience; quiet, nothing but ownbuilding. echoesWalking the factrecommended that it shows the ravages of time is part its story and its signficance the however, fact that itthere’s showsan the ravages of timeit’s isIt part of its desolation story andyour its It was to me by a that friend was recommended to me by friend Brutalist architecture, crumbling.

It’s sort ofeven apocalyptic.

Brutalist architecture, crumbling.

It’s of signficance apocalyptic.

As a result much of the ruination covered theinsite had been removed - in a way sterilising the site a very interesting and photogenic building its dilapidated condition a very interesting andhad photogenic building insort its dilapidated condition As a result much of the ruination that covered the site been removed - ineven a way sterilising theasite It was coldisand night in March It was a was coldinside andthe dark ininside March Igrand think there alotdark ofyou disrespect to itwhat the building was with the art work inside The desolation of thea building.

I think there is alot of disrespect to what thewhen building with artnight work feeling when get inside looks massive grand feeling you get it looks massive theres a lot of water damage I'd say and most of the place looks quite beat up Very interesting, quite a sight to behold interesting, quite a sight to Yea Yea theres a lot of water damage I'd say and mostVery ofit the place looks quite beat up itbehold was an amazing experience was an amazing experience IIt's was intrigued!

I think Scottish modernist architecture can be really fascinating Ino was intrigued!

I think Scottish modernist architecture can belike really fascinating The desolation of the building. size and presence.

It's like no building I have ever seen sobuildings imposing but yet hidden in nature.

I have never experienced a building likeyou that so close It's size and presence. It'sThe likeloss building I have ever seen before.

It is so imposing but yet hidden in nature.

I have never experienced a building that so close The loss of walls and partitions certainly have altered the dynamics ofisthe of walls and partitions certainly have theto dynamics ofyou the buildings “secret building inaltered Glasgow that makes feel like you’re invery Berlin “secret building in Glasgow thatvery makes feel like you’re inbefore.

Berlin It It was hard to get into and muddy It was very hard get into and very muddy The brutalist architecture fascinates me.

It is ugly yet compelling at the same time.

The brutalist architecture fascinates me.

It is ugly yet compelling at the same time.

The desolation of the building.

Yes, the current condition of St.Peter’s seminary has been violated by the public Enjoyable but with little freedom Yes, the current condition St.Peter’s seminary has been violated by the public Enjoyable but with little freedom It never became completed so in my mind itaisn’t a time holy ago place.

It neverof became completed so in my mind it isn’t a holy place.

No, as it had stopped being a holy building long No, as it had stopped being a holy building a long time ago It was hard to get to, but that added to the experience Itdetailed was hard to graffiti, get to, but added to the experience detailed with graffiti, the siteaspects definitelyare didn’t disappoint with thethat site definitely didn’t disappoint The desolation ofspecifically the building.

I art can’t what particularly lamentable The arches.

The artsay I can’t specifically say what aspects are particularly lamentable The arches.

TheYes, absolutely.

We just took pictures and listened to music and sat and chattedarchitecture Yes, absolutely.

We just took pictures and listened to music and sat and chatted The combination of the location and dramatic.. even pompous so unusual Its highly unique even as just a bare structure so is still something of worth, it’s arguably even and moreunique than if it were wholly complete. of the and dramatic.. evenarguably pompous architecture unusual and unique Its highly unique even asThe justcombination a bare structure solocation is still something of worth, even more thanit’s if itsowere wholly complete.

Other than graffiti, no Other than graffiti,ItThe ano feeling of what could become openness to itthe building makes it light, inviting and easy to explore and also all the grafitti. a feeling of Itwhat itallcould become thenature/unusual building makesarchitecture it light, inviting and easy toadventure explore was really interested to see the contrast of the nature/unusual architecture felt like an adventure was really interested to seeThe the openness contrast oftothe and also the grafitti. felt like an I all do not believe it itand toisbe a desecration at all placesurroundings was areligious nostalgia Idetrimental do from not believe it immediate toIt be a adesecration atItwouldn't all sorts of graffiti vandalism taken in the location which is a real shame and takes away from the architecture of the building all sorts of graffiti and vandalism have taken place in the location which is a real shame andreligious takes thetoarchitecture ofnostalgia the building was trip say that detrimental to its immediate I'm not sotrip Iby wouldn't usehave the word desecration wouldn't that it isaway itsthe surroundings I'm say not so I wouldn't use the word desecration I'd got been fascinated thepresents place for some time.

I'd been fascinated by place for some time.We took a lot of pictures We took a lot of pictures Its a unique look and an excellent canvas for graffiti art and photography Its got a unique look and presents an excellent canvas for graffiti art and photography The wonder of the location, the exploration the forbidden The wonder of the location, exploration aspect theconstructed forbidden Primarily I consider was interested to the aspect buildingand to enjoy its design and also to learn about how it works and how it was constructed The desolation of the building.

Primarily I was interested to experience the building to enjoy its design and also to learn aboutthe how it works consider and howand it was wouldn't to beexperience desecrated.

I through wouldn't to be desecrated. visited with a tothe explore the premises, take and skateboard through it,decay although was toonature rocky taking over man made structure am not one forfriend the this so called ""rubble porn"" school of photography that romanticises anditrelishes took a lot ofaphotographs about thisChurch intriguing placepictures II.building view it as failure of Catholic I visited with a friendoftophotography explore the premises, take pictures it, although itof was too rocky I am not one for the so called ""rubble porn"" school that romanticises decayand andskateboard relishes nature taking over man made structure took a lot of photographs about thisthis intriguing placeChurch I view it as a failure the Catholic It’s a pretty large building with lots of floors but the main part is pretty awesome.

It’s open andand spacious that looked like an abandoned car park . It’s a- Ipretty large building with is lots of floors together but the main part is which pretty awesome.

It’sanopen andintangible spacious building thatis looked like abandoned car park the decay totallywhat natural theinteresting decay is totally natural Not at all - is I think it represents is aa melding together of cultures which is really interesting intangible Not at all think what it represents a melding of cultures really and I think perhaps if you were religious you may find it lamentable The place had acquired something of mythical status in my mind and I needed to see it with my own eyes perhaps if you were religious you may itvandalism lamentable The place had acquired something of a mythicalI think status in my mind and I needed see it withfind my own eyes Unfortunately, The desolation of thearound building. there are a lot of graffitis and you’re vandalism Unfortunately, there are asoon lottoof graffitis and walked perimeter and soonwhen found a gapstanding in the fence walked around the perimeter and found a gap inaat the fence vast space itthe encapsulates inside atnever the the vast space itwe encapsulates inside when you’re standing the topthe hardly recognisable asarrived athat seminary hardly recognisable asof seminary It was eerie, when we we realised the buildings were fully completed It was eerie, when we arrived realised the buildings were never fully completed I would definitely agree it is desecration in the truest sense of top the word I would definitely agree that it is desecration in the truest sense the word they were rather negative about the building saying its ugly they were rather negative about the building saying its ugly and wondering what it was like when the building was still in use The strange dome shaped cells are curious and beautiful, they add aelse. level of aesthetic design to an otherwise brutish looking building and wondering what it was like when the building was still in use The strange dome shaped cells are curious and beautiful, theyAsadd a level of aesthetic design to an otherwise brutish looking building There's something quite nice about going where you shouldn't be going There's something quite nice about going where you shouldn't be going As I eluded to earlier I think the building has evolved into something I also felt it would add an additional layer of interest that the building was formerly used for religious purposes I of eluded to earlier I think the building has evolved into something else.

Photography uses I also felt it would add an additional layerIt's interest that the building was formerly used for religious purposes It's been a victim of changing circumstances and its remote location.

Photography uses Its been aconcrete victim of skeleton changingbecomes circumstances and its remote location.

Large concrete skeleton becomes a canvas for art and expression.

Large a canvas for art and expression. bizarrely uninviting It aareally great time honestly albeit seeing the wrecked altar ropesthat attached, andissubsequently seeing the of altar did provoke a negative reaction Its uninviting albeit seeing the wrecked altar with ropes attached, andI subsequently seeingisthe altar destroyed, did abizarrely negative reaction It wasprovoke a an really great time honestly I’mwas religious person so while I think the graffiti a bit much, that’s more an destroyed, aesthetic preference the building had been ruined bywith graffiti I’m not a religious person so while think that the graffiti a bit much, that’s more of aesthetic preference the building had been ruined by graffitiit's anot complex/compound it's athis complex/compound was very interesting, yet strange IIIt dont find this to abe unrespectful It was very interesting, yet strange I dont find to be unrespectful haven't been the site in quite a while, but at the time I felt nothing of the sort the broken cross, which wouldve been the altar I haven't been to the site in quite a while, but at the time I felt nothing of the sort the broken cross, which wouldve been the altar went there with friend of mine who also studies architecture think it goes without saying that the concrete skeleton is the most crucial aspect of what I went there with a friend of mine whomost also crucial studiesaspect architecture I think it goes without saying that the concrete skeleton isBrutalist/Modernist the of what Fascinated about architecture Fascinated about architecture Scary, but more inBrutalist/Modernist an unsafe Don't get me wrong, i liked the idea that they were going for towe turn it into a useable space again, but now that the project fallen through, they've spoiled a near holy place with ugly metal fencing Scary, but more in an unsafe wayNature was the most interesting of allway the places have been exploring in terms of architecture, location andhas history reclaiming something so man made. was the most interesting of all the places we have been exploring inNature terms of architecture, location and history reclaiming something so man made.

There was no deliberate damage to the building There was no deliberate damage to the building I find the slow destruction sad but unsurprising it is an important site architecturally and religiously so important to keep it safe and well looked after it is an important site architecturally and religiously so important to keep it safe and well looked after I find the slow destruction sad but unsurprising The over grow approach paths.

The over grow approach paths. ,I Ibelieve don't like acondition desecration toan me.

Overall ifeel think theit's whole building ishad architectural masterpiece, thesuggested different rooms, stairwells and placements are amazing OverallI believe i think the building is an masterpiece, the different rooms, stairwells and placements are amazing ,suggested don't feel it's desecration toA me. the current is quite damaged and has been and shown a lack ofcorridors, but I think the building more interesting was tutored by Mark Banes who worked with Izi Metstein Irespect look at the work ofthat G.Kit&makes C window thewhole current condition is architectural quite damaged andMark has Banes been shown a corridors, lack of respect I think and that itI window makes the building more interesting I was tutored by who had worked with Izibut Metstein Ilike look atathe work of G.K & C serene experience A the serene experience It's remoteness and thewalls large central spacehas showing the concretebut arches The artthe work onmoss all the isopen the best part It's remoteness and the large open central space showing concrete arches The art work on all the walls is the best part I think poor condition/upkeep of the building been regrettable, not on grounds of religion I think the poor condition/upkeep of the building has been regrettable, but not on grounds of religion the water and inside the building I booked tickets online and got aand train and a bus from Edinburgh the location the and moss inside building I booked tickets online andThe got building a train and awater bus from Edinburgh tothe the location The building isbuilding clearly ain skeleton of once was is clearly ainskeleton ofso what once was The industrial used feel the holds.

Regardless of religious beliefs, the space itself it's concrete walls almost felt to layered in years of study, worship and prayer. It had personality and more of a sense of holiness or being sacred than most churches.

Had awith few hours to kill Glasgow sowhat made the trip.

Had a few hours tothrough, kill Glasgow made the trip.

To me I feel like the condition oftothe building add's more character The industrial used feel with the building holds.

To me I feel like the condition ofugly the building add's more character Don't get me wrong, i liked the idea that they were going for to turn it into a useable space again, but now that the project has fallen they've spoiled a near holy place with ugly metal fencing It’s now covered in ugly fences restrict certain areas It’s now covered in fences to restrict certain areas Yes I could consider it to Seminary be a desecration as it has lots of graffiti and damage done to the building It was difficult to find the at first Yes I could consider it to be a desecration as it has lots ofItgraffiti and damage done to the building was difficult to find the Seminary at first I’m attempting tosomething visit allwith remaining buildings designed

by Isi Metzstein The industrial used feel the building holds.

I’m attempting tothe visit all remaining buildings designed by building Isi Metzstein It does feel like out of a dangerous dystopian/ fairytale The industrial used feel the holds.

The industrial used feel with the building holds.

It does feel like something ofwith adangerous dystopian/ fairytale the building was horrible and very fordescribed people building was horrible andout very for people puts you in story. your place, makes you feel small and humble, puts you in awe. puts you in place, makes you feel small and humble, puts you in awe.

Some would say that the graffiti art in general is as tainting somewhere that was destined to be ‘holy’ or ‘respected.’

Some would say that the graffiti art in general is described asyour tainting somewhere that was destined to be ‘holy’ or ‘respected.’

Interesting Interesting architecture to photograph Interesting story.

Interesting architecture to photograph the condition of the building add's more character the condition of the never building add's more character The architecture is very unique, never seen anything like it before The architecture is very unique, seen anything like it before I would not say so, the fencing seems a bit much but I can understand why beenlike put years in place must admit when I visited i sorted of disassociated the religious element toitithas I must admit when I visited i sorted of disassociated the religious element to it I would not say so, the fencing seems a bit much but I can understand why it has been put in place It was extremely fascinating walking around inside the building knowing what itoflooked like years ago before it wasshell abandoned It was extremely fascinating walking around inside the building knowing what agotobefore it was we loved the idea of exploring somewhere you usually can't/being able to seeitto alooked place striped down its outer shellabandoned we loved the idea of exploring somewhere you usually can't/being able tocan see aspace place striped down todeteriorating itsthe outer Obviously some the building had been but I’m not sure if that was from natural causes or from people The sounds were amplified in the central space and it was incredible to listen The sounds were amplified in the central and it was incredible to listen to I like how you can see the original structure of the building.

I like how you see the original structure of building.

Mythical feel too.

My boss was a close friend of Isi Metzstein and it came up in conversation one day My boss was a close friend of Isi Metzstein and it came up in conversation one day Mythical feel too. it just became an interesting building rather than a seminary. it just became an interesting building rather than seminary.

IThe theinterest graffiti alldesign over the building a desecration I think but the graffiti over thedue building is a adesecration I think also contacted the church to get an is official letter get access butme this refused due to the site being unsafe I also contacted the church get an official letterof to getmain access this wasall refused to theto site being unsafe Have an in Modernism structure and of the main building weretowhat attracted to was the building Have interest in Modernism The to structure and design the were what me the building Thean industrial feel with the building holds.

Rain water dripped and pooled all over the Seminary.

Rainbuilding water dripped andattracted pooled all over theused Seminary.

For architectural appreciation and for fun When I arrived I thought it was eerie For architectural appreciation and for fun When I arrived I thought it was eerie experienced a mix of awe at the scale and ambition of the place, yet also an overwhelming air of sadness at the state it had now been left in people making their mark, mostly through graffiti experienced a mix of awe at the scale and ambition of the place, yet also an overwhelming air of sadness at the state it had now been left in people making their mark, mostly through graffiti amost day of urban exploration and taking pictures the building and the graffitiexamples outside of utopian a day of urban exploration and taking of the building and the graffiti am fascinated by brutalist architecture and, inofparticular, expired or failed style architecture graffiti within it be was superb I am by brutalist and, in particular, expired orpictures failed examples of graffiti utopian style Regardless of religious beliefs, the space itself and it's concrete walls almost felt layered in fascinated years of study, worshiparchitecture and prayer.

It had personality and more of a sense ofconsidered holiness or being sacred than IIThe churches.

The brutality architecture The within itarchitecture was outside superb I suppose it would be to be a desecration suppose it would considered to be a desecration a sad reminder that once this place would’ve been one of worship. a sad reminder that once this place would’ve been one of worship.

Curiosity We had no clue where it was and info was quite hard to find on the internet We had no clue where itvery wasparadoxical and info was quite hard to find on the internet it is very paradoxical to the original use for the building it is to the original use for the building Curiosity Not from holy point ofgraffiti viewbehind as the sitewhich was deconsecrated, butrefers purely to aof historically The story the buildings sounded Its covered graffiti creates a very cool atmosphere The story behind buildings sounded cool!

Its covered graffiti which creates athe very atmosphere isinsometimes an eyesore IThe wouldn’t necessarily say desecration ascool! that todue a form damage. important piece of Scottish architecture being allowed to fall into such a poor condition The graffiti is sometimes anaof eyesore I wouldn’t necessarily sayin desecration as thatinrefers to acool form damage. the place was covered inabandon tags and varied artwork the place was covered tags and varied artwork my friend and I like cool buildings my friend and I like cool abandon buildings The graffiti was something that attracted to visit as i like graffiti We then went upit each flight of stairs and filmed/took photos/recordings of the noises and the echoes The was something that attracted visit as ialike graffiti Webut then wentdue up each flight of stairs and graffiti filmed/took photos/recordings ofbeing the to noises and the echoes Not from a holy point of view as the site was deconsecrated, purely to a historically important piece ofOne Scottish architecture allowed to fall into such a condition IOne don't consider to are beabout aa desecration I don't consider it to be Unfortunately, a lot oftotowards graffitis and vandalism. ofpoor thethe best things the is the graffiti Unfortunately, there lot of graffitis and vandalism. ofwell thethere best things about the place isdesecration the graffiti The freedom to do what you want with it.

I’m not bothered about the lack ofplace respect towards theaholy side of space The are freedom doIn you want with it.

I thought place was oddly well respected for such neglected not bothered about the lack of respect the holy side of I thoughtI’m the place was oddly respected for such awhat neglected space itsaIt’s current state the building istoaand monument in flux sad see such a place left to ruin Ialways wouldn't use the word desecration It was a cool place. sad to see a building deteriorate like that I wouldn't use the word desecration always sad to see such place left to ruin The buildings layout and appearance is very unique structure architecture The buildings layout and appearance is very unique The structure and architecture had no problem accessing the seminary and the weather was soinwe had no problem accessing the seminary and the weather wasIt lovely so we spent a while just exploring the whole structure It is an abandoned and uncared for building that holds no gods is anI abandoned and uncared for building that holds no gods thought there was still a strong ofindustrial beauty and awe to bean found in italone thought there was stillisfeel abeautiful strong sense of beauty and awe toto belovely found it spent a while just exploring the whole structure ItIthe has eery look and Itsense has an eery look and feel architecture and should be something be celebrated. the architecture alone is beautiful should be something to be celebrated.

The used feel with the building holds. the altar was a little shocking to see fact that it's a ruin made it more interesting the altar was a little shocking to see the and fact that it's a ruin made it more interesting id read it be named the 'scottish berghain' id read it be named the the 'scottish berghain' IAs wouldn’t sayvery so as is abandoned and is nosun longer for the purpose it was built for took pictures, had somebuilding lunchof&organised a smoke, watched the set, used then left I wouldn’t say so as the building abandoned is lunch no longer used forwatched the purpose it was built for tookispictures, had and some & a smoke, sun set, then left someone suspicious religion itObviously felt rawcertainly and in, there washad a palpable presence and sense ofsure purpose to thefrom space Well it's atmospheric someone very suspicious of organised religion it felt raw and lived in, there was a palpable As presence and sense of it's purpose to the space Well certainly atmospheric the graffiti, thelived symmetry the graffiti, the symmetry some of the building been deteriorating but I’m not if that was some things sprayed onthe thebuildings wall element were strange andplaces creepy and gave a very eerie feel natural causes or from people some things sprayed on themy wall were strangelove andto creepy and gave a very eerie feel never really considered the holy element to it. love to explore abandoned my love of photographing/documenting forgotten never really considered holy to it. explore abandoned buildings love of photographing/documenting forgotten places dark, worn dark, worngraffiti and general deterioration ofmy the building make it so much more enjoyable graffiti and general deterioration ofmany the building make it sointerest much more enjoyable have visited many times, due to interest ininarchitecture I haveIn visited times, due my infor architecture don’t consider it content desecrated all. itswere current state the building is aand monument flux felt slightly creepy Primarily to shoot for aat short film don’t consider it desecrated at IIIIn all. its current state the building iscontent a monument increepy flux Primarily totoshoot a short film II would not consider it to be desecration would not consider itthis to be desecration We there alone time too the whole place We were there alone this time too and the whole place felt slightly The used feel with the building holds. fulland The graffiti artthe throughout the building I industrial feel is a key quality ofThe the building graffiti artitthroughout the building Isome feelinisthe a the key quality of the building IAs liked the raw concrete the repetition shapes I liked raw concrete and the repetition in the shapes I think due to being of graffiti and of type of graffiti there, yesjoining of course it’s disrespectful to afloor previous holy building I think due to it being full of graffiti and some of the type of graffiti that’s there, yes of course it’s disrespectful to a previous holy building itbuilding wasphotos raining ourdo visit wasfilming soundtracked by the drip drop that’s of water slowly puddles on the ground As it was raining our visit was soundtracked by the drip drip drop ofTo water joining puddles on the ground floor The (although decaying) was well worth thedrip visit.

The building (although decaying) was well worth the visit.

To take and some for a project takeslowly photos and do some filming for a project A friend and I drove down from Glasgow A friend and I drove down from Glasgow it was also interesting to imagine how it would have been as a seminary and 'house of God' it was also interesting to imagine howplace. it would have been as atoseminary and pictures 'house ofetc God' I thought itabandoned/derelict looked really cooltoand wanted to go and take like pictures etc I thought looked really cool and wanted go and take It was aof cool place.

It’s are sad see a feel building deteriorate that wasita sad see a building deteriorate like that Interest in buildings some aspects, yes inatabandoned/derelict buildings .Not Some the hallways and eeriecontext - whether or not that is a quality I do not know - but it makes for an unusual experience. desecration as such, atdark least not thispretty particular ItIn was really cool! . Some of the hallways are dark and feel pretty eerie - whether or not that is a Itquality I cool dodesecration not knowIt’s - Interest but itto makes for an unusual experience.

In some aspects, yes Not as such, least not this particular context It was really cool! grew up in cardross and as a child walked my dog and played with friends in the grounds I don’t believe it to be disrespectful as it is known as St Peters Seminary I don’t it towalked be disrespectful asStill it isthe known as St Peters Seminary I grew up in cardross and believe as a child my dog and played with friends the grounds Still the architecture, its understated. architecture, understated. completely wrecked No, I is dislike that they've closed parts of it the off but I get and it see what remains altar is completely wrecked dislike that they've closed parts ofinits itwhat off but I get italtar It was very interesting and fun to explore building It was very interesting No, andI fun to explore the building and see remains It’s local to where I stay but had never visited it fact that anyone and everyone can enter some of the spray painting was very artistic and gave the area a different feel It’svery local to where I stay but had never visited it the the artistic fact that anyone and everyone can enter Even though the abuilding is heavy damaged, is very run down and can’t be used for much as itthrough is really Even though the building is heavy damaged, some ofitthe spray painting was and gave the area amuch different it is very run can’t be used for as itfeel isNot itit was coincidentally near our route while travelling Scotland. was coincidentally near ourdown routeand while travelling through Scotland.

Not really It was no longer religious building It was no longer a religious building We were slightly nervous walking along the path to the building Its covered in graffiti which creates a very cool atmosphere We were nervous walking along the path to the building one of the most interesting buildings i’ve ever encountered one ofslightly therelatively most interesting buildings i’ve ever encountered I think the building shows a huge amount of I think the building shows a huge amount of relatively well preserved some of the main parts well preserved some of the main parts IMy likea it's also just ato skeleton the so building faith is less do withof places ofgood, worship than wonder at the world.

I like it'sofbuilding also just are athan skeleton of really the building the stairs offar the main building are really beautiful My faith is far less do with places worship at the world.

For photo shoot thetostairs of the main sowonder good, beautiful For ainphoto shoot walked around main concourse taking videos walked the and maindecided concourse taking videos It is beautiful in the itsspent ruinous state It is beautiful its ruinous state We came across St Peters Seminary on instagram and decided to take a trip to it We came across St Peters Seminary on around instagram to take a trip to it Definitely the graffiti It was amazing I a lot of my teenage years there It was amazing I spent a lot of my teenage years there Definitely the graffiti In its current state it’s barely possible to get around it mysterious In its current state it’s barely possible toIt's get around itIt's mysterious fascinating to see the shell of this old building For a photography project fascinating to see the shell of this old building For walking abeen photography project IWe have been numerous times There is no the architecture have numerous times There noIbuilding escaping the architecture spent hour there walking around the space festival Wewas spent an is hour there around the space shame, ifanaescaping bit more care wasduring taken the building has huge potential shame, a bit more during care the huge potential Ia have been many times went to see NVA’s Hinterland the Scottish of architecture in 2016 I went to asee NVA’sif Hinterland thetaken Scottish festival ofhas architecture in 2016 I have been many times The graffiti covering much of the buildings walls around The graffiti covering much of the buildings walls has an eerie feeling to it, fascinating to navigate has an eerie feeling to it, fascinating to navigate around thought it presented an interesting opportunity to do some photography and urban exploration remote and unusual location for such a building thought it presented an interesting opportunity to remote do some photography and urban exploration and unusual location for such a building Quite but read the up on around siteitderelict is a big building quality Quite spooky but read up onlandscape itspooky around thethe site is apersonally. big quality adon’t, fun exploring the Ithe personally. a the fun landscape adventure exploring derelict building I don’t, the fact that anyone andadventure everyone can enter Thought it looked cool and somewhere wasn't supposed to be Thought it lookedonce cool inside and somewhere I wasn't supposed to be once inside it was entirely covered with it was entirely covered with graffiti As building someone who's everywhere who's explored everywhere IAs amsomeone interested in abandoned buildings Igraffiti I am the interested inIabandoned The graffiti art throughout feel is explored a keybuildings quality of the building

Saint Peter’s Seminary

Appendices

Appendices

Appendix A: Survey of experiences of Saint Peter’s Seminary.

134

Summary I feel that Diane Watters’ St Peter’s, Cardross: Birth, Death and Renewal offers a very traditional architecture-historical, and thorough, account of the building. However, it fails to engage with the majority of contemporary users of the building in a way that Marie Clausen’s study, Sacred Architecture in a Secular Age, does manage to, via the technique of anamnesis. In practical terms, Clausen achieved this by using the Cathedral visitor’s book to get a reading of the sensory experience of those who visit the building. By sampling all of the comments left in the book for a period of a few months she managed to build up a collection of over 600 responses. These responses build up a phenomenological account of the building, which is a key aim of my research.

Hi _____, My name is Daniel, and I’m a 4th year student of architecture at Edinburgh university. I am researching for my dissertation, “St. Peter's Seminary: a study of infrasecular space”, and saw your post tagged on Instagram. I am conducting a series of interviews about people’s experiences of the building, and would be interested in interviewing you, if you are up for it?

Best regards, Daniel The message that was sent to initiate the first contact between myself and the respondents.

Ideally, I would have liked to carry out a similar method of research for my dissertation. However, St Peter’s Seminary does not have a visitor’s book, nor does it have anywhere near the number of visitors that Durham Cathedral has. This presented issues both with a lack of a reliable, consistent source, and with a potentially decreased sample of responses. As a result of this, I have attempted to obtain responses from alternative sources.

I used the Instagram search function, finding accounts that have tagged photos at the seminary, and then contacting them if they would be interested in doing a short online questionnaire for my dissertation research. I contacted over 200 people via this method, with 116 confirming their interest in taking part, and a total of 76 completing the survey. I acknowledge that there may be an element of bias in this as it only draws on the opinions of those who are active on Instagram, although it is clear that those that have completed the survey come from a variety of backgrounds (urban explorers, graffiti artists, pagans, architecture students, vandals, and more).

Much like Marie Clausen, while I think it is interesting and insightful to carry out this primary research, it is by no means seen as a serious statistical survey. The purpose is not to prove or disprove anything, more as a basis for attempting to understand how the building makes people react. The survey

consisted of four questions (listed below), each attempting to create a deeper understanding of peoples experiences of the Seminary.

Q1. Why did you visit St Peter’s Seminary?

Q2. Please describe your visit to St Peter’s Seminary.

Q3. Would you consider the current condition of the site/building to be a desecration? If so, what specific aspects are particularly lamentable?

Q4. What would you suggest are the key qualities of the building in its current state?

The results of the survey proved to be extremely varied, and highlighted the many opinions and feelings relating to Saint Peter’s. There were, however, certain responses that were much more predominant than others, and I have attempted to identify these in the results below. In order to draw any form of conclusion from the research, it was necessary to group responses together based on their use of language. For example, if there were two responses to Question 1, ‘I went to take photos’ and ‘I think it is a great place for photography’, they would be grouped together as the same form of response.

In some cases, a respondent would list multiple reasons for visiting, and therefore this response would yield multiple contributions to its respective groupings. Naturally not all responses can be grouped this easily, so care has had to be taken with the creation of these groups. For each question I have included some of the more notable answers to give a fuller picture of the responses from the survey.

Appendix A: Survey of experiences of Saint Peter’s Seminary.

134

Summary I feel that Diane Watters’ St Peter’s, Cardross: Birth, Death and Renewal offers a very traditional architecture-historical, and thorough, account of the building. However, it fails to engage with the majority of contemporary users of the building in a way that Marie Clausen’s study, Sacred Architecture in a Secular Age, does manage to, via the technique of anamnesis. In practical terms, Clausen achieved this by using the Cathedral visitor’s book to get a reading of the sensory experience of those who visit the building. By sampling all of the comments left in the book for a period of a few months she managed to build up a collection of over 600 responses. These responses build up a phenomenological account of the building, which is a key aim of my research.

Hi _____, My name is Daniel, and I’m a 4th year student of architecture at Edinburgh university. I am researching for my dissertation, “St. Peter's Seminary: a study of infrasecular space”, and saw your post tagged on Instagram. I am conducting a series of interviews about people’s experiences of the building, and would be interested in interviewing you, if you are up for it?

Best regards, Daniel The message that was sent to initiate the first contact between myself and the respondents.

Ideally, I would have liked to carry out a similar method of research for my dissertation. However, St Peter’s Seminary does not have a visitor’s book, nor does it have anywhere near the number of visitors that Durham Cathedral has. This presented issues both with a lack of a reliable, consistent source, and with a potentially decreased sample of responses. As a result of this, I have attempted to obtain responses from alternative sources.

I used the Instagram search function, finding accounts that have tagged photos at the seminary, and then contacting them if they would be interested in doing a short online questionnaire for my dissertation research. I contacted over 200 people via this method, with 116 confirming their interest in taking part, and a total of 76 completing the survey. I acknowledge that there may be an element of bias in this as it only draws on the opinions of those who are active on Instagram, although it is clear that those that have completed the survey come from a variety of backgrounds (urban explorers, graffiti artists, pagans, architecture students, vandals, and more).

Much like Marie Clausen, while I think it is interesting and insightful to carry out this primary research, it is by no means seen as a serious statistical survey. The purpose is not to prove or disprove anything, more as a basis for attempting to understand how the building makes people react. The survey

consisted of four questions (listed below), each attempting to create a deeper understanding of peoples experiences of the Seminary.

Q1. Why did you visit St Peter’s Seminary?

Q2. Please describe your visit to St Peter’s Seminary.

Q3. Would you consider the current condition of the site/building to be a desecration? If so, what specific aspects are particularly lamentable?

Q4. What would you suggest are the key qualities of the building in its current state?

The results of the survey proved to be extremely varied, and highlighted the many opinions and feelings relating to Saint Peter’s. There were, however, certain responses that were much more predominant than others, and I have attempted to identify these in the results below. In order to draw any form of conclusion from the research, it was necessary to group responses together based on their use of language. For example, if there were two responses to Question 1, ‘I went to take photos’ and ‘I think it is a great place for photography’, they would be grouped together as the same form of response.

In some cases, a respondent would list multiple reasons for visiting, and therefore this response would yield multiple contributions to its respective groupings. Naturally not all responses can be grouped this easily, so care has had to be taken with the creation of these groups. For each question I have included some of the more notable answers to give a fuller picture of the responses from the survey.

135

Question 1. Why did you visit St Peter’s Seminary?

Question 2. Please describe your visit to St Peter’s Seminary.

28 Architecture 26 Abandonment 18 Photography 14 Exploration 9 History 4 Other

32 25 24 17 14 11 7 4 4 3 0

99 Total The above table shows the set of responses from Question 1.

What is fascinating to me about these responses is that despite over a third of the comments from questions 2 and 4 alluding to an emotional impact due to visiting the seminary, not a single response from question 1 states this as a purpose, or even anticipates this potential impact. While some of the common responses to question 1 such as ‘exploration’ or ‘abandonment’ have associated emotions such as eeriness, they are far from direct links to each other. Does this suggest that some people visit the seminary with one purpose only for a very different kind of reaction to occur?

Reactions towards the sublime and/or the numinous Referencing the decay of the building Positive reactions to the architecture Positive emotional reactions Reaction to the building’s setting and location Positive reactions to the graffiti Negative emotional reactions Negative reactions to the architecture Uplifting, healing experiences Negative reactions to the graffiti Religious comments

141 Total The above table shows the set of responses from Question 2. Somewhat surprisingly, the most common response indicated an experience that tended towards the sublime or the numinous. The vast majority of responses were positive in their nature, with the sporadic negative emotional responses mostly referencing fear or ‘spookiness’. The architecture is a key object of note, as is its location, with some referencing the arduous journeys they had to take to reach the Seminary.

‘I was really interested to see the contrast of the nature/unusual architecture and also all the grafitti. There’s also a sort of mystique about it.’

‘Breathtaking.’

‘Thought it looked cool and somewhere I wasn’t supposed to be.’

‘You don’t really get a sense there of what it was like occupied, the decay is too far gone. Just a feeling of what it could become.’

‘My boss was a close friend of Isi Metzstein and it came up in conversation one day. I realise I actually didn’t know that much about it other than what I had read or he had told me so I decided to visit it with a friend/fellow former course mate.’

‘It was amazing - I spent a lot of my teenage years there.’

‘I went to see NVA’s Hinterland during the Scottish festival of architecture in 2016.’

‘It’s a cool place, sad to see a building deteriorate like that.

That said, it was built for a very specific purpose in an odd location so possibly not ideal for being used for anything.’

136

135

Question 1. Why did you visit St Peter’s Seminary?

Question 2. Please describe your visit to St Peter’s Seminary.

28 Architecture 26 Abandonment 18 Photography 14 Exploration 9 History 4 Other

32 25 24 17 14 11 7 4 4 3 0

99 Total The above table shows the set of responses from Question 1.

What is fascinating to me about these responses is that despite over a third of the comments from questions 2 and 4 alluding to an emotional impact due to visiting the seminary, not a single response from question 1 states this as a purpose, or even anticipates this potential impact. While some of the common responses to question 1 such as ‘exploration’ or ‘abandonment’ have associated emotions such as eeriness, they are far from direct links to each other. Does this suggest that some people visit the seminary with one purpose only for a very different kind of reaction to occur?

Reactions towards the sublime and/or the numinous Referencing the decay of the building Positive reactions to the architecture Positive emotional reactions Reaction to the building’s setting and location Positive reactions to the graffiti Negative emotional reactions Negative reactions to the architecture Uplifting, healing experiences Negative reactions to the graffiti Religious comments

141 Total The above table shows the set of responses from Question 2. Somewhat surprisingly, the most common response indicated an experience that tended towards the sublime or the numinous. The vast majority of responses were positive in their nature, with the sporadic negative emotional responses mostly referencing fear or ‘spookiness’. The architecture is a key object of note, as is its location, with some referencing the arduous journeys they had to take to reach the Seminary.

‘I was really interested to see the contrast of the nature/unusual architecture and also all the grafitti. There’s also a sort of mystique about it.’

‘Breathtaking.’

‘Thought it looked cool and somewhere I wasn’t supposed to be.’

‘You don’t really get a sense there of what it was like occupied, the decay is too far gone. Just a feeling of what it could become.’

‘My boss was a close friend of Isi Metzstein and it came up in conversation one day. I realise I actually didn’t know that much about it other than what I had read or he had told me so I decided to visit it with a friend/fellow former course mate.’

‘It was amazing - I spent a lot of my teenage years there.’

‘I went to see NVA’s Hinterland during the Scottish festival of architecture in 2016.’

‘It’s a cool place, sad to see a building deteriorate like that.

That said, it was built for a very specific purpose in an odd location so possibly not ideal for being used for anything.’

136

137

138

Question 3. Would you consider the current condition of the site/building to be a desecration? If so, what specific aspects are particularly lamentable?

Not a desecration

9 Strong 13 Average 10 Weak

No, it is actually a good thing

4 Strong 7 Average 9 Weak

Yes, an architectural desecration

10 Strong 7 Average 2 Weak

Yes, a religious desecration

DISRESPECTFUL

NOT DESECRATION

POSITIVE RESPONSE

5 Strong 8 Average 4 Weak

No, but it is disrespectful

5 Strong 6 Average 2 Weak

No, but it is wasteful

2 Strong 7 Average 2 Weak 112 Total

The above table shows the results from Question 3. This question was more focused on a specific aspect of the participants visit and received a variety of answers. These answers also varied in the strength of their conviction, an element which I think is important in gauging how people react to the building.

Therefore, I have displayed the results in a different way (see diagram on following page), in an attempt to better capture the general response. The size of each circle relates to the frequency of it as an answer, and their positions indicate how tentative (inner) or assertive (outer) they were.

RELIGIOUS DESECRATION

ARCHITECTURAL DESECRATION

WASTEFUL

The circles represent frequencies of certain responses to the above question. Their placement is indicative of the conviction each answer had - further out is a stronger belief, towards the centre is more tentative.

The size of each circle indicates the frequency of response.

‘I suppose it would be considered to be a desecration, I’m a practicing Catholic myself and although I didn’t take offence to it personally there was slit [sic] of graffiti and writing which would not be appropriate to display on a place of worship/ place that teaches worship.’

‘No, the decay is totally natural.‘

‘I’m not bothered about the lack of respect towards the holy side of things but I do think it’s a shame it’s been allowed to become so damaged.’

‘In some aspects, yes. There is a lot of graffiti around the site some of which include anti-religion symbols/phrases.’

‘Well yes and no.’

‘I think that they [the priests] have taken their gods with them.’

137

138

Question 3. Would you consider the current condition of the site/building to be a desecration? If so, what specific aspects are particularly lamentable?

Not a desecration

9 Strong 13 Average 10 Weak

No, it is actually a good thing

4 Strong 7 Average 9 Weak

Yes, an architectural desecration

10 Strong 7 Average 2 Weak

Yes, a religious desecration

DISRESPECTFUL

NOT DESECRATION

POSITIVE RESPONSE

5 Strong 8 Average 4 Weak

No, but it is disrespectful

5 Strong 6 Average 2 Weak

No, but it is wasteful

2 Strong 7 Average 2 Weak 112 Total

The above table shows the results from Question 3. This question was more focused on a specific aspect of the participants visit and received a variety of answers. These answers also varied in the strength of their conviction, an element which I think is important in gauging how people react to the building.

Therefore, I have displayed the results in a different way (see diagram on following page), in an attempt to better capture the general response. The size of each circle relates to the frequency of it as an answer, and their positions indicate how tentative (inner) or assertive (outer) they were.

RELIGIOUS DESECRATION

ARCHITECTURAL DESECRATION

WASTEFUL

The circles represent frequencies of certain responses to the above question. Their placement is indicative of the conviction each answer had - further out is a stronger belief, towards the centre is more tentative.

The size of each circle indicates the frequency of response.

‘I suppose it would be considered to be a desecration, I’m a practicing Catholic myself and although I didn’t take offence to it personally there was slit [sic] of graffiti and writing which would not be appropriate to display on a place of worship/ place that teaches worship.’

‘No, the decay is totally natural.‘

‘I’m not bothered about the lack of respect towards the holy side of things but I do think it’s a shame it’s been allowed to become so damaged.’

‘In some aspects, yes. There is a lot of graffiti around the site some of which include anti-religion symbols/phrases.’

‘Well yes and no.’

‘I think that they [the priests] have taken their gods with them.’

139

Question 4. What would you suggest are the key qualities of the building in its current state?

36 25 20 17 15 10 5 3 0 0

Positive reactions to the architecture Reactions towards the sublime and the numinous Referencing the decay of the building Positive reactions to the graffiti Reaction to the building’s setting and location Positive emotional reactions Negative reactions to the architecture Negative emotional reactions Negative reactions to the graffiti Religious comments

133 Total The above table shows the set of responses from Question 4.

Much like Question 2, the architecture is a key quality of Saint Peter’s Seminary for those who visit, the vast majority showing appreciation for it. Others also note the proliferate graffiti and widespread decay, again tending to show an appreciation for this. It is interesting to see that there was not a single comment that alluded to any present religious significance as being a key quality of the building.

‘The freedom to do what you want with it.’

‘Its highly unique even as just a bare structure so is still something of worth, arguably even more than if it were wholly complete.’

‘Regardless of religious beliefs, the space itself and it’s concrete walls almost felt layered in years of study, worship and prayer. It had personality and more of a sense of holiness or being sacred than most churches.’

‘Hazardous. Which is a shame, if a bit more care was taken the building has huge potential.’

140

139

Question 4. What would you suggest are the key qualities of the building in its current state?

36 25 20 17 15 10 5 3 0 0

Positive reactions to the architecture Reactions towards the sublime and the numinous Referencing the decay of the building Positive reactions to the graffiti Reaction to the building’s setting and location Positive emotional reactions Negative reactions to the architecture Negative emotional reactions Negative reactions to the graffiti Religious comments

133 Total The above table shows the set of responses from Question 4.

Much like Question 2, the architecture is a key quality of Saint Peter’s Seminary for those who visit, the vast majority showing appreciation for it. Others also note the proliferate graffiti and widespread decay, again tending to show an appreciation for this. It is interesting to see that there was not a single comment that alluded to any present religious significance as being a key quality of the building.

‘The freedom to do what you want with it.’

‘Its highly unique even as just a bare structure so is still something of worth, arguably even more than if it were wholly complete.’

‘Regardless of religious beliefs, the space itself and it’s concrete walls almost felt layered in years of study, worship and prayer. It had personality and more of a sense of holiness or being sacred than most churches.’

‘Hazardous. Which is a shame, if a bit more care was taken the building has huge potential.’

140

Appendix B: Postal Interview with Father Hugh Kelly, November 13th, 2020.

142

Father Hugh Kelly studied at Saint Peter’s Seminary from 19601967. He was resident in the modernist extension by Gillespie, Kiddd & Coia for his final year of training. His recollections offer a valuable insight as to how the space was experienced as a functional seminary.

Question 1. What does St Peter’s Seminary mean to you?

I began my own studies for the Priesthood at St Peter’s College, Cardross at the beginning of September 1960. The College then was divided into two campuses at Darleith and Kilmahew.

These were two large mansion houses purchase by Glasgow Archdiocese to house the original College at Bearsden built at the end of the 19th century by Archbishop Eyre but destroyed by fire in the 1940’s. Darleith was home to the first two years of seminary training where our studies were termed Philosophy.

Kilmahew housed students for four more years studying Theology. These buildings were on estates in the hills above Cardross and about two miles apart.

Archbishop Scanlan cutting the first sod, November 30th, 1960,

Leaving school my plans were to study metallurgy but over a few years I had also thought about the priesthood and in late 1958 I knew this is what I really wanted to do. Bishop Scanlan, then Bishop of Motherwell, allowed me to begin studies to this end and sent me to St Peter’s. It was only when I came to Darleith that I learned of a plan to build a new unified Seminary at Kilmahew, and so on St Andrew’s Day, 30th November 1960 after only three months with students from Darleith and Kilmahew we watched the ‘Cutting of the first sod’ of the building. We were then hoping to be resident in the new Seminary in September 1962. Although the first works carried out in the construction began right away, it became obvious from the beginning that progress was slow. This was also the beginning of the Second Vatican Council and as students for the priesthood we were deeply interested in what this Council would mean for us and the Church.

Jack Coia was the man who inspired the design of the new Seminary. In turn he had been deeply influenced by the work and vision of the French architect Le Corbusier and his use of concrete. He gave several talks to us at that time. He also had his own idea of the life of the priest as being totally immersed in the life of the Church and so the building emerged in such a way that we ate, lived and slept over and in our place of worship and prayer. Study and recreation took place in an adjacent building also of revolutionary design. But fulfilling the reality of the vision in its construction took time, a lot of it, and so 1962 came and went. Sometimes lots of work, then weeks of standstill. I lost a year of my studies for health reasons and for this reason my final year at St Peter’s, September 1966 - June 1967 we took possession of the new Seminary.

The student body was together, we had a large space to live, pray and study together but we discovered a building that was noisy, cold and damp. There was also a grimness in the concrete structure with an asphalt type floor. It suited processions and was a great place for liturgical celebrations but at a great distance, and the chapel as a place of silence, meditation and reflection had to battle with the sounds coming from the student rooms above it, the noises from toilets and showers clashing with the noises and smells from the dining area and kitchens. The dream, the vision never quite came off.

The deliberations of the Second Vatican Council lasted four years but were over before we took possession of the Seminary but already we knew from first reflections on documents concerning Liturgy and the Church in the modern world that we had a building in design and place that was already out of tune with the vision of the Church.

And so, history tells its own story. This was a unique building, in engineering, design and concept but it was in fact not fit for purpose. I have happy memories of the friends I made and times we had. Watching a building grow from nothing to completion was an interesting pastime but living in it for my final year did not leave and feeling of a special experience. It was perhaps a building to look at rather than a building to live in.

Opening Ceremony at St Peter’s, 1966

Appendix B: Postal Interview with Father Hugh Kelly, November 13th, 2020.

142

Father Hugh Kelly studied at Saint Peter’s Seminary from 19601967. He was resident in the modernist extension by Gillespie, Kiddd & Coia for his final year of training. His recollections offer a valuable insight as to how the space was experienced as a functional seminary.

Question 1. What does St Peter’s Seminary mean to you?

I began my own studies for the Priesthood at St Peter’s College, Cardross at the beginning of September 1960. The College then was divided into two campuses at Darleith and Kilmahew.

These were two large mansion houses purchase by Glasgow Archdiocese to house the original College at Bearsden built at the end of the 19th century by Archbishop Eyre but destroyed by fire in the 1940’s. Darleith was home to the first two years of seminary training where our studies were termed Philosophy.

Kilmahew housed students for four more years studying Theology. These buildings were on estates in the hills above Cardross and about two miles apart.

Archbishop Scanlan cutting the first sod, November 30th, 1960,

Leaving school my plans were to study metallurgy but over a few years I had also thought about the priesthood and in late 1958 I knew this is what I really wanted to do. Bishop Scanlan, then Bishop of Motherwell, allowed me to begin studies to this end and sent me to St Peter’s. It was only when I came to Darleith that I learned of a plan to build a new unified Seminary at Kilmahew, and so on St Andrew’s Day, 30th November 1960 after only three months with students from Darleith and Kilmahew we watched the ‘Cutting of the first sod’ of the building. We were then hoping to be resident in the new Seminary in September 1962. Although the first works carried out in the construction began right away, it became obvious from the beginning that progress was slow. This was also the beginning of the Second Vatican Council and as students for the priesthood we were deeply interested in what this Council would mean for us and the Church.

Jack Coia was the man who inspired the design of the new Seminary. In turn he had been deeply influenced by the work and vision of the French architect Le Corbusier and his use of concrete. He gave several talks to us at that time. He also had his own idea of the life of the priest as being totally immersed in the life of the Church and so the building emerged in such a way that we ate, lived and slept over and in our place of worship and prayer. Study and recreation took place in an adjacent building also of revolutionary design. But fulfilling the reality of the vision in its construction took time, a lot of it, and so 1962 came and went. Sometimes lots of work, then weeks of standstill. I lost a year of my studies for health reasons and for this reason my final year at St Peter’s, September 1966 - June 1967 we took possession of the new Seminary.

The student body was together, we had a large space to live, pray and study together but we discovered a building that was noisy, cold and damp. There was also a grimness in the concrete structure with an asphalt type floor. It suited processions and was a great place for liturgical celebrations but at a great distance, and the chapel as a place of silence, meditation and reflection had to battle with the sounds coming from the student rooms above it, the noises from toilets and showers clashing with the noises and smells from the dining area and kitchens. The dream, the vision never quite came off.

The deliberations of the Second Vatican Council lasted four years but were over before we took possession of the Seminary but already we knew from first reflections on documents concerning Liturgy and the Church in the modern world that we had a building in design and place that was already out of tune with the vision of the Church.

And so, history tells its own story. This was a unique building, in engineering, design and concept but it was in fact not fit for purpose. I have happy memories of the friends I made and times we had. Watching a building grow from nothing to completion was an interesting pastime but living in it for my final year did not leave and feeling of a special experience. It was perhaps a building to look at rather than a building to live in.

Opening Ceremony at St Peter’s, 1966

143

Question 2. What would you say is the ‘spirit’ of the building?

Does it still have a unified single spirit?

I know Jack Coia was a man of faith and told us himself the joy he experienced when he was given the brief to design the new Seminary. A seminary is distinct from other places of learning in the sense that developing one’s knowledge of art, literature and the sciences must also be accompanied by developing the personality of the student in his spiritual and social life. The priesthood comes with demands. It calls one to a solitary life yet also to a life lived among people and families and being able to interact with them in moments of joy and also in moments of sorrow. The idea of a seminary set in beautiful yet isolated countryside is perhaps fuelled by the sense of the solitary and also the beauty and wonder of creation. Yet the priest is not a monk or hermit. There is a vocation to seek quiet and solitude and to seek only the sense of the presence of God. A Diocesan priest will work in Parish life in cities and towns and in country and village life also.

St Brides Church, East Kilbride, designed by Gillespie, Kidd & Coia

But his life will always be about being able to communicate with people not only in prayer and liturgy but also in their joys and sorrows and this will involve him not only in the communion we associate with our liturgy but in a wider communion of sharing faith, hope and love. St Peter’s Seminary is filled with that sense of its architecture of living our life to the full in the presence of God. The Church, the House of God and place of prayer is at the centre of a building surrounded by where we live and where we eat and socialise. Beside that building the place where we study, read and take our leisure stands by.

There is a crudeness to concrete and Jack Coia did not want that softened in any way. We had not long come out of the sorrows of the Second World War. The housing schemes where the majority of the people of Glasgow, Lanarkshire, Paisley, Renfrewshire and Dunbartonshire lived were already grim places and perhaps this was in his mind. Churches were built in almost every large housing scheme and maybe he saw some of that in his seminary, that the light of Christ, the peace of Christ, the joy of Christ is the Good News for all those who live in any kind of darkness.

However, the reality of the building because of its noisiness and other distractions meant that appearance and dream never really matched up. The building today and for perhaps the last thirty years lies abandoned, rotting, wrecked and vandalised.

It is hard now to look at it and see anything other than failure.

It is a building whose concepts might still inspire but actually achieved little. Vast resources were used up in its construction and even in later years again huge sums of money have been poured into protecting it and trying to find a new purpose. All have fallen through and it is hard to defend any sense of spirit about the place except failure. The world was changing, the Church was changing, it was a building designed on past ideas not relevant to today and it was also in the wrong place.

Perhaps its great message is simply to put mistakes behind you, walk forward, seek the new challenges our world and Church face.

144

143

Question 2. What would you say is the ‘spirit’ of the building?

Does it still have a unified single spirit?

I know Jack Coia was a man of faith and told us himself the joy he experienced when he was given the brief to design the new Seminary. A seminary is distinct from other places of learning in the sense that developing one’s knowledge of art, literature and the sciences must also be accompanied by developing the personality of the student in his spiritual and social life. The priesthood comes with demands. It calls one to a solitary life yet also to a life lived among people and families and being able to interact with them in moments of joy and also in moments of sorrow. The idea of a seminary set in beautiful yet isolated countryside is perhaps fuelled by the sense of the solitary and also the beauty and wonder of creation. Yet the priest is not a monk or hermit. There is a vocation to seek quiet and solitude and to seek only the sense of the presence of God. A Diocesan priest will work in Parish life in cities and towns and in country and village life also.

St Brides Church, East Kilbride, designed by Gillespie, Kidd & Coia

But his life will always be about being able to communicate with people not only in prayer and liturgy but also in their joys and sorrows and this will involve him not only in the communion we associate with our liturgy but in a wider communion of sharing faith, hope and love. St Peter’s Seminary is filled with that sense of its architecture of living our life to the full in the presence of God. The Church, the House of God and place of prayer is at the centre of a building surrounded by where we live and where we eat and socialise. Beside that building the place where we study, read and take our leisure stands by.

There is a crudeness to concrete and Jack Coia did not want that softened in any way. We had not long come out of the sorrows of the Second World War. The housing schemes where the majority of the people of Glasgow, Lanarkshire, Paisley, Renfrewshire and Dunbartonshire lived were already grim places and perhaps this was in his mind. Churches were built in almost every large housing scheme and maybe he saw some of that in his seminary, that the light of Christ, the peace of Christ, the joy of Christ is the Good News for all those who live in any kind of darkness.

However, the reality of the building because of its noisiness and other distractions meant that appearance and dream never really matched up. The building today and for perhaps the last thirty years lies abandoned, rotting, wrecked and vandalised.

It is hard now to look at it and see anything other than failure.

It is a building whose concepts might still inspire but actually achieved little. Vast resources were used up in its construction and even in later years again huge sums of money have been poured into protecting it and trying to find a new purpose. All have fallen through and it is hard to defend any sense of spirit about the place except failure. The world was changing, the Church was changing, it was a building designed on past ideas not relevant to today and it was also in the wrong place.

Perhaps its great message is simply to put mistakes behind you, walk forward, seek the new challenges our world and Church face.

144

145

Question 3. Would you consider the building’s condition to be a desecration?

My answer to that would be NO [sic]. Its short life as a Seminary is indicative that it could not serve the purpose for which it was built. The Church and the sacred live in the hearts of those who believe and cherish. To vandalise a Church or Holy place that serves a living community would be desecration. The Church in Glasgow walked away from a building that no longer, if ever, served its needs. This is not a desecration. The Church is always about living stones, not dead ones.

Laying of Foundation Stone, 8th September 1964

Question 4. Do you have any notable memories of the place?

I remember the ceremony of the cutting of the first sod. I was brand new as a seminarian. There was great joy among us all at the hope of a new home.

I remember another moment, this time the laying of the Foundation Stone by the late Archbishop Scanlan when the chain dropping the stone in place swung away after dropping the stone and all of us watching thought it was going to decapitate the Archbishop, totally unaware of his danger. It did miss him!

At the end of my final year I was ordained in the Cathedral in Motherwell but five of my classmates over seven years were ordained in the Chapel of the New Seminary a few days before on the 29th of June 1967. These were the first ordinations of the Priesthood from the new St Peter’s Seminary. Fifty-three years later two of them with myself still meet regularly and we do reminisce.

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Question 3. Would you consider the building’s condition to be a desecration?

My answer to that would be NO [sic]. Its short life as a Seminary is indicative that it could not serve the purpose for which it was built. The Church and the sacred live in the hearts of those who believe and cherish. To vandalise a Church or Holy place that serves a living community would be desecration. The Church in Glasgow walked away from a building that no longer, if ever, served its needs. This is not a desecration. The Church is always about living stones, not dead ones.

Laying of Foundation Stone, 8th September 1964

Question 4. Do you have any notable memories of the place?

I remember the ceremony of the cutting of the first sod. I was brand new as a seminarian. There was great joy among us all at the hope of a new home.

I remember another moment, this time the laying of the Foundation Stone by the late Archbishop Scanlan when the chain dropping the stone in place swung away after dropping the stone and all of us watching thought it was going to decapitate the Archbishop, totally unaware of his danger. It did miss him!

At the end of my final year I was ordained in the Cathedral in Motherwell but five of my classmates over seven years were ordained in the Chapel of the New Seminary a few days before on the 29th of June 1967. These were the first ordinations of the Priesthood from the new St Peter’s Seminary. Fifty-three years later two of them with myself still meet regularly and we do reminisce.

Appendix C: Phone Interview with Angus Farquhar, November 24th, 2020.

148

Angus Farquhar (A) was the head of the now-defunct arts organisation Nacionale Vita Activa (NVA) who were involved in Saint Peter’s from 2009 to their closure in 2018. They advocated a ‘curated ruin’ approach that would have seen the Seminary become an arts venue. NVA ran the ‘Hinterland’ event at Saint Peter’s in 2016, a series of light installations, projections and soundtrack backing within the building itself.

D: Before we begin our conversation, I just have to ask for your consent in order to use any of the information we discuss for the purposes of the dissertation. Is this okay with you?

A: Yes, that is absolutely fine, you have my permission.

D: Perfect, thanks very much. So, firstly, as someone with a very prominent link to Saint Peter’s Seminary due to your role in Nacionale Vita Activa (NVA), I was just wondering if you could give me a brief introduction to some of your experiences of the seminary, from small innate memories, to much larger conceptions.

Aftermath of Arson at Saint Peter’s

A: Yeah, yeah I mean of course this is odd because it is like going back into a ghost, because I left it, or was forced to leave it two and a half years ago, but I did spend ten years of my life working on, thinking about, and spending time in that very particular building and the landscape that’s surrounded it. So, it’s unusual of course looking back into something that didn’t happen, but I suppose many aspects of what we did, happened. The starting point is always interesting, because it’s the first moment when I decided to do something there. It was really, sort of, deeply broken space when we first went into it. There were just huge sections of it that were hanging down from the roof, it wasn’t cleared or cleaned, it had been burnt … there had been two lots of intentional large-scale arson there.

So, as a result, parts of the roof structure and balconies were just hanging into the space. And then a huge amount of ground entrances. It was certainly the most profound level of dereliction I had ever seen or heard of. There was, because it was a feral space, there was always this subcommunity who were inhabiting it, from local kids through to graffiti-artists, through to urban explorers, through to every architecture student in Scotland, and certainly most of the UK. And international tourists from Japan, and other parts of the world too. There were always people surreptitiously wandering around it. Quite often you saw … there were those who didn’t mind being seen, and then there were those who crept in the shadows.

I remember going there on my own in the really early days, and hearing this bell sound, like a real bell, or imagining that I heard this bell sound, and then seeing shadows flitting in high corridors, and it being really … quite a kind of Hollywood horror filmic moment, probably more like The Shining than anything else, and having this sense of … there is a genius loci here of quite remarkable power … and then leaving, quite freaked out, about half an hour later, and walking down, and then seeing the golf course next-door, and then seeing that there was a blind hole on the golf course, and when people walked over the blind hill they had to ring a bell! And it was just this fantastically mundane undercutting of your deep imaginations of the place … that was a lovely starting point.

Of course, deciding to take it on was a profound moment, deciding to dedicate your life to something like that was difficult for a period of time, and having the bravado, stupidity, naivety, inspiration, to take on such a challenge, which did defeat us in the end. The building always wins. There's no doubt about that. I remember being warned by someone who had done some big capital projects before, that ‘this building will emasculate you and spit you out’, and I loved that phrase ‘emasculate’, you know, the idea that a building could just chew you up. And it did. It was too big a task in the end. We came pretty close, raising £9 million, but needed £10 million to make it happen. So, in terms of the building itself, yes, I had a lot of quite exquisite

Appendix C: Phone Interview with Angus Farquhar, November 24th, 2020.

148

Angus Farquhar (A) was the head of the now-defunct arts organisation Nacionale Vita Activa (NVA) who were involved in Saint Peter’s from 2009 to their closure in 2018. They advocated a ‘curated ruin’ approach that would have seen the Seminary become an arts venue. NVA ran the ‘Hinterland’ event at Saint Peter’s in 2016, a series of light installations, projections and soundtrack backing within the building itself.

D: Before we begin our conversation, I just have to ask for your consent in order to use any of the information we discuss for the purposes of the dissertation. Is this okay with you?

A: Yes, that is absolutely fine, you have my permission.

D: Perfect, thanks very much. So, firstly, as someone with a very prominent link to Saint Peter’s Seminary due to your role in Nacionale Vita Activa (NVA), I was just wondering if you could give me a brief introduction to some of your experiences of the seminary, from small innate memories, to much larger conceptions.

Aftermath of Arson at Saint Peter’s

A: Yeah, yeah I mean of course this is odd because it is like going back into a ghost, because I left it, or was forced to leave it two and a half years ago, but I did spend ten years of my life working on, thinking about, and spending time in that very particular building and the landscape that’s surrounded it. So, it’s unusual of course looking back into something that didn’t happen, but I suppose many aspects of what we did, happened. The starting point is always interesting, because it’s the first moment when I decided to do something there. It was really, sort of, deeply broken space when we first went into it. There were just huge sections of it that were hanging down from the roof, it wasn’t cleared or cleaned, it had been burnt … there had been two lots of intentional large-scale arson there.

So, as a result, parts of the roof structure and balconies were just hanging into the space. And then a huge amount of ground entrances. It was certainly the most profound level of dereliction I had ever seen or heard of. There was, because it was a feral space, there was always this subcommunity who were inhabiting it, from local kids through to graffiti-artists, through to urban explorers, through to every architecture student in Scotland, and certainly most of the UK. And international tourists from Japan, and other parts of the world too. There were always people surreptitiously wandering around it. Quite often you saw … there were those who didn’t mind being seen, and then there were those who crept in the shadows.

I remember going there on my own in the really early days, and hearing this bell sound, like a real bell, or imagining that I heard this bell sound, and then seeing shadows flitting in high corridors, and it being really … quite a kind of Hollywood horror filmic moment, probably more like The Shining than anything else, and having this sense of … there is a genius loci here of quite remarkable power … and then leaving, quite freaked out, about half an hour later, and walking down, and then seeing the golf course next-door, and then seeing that there was a blind hole on the golf course, and when people walked over the blind hill they had to ring a bell! And it was just this fantastically mundane undercutting of your deep imaginations of the place … that was a lovely starting point.

Of course, deciding to take it on was a profound moment, deciding to dedicate your life to something like that was difficult for a period of time, and having the bravado, stupidity, naivety, inspiration, to take on such a challenge, which did defeat us in the end. The building always wins. There's no doubt about that. I remember being warned by someone who had done some big capital projects before, that ‘this building will emasculate you and spit you out’, and I loved that phrase ‘emasculate’, you know, the idea that a building could just chew you up. And it did. It was too big a task in the end. We came pretty close, raising £9 million, but needed £10 million to make it happen. So, in terms of the building itself, yes, I had a lot of quite exquisite

149

experiences within it … I became particularly attached to the relationship between light and the floating Glulam beams that

were left, I think there were like four Glulam beams left above the altar, that were spread, actually spread out like sun-beams, they spread out over the altar. And certainly, on certain summer days, when you had that transfer of light from East to West, and these moving blocks of geometric shadow cast across the floor. I understood the transcendent nature of it.

Although as student accommodation it probably failed miserably, and nobody can say it didn’t. It was too experimental in terms of its materials for a West of Scotland climate, and if you compare it to Le Corbusier’s equivalent, La Tourette, which was an inspiration to Andy [MacMillan] and Isi [Metstein], this was a homage to that building. That building faced about 25cm of rain a year, and an average ambient temperature of 15-30 degrees. [But at Saint Peter’s] The sheer level of damp meant that any experimental flashings, and any experimental points where the circle meets the square, rather than just the square meets a rectangle, or another straight line, meant that water found its way in. And yet, the concrete pouring was just

Sainte Marie de la Tourette, Le Corbusier

exquisite, and you can still see the plank marks where the concrete was poured to make some of the floating sections within the main block. Absolutely beautiful. And certainly, better than La Tourette in terms of the detail. So, there were elements of it which were exquisite, there were elements which failed. So, is this fine?

D: Yes, it’s absolutely fine, intriguing stuff. There was something you mentioned in your response that caught my attention, you mentioned the genius loci. I have actually focused in on that in one of my early chapters, and I would just like to ask you: would you say the building still has a genius loci, in its ruined form? Or is there perhaps, spectres of place, instead of one unified spirit? Multiple spirits.

A: Yes, multiple. There is no doubt that there are multiple, and like all these things it comes and goes, it’s certainly … anything which is beautiful and ugly, ugly and beautiful … at times the ruination was too deep, at other points … there were fascinating moments … cleaning it up, was really interesting because we

150

had a long internal monologue about ‘ruining the ruin’. In other words, in the act of cleaning it, were you sacrificing what made it special for a lot of people, which was a sense of somewhere which was so far beyond the pail that it was just inspiring in its own form. And when you’ve cleaned these things up do you inevitably, sort of, homogenise that experience to something more banal, but actually in the process of cleaning it up and particularly stripping it back and stripping the roof out, we took it to another place, which was fascinating, where it was … it was the bones. It was the bones, and the bones were beautiful.

The bones in some ways were more beautiful than some of the ways the building looked when it was fully functional.

And I liked this sense of halfway, and the liminal, and the way it could kind of sit in this strange world in between. So, there was an incredible beauty to the clean space, and a clean-ness that actually worked. And it did transcend the derelict version of itself. It had been derelict for twenty years, that was interesting in its own right, but the idea that people said … there was a kind of radical fringe that said ‘you’ve come in there and you’ve destroyed it, made it safe, taken away that wildness’ … but the idea that you should arrest wildness, in other words, they were saying ‘you should let the ruin be a ruin’, well that is a contradiction in terms cause its ever-changing anyway. I think we took it somewhere more interesting anyways.

This halfway space where things could happen, but it wasn’t complete, and it was the difficulty of what we were trying to do, because of course it was all public funding, and it wants you to move towards a perfect re-imagining where things are complete, and there are wonderful business plans for these transformed spaces, whereas what was interesting about what we were doing was that it was incremental, it was bitby-bit, and the building in its half-state was fascinating, it was in a state of becoming, and un-becoming of what it was. And within that, some amazing moments, like for example when the church went in, and a guy with a pneumatic drill drilled the altar apart, and smashed it into bits. And so, we ended up with this broken altar. And the reason they did that was because of course; an altar cannot be deconsecrated. It is still a conduit to their supernatural deity that they worship.

The Broken Altar

149

experiences within it … I became particularly attached to the relationship between light and the floating Glulam beams that

were left, I think there were like four Glulam beams left above the altar, that were spread, actually spread out like sun-beams, they spread out over the altar. And certainly, on certain summer days, when you had that transfer of light from East to West, and these moving blocks of geometric shadow cast across the floor. I understood the transcendent nature of it.

Although as student accommodation it probably failed miserably, and nobody can say it didn’t. It was too experimental in terms of its materials for a West of Scotland climate, and if you compare it to Le Corbusier’s equivalent, La Tourette, which was an inspiration to Andy [MacMillan] and Isi [Metstein], this was a homage to that building. That building faced about 25cm of rain a year, and an average ambient temperature of 15-30 degrees. [But at Saint Peter’s] The sheer level of damp meant that any experimental flashings, and any experimental points where the circle meets the square, rather than just the square meets a rectangle, or another straight line, meant that water found its way in. And yet, the concrete pouring was just

Sainte Marie de la Tourette, Le Corbusier

exquisite, and you can still see the plank marks where the concrete was poured to make some of the floating sections within the main block. Absolutely beautiful. And certainly, better than La Tourette in terms of the detail. So, there were elements of it which were exquisite, there were elements which failed. So, is this fine?

D: Yes, it’s absolutely fine, intriguing stuff. There was something you mentioned in your response that caught my attention, you mentioned the genius loci. I have actually focused in on that in one of my early chapters, and I would just like to ask you: would you say the building still has a genius loci, in its ruined form? Or is there perhaps, spectres of place, instead of one unified spirit? Multiple spirits.

A: Yes, multiple. There is no doubt that there are multiple, and like all these things it comes and goes, it’s certainly … anything which is beautiful and ugly, ugly and beautiful … at times the ruination was too deep, at other points … there were fascinating moments … cleaning it up, was really interesting because we

150

had a long internal monologue about ‘ruining the ruin’. In other words, in the act of cleaning it, were you sacrificing what made it special for a lot of people, which was a sense of somewhere which was so far beyond the pail that it was just inspiring in its own form. And when you’ve cleaned these things up do you inevitably, sort of, homogenise that experience to something more banal, but actually in the process of cleaning it up and particularly stripping it back and stripping the roof out, we took it to another place, which was fascinating, where it was … it was the bones. It was the bones, and the bones were beautiful.

The bones in some ways were more beautiful than some of the ways the building looked when it was fully functional.

And I liked this sense of halfway, and the liminal, and the way it could kind of sit in this strange world in between. So, there was an incredible beauty to the clean space, and a clean-ness that actually worked. And it did transcend the derelict version of itself. It had been derelict for twenty years, that was interesting in its own right, but the idea that people said … there was a kind of radical fringe that said ‘you’ve come in there and you’ve destroyed it, made it safe, taken away that wildness’ … but the idea that you should arrest wildness, in other words, they were saying ‘you should let the ruin be a ruin’, well that is a contradiction in terms cause its ever-changing anyway. I think we took it somewhere more interesting anyways.

This halfway space where things could happen, but it wasn’t complete, and it was the difficulty of what we were trying to do, because of course it was all public funding, and it wants you to move towards a perfect re-imagining where things are complete, and there are wonderful business plans for these transformed spaces, whereas what was interesting about what we were doing was that it was incremental, it was bitby-bit, and the building in its half-state was fascinating, it was in a state of becoming, and un-becoming of what it was. And within that, some amazing moments, like for example when the church went in, and a guy with a pneumatic drill drilled the altar apart, and smashed it into bits. And so, we ended up with this broken altar. And the reason they did that was because of course; an altar cannot be deconsecrated. It is still a conduit to their supernatural deity that they worship.

The Broken Altar

151

Barbecue on Saint Peter’s altar

The archdiocese, the bishop at the head of the archdiocese had seen pictures of Goths lying on the altar, and said ‘right, go in there and destroy it’, and that then became a beautiful symbol for me. So rather than us saying we should put the altar back together, we were very much saying we should keep it. That’s part of its story now, this broken altar, and how appropriate, this smashed altar that still had an amazing materiality … amazing viscerality … with the quality of that broken, smashed, it just seemed to sum up the building.

D: Yes, it seems quite important also in determining narrative, which seems to be key to a lot of people in their experience of the building. I have carried out a survey of around one hundred people who have visited the seminary, and for them, as well as the architecture and a sense of indeterminacy, the narrative of the space, and the idea of a monument in flux is crucial to them. What are your thoughts on this?

A: A monument in flux? Yes, as I say this was the tension in what we were doing, because in truth what we wanted to do was a process that was iterative, that was the one that worked, and that was the one that we did. There is no doubt that our building did save the building from likely destruction. We managed to save 80% of the vaults, and if it had carried on just in its entropic process, it would probably have been knocked down. So, it has enabled the potential for it to have a future life, in whatever form that is. But that iterative process of just saving it bit by bit, and then enabling creative and intellectual activity to happen within it, and around it, and inspired by it, was what worked.

But that’s not the way funders work, and they didn’t enjoy our experimental approach. They found it very challenging, and far too risky, whereas in fact it was quite the opposite, it was responsive, intuitive, and profoundly interesting as a result. So, I think that notion of creating something that was sort of … had certain sections which might be brought back to quite a high level of detail. For example, re-framing the sanctuary, and recovering it as a place which you could contain performance, and also, could contain perhaps secular, humanist space to enable contemplation, to enable civil ceremonies, rituals, to take place … birth, death, marriage, that really interested me.

You could bring back a ritual function to the space because

the way that it modulated light was so powerful that it naturally allowed you to dwell in a powerful way, and that was really in my deep interest, not generating a profit. Yet, you have to generate a profit for these places to survive. We took various commercial operators in there, and no-one could see it, noone could feel a commercial use for it, it was just too difficult.

Parking was too hard, it was too remote, the lanes reaching it were too narrow. So, it was this strange kind of liminal use that was probably going to be its most interesting use, but you couldn’t build a business plan on that.

D: That brings me on to my next question, which is, you talked about the secular usages of the building, or the potential for secular use of the building, how do you relate to any sacred associations that the building may have?

A: Well it doesn’t have any now in the sense … well I think the sense of decay within it is probably particularly poignant, because it set out with such an aspirational use, a place to inspire these groups of young men to focus on a sort of spiritual part of their lives, so it has an elevated status, and there is no doubt that the chapel space was a high point in the careers of Gillespie, Kidd & Coia, and Andy and Isi, because they did create something very poetic. And I think they transcended their influences in the way they made that space, the sculptural form of it, the way light was modulated through it, and many priests who had a really hellish time living there in winter still remember mass on particular days. We were lucky to speak to a canon who had been there who died a year after we spoke to him, and his descriptions of the space were ecstatic, it was wonderful to hear. Of course when a place becomes desecrated in that sense, and it carries that poignancy of previous use, it’s quite different to being in an office block, or a purely industrial space, which has a very different sense of loss, maybe a more political sense of loss, it has different associations, whereas this was a place where elevated thinking took place, whether you agree with monotheistic dogma or not, it is still powerful when somewhere has that dedication. So, I think there were, of course, traces of that coming through, and certainly in terms of our reconstitution of the space, and re-imagining of the space,

152

Light Modulation at Hinterland, 2016

151

Barbecue on Saint Peter’s altar

The archdiocese, the bishop at the head of the archdiocese had seen pictures of Goths lying on the altar, and said ‘right, go in there and destroy it’, and that then became a beautiful symbol for me. So rather than us saying we should put the altar back together, we were very much saying we should keep it. That’s part of its story now, this broken altar, and how appropriate, this smashed altar that still had an amazing materiality … amazing viscerality … with the quality of that broken, smashed, it just seemed to sum up the building.

D: Yes, it seems quite important also in determining narrative, which seems to be key to a lot of people in their experience of the building. I have carried out a survey of around one hundred people who have visited the seminary, and for them, as well as the architecture and a sense of indeterminacy, the narrative of the space, and the idea of a monument in flux is crucial to them. What are your thoughts on this?

A: A monument in flux? Yes, as I say this was the tension in what we were doing, because in truth what we wanted to do was a process that was iterative, that was the one that worked, and that was the one that we did. There is no doubt that our building did save the building from likely destruction. We managed to save 80% of the vaults, and if it had carried on just in its entropic process, it would probably have been knocked down. So, it has enabled the potential for it to have a future life, in whatever form that is. But that iterative process of just saving it bit by bit, and then enabling creative and intellectual activity to happen within it, and around it, and inspired by it, was what worked.

But that’s not the way funders work, and they didn’t enjoy our experimental approach. They found it very challenging, and far too risky, whereas in fact it was quite the opposite, it was responsive, intuitive, and profoundly interesting as a result. So, I think that notion of creating something that was sort of … had certain sections which might be brought back to quite a high level of detail. For example, re-framing the sanctuary, and recovering it as a place which you could contain performance, and also, could contain perhaps secular, humanist space to enable contemplation, to enable civil ceremonies, rituals, to take place … birth, death, marriage, that really interested me.

You could bring back a ritual function to the space because

the way that it modulated light was so powerful that it naturally allowed you to dwell in a powerful way, and that was really in my deep interest, not generating a profit. Yet, you have to generate a profit for these places to survive. We took various commercial operators in there, and no-one could see it, noone could feel a commercial use for it, it was just too difficult.

Parking was too hard, it was too remote, the lanes reaching it were too narrow. So, it was this strange kind of liminal use that was probably going to be its most interesting use, but you couldn’t build a business plan on that.

D: That brings me on to my next question, which is, you talked about the secular usages of the building, or the potential for secular use of the building, how do you relate to any sacred associations that the building may have?

A: Well it doesn’t have any now in the sense … well I think the sense of decay within it is probably particularly poignant, because it set out with such an aspirational use, a place to inspire these groups of young men to focus on a sort of spiritual part of their lives, so it has an elevated status, and there is no doubt that the chapel space was a high point in the careers of Gillespie, Kidd & Coia, and Andy and Isi, because they did create something very poetic. And I think they transcended their influences in the way they made that space, the sculptural form of it, the way light was modulated through it, and many priests who had a really hellish time living there in winter still remember mass on particular days. We were lucky to speak to a canon who had been there who died a year after we spoke to him, and his descriptions of the space were ecstatic, it was wonderful to hear. Of course when a place becomes desecrated in that sense, and it carries that poignancy of previous use, it’s quite different to being in an office block, or a purely industrial space, which has a very different sense of loss, maybe a more political sense of loss, it has different associations, whereas this was a place where elevated thinking took place, whether you agree with monotheistic dogma or not, it is still powerful when somewhere has that dedication. So, I think there were, of course, traces of that coming through, and certainly in terms of our reconstitution of the space, and re-imagining of the space,

152

Light Modulation at Hinterland, 2016

153

it picked up on aspects of that. Creation of sacralised space, as long as it was non-denominational, non-dogmatic, universal. Part of the power of that architecture as a post-war optimistic modernist architecture was that it could appear in Moscow, São Paulo, London, Cardross. It was the dreaming of a universal set of values that transcended the parochial racialism of Nazism. And so, I was quite attracted to that idea that the stones could embody a set of universal values which humanity could aspire towards. Unfortunately, most of this has been undermined by the way in which humanity has gone in the 21st century, so I guess you could describe Modernism as a failed social architecture. But to me, aspects of that ambition are really valuable, because as humans we have to think big, we have to be inspired to imagine a better version of ourselves.

And so for me there was a philosophy at play here that was worth supporting, it’s the same philosophy that built the NHS, that has created models where everyone, irrespective of their political backgrounds feel that it is a good idea, and that is borne out of that belief that there can be a better version of us. I guess I’m a bit of a romantic, but I believe that will always have its place. The building was playing into that narrative in a way, in a slightly broken way.

D: Would you say that, although the idolatry of God has ceased at Saint Peter’s, there remain idolatrous attitudes concerning its architecture?

A: How do you mean idolatrous?

D: In that we worship the architecture beyond its true worth.

A: You can’t really take it to one form or the other because one of the really interesting … if you get hold of our book, we describe it as a contested landscape, and it remains a contested landscape, its contested nature is what makes it interesting.

When we first arrived, on a local level it was probably 75% that wanted to blow it up, and 25% that said, ‘this is an amazing place, I go with my grandchildren and I love the the graffiti’, and there was nothing in between. I worked quite a lot with

the people who were really angry about it, who really hated it, who thought it was a violation. So, far from being a space which inspires people to imagine beyond what is there, and to project constructs onto it that suit their particular inspiration, which is probably what I was doing as well, they saw the reverse, they saw it as a deeply dangerous space that … you know there was a sub-fringe there, there was the dark graffiti, the rape graffiti, the violent graffiti … I ashamedly say I became a censor, we documented it and then wiped it out, because it was violent against women, violent against people, and that sort of netherworld of it was a really dark disturbance, and people just wanted to see that go, they didn’t want their children pulled into that place.

So, I recognised that, and then said that the anger that people have against it, is probably more interesting than someone who is a deep fan of brutalism, who sees it as some strange elevated form, and a lot of people were really angry about it, they expected you as an artist to go in there and try and change their mind, but I took the exact opposite view of saying ‘your anger is really interesting, what is your idea of beauty? And what is it about this building that violates your idea of beauty?

Can you imagine a use of this architecture which is useful, in other words a place where we can think, create employment, create events, create artistic interventions, which could inspire further generations to see the world in a different way’, and then when you started to see it as a vehicle for change, rather than something in itself, it began to open up, and recognise that you could see value where they didn’t, but you could also see it as a potential vehicle for social change that they could get into.

I loved that, I loved those conversations, and of course you built trust by doing it, not by talking about it, you make practical steps which they could see were for the public good. I moved between all these things, at times I would be there on my own and very inspired, other times I would be very frightened by it, and other times it would just be an amazing inspiration for new thinking. And I was always interested in how it inspired you to think rather than just the thing in itself. It’s that interaction that is the important thing.

154

Graffiti at the Seminary

153

it picked up on aspects of that. Creation of sacralised space, as long as it was non-denominational, non-dogmatic, universal. Part of the power of that architecture as a post-war optimistic modernist architecture was that it could appear in Moscow, São Paulo, London, Cardross. It was the dreaming of a universal set of values that transcended the parochial racialism of Nazism. And so, I was quite attracted to that idea that the stones could embody a set of universal values which humanity could aspire towards. Unfortunately, most of this has been undermined by the way in which humanity has gone in the 21st century, so I guess you could describe Modernism as a failed social architecture. But to me, aspects of that ambition are really valuable, because as humans we have to think big, we have to be inspired to imagine a better version of ourselves.

And so for me there was a philosophy at play here that was worth supporting, it’s the same philosophy that built the NHS, that has created models where everyone, irrespective of their political backgrounds feel that it is a good idea, and that is borne out of that belief that there can be a better version of us. I guess I’m a bit of a romantic, but I believe that will always have its place. The building was playing into that narrative in a way, in a slightly broken way.

D: Would you say that, although the idolatry of God has ceased at Saint Peter’s, there remain idolatrous attitudes concerning its architecture?

A: How do you mean idolatrous?

D: In that we worship the architecture beyond its true worth.

A: You can’t really take it to one form or the other because one of the really interesting … if you get hold of our book, we describe it as a contested landscape, and it remains a contested landscape, its contested nature is what makes it interesting.

When we first arrived, on a local level it was probably 75% that wanted to blow it up, and 25% that said, ‘this is an amazing place, I go with my grandchildren and I love the the graffiti’, and there was nothing in between. I worked quite a lot with

the people who were really angry about it, who really hated it, who thought it was a violation. So, far from being a space which inspires people to imagine beyond what is there, and to project constructs onto it that suit their particular inspiration, which is probably what I was doing as well, they saw the reverse, they saw it as a deeply dangerous space that … you know there was a sub-fringe there, there was the dark graffiti, the rape graffiti, the violent graffiti … I ashamedly say I became a censor, we documented it and then wiped it out, because it was violent against women, violent against people, and that sort of netherworld of it was a really dark disturbance, and people just wanted to see that go, they didn’t want their children pulled into that place.

So, I recognised that, and then said that the anger that people have against it, is probably more interesting than someone who is a deep fan of brutalism, who sees it as some strange elevated form, and a lot of people were really angry about it, they expected you as an artist to go in there and try and change their mind, but I took the exact opposite view of saying ‘your anger is really interesting, what is your idea of beauty? And what is it about this building that violates your idea of beauty?

Can you imagine a use of this architecture which is useful, in other words a place where we can think, create employment, create events, create artistic interventions, which could inspire further generations to see the world in a different way’, and then when you started to see it as a vehicle for change, rather than something in itself, it began to open up, and recognise that you could see value where they didn’t, but you could also see it as a potential vehicle for social change that they could get into.

I loved that, I loved those conversations, and of course you built trust by doing it, not by talking about it, you make practical steps which they could see were for the public good. I moved between all these things, at times I would be there on my own and very inspired, other times I would be very frightened by it, and other times it would just be an amazing inspiration for new thinking. And I was always interested in how it inspired you to think rather than just the thing in itself. It’s that interaction that is the important thing.

154

Graffiti at the Seminary

155

D: That’s a fascinating response, thank you very much. One final, small question before we wrap things up, very simply: how does it make you feel?

A: Now? Or then?

D: Both would be great.

A: As I say, it was an amazing learning tool, I learnt a huge amount through it. It definitely did take over my life, it has that capacity to viscerally imprint itself on you, and when a building does that there are positives and negatives that come out of that. So, I kind of have to say ‘thank you’ to it for what it did to my life, but it almost destroyed me. So, it was a dangerous place and an inspiring place. It affected me in equal measure.

Do I have any regrets looking back that I spent a fifth of my life focused on it? Absolutely not. I lost everything as a result of it, I lost my company, I lost my health, but I’m here today, and I’m okay, and I’ve learnt from that, and what it forced me to let go of, I am quite glad I have let go of, and I am rebuilding my life again, and my creativity is intact. I think doing something that is not a success, sometimes you gain more from those things than … you know, it was a spectacular failure! So, I really genuinely have no regrets, I don’t sit here at any point saying, ‘what if’, the truth us of course that if we’d been able to survive until now, this Covid year would have destroyed us.

Can you imagine sitting with twenty staff trying to make that place profitable, it was just too hard. I’ll be very interesting to see if the person who has taken over now manages to do anything, I would be surprised.

D: I’m very sceptical of that, to say the least.

A: There’s an AA [Architectural Association] review where the new owner’s wife spoke to the AA in depth about her ideas, I think primarily they’re interested in the garden and the historic landscape. They’ve brought some interesting architects in, they’ve got quite a hard-hitting team there, but I know there’s

no money in it so it’s all blah-blah at this point, and I suspect the building will defeat them, as it does everyone, and it will carry on sailing into its uncertain future. But you know, good luck to them for trying, you have to be a little unhinged to want to do it, and they are just the next in line of unhinged people. But yeah, the building really has a life of its own. It’s remarkable, it’s a remarkable thing to float as it does in that strange lost landscape. Rowan Moore likened it to ‘a strange ship that’s been unleashed in a storm, it lost its anchor and is slowly being blown in a squall towards an uncertain place’, I love that image. I learnt hugely through it, that’s ultimately why one makes art, and why art affects you, it can take your mind to interesting places and help you grow as a person.

So, while it diminished me on a certain level, I have come out of it humbler, and probably a better human being as a result of what I went through. So, no regrets.

D: I’m glad to hear it! Thank you so much for giving up your time to participate Angus, I really appreciate it. I will be in touch to send you the final version after I have submitted.

A: Alright Daniel, best of luck, and yes please do. See you!

156

155

D: That’s a fascinating response, thank you very much. One final, small question before we wrap things up, very simply: how does it make you feel?

A: Now? Or then?

D: Both would be great.

A: As I say, it was an amazing learning tool, I learnt a huge amount through it. It definitely did take over my life, it has that capacity to viscerally imprint itself on you, and when a building does that there are positives and negatives that come out of that. So, I kind of have to say ‘thank you’ to it for what it did to my life, but it almost destroyed me. So, it was a dangerous place and an inspiring place. It affected me in equal measure.

Do I have any regrets looking back that I spent a fifth of my life focused on it? Absolutely not. I lost everything as a result of it, I lost my company, I lost my health, but I’m here today, and I’m okay, and I’ve learnt from that, and what it forced me to let go of, I am quite glad I have let go of, and I am rebuilding my life again, and my creativity is intact. I think doing something that is not a success, sometimes you gain more from those things than … you know, it was a spectacular failure! So, I really genuinely have no regrets, I don’t sit here at any point saying, ‘what if’, the truth us of course that if we’d been able to survive until now, this Covid year would have destroyed us.

Can you imagine sitting with twenty staff trying to make that place profitable, it was just too hard. I’ll be very interesting to see if the person who has taken over now manages to do anything, I would be surprised.

D: I’m very sceptical of that, to say the least.

A: There’s an AA [Architectural Association] review where the new owner’s wife spoke to the AA in depth about her ideas, I think primarily they’re interested in the garden and the historic landscape. They’ve brought some interesting architects in, they’ve got quite a hard-hitting team there, but I know there’s

no money in it so it’s all blah-blah at this point, and I suspect the building will defeat them, as it does everyone, and it will carry on sailing into its uncertain future. But you know, good luck to them for trying, you have to be a little unhinged to want to do it, and they are just the next in line of unhinged people. But yeah, the building really has a life of its own. It’s remarkable, it’s a remarkable thing to float as it does in that strange lost landscape. Rowan Moore likened it to ‘a strange ship that’s been unleashed in a storm, it lost its anchor and is slowly being blown in a squall towards an uncertain place’, I love that image. I learnt hugely through it, that’s ultimately why one makes art, and why art affects you, it can take your mind to interesting places and help you grow as a person.

So, while it diminished me on a certain level, I have come out of it humbler, and probably a better human being as a result of what I went through. So, no regrets.

D: I’m glad to hear it! Thank you so much for giving up your time to participate Angus, I really appreciate it. I will be in touch to send you the final version after I have submitted.

A: Alright Daniel, best of luck, and yes please do. See you!

156

Appendix D: Phone Interview with Ed Hollis, November 25th, 2020.

158

Ed Hollis (E) was involved with The Invisible College, a project that ran from 2011-2013, which sought to repurpose the Seminary as an educational space. They ran a number of workshops at Saint Peter’s, and also collaborated with NVA in its plans to re-occupy the space.

D: Ed, is it okay if I record this meeting for the purpose of my dissertation?

E: It is indeed.

D: Great. I think it’s best to start off by asking you to describe some of your experiences of Saint Peter’s Seminary. They can be anything, ranging from preconceptions of the space, to anecdotes relating to specific visits.

Still from Murray Grigor’s Space & Light

E: Sure. I first encountered Saint Peter’s in a video when I was an architecture student. I studied architecture in Cambridge, and in my class, there was a guy called Saul Metstein who was very bolshy and thought the course was a load of old rubbish with all its phenomenology, and deep and meaningful stuff.

And he was like ‘why can’t we do proper normal modernist architecture like proper normal modernist architects.’ It turned out that the reason he felt like that was because he was the son of Isi Metstein, and at that time, this was 1989-1990, he had a video, and we watched the video. And he said, we should look at this building, because it’s just been shut. And it was a video of just going around looking at the seminary building.

And there was always a kind of a plan of ‘oh let’s go up to Scotland and look at this building,’ which we never did. And so, I knew it from that. And then, while I was a student up here [Edinburgh], I came up here to do the diploma, and worked at Richard Murphy Architects, it was always a thing of myth, it was the sort of place where you would ask people ‘how do you

get to visit it?’, and they would respond ‘well… haha, I can’t tell you’, while tapping their noses, and so I never did visit, until 2010 when I went along. The extraordinary thing was that when I’d seen it, 21 years before on the video, the video had been what it was like at the time, and of course by the time I had got there in 2010, it was too late. That building that had existed in the video didn’t exist anymore, it was something completely different. That was the first encounter with it, I guess.

I got involved with the project, with NVA’s project for it, in the same year, in 2010, and the reason was that I had written a book called The Secret Lives of Buildings, which is a book about how buildings go wrong, and all the terrible things that happen to them, and a friend of mine said ‘you should talk to Angus Farquhar, he’s the guy that’s taking on Saint Peter’s’, and so I went to meet Angus for a cup of coffee in Glasgow,

and was very struck by the project that he had for the building, because it seemed to me that he was asking a question, of that building, or indeed any other building, that I had never heard asked before. This was, I suppose, that the whole public discourse up to that point had been ‘here is a great big modernist masterpiece, and it has fallen down, fallen into ruin, therefore we must restore it to its former glory.’ And, Angus’ thought was actually, ‘what if, the most interesting thing that ever happened to that building was that it was abandoned, or that it was falling to pieces, and is now a ruin? If we are prepared to accept that with Tantallon Castle, why aren’t we prepared to accept that with a modern building?’ That was a very striking thing for me.

In the thirty years when the building supposedly went to sleep, was actually when it was living its life. And the bit when it was doing what it was meant to do was only a prequel to that. Other people such as Miles Glendinning tend to think the same, I recall he said, ‘the only interesting thing about that building is that it went wrong’, he’s not the biggest fan of Gillespie, Kidd & Coia! So, I thought that was very striking, and then I ended up seeing the video again, this time at the 2011 Venice Biennale, as Scotland’s offering. The offering was a screening of Space

Stills from Murray Grigor’s Space & Light Revisited, Lecture Theatre Staircase

Appendix D: Phone Interview with Ed Hollis, November 25th, 2020.

158

Ed Hollis (E) was involved with The Invisible College, a project that ran from 2011-2013, which sought to repurpose the Seminary as an educational space. They ran a number of workshops at Saint Peter’s, and also collaborated with NVA in its plans to re-occupy the space.

D: Ed, is it okay if I record this meeting for the purpose of my dissertation?

E: It is indeed.

D: Great. I think it’s best to start off by asking you to describe some of your experiences of Saint Peter’s Seminary. They can be anything, ranging from preconceptions of the space, to anecdotes relating to specific visits.

Still from Murray Grigor’s Space & Light

E: Sure. I first encountered Saint Peter’s in a video when I was an architecture student. I studied architecture in Cambridge, and in my class, there was a guy called Saul Metstein who was very bolshy and thought the course was a load of old rubbish with all its phenomenology, and deep and meaningful stuff.

And he was like ‘why can’t we do proper normal modernist architecture like proper normal modernist architects.’ It turned out that the reason he felt like that was because he was the son of Isi Metstein, and at that time, this was 1989-1990, he had a video, and we watched the video. And he said, we should look at this building, because it’s just been shut. And it was a video of just going around looking at the seminary building.

And there was always a kind of a plan of ‘oh let’s go up to Scotland and look at this building,’ which we never did. And so, I knew it from that. And then, while I was a student up here [Edinburgh], I came up here to do the diploma, and worked at Richard Murphy Architects, it was always a thing of myth, it was the sort of place where you would ask people ‘how do you

get to visit it?’, and they would respond ‘well… haha, I can’t tell you’, while tapping their noses, and so I never did visit, until 2010 when I went along. The extraordinary thing was that when I’d seen it, 21 years before on the video, the video had been what it was like at the time, and of course by the time I had got there in 2010, it was too late. That building that had existed in the video didn’t exist anymore, it was something completely different. That was the first encounter with it, I guess.

I got involved with the project, with NVA’s project for it, in the same year, in 2010, and the reason was that I had written a book called The Secret Lives of Buildings, which is a book about how buildings go wrong, and all the terrible things that happen to them, and a friend of mine said ‘you should talk to Angus Farquhar, he’s the guy that’s taking on Saint Peter’s’, and so I went to meet Angus for a cup of coffee in Glasgow,

and was very struck by the project that he had for the building, because it seemed to me that he was asking a question, of that building, or indeed any other building, that I had never heard asked before. This was, I suppose, that the whole public discourse up to that point had been ‘here is a great big modernist masterpiece, and it has fallen down, fallen into ruin, therefore we must restore it to its former glory.’ And, Angus’ thought was actually, ‘what if, the most interesting thing that ever happened to that building was that it was abandoned, or that it was falling to pieces, and is now a ruin? If we are prepared to accept that with Tantallon Castle, why aren’t we prepared to accept that with a modern building?’ That was a very striking thing for me.

In the thirty years when the building supposedly went to sleep, was actually when it was living its life. And the bit when it was doing what it was meant to do was only a prequel to that. Other people such as Miles Glendinning tend to think the same, I recall he said, ‘the only interesting thing about that building is that it went wrong’, he’s not the biggest fan of Gillespie, Kidd & Coia! So, I thought that was very striking, and then I ended up seeing the video again, this time at the 2011 Venice Biennale, as Scotland’s offering. The offering was a screening of Space

Stills from Murray Grigor’s Space & Light Revisited, Lecture Theatre Staircase

159

Stills from Murray Grigor’s Space & Light \ Revisited, Crypt Ramp

& Light Revisited, by Murray Grigor. So, I had seen the original film, Space & Light, and then went to the screening in Venice, and it was an amazingly affective experience of seeing a building in these two states. It was followed by a discussion about the future possibilities of Saint Peter’s, which turned into a quasi-academic research project, which focused on how we re-occupy that space. In 2012, as part of a project called the Invisible College, we held three active-educational workshops on the site, the idea being that ‘we could wait around until we have proper funding, we could wait around until we have planning permission, we could wait around until there was a design, but actually real life is moving on, so why don’t we just do stuff there, and see what happens?’ The idea was to have a series of these workshops that took place in 2012, which snowballed over the next few years into a larger project for reoccupying the building, led by NVA.

D: Interesting stuff. Ed, what would you say is the ‘spirit’ of the building? Does it still have a singular unified spirit?

E: Very interesting. I have seen it in three manifestations.

The first, as a completely abandoned ruin, before any of these workshops happened, the second was during these workshops, and the third one was after it had been cleared of debris in preparation for NVA’s 2016 event, Hinterland.

Three very different universes. So, to go there before any workshop has happened, before anyone had gone in legally, it was really frightening. I remember going there, and it was raining, and the sound of rain falling through holes in the roof was amazingly loud and powerful. I remember hearing steps, and voices, or at least thinking that I heard them. I also once went with my mum, who was much more grown-up about it than me. I remember there were two youths who were burning tires on top of the altar, and she just walked up the them and said ‘Are you sure you should be doing that? I don’t think it’s very responsible!’, as I cringed, embarrassed of my assertive mother. But it was a scary place. It was genuinely frightening, this kind of netherworld. Once we started doing stuff there, it suddenly felt very different, as I say when people started going in for the workshops, that was like a spell had been broken.

Something of that sublime terror had just disappeared.

160

Then interestingly, when I went back, and saw how the preparations for Hinterland had cleared the place out … there was lots of asbestos which had been removed … what it meant was that all the loose material had disappeared, and suddenly it went from feeling like a ruin, to feeling like an unfinished building, which is the opposite, and yet the same. It actually felt kind of sad, and abandoned, and somehow lacked … you know, once it had been cleaned, all the fun was drained out of it in a curious way … it almost needed some trees growing out of it, you know there’s nothing like inhaling a bit of asbestos to get you going! In a way, it has kind of lost it, and I have not been back since it has been fenced off again, I don’t know if you have been back since, but there are apparently rings and rings of steel nowadays. It’s like Fort Knox!

D: Yes, it is certainly a place which seems to have multiple aspects to it. How important would you say the element of narrative is in terms of how people experience Saint Peter’s?

E: Its crucial to it. If it hadn’t been a sacred building, it wouldn’t have anything like the same charge, and I think there is a fascinating way that it gets read in all sorts of metaphorical ways, so, you know, ‘it was a seminary, it was full of young men training to be priests, therefore it must have been a den of satanic, child-abusing iniquity’ … it has been used as a metaphor for what has happened to the Catholic Church, it has been used as a metaphor for what has happened to Modernism, it has been used as a metaphor for the careers of Andy [MacMillan] and Isi [Metstein] … and then you get these weird moments where all those stories coincide with one another. I did a paper, where I just went through lots of online blogs about it, to see what people post about it online, and it is amazing how little people look at the architecture, and how they focus on the stories of its occupation, which are incredibly crucial. One thing I found fascinating in terms of narrative about it was the way that graffiti was used to literally narrate the building … there is one study I have done, where I have looked at the same one patch of wall, and I have found lots of date-stamped photographs … and year by year, this wall changes, the story gets re-told … but each time, a fragment of the previous graffiti is embedded into the new graffiti.

Graffiti narrative

159

Stills from Murray Grigor’s Space & Light \ Revisited, Crypt Ramp

& Light Revisited, by Murray Grigor. So, I had seen the original film, Space & Light, and then went to the screening in Venice, and it was an amazingly affective experience of seeing a building in these two states. It was followed by a discussion about the future possibilities of Saint Peter’s, which turned into a quasi-academic research project, which focused on how we re-occupy that space. In 2012, as part of a project called the Invisible College, we held three active-educational workshops on the site, the idea being that ‘we could wait around until we have proper funding, we could wait around until we have planning permission, we could wait around until there was a design, but actually real life is moving on, so why don’t we just do stuff there, and see what happens?’ The idea was to have a series of these workshops that took place in 2012, which snowballed over the next few years into a larger project for reoccupying the building, led by NVA.

D: Interesting stuff. Ed, what would you say is the ‘spirit’ of the building? Does it still have a singular unified spirit?

E: Very interesting. I have seen it in three manifestations.

The first, as a completely abandoned ruin, before any of these workshops happened, the second was during these workshops, and the third one was after it had been cleared of debris in preparation for NVA’s 2016 event, Hinterland.

Three very different universes. So, to go there before any workshop has happened, before anyone had gone in legally, it was really frightening. I remember going there, and it was raining, and the sound of rain falling through holes in the roof was amazingly loud and powerful. I remember hearing steps, and voices, or at least thinking that I heard them. I also once went with my mum, who was much more grown-up about it than me. I remember there were two youths who were burning tires on top of the altar, and she just walked up the them and said ‘Are you sure you should be doing that? I don’t think it’s very responsible!’, as I cringed, embarrassed of my assertive mother. But it was a scary place. It was genuinely frightening, this kind of netherworld. Once we started doing stuff there, it suddenly felt very different, as I say when people started going in for the workshops, that was like a spell had been broken.

Something of that sublime terror had just disappeared.

160

Then interestingly, when I went back, and saw how the preparations for Hinterland had cleared the place out … there was lots of asbestos which had been removed … what it meant was that all the loose material had disappeared, and suddenly it went from feeling like a ruin, to feeling like an unfinished building, which is the opposite, and yet the same. It actually felt kind of sad, and abandoned, and somehow lacked … you know, once it had been cleaned, all the fun was drained out of it in a curious way … it almost needed some trees growing out of it, you know there’s nothing like inhaling a bit of asbestos to get you going! In a way, it has kind of lost it, and I have not been back since it has been fenced off again, I don’t know if you have been back since, but there are apparently rings and rings of steel nowadays. It’s like Fort Knox!

D: Yes, it is certainly a place which seems to have multiple aspects to it. How important would you say the element of narrative is in terms of how people experience Saint Peter’s?

E: Its crucial to it. If it hadn’t been a sacred building, it wouldn’t have anything like the same charge, and I think there is a fascinating way that it gets read in all sorts of metaphorical ways, so, you know, ‘it was a seminary, it was full of young men training to be priests, therefore it must have been a den of satanic, child-abusing iniquity’ … it has been used as a metaphor for what has happened to the Catholic Church, it has been used as a metaphor for what has happened to Modernism, it has been used as a metaphor for the careers of Andy [MacMillan] and Isi [Metstein] … and then you get these weird moments where all those stories coincide with one another. I did a paper, where I just went through lots of online blogs about it, to see what people post about it online, and it is amazing how little people look at the architecture, and how they focus on the stories of its occupation, which are incredibly crucial. One thing I found fascinating in terms of narrative about it was the way that graffiti was used to literally narrate the building … there is one study I have done, where I have looked at the same one patch of wall, and I have found lots of date-stamped photographs … and year by year, this wall changes, the story gets re-told … but each time, a fragment of the previous graffiti is embedded into the new graffiti.

Graffiti narrative

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You also get quotes from people like Herbert Read, sort of like philosophy of modern architecture, written on the building, so it is literally being narrated upon. In a sense, and this is where I think Diane [Watters] and Miles’ argument is quite interesting is that they are going ‘it wouldn’t be interesting if what had happened to it, hadn’t happened to it’, which is the opposite approach to the architectonic one, where people are saying ‘this building’s interest lies in its form, in its abstract form’

D: So, would you say that the sacred connotations are crucial to its current existence and perceptions?

E: Yes, I think they are. If it was a school, or a factory, I don’t think it would have anything like the same charge. And I think Diane also makes a really interesting point in her book [St Peter’s, Cardross: Birth, Death and Renewal] that by the time it was completed, the Catholic Church itself had moved on, they didn’t believe in all this sort of ‘high-camp’ stuff, all that sacred vaults and spectral light stuff, which Saint Peter’s embodies …

D: One final question before we finish up, how does Saint Peter’s Seminary make you feel?

E: Ummm … it still niggles at me. I still think ‘there has got to be a way to make it work’, but I don’t know what that is … to me it is always a fascinatingly insoluble problem … I’m not sure that is a feeling though! In a sense, it is always a challenge, that building. How does it make me feel when I go there? It’s beautiful … it doesn’t make me feel melancholy or anything like that at all, I enjoy its ruination … I’m not sure how I can put any of those into one singular emotion!

D: Well Ed, it has been a pleasure, thank you very much for speaking to me. I will be in contact when I have the finished copy if you would like to see it.

E: Absolutely, sounds fantastic – take care!

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You also get quotes from people like Herbert Read, sort of like philosophy of modern architecture, written on the building, so it is literally being narrated upon. In a sense, and this is where I think Diane [Watters] and Miles’ argument is quite interesting is that they are going ‘it wouldn’t be interesting if what had happened to it, hadn’t happened to it’, which is the opposite approach to the architectonic one, where people are saying ‘this building’s interest lies in its form, in its abstract form’

D: So, would you say that the sacred connotations are crucial to its current existence and perceptions?

E: Yes, I think they are. If it was a school, or a factory, I don’t think it would have anything like the same charge. And I think Diane also makes a really interesting point in her book [St Peter’s, Cardross: Birth, Death and Renewal] that by the time it was completed, the Catholic Church itself had moved on, they didn’t believe in all this sort of ‘high-camp’ stuff, all that sacred vaults and spectral light stuff, which Saint Peter’s embodies …

D: One final question before we finish up, how does Saint Peter’s Seminary make you feel?

E: Ummm … it still niggles at me. I still think ‘there has got to be a way to make it work’, but I don’t know what that is … to me it is always a fascinatingly insoluble problem … I’m not sure that is a feeling though! In a sense, it is always a challenge, that building. How does it make me feel when I go there? It’s beautiful … it doesn’t make me feel melancholy or anything like that at all, I enjoy its ruination … I’m not sure how I can put any of those into one singular emotion!

D: Well Ed, it has been a pleasure, thank you very much for speaking to me. I will be in contact when I have the finished copy if you would like to see it.

E: Absolutely, sounds fantastic – take care!

Final Thoughts This dissertation has allowed me to engage with a variety of people, each of whom have contributed to what I feel is a lively, and interesting discussion. Throughout the project there has been an effort to synthesise the various forms of material involved. This process has encouraged a holistic approach, refraining from getting too caught up in certain sentiments that prevail around Saint Peter’s. It is an approach that I find highly valuable, and one which I am sure will be of great importance in the coming years.

Final Thoughts This dissertation has allowed me to engage with a variety of people, each of whom have contributed to what I feel is a lively, and interesting discussion. Throughout the project there has been an effort to synthesise the various forms of material involved. This process has encouraged a holistic approach, refraining from getting too caught up in certain sentiments that prevail around Saint Peter’s. It is an approach that I find highly valuable, and one which I am sure will be of great importance in the coming years.