An Exploration of the Impact of the Fringe Festival on the Authenticity of Edinburgh

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CONTENTS Definitions ________________________________________________________ 3 Abstract __________________________________________________________ 4 Introduction _______________________________________________________ 5 Authenticity _________________________________________________________________ 6 Statement of Significance: ________________________________________________________ 7 Edinburgh Old Town _________________________________________________________ 7 Statement of Significance: _______________________________________________________ 10 Edinburgh New Town ________________________________________________________ 10 The New Town _____________________________________________________13 Case Study 1: Charlotte Square Gardens _____________________________________________ 13 Case Study 2: The Assembly Rooms ________________________________________________ 16 Authenticity ________________________________________________________________ 19 The Old Town _____________________________________________________ 20 Old Town Case Study 1: Bedlam Theatre _____________________________________________ 20 Old Town Case Study 2: Bristo Square_______________________________________________ 22 Old Town Case Study 3: Traverse Theatre ____________________________________________ 24 Authenticity ________________________________________________________________ 27 Discussion _______________________________________________________ Conclusion _______________________________________________________ Bibliography ______________________________________________________ Appendix 1 _______________________________________________________ Appendix 2 _______________________________________________________ Appendix 3 _______________________________________________________

28 29 30 35 36 37

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DEFINITIONS Authenticity 1: The essential qualifying factor concerning values Conservation 2: All the processes of looking after a place so as to retain its cultural significance Cultural capital: As taken from the UNESCO listing 3, producing nationally significant pieces of cultural art. In the context of this piece this includes, but is not limited to, Theatre, Comedy, Dance, physical art, and other performative shows that are presented by The Fringe Culture-bearer: A person raised within a culture, acting as a practitioner of that culture 4 EUTC: Edinburgh University Theatre Company.

The Fringe: The colloquial name for the five festivals run in Edinburgh within August, including Edinburgh Festival Fringe, Edinburgh International Festival, The Royal Edinburgh Military Tattoo, Edinburgh International Book Festival, and the Edinburgh Art Festival Genius Loci 5: Latin term for Spirit of Place, the intangible characteristics that are integral to the authenticity of a place Outstanding Universal Value (OUV): ‘cultural and/or natural significance which is so exceptional as to transcend national boundaries and to be of common importance for present and future generations of all humanity’ 6 Quasi-public space 7: Places that are legally private but are a part of the public domain Spirit of Place 8: The living, social and spiritual nature, including intangible heritage, and internal social and cultural mechanisms, that form part of the identity of a location.

ICOMOS, 1994. The Nara Document of Authenticity (1994), (ICOMOS), https://www.icomos.org/charters/nara-e.pdf [2020,November] 2 Australia ICOMOS, 1999, The Burra Charter: The Australia ICOMOS Charter for Places of Cultural Significance (Burwood, Australia: Australia ICOMOS Secretariat), https://australia.icomos.org/wpcontent/uploads/BURRA_CHARTER.pdf [2020,November] 3 UNESCO, “Old and New Towns of Edinburgh” [online], https://whc.unesco.org/en/list/728 [2020, November] 1

Burton, B., 2002, "Weaving the tapestry of world musics", in B. Reimer (ed.), World Musics and Music Education: Facing the Issues (Reston VA: MENC), pp.161-186, p.178

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5 Petzet, M., 2008. GENIUS LOCI – The Spirit of Monuments and Sites (Quebec: ICOMOS), https://www.icomos.org/quebec2008/cd/toindex/papers_ouverture/inaugural-Vortrag_Petzet.pdf [2020,November]

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UNESCO (2019) Operational Guidelines for the Implementation of the World Heritage Convention

Meert, Henk et al, 2008. The Changing Profiles of the Homeless People: Conflict, rooflessness and the use of public space (Brussels: European Federation of National Associations Working with the Homeless AISBL), https://www.feantsaresearch.org/download/2006_conflict_rooflessness_and_use_of_public_space8353053374602533184 .pdf%20 [2020, November] - This work was built on the introduction to the topic by Hogan, Trevor et al., 2012. “Asian urbanisms and the privatization of cities”, Cities, 29(1), pp.59–63 7

ICOMOS, Québec Declaration On The Preservation Of The Spirit Of Place, Adopted at Québec, Canada, October 4th 2008

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ABSTRACT Every August Edinburgh is transformed by the entertainment behemoth that is The Fringe. This relatively conservative city is flooded by a musical, artistic, comedic and theatrical extravaganza, a spectacle which has earned international recognition.

At heart of Edinburgh, its Old and New Towns form the basis of its designation as a World Heritage Site.

Inscribed in 1995, this living city has been identified by UNESCO as having Outstanding Universal Value. Its exemplary architectural features and urban layout, combined with its strong hospitality and entertainment proposition, has allowed the city to thrive as a tourist destination.

As tourism continues to grow as a presence within Edinburgh, particularly during August, it brings with it increased pressures to the built and unbuilt qualities of the city. This project will explore the effect of mass tourism on these qualities, examining its impact on authenticity. It will do so by examining the definitions and boundaries of authenticity and how these are influenced in 5 case study sites. In conclusion, it will show that The Fringe has both negative and positive impacts on Edinburgh’s authenticity, and that care must be taken to ensure that the elements of The Fringe posing most risk to the city’s authenticity do not proceed unchecked.

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INTRODUCTION Edinburgh World Heritage site, designated by UNESCO in 1995, comprises of the Medieval Old Town along with the 18th and 19th century New Town to the north. Whilst the Medieval Old Town was a natural development over centuries of habitation, the extended Royalty of the New Town was a planned development. Although some of the closes and Georgian terraces have now been demolished or significantly altered to provide shops and hotels, the character of these sites still holds significance and draws in 3.85 million visitors a year, and ÂŁ1.32 billion in visitor expenditure 9.

Plan of Edinburgh City and Suburbs - Thomas Aitchison, 1794-95 10

Edinburgh has been a tourist destination for centuries; in 1727, Daniel Defoe published his tour through Scotland. In 1774-75, Edward Topham visited Edinburgh and the letters he wrote about the city and its people were published the next year. Later, at the beginning of the 19th century, guidebooks such as The Strangers Guide to Edinburgh, 1802, were published. From 1868, the North British Railway served as the first train line between the capital and England. This led to a rise in tourism to the Capital as it was, for the first time,

Edinburgh Tourism Action Group, 2016, Tourism in Edinburgh: Key Figures (ETAG), https://www.etag.org.uk/wpcontent/uploads/2016/11/Facts-and-Figures-2016-Final.pdf [2020,November] 10 Aitchison, T., 1794-1795, Plan of Edinburgh City and Suburbs (Edinburgh), https://maps.nls.uk/towns/rec/5289 [2020,November] 9

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accessible to the masses. Rises in use led to several station reconfigurations and expansions until, in the 1890s, Edinburgh Waverley became the largest station in Britain (until the construction of Waterloo Station in 1921 11).

Since its beginning in 1947, the Edinburgh Fringe comedy festival has brought people from all over the world to enjoy unvetted comedy and productions. What started as an improvised group of performances ‘on the fringe’ of the International Festival 12 has grown into an enormous month-long, multi-national festival in its own right, with over 3 million tickets sold for 3800 shows across the city, representing 250,000 visitors for 2019 alone 13.

This growth does not come without consequence; rising visitor numbers and venues have led to growing numbers of short-term lets and increasing tension with the local community. This report aims to investigate the relationship between the August Festivals and the World Heritage Site, and the impact of tourism on the Outstanding Universal Value and wider cultural significance of the Old and New Towns of Edinburgh, through identifying the ‘principles of authenticity’ and assessing whether key sites meet these criterion. The Principles of Authenticity, for the purposes of this report, are based on the UNESCO listing document, and are as follows; (i)

Individually, the high-quality buildings of all dates have been conserved to a high standard

(ii)

The layout of streets and squares maintain their intactness

(iii)

The property continues to retain its historic role as the administrative and cultural capital of Scotland

(iv)

Remains a vibrant economic centre

This report will use primary and secondary data, sourced from books, research papers and online, to assess the Old and New Towns of Edinburgh in general, looking at the level of authenticity which exists, followed by an analysis of key sites which exist within either of these areas.

Authenticity Siân Jones recognises that a plethora of ‘authenticities’ can exist in parallel 14, as long as the integrity of their associated statements of significance is strong enough 15. Therefore when examining our sites we must consider that the authenticity of the fabric and the authenticity of that space’s “dynamic functions” are not mutually exclusive, nor should either one be used as an overall measure of authenticity 16. Authentic Edinburgh is a

Network Rail, The History of Edinburgh Waverly Station [online], https://www.networkrail.co.uk/who-we-are/ourhistory/iconic-infrastructure/the-history-of-edinburgh-waverly-station/ [2020,November] 12 Ed Fringe, About the Fringe [online], https://www.edfringe.com/learn/about [2020,November] 13 Ed Fringe, The Fringe in Numbers [online], https://www.edfringe.com/learn/news-and-events/the-fringe-in-numbers [2020,November] 14 Jones, S., 2009. “Experiencing authenticity at heritage sites: some implications for heritage management and conservation”, Conservation and Management of Archaeological Sites 11(2), pp.133-147, p.7 15 Jokilahto, J., 2019. “Questions of Authenticity”, Conversationes… con HERB STOVEL, Núm. 8, pp.55-72, p.7 16 Alberts, H. C. and H. D. Hazen, 2010. “Maintaining Authenticity and Integrity at Cultural World Heritage Sites”, Geographical Review 100(1), pp.56-73, p.60 11

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product of “different epochs side by side and on top of each other”, in which tangible and intangible ‘authenticities’ are found simultaneously 17.

The Québec Declaration recognises the importance of the Spirit of Place in reflecting both tangible and intangible elements 18, and Rodwell states that “a historic city is at one and the same time a physical space and a human space” 19.

Statement of Significance: Edinburgh Old Town

Edenburgum, Scotiae Metropolis, G. Braun & F. Hogenburg, 1582 20 showing the Medieval walled city

The Old Town of Edinburgh consists of the medieval walled city along with the former borough of Canongate. At the western edge lies Edinburgh Castle, atop a volcanic plug formed from Basaltic Clinkstone 21 in a crag and tail formation, with the Royal Mile running along its ridge, leading down to the Royal Palace at Holyrood. In 1640, King James III instructed that the glacier valley between the Old and New Towns of Edinburgh be dammed and flooded to provide protection to the city 22. This formed the Nor’ Loch which existed for around 300 years, before being drained at the end of 18th century 23.

Daugstad, K., and Gryti, E., “How to study and manage a multihistoric landscape”, Norsk Geografisk Tidsskrift, 53(3): 1999, pp.85-92, p.91 18 ICOMOS, 2008, Québec Declaration: On the preservation of the spirit of place (ICOMOS), p.3 19 Rodwell, D., 2012. “The Social Aspect of Urban Revitalisation”, Biuletyn Informacyjny, PKN ICOMOS 4(19), pp.27 20 Braun, G. and F. Hogenburg, c.1582. Edinburgum, Scotiae Metropolis (Cologne), https://maps.nls.uk/towns/rec/1022 [2020,November] 21 Maclaren, C., 1866. A Sketch of the Geology of Fife and the Lothians, 2nd Edition (Edinburgh, A. & C. Black) 22 Royal-Mile.com, The Nor’ Loch [online], www.royal-mile.com/history/nor-loch.html [2020,November] 23 Grant, J., 1882, Old and New Edinburgh, Vol. 2 (London: Cassell, Petter, Galpin & Co.), Chapter 12: The Mound 17

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The plan of the city and castle of Edinburgh, W. Edgar 1742 24 showing the Royal Mile running east-west

The plan of the Old Town is a ‘fish-bone’ formation with Royal Mile ‘spine’ and closes and wynds to the north and south making up ‘ribs’. These narrow vennels were flanked with tall closes, split horizontally, which allowed multiple families of all social class to occupy the tenements. During the 18th century, these stood as tall as 10-13 storeys 25 in the Lawnmarket and High Street, whereas in the Canongate, they remained less developed and some ‘burgess plots’ and detached grand houses are still evident, such as Queensberry House and Moray House.

Although sandstone is associated with the buildings of Edinburgh, previously the use timber was standard.

Following a series of fires and collapses, regulations were introduced in 1621 which stated that rooves must be slate or stone, and later in 1674, stone was required for facades, which may have contributed to the survival of the pre-1750 buildings which remain 26.

By this time, the Old Town had become overcrowded and unsanitary so the Lord Provost, George Drummond, developed a series of city improvements in 1752 27. These improvements included the building of a public Exchange, as well as extending the city to the north 28.

Edgar, W., 1742, The Plan of the City and Castle of Edinburgh (Edinburgh), https://maps.nls.uk/towns/rec/7467 [2020,November] 25 Topham, E., 1776, Letters from Edinburgh, (London: J. Dodsley), Letter 4: The Description of the Town 26 The City of Edinburgh Council, Old Town Conservation Area Character Appraisal, https://www.edinburgh.gov.uk/downloads/file/23393/old-town-conservation-area-character-appraisal [2020,November] 27 Edinburgh World Heritage, George Drummond [online], https://ewh.org.uk/iconic-buildings-and-monuments/georgedrummond/ [2020,November] 28 Minto, Lord G. E., 1752, Proposals for Carrying on Certain Public Works in the City of Edinburgh (Shrewsbury: J. and W. Eddowes) 24

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Originality

Map showing the number of closes in the Old Town in 1742 29

Map showing the number of closes in the Old Town in 1984 30

Despite its name, the majority of the buildings which make up Edinburgh’s ‘Medieval’ Old Town date to the 18th and 19th century; there are only 78 buildings which pre-date 1750 31. Notwithstanding, the plan remains largely unchanged. Between 1742 and 1984, the number of closes fell from 337 to 110, however the ‘fish-bone’ formation is still clear.

Bell, D. Carruthers, K. Duncan, C. Mackay, A. Morrison, I. Savage, L… (1984) Edinburgh Old Town Study 1984, Edinburgh Architectural Association

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30

Ibid.

The City of Edinburgh Council, Pre-1750 Buildings in Edinburgh Old Town Conservation Area, https://www.edinburgh.gov.uk/downloads/file/24351/pre-1750-buildings-in-edinburgh-old-town-conservation-area [2020,November] 31

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The new streets formed under the late 18th/early 19th century City Improvements Acts were in the Scotch Baronial style and led to revival in the Old Town. This is directly referenced in the UNESCO inscription Criterion (iv) 32.

Plan of Projected Improvements of the Old Town, 1866 33 showing the proposed streets to be reconfigured under the City Improvement Act 1867

Statement of Significance: Edinburgh New Town In 1752, Lord Provost George Drummond proposed an expansion vision to a largely undeveloped area of land in the north; Wood’s Farm, Bearford’s Parks and Multer’s Hill. In 1766, a competition was held for the urban planning for the New Town, which was subsequently won by James Craig 34. This proposal designed not the individual buildings, but the gridiron plan of the New Town, with a principal street along a natural ridge, with subordinate parallel streets, intersected with secondary cross streets. These in turn, were intersected with tertiary service lanes which allowed access to mews properties. The principal streets and squares were primarily made up of ‘main-door’ townhouses, and the cross streets were mainly tenements 35. The plan allowed settings for private green spaces for the use of the residents; Princes Street and Queen Street were one-sided, with views

UNESCO, “Old and New Towns of Edinburgh” [online], https://whc.unesco.org/en/list/728 [2020, November] Cousin, D. and J. Lessels, 1866, Plan of Stationary Improvements of the City of Edinburgh, https://ia801302.us.archive.org/4/items/b21961888/b21961888.pdf [2020,November] 34 Chambers, R., 1825, Traditions of Edinburgh (Edinburgh: W. & C. Tait), Chapter: Old Houses 35 MacInnes, R., “Edinburgh Old Town and New Town: A Tale of One City?” in Godard Desmaret, C. (ed.), 2019, The New Town of Edinburgh: An Architectural Celebration (Edinburgh: John Donald) 32 33

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over their respective gardens, with the two squares looking inward to their gardens, balanced at either end of George Street. This contrast between the urban planning and architecture of the Old and New Towns of Edinburgh is detailed in UNESCO listing criterion (iv).

Plan showing elevations of the First New Town in 1819 36

Each townhouse was feued by a builder and uniformity was achieved by planning acts which stated the details of the new buildings, such as these should be a maximum of 3-storeys, no greater than 48-feet from basement to wallhead, and banning the use of ‘Stormont windows’ 37 38. Construction started to the east in 1766 with Thistle Court, which was completed around 1791 followed by the north side of St. Andrew’s Square and continued westerly with St. George’s Square (now Charlotte Square).

Once complete, the popularity of the New Town grew despite the start of the Napoleonic War, with the first of the New Town extensions beginning in 1802, designed by City Architects R. Reid and W. Sibbald. Although such strict planning control was not enforced, the street facades were designed by prominent architects in a unified style. Gradually, these grew further north, and spread east to Silvermills and west to the Moray Feu and Stockbridge.

Originality The New Town was constructed primarily of local stone, the best of which could be found 2 miles west of the city, at Craigleith. This fine sandstone was used for the construction of Townhouses throughout the first and second New Towns, such as Register House and Charlotte Square (north side). In the Old Town, City Chambers,

36

Kirkwood, R., 1819, Plan and Elevation of the New Town of Edinburgh (Edinburgh: Kirkwood & Son),

https://maps.nls.uk/towns/rec/418 [2020,November] 37 Scottish Civic Trust, 1970, The Conservation of Georgian Edinburgh (Conference Agenda), (Edinburgh, Scottish Civic Trust) 38 Youngson, A.J., 1966, The Making of Classical Edinburgh, 1750-1840 (Edinburgh: Edinburgh University Press), Chapter: The New Town: James Craig’s Plan

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Edinburgh University’s Old College and George Heriot’s School also utilised this high-quality stone 39. Setts used for roads were primarily of granite or whin, although unlike the Old Town where they remain prevalent, in the New Town these have largely been covered by tarmac, however some are still evident on Frederick Street, Thistle Street, Hill Street and Young Street.

Many additions and amendments to townhouses, mainly on the primary streets of George Street and Princes Street, have made the original street formation of three-storey townhouses unrecognisable; where buildings have not been completely replaced, most basements have been built over with the addition of shop fronts. Large sections of central and west Queen Street still allow the original street scene to be interpreted and the gridiron formation remains unchanged.

Queen Street Central Block, overlooking Queen Street Gardens. Number 32 (right) is still maintained as a residential townhouse

39

McMillan, A., R. Gillanders & J. Fairhurst, 1999, Building Stones of Edinburgh (Edinburgh: Edinburgh Geological Society)

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THE NEW TOWN Case Study 1: Charlotte Square Gardens Origin

Completed in 1820, Charlotte Square forms the western terminus of George Street, Craig’s grand neoclassical boulevard. With its counterpart St Andrews Square, it creates a symmetrical and fundamental east-west spine through the gridiron pattern. It also completes a magnificent vista, which in the early 19th century would have incorporated some of the city’s grandest houses and buildings.

1820-1876 40

post 1876 41

Layout c.1944 42

By 1876 its gardens had moved to a more square design, in which trees were planted and a statue erected in memory of Prince Albert (d.1861). His figure, on horseback, is seen in proud profile from George Street.

Memorial to Prince Albert, revealed 1876 43

Ordnance Survey, 1853, Edinburgh, Sheet 2 (includes: Edinburgh), https://maps.nls.uk/view/74426700 [2020,November] 41 Ordnance Survey, 1897, Edinburghshire Sheet III.NE (includes: Edinburgh), https://maps.nls.uk/view/75512876 [2020,November] 42 Ordnance Survey, ca.1944, Edinburghshire Sheet III.NE (includes: Edinburgh), https://maps.nls.uk/view/75512864 [2020,November] 43 Notman, W., c.1890, General view of memorial at Charlotte Square, Edinburgh. Captioned: 'Albert Memorial', CANMORE, https://canmore.org.uk/collection/457640 [2020,November] 40

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Intervention

The gardens remain in private ownership, access being restricted to those living or owning property around Charlotte Square. The exception to this is that since 1983 the gardens have played host to Edinburgh’s Book Festival, now held annually in August. The first Book Festival hosted 30 events; it now transforms Charlotte Square into a “magical tented village”, hosting over 900 events a year. 44

The “Magical Tented Village” 45 and Charlotte Square from the air 46

Until 2017 temporary marquees, retail outlets, cafés, bars and picnic areas were built within the gardens, and the Festival remained largely confined to the gardens. For 2017 the Book Festival site increased into the west end of George Street (see Appendix 1).

Impact

i.

In June 2020 an inspection commissioned by City of Edinburgh Council identified “continued instances of inappropriate cultural practices” as causing long-term damage to the gardens. 47 The Book Festival acknowledged the declining condition of the site, but proposed “long-term investment”, rather than restraint, as a way of conserving fabric of the gardens. 48 If the use of the site remains driven by commercial priorities mitigated by the wrapping of trees or loadbearing access routes, this could pose a threat to its ongoing integrity as a healthy garden.

Charlotte Square Gardens following the 2019 Book Festival 49

Edinburgh International Bookfestival, 2020, About Us [online], https://www.edbookfest.co.uk/about-us [2020,November Ibid.

46 Historic Environment Scotland, 2018, Oblique Aerial View, CANMORE, https://canmore.org.uk/collection/1764182 [2020,November] 47 Blebo Tree Surgery, 2020, Tree Condition Survey Report: Charlotte Square Gardens, Edinburgh, p.7, http://citydevportal.edinburgh.gov.uk/idoxpa-web/files/D7F134A42B823D23DD81227EE553AC39/pdf/20_04190_TCOTREE_REPORT-4717672.pdf [2020,November] 48 Ferguson, B., 2020, “Edinburgh book festival admits 'negative' environmental impact on historic garden 'cannot continue indefinitely” [online], The Scotsman, https://www.scotsman.com/whats-on/arts-and-entertainment/edinburgh-bookfestival-admits-negative-environmental-impact-historic-garden-cannot-continue-indefinitely-1887954 [2020,November] 49 Ferguson, B., 2020, “Edinburgh book festival admits 'negative' environmental impact on historic garden 'cannot continue indefinitely” [online], The Scotsman, https://www.scotsman.com/whats-on/arts-and-entertainment/edinburgh-bookfestival-admits-negative-environmental-impact-historic-garden-cannot-continue-indefinitely-1887954 [2020,November] 44 45

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ii.

The gardens’ use is largely unchanged since 1820, but during the Festival this otherwise private space becomes very public, busy, commercial, and green space is reduced across the site. Those with access rights or views over the gardens, must adjust; no longer an extension of private property, for walking dogs or exercise, the ambience and use of that place is much changed.

Post 2017, the Book Festival broke free of the boundaries of the gardens, its new footprint literally bridging the previously firm boundary between the public realm and (originally) private space: in 2019 the event won the Euan’s Guide ‘Most Accessible Pop-up Venue Award’. 50 Whilst more egalitarian, the intactness of the area’s street layout is challenged by these changes.

iii.

Blurring the distinction between the private gardens and the surrounding public streetscape, the Book Festival arguably creates a more progressive environment within Scotland’s cultural capital.

Furthermore, Edinburgh as ‘The Athens of the North’ refers not only to a city steeped in classical design but also one enrichened by the literary arts, places of knowledge exchange and education. Edinburgh became UNESCO’s first City of Literature in 2004 51, and The Book Festival now offers dedicated children’s events and activities. The Baillie Gifford Children’s Programme offered over 200 events in 2019, and their Schools Programme welcomed over 11,742 pupils and teachers. Many events were designated ‘Pay What You Can’. 52 By helping wider audiences engage with its events, the Book Festival reinforces the city as a cultural capital.

iv.

From 2017 the Book Festival introduced bookshops to its site, alongside its events, and it incorporates pop-up cafés and bars (see appendix 1). The Book Festival had a total income of £3.6m in 2017, 83% of which went back into the site and programme of events 53. These figures increased to £3.9m and 84% respectively for 2018 54. It drew approximately 265,000 visitors to the area in 2019. 55 As a commercial as well as cultural hub, it contributes positively to Edinburgh’s economic vibrancy.

Euan’s Guide, 2019, Winners of the Euan’s Guide 2019 Accessible Edinburgh Festivals Awards Announced [online], https://www.euansguide.com/news/accessible-festival-awards-2019/ [2020, November] 51 UNESCO Creative Cities Network, 2020, Edinburgh: About the Creative City [online], https://en.unesco.org/creativecities/edinburgh [2020, November] 52 Stephen, P., 2019, “Edinburgh International Book Festival 2019 – turns out we did need new stories” [online], The Scotsman, https://theedinburghreporter.co.uk/2019/08/edinburgh-international-book-festival-2019-turns-out-we-didneed-new-stories/ [2020, November] 53 Edinburgh International Book Festival Limited, 2018, Reports and Financial Statements to 31st December 2017, (Companies House), https://find-and-update.company-information.service.gov.uk/company/SC079939/filinghistory/MzIwNTUzOTQxOWFkaXF6a2N4/document?format=pdf&download=0 [2020, November] 54 Edinburgh International Book Festival Limited, 2018, Reports and Financial Statements to 31st December 2018, (Companies House), https://find-and-update.company-information.service.gov.uk/company/SC079939/filinghistory/MzIzOTgyMjIyM2FkaXF6a2N4/document?format=pdf&download=0 [2020, November] 55 Stephen, P., 2019, “Edinburgh International Book Festival 2019 – turns out we did need new stories” [online], The Scotsman, https://theedinburghreporter.co.uk/2019/08/edinburgh-international-book-festival-2019-turns-out-we-didneed-new-stories/ [2020, November] 50

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Case Study 2: The Assembly Rooms Origin

Edinburgh’s Assembly Rooms sit halfway along George Street. Completed in 1787 to a design by John Henderson, they occupy a site given by the City. In 1818 a grand portico was added to a design by John Burn, in 1843 a music hall was added to the rear of the building, and in 1907 new rooms added either side of the main building. 56 Originally funded by public subscription, they are grade A listed and celebrated by Historic Environment Scotland as a public building ‘continuing in its original use’. 57 The Assembly Rooms remain under the control of the City Council and in 2011 and 2012 they went through an extensive £9.3m restoration programme which included the incorporation of two permanent retail spaces and a restaurant to the rear. 58 They are now used throughout the year for an array of social events and corporate functions.

1784 59

1896 60

1914 61

Intervention

The Assembly Rooms have historically been social spaces and have hosted performances in the Fringe since at least 1981. 62 From then until 2011 their Fringe tenancy was held by William Burdett-Coutts’ Assembly, who’s operations remained largely within the building. After the 2011/2012 renovation the Fringe tenancy was taken over by Edinburgh events company Salt’N’Sauce, and a sea-change of use ensued.

In 2012 the building offered only 4 performance venues, but a large section of George Street was pedestrianised in front of the Assembly Rooms, operated by Salt’N’Sauce and incorporating a vast open-air bar, Spiegeltent marquee, and information and ticketing facilities. Cycle lanes were created parallel to the pavements, but the road was closed to motor vehicles. Similar arrangements have returned each year since. Permission was also sought for banners to be hung between the columns of

56 Edinburgh World Heritage, 2020, A Place of Entertainment [online], https://ewh.org.uk/iconic-buildings-andmonuments/assembly-rooms/ [2020, November] 57 Historic Environment Scotland, “54 George Street and 53A Rose Street, Assembly Rooms and Music Hall: LB27567” [online], http://portal.historicenvironment.scot/designation/LB27567 [2020, November] 58 Assembly Rooms, 2020, Looking Back a Decade [online], https://www.assemblyroomsedinburgh.co.uk/stories/lookingback-decade [2020, November] 59 Kincaid, A., 1874, A Plan of the City of Edinburgh for Actual Surveys (Edinburgh), https://maps.nls.uk/joins/7471.html [2020, November] 60 Ordnance Survey, 1896, Edinburghshire III.7 (Edinburgh), https://maps.nls.uk/view/82877397 [2020, November] 61 Ordnance Survey, 1914, Edinburghshire III.7 (Edinburgh), https://maps.nls.uk/view/82877403[2020, November] 62 Assembly, 2020, Our History [online], https://www.assemblyfestival.com/who-we-are/our-history [2020, November]

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Burn’s Doric portico, hanging from eyes fixed into its soffit (see appendix 2). 63 This was granted via Fast Track for July and August 2012, and the same period for 4 subsequent years.

The Assembly Rooms with promotional banners to its portico, 2012 64

In 2016 Burdett-Coutts’s Edinburgh Digital Entertainment Festival took the Fringe tenancy. This technology-enabled offering broadcast the likes of the English National Opera and Glyndebourne, but no live performances. From 2017 onwards, his Assembly resumed the tenancy and welcomed live performances back to the Assembly Rooms, alongside its George Street extension.

2018 saw a helter-skelter introduced to the site, with Burdett-Coutts proposing that “constant reinvention” was required to safeguard Edinburgh as a world-class destination, in which he appeared to put novelty ahead of authenticity. 65

The City of Edinburgh Council, 2012, Planning Application Document Ref. 12/01363/ADV, https://citydevportal.edinburgh.gov.uk/idoxpa-web/applicationDetails.do?activeTab=documents&keyVal=M2KLG8EW01U00, [2020, November] 64 Girdwood, A., 2012, “The mystery of the Assembly Rooms Internet wifi, Fringe 2012” [online], Edinburgh Reviews, https://edinburgh-reviews.co.uk/the-mystery-of-the-assembly-rooms-internet-wifi-fringe-2012/, [2020, November] 65 Pagan, K., 2018, “Sip and Slide: Bar with helter skelter opens for Edinburgh Punters this week” [online], https://www.thescottishsun.co.uk/news/scottish-news/3004751/edinburgh-assembly-festival-helter-skelter-sip-slide/ [2020, November] 63

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Sip & Slide under construction 66 and completed 67, August 2018

Impact

i.

Its restoration completed to a high standard, many of the Assembly Rooms’ original features were treated with great care and returned to their former glory, including plaster ceilings.

However, the Assembly Rooms were also adapted to become more marketable and usable for modern day events. The Fringe would not have been the sole driver for these permanent changes, but tenancy during this period and the revenue created would certainly be a factor.

This is relevant as the direction of the project would have required a compromise to the strictly original form, fabric and layout. It must be remembered though that revenue generated postrestoration will help fund future conservation and maintenance.

Apart from the eyelets and small insertions described in the interventions, the Fringe alone is directly responsible for very few permanent negative implications for the fabric of the building, but its use of the building has further knock on effects within the wider area.

ii.

The Assembly Rooms remain generally true to their roots in so much as the buildings themselves continue to offer spaces for celebration and entertainment throughout the year.

However, during the Fringe its footprint is much larger transforming George Street so that it can no longer perform is original role as a carriageway and vista. Movement through the New Town is heavily impacted as the roadway is transformed into a meeting place.

The visible grandeur of the neoclassical New Town, and its openness, are interrupted and arguably its streets’ intactness compromised by the spillover into the boulevard and the inclusion of associated street furniture and signage. Views of the Assembly Rooms (and down George Street) are also impeded, and attention is drawn increasingly inwards.

iii.

Despite physical interventions, by remaining an entertainment site during the festival the Assembly Rooms provide visitors with a direct link to Edinburgh’s urban heritage. Particularly from inside, but also from outside, Fringe-goers are invited to celebrate the building as it stands today. They thus reinforce Edinburgh as living capital city.

66 Glen, S., 2018, It would appear a helter-skelter (with bar) is being built outside the office. The joys of Edinburgh in August, https://twitter.com/stuglen/status/1024683218912661504 [2020, November] 67 Sip & Slide, 2018, Sip & Slide [online], https://www.facebook.com/sipandslideuk/photos/p.237388730225528/237388730225528/?type=1&theater [2020, November]

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iv.

Having been built into a destination in its own right, the extended site in and around the Assembly Rooms draw crowds of visitors and local people alike during the Fringe, encouraging a vibrant and celebratory sense of occasion throughout the festival, with associated revenue generation.

Authenticity UNESCO posits the authenticity of Edinburgh’s built fabric as a fundamental component of its OUV 68, but we have established that every August our sites move away from their original uses and layouts.

The visual order of, and movement through, the area is disturbed. This is particularly important considering the strict aesthetic principles around which Edinburgh’s New Town was built. The vistas and majesty integral to Craig’s vision of the New Town are interrupted, as is the flow of all traffic along the boulevard of George Street.

McKercher and du Cros contest that viable tourism is “packaged in such a way that it can be consumed easily”. 69 The Fringe has been embedded into Edinburgh’s cultural makeup since 1947, but post-2011, the ‘packaging’ at these sites appears to challenge the intactness so lauded by UNESCO. Whilst the conservation to the Assembly Rooms themselves is to a high standard, visitors’ focus is wrenched away, and towards the temporary instalments. Stalls, marquees, banners and bars block sightlines and crowd out historical features. In this sense, the experience of the site in a more sensory context is compromised and its authenticity threatened.

At Charlotte Square, damage to the garden’s ground structure and trees directly challenges its integrity, but responses appear to favour mitigations through more intervention and adaptation, not less. The Cockburn Association’s Cliff Hague warns that cities like Edinburgh may become “victims of their own success” as economic incentives and opportunities, attractive as they might be, compromise a site’s authenticity. 70 Regarding the intangible, adjusted for the Fringe our New Town sites are undeniably more accessible to a wider community. Even the ostensibly social spaces of the Assembly Rooms would have originally catered to a social elite, but their adaptation need not compromise Spirit of Place, which is “continuously reconstructed”. 71 Indeed social interaction is shaped by place, but also shapes place: “sociability” can define how we come to understand a place, alongside its fabric. 72 Thus the instalments and extensions do not necessarily compromise Edinburgh’s authenticity as a cultural capital, instead repositioning the living city within its physical backdrop. In this sense, Edinburgh as an authentic living city continues.

UNESCO, “Old and New Towns of Edinburgh” [online], https://whc.unesco.org/en/list/728 [2020, November] McKercher, B. and H. du Cros, 2013, Cultural Tourism: The Impact between Tourism and Cultural Heritage Management (Oxfordhsire: Taylor and Francis Group), p.28 70 Rodger, P., 2020, “Fears for waterlogged Charlotte Square Gardens means book festival risks unhappy ending” [online], The Times, https://www.thetimes.co.uk/article/fears-for-waterlogged-charlotte-square-gardens-mean-book-festival-risksunhappy-ending-nv3c2hfbs [2020, November] 71 ICOMOS, 2008, Québec Declaration: On the preservation of the spirit of place (ICOMOS), pp.1-4, p.3 72 Gilmartin, K. 2017, “Locating Romantic-Period Sociability”, in Gilmartin K., (ed.), Sociable Places: Locating Culture in Romantic-Period Britain (Cambridge: Cambridge University Press), pp. 1-30, p.2 68 69

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THE OLD TOWN ‘The old town, with its irregular houses, stage above stage’ Dorothy Wordsworth, 1803 73

The value of Edinburgh’s Old Town lies in its medieval character, juxtaposed with the formal Georgian New Town. The ‘fishbone’ layout of the streets, extending from the Royal Mile, contribute to the uniqueness of the urban layout and contrast to the orthogonal design of its neighbour. The authenticity of the Old Town as described within the UNESCO listing includes the high quality of conservation, maintenance of the fishbone street layout and its position as cultural capital and economic centre of Scotland. The impact of the Fringe Festival on these has been reviewed using three case studies. These have been chosen as they cover a range internal/external and permanent/adapted sites. The Fringe is a rebellious event that often uses sites not designed for theatre, although some groups are so successful that permanent venues have been procured or purpose built. In its temporality, the Fringe, confined to the month of August, poses a challenge to the conservation of the surrounding city which must prepare for it, support it and then survive without for the other eleven months. The Bedlam is an example of an original use becoming redundant, and the temporary intervention being adapted to permanence. The Traverse Theatre is an example of the success of an intervention expanding beyond the month and venue in which it originated. Bristo Square presents a malleable quasi-public space. Each of these sites has impacted the authenticity of Edinburgh as a world heritage site, both positively and negatively.

Old Town Case Study 1: Bedlam Theatre

New North Free Church 1846-1979

University Chaplain Centre 1937-1979

Bedlam Theatre 1979-present

Origin The Bedlam Theatre, previously New North Free Church, is a Grade B Listed gothic style church built in 1846-8

by Thomas Hamilton and later used as the University of Edinburgh Chaplaincy Centre (1937) 74. It terminates George IV Bridge and maintains a clear line of visibility from Lawnmarket. Its position is an architectural landmark in the vista of the city.

Wordsworth, D., 1874. Recollections of a Tour Made in Scotland, A.D. 1803, p.245 Historic Environment Scotland, “Bedlam Theatre (Former New North Free Church), Including Boundary Walls, Forrest Road and Bristo Place, Edinburgh: LB30020” [online], http://portal.historicenvironment.scot/designation/LB30020 [2020,November 73

74

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Intervention At the 1977 Fringe, Faynia Williams constructed a temporary theatre in the Chaplaincy Centre on behalf of the Bradford University Drama Group’s 75 performance of Satan’s Ball, winner of Fringe First award. The success proved the functionality of the space as a theatre and it officially converted in 1979. Williams’ temporary theatre provides an important case study as it allowed the trial for proof of concept before the conversion. The venue is now a 90-seat black box theatre 76 and the home of the Edinburgh University Theatre Company (EUTC), the oldest student-run theatre in Britain 77, ever since. The company put on over 40 shows a year, approximately 14 of which are during the August Fringe Festival.

1981 Photograph 78

2012 Planning Drawings 79

Figure 1

2009

Impact i.

ii.

iii.

The Fringe provided the catalyst for the transformation from Chaplaincy to Theatre. Arguably, keeping the building in use is the most important act of conservation 80. If the high quality of conservation that identifies Edinburgh is purely physical, then the Fringe has supported this at the Bedlam as it enables the EUTC to maintain its venue, retain and care for the original fabric; a major repair project was undertaken in 2012 by Heath Architects & Stone Consultants. However, the communal, spiritual value 81 of a church is undermined in a change of use, particularly when the first performance is in direct conflict with its Christian values. The dramatic change disrupted the most sensitive value attributed to the fabric, but the intangible spirituality that once filled the place was already threatened by the lack of tangible support; Christians no longer worshiping in the space cause the intangible value to fade.

If we lay blame for the loss of authenticity at the door the Fringe for the encouragement of this occupation, we must also give credit, however tangential. The fabric, including its entrance points, has been retained and so its interaction with the surrounding street layout is maintained.

Every August the Bedlam becomes Venue 49. It provides a major location on the Fringe circuit, showing around 14 shows in the month, many of which become award winners. Throughout the rest of the year the EUTC train cast and crew. This investment in developing talent ensures Edinburgh remains a cultural icon.

Moffat, A., 1978. The Edinburgh Fringe (London: Johnson & Bacon) Bedlam Fringe, “Perform With Us” [online], https://bedlamfringe.co.uk/perform-with-us/ [2020,November] 77 Bedlam Theatre, “Bedlam Theatre” [online], https://www.bedlamtheatre.co.uk/about/bedlam_theatre [2020,November] 78 Rock, J., 1981, View from the North East, CANMORE, https://canmore.org.uk/collection/1932915 2020,November] 79 See Appendix 3 80 Feilden, B., 2003. Conservation of Historic Buildings (Amsterdam: Elservier) 81 Drury, P. and A. McPherson, 2008. Conservation Principles, Policies and Guidance [online] (Historic England), https://historicengland.org.uk/images-books/publications/conservation-principles-sustainable-management-historicenvironment [2020,November] 75

76

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iv.

The 14 shows exhibited in August attract approximately 1200 people. The Fringe is a major attraction and the festival reports 44.6% of audience members are with an average spend of £52.4/day and 5 nights spend in the Edinburgh 82, and as such provides a large injection into Edinburgh’s economy.

Old Town Case Study 2: Bristo Square

OS Map 1876

OS Map 1896

OS Map 1947

OS Map

Development The McEwan Hall was completed in 1897, beginning the reconfiguration of the streets surrounding Bristo Street.

Following the demolition between Bristo Street and Park Street an open space was created in front of the hall.

The Percy Johnson-Marshalls 1962 Comprehensive Development Area plan was approved in 1979 and completed in 1982.

Interventions Bristo square is a quasi-public site owned by the University of Edinburgh. Each year it is transformed for a new iteration of the Udderbelly performance space. From the 1980s the new site had become one popular with informal skaters 83, which came to an end in 2015 as a result as the University of Edinburgh’s refurbishment of

82 Edinburgh Festival City (2016) Edinburgh Festivals Impact Study https://www.edinburghfestivalcity.com/about/documents/156-research-reports [2020,November]

83 Whitmore, H., “Farewell Bristo Square, the Home of Edinburgh Street Skating” [online], VICE, https://www.vice.com/en/article/8g3d5p/farewell-bristo-square-the-home-of-edinburgh-street-skating-940 [2020, November]

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the area. The Underbelly relocated during this refurbishment but has returned. More permanent changes include the 2017 artistic installation by Susan Collis.

Bristo Square in triangular design c.1900 84

Informal skate park (2000) 85

Art Installation 86 (2017)

Underbelly at Bristo Square (2019) 87

Impact i.

The square replaces a row of houses, public house and shops demolished at the turn of the 20th century, although it would be a stretch to connect this destruction to the Fringe. Refurbishment to the square was undertaken in 2015 by the University of Edinburgh although this was to improve the accessibility and sociability of the square 88, and not an act of high-quality conservation.

ii.

Bristo square has undergone considerable reconfiguration since the turn of the 20th century, more than any other site examined as part of this research. The current Percy JohnsonMarshalls street configuration is maintained; however, the historic street layout is lost.

iii.

Public spaces should play host and facilitator to public discourse and the advancement of cultural ideas and exchange 89, and this quasi-public space enables this. Edinburgh’s authenticity and identity as the cultural hub of the country relies upon these spaces that allow for formal and informal exchange and interface.

iv.

The Underbelly contributes to the local economy by drawing large numbers, however its success should support the conservation of the city 90, not damage. In 2019 it had an adverse effect on

Ingles, A., c.1900, Exterior view from East, insc: 'The McEwan Hall. Edinburgh University. 268. A.I.' Includes lantern pillar, CANMORE, http://canmore.org.uk/collection/1200654 [2020, November] 85 Walker, S., 2000, Bristo Square in 2000, VICE, https://www.vice.com/en/article/8g3d5p/farewell-bristo-square-thehome-of-edinburgh-street-skating-940 [2020, November] 86 The University of Edinburgh Art Collection, 2017, “The Next Big Thing...is a Series of Little Things” [online], https://collections.ed.ac.uk/art/record/100024 [2020, November] 87 Underbelly, About Underbelly at the Edinburgh Fringe http://www.underbellyedinburgh.co.uk/about [2020,November] 88 The University of Edinburgh, “Bristo Square” [online], https://www.ed.ac.uk/events/festivals/who-are-the-festivalsoffice/university-venues/bristo-square [2020, November] 89 Zukin, S., The Cultures of Cities, cited in Goheen, P.G., 1998. Public Space and the Geography of the Modern City, Progress in Human Geography 22(4), pp.479-496 90 Feilden B., 1993. “Conservation and Tourism”, Proceedings of international scientific symposium, 10th General Assembly on Cultural Tourism, Sri Lanka [online] (ICOMOS), https://www.icomos.org/publications/93sy_tou7.pdf [2020, November] 84

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the Edinburgh Uni Student Society 91. The Underbelly claims to invest £500,000 to support artists and develop productions 92, although the breakdown of this is undisclosed.

Old Town Case Study 3: Traverse Theatre

West Row Location 93 Development In 1963, the Traverse Theatre was founded as a permanent continuation of the spirit of the Fringe 94. It began in the premises of an abandoned brothel on James Court, Lawnmarket, before moving to West Bow off Grassmarket, and eventually settling in a purpose-built venue on Cambridge street, next to Usher Hall. At each stage of its development, the Theatre’s addresses have sat adjacent to key nodes in the Old Town.

Edinburgh University Students' Association (2019), Consolidated Financial Statements made up to 31 March 2019 Company number SC429897 92 Underbelly at the Fringe, “About Underbelly at the Fringe” [online], http://www.underbellyedinburgh.co.uk/about [2020, November] 93 Our History https://www.traverse.co.uk/about-us/our-history [2020,November] 94 McDonald, G., 2017, “The intriguing stories behind Edinburgh’s famous Fringe venues” [online], i News, https://inews.co.uk/inews-lifestyle/travel/edinburgh-famous-fringe-venues-stories-history-73009/ [2020,November] 91

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James Court 95 1963-1969

West Bow 96 1969-1992

Cambridge Street 97 1992-present

Locations of venue across city 98 Intervention The Traverse theatre was never intended to be a temporary venue, nor confined to the annual schedule of the Fringe, and instead is a permanent venue that has moved to accommodate growing requirements. The theatre has travelled through some of the Old Town’s most central locations before moving further west to the West End conservation area. The theatre has evolved from reusing existing spaces to occupying a purpose-built space, the Traverse Theatre, James Court, Edinburgh 1966 https://www.unfinishedhistories.com/traverse-theatreedinburgh/traverse-theatre-james-cour/ [2020,November] 96 Our History https://www.traverse.co.uk/about-us/our-history [2020,November] 97 Trip Adviser https://www.tripadvisor.co.uk/Attraction_Review-g186525-d187708-Reviews-Traverse_TheatreEdinburgh_Scotland.html [2020,November] 98 1953 OS Map https://maps.nls.uk/ [2020,November] 95

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Cambridge street venue, which neighbors Usher Hall, a 1914 concert hall, and Edinburgh International Festival venue.

Impact i.

ii.

iii.

iv.

The Traverse has been proactive in its conservation of the Old Town. The two venues within the boundary made use of existing abandoned buildings; an important action in conservation is re-use.

When it could no longer be contained between those restricted walls it relocated to a purpose-built venue instead of altering its historic home. Although the new venue certainly detracts from its traditional setting 99100 – a sandstone rain screen cladding and curtain wall façade that performs well but aesthetically detracts from its Grade A listed neighbor – it has reinstated a theatre on the site of the old Synod Hall.

In each location the Traverse theatre has successfully maintained the street layouts, wisely choosing venues with good access and heavy foot traffic in the first two venues and continuing the surrounding layout in its current location.

The Traverse provides a significant contribution to Edinburgh’s statue as the cultural capital of Scotland. The flagship venue is described by British theatre critic Lyn Gardner as ‘the backbone of Scottish new writing throughout the entire year’ 101. Each year, the festival performances here are critiqued and scrutinized more than many of the other venues, with good reason and good response.

The theatre commissions, produces and presents performances throughout the year, including world and national premieres. In 2018/19, 55% of the annual Traverse audience numbers came during the Festival, although this figure includes the Edinburgh International Festival.

The 2018/19 reports revealed an increased income for the theatre of 5% suggesting that its success has been credited in awards and economically.

“Additions cannot be allowed except in so far as they do not detract from the interesting parts of the building, its traditional setting, the balance of its composition and its relation with its surroundings.” ICOMOS, 1964, International Charter for the Conservation and Restoration of Monuments and Sites (The Venice Charter 1964), (ICOMOS), p.3, https://www.icomos.org/charters/venice_e.pdf [2020,November] 100“New construction, demolition, intrusions or other changes which would adversely affect the setting or relationships are not appropriate”. Australia ICOMOS, 1999, The Burra Charter: The Australia ICOMOS Charter for Places of Cultural Significance (Burwood, Australia: Australia ICOMOS Secretariat), p.4, https://australia.icomos.org/wpcontent/uploads/BURRA_CHARTER.pdf [2020,November] 101 Gardner, L., 2018. ‘For new Scottish work, the Traverse is for life, not just for August’ [online], The Stage, https://www.thestage.co.uk/opinion/lyn-gardner-for-new-scottish-work-the-traverse-is-for-life-not-just-for-august1 [2020,November] 99

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Authenticity High Quality of Conservation Conservation does not appear to be a high priority for the Fringe within in the Old Town, focusing more on artistic innovation. The Traverse theatre commissioned a new space within a conservation area that suited their needs, but this could not be considered high quality conservation. The fabric of the Bedlam benefits from staying in use and the care taken by its new owners, the University of Edinburgh and custodians, the Edinburgh University Theatre Company to keep it in good repair. In contrast, the University seems to have less control over what happens within Bristo square each summer. Ruskin writes ‘the glory of a building... is in their lasting witness against men’ 102 and so the continued use of the structures and continuation of theatrical content on the site constitute a tangible and intangible conservation success 103.

Intact Street Layout The Fringe seems to have little effect on configuration of the Old Town streets due to its temporality and informality. The Bristo square reconfiguration is a significant impact on the area but is unrelated to the festival.

The Traverse Theatre and Bedlam Theatres have made use of the existing street layout. However, the case studies here do not explore are the many street performances which are so informal they are hardly recorded.

These significantly impact the flow within the streets each August.

Cultural Status Each of these sites enable the advancement of groundbreaking theatre, a key part of Edinburgh’s culture. The Bedlam supports the student thespians, Bristo square facilitates public discourse, and Traverse Theatre produces award winning productions. Without the surge of attraction that the Fringe brings, these would be under threat. The Festival published figures 104 that revealed between eleven of the Edinburgh festivals, of which the Fringe is one, £900,000 was spent on Scottish performers, as well as the thousands of volunteer hours that all cumulate to produce world class cultural performances.

Economic Centre Overall, the Fringe significantly contributes to Edinburgh’s economy as tourists from around the country and world come to perform and participate. The Fringe figures released in the Edinburgh Festivals Impact Study 105 published a net visitor expenditure in 2010 of £88.44m, almost four times more than the next biggest (Military Tattoo). With further research it would be interesting to discover which overheads are directed towards the sustenance of Edinburgh’s UNESCO World Heritage status. As Feilden suggests: a significant proportion of revenue earned from tourism should be applied for the benefit of conservation’ 106.

Ruskin, J., 2008, The Lamp of Memory, (London: Penguin Books Ltd) Feilden, B., 2003. Conservation of Historic Buildings (Amsterdam: Elservier) 104 Edinburgh Festival City (2016) Edinburgh Festivals Impact Study https://www.edinburghfestivalcity.com/about/documents/156-research-reports [2020,November] 105 Ibid.

106 Feilden B., 1993. “Conservation and Tourism”, Proceedings of international scientific symposium, 10th General Assembly on Cultural Tourism, Sri Lanka [online] (ICOMOS), p.65, https://www.icomos.org/publications/93sy_tou7.pdf [2020, November] 102 103

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DISCUSSION Authenticity has never been a simple phenomenon to examine. There is not one single time or place in which to measure authenticity, and the ‘authenticities’ of a site are dependent on the perspective from which they are being investigated. However, in the context of mass tourism we have attempted to interrogate what are heralded as Edinburgh’s showcase authenticities – those fundamental to its Outstanding Universal Value. The four authenticities are the high quality of conservation, the preservation of the street layout, Edinburgh’s position as the cultural centre of Scotland and as a vibrant economic hub. These act as building blocks of Edinburgh’s World Heritage Site, but also as selling points for the city; they are what make it special, but also what are used to attract visitors.

What we see is that tourism, in the context of the Edinburgh Festivals and our case study sites, has a positive impact on the intangible heritage of the city, reinforcing its role as a cultural capital and vibrant economic hub. It integrates well into Edinburgh as a living city; the nature of the Fringe is that is finds a place where it can. This suggests a haphazard arrangement but leads to a form of masstourism that integrates itself into the city’s ‘everyday’. This in turn may be due to the agency afforded to culture-bearers in this framework 107. In many locations where there is an artificial 'seasonal real’ these bearers’ ability to protect an authentic version of their cultural heritage can be diminished 108.

However, the interventions at our case studies continue to afford space to local people, as well as visitors. Thus there is the opportunity for culture-bearers to impart, and reinforce, an authentic account of the space to tourists 109. This local agency partially mitigates the negative impacts of cultural tourism placating Rodzi et al.’s concerns that it benefits only limited parties 110. That the Fringe continues to foster this local agency should be recognised as an important consideration when assessing the impact of mass tourism on authenticity.

However, the impact on the built heritage is less positive; there is evidence that the commercial pressures and demands of tourism and the inflexibility of the built environment creates a much more contentious space. There is little evidence of reckless damage or mistreatment to be attributed to the Fringe, but we see a crowding in the built environment and adaptations being made to the city’s fabric and streetscapes which do differ from their original layout and uses; and thus threaten more tangible elements of Edinburgh’s authenticity. Despite interventions being theoretically temporary, we see evidence of permanent damage and perhaps more alarmingly, very little appetite to reign-in the events.

McKercher, B. and H. du Cros, 2013, Cultural Tourism: The Impact between Tourism and Cultural Heritage Management (Oxfordhsire: Taylor and Francis Group), p.83 108 Orbasli, A., 2000, “Tourists in Historic Towns: Urban Conservation and Heritage Management” (CRC Press LLC), p.62 109 Corsane. G., et al., “Place local distinctiveness and local identity: Ecomuseum approaches in Europe and Asia”, in Anico, M. and E. Peralta, (eds.), 2008, Heritage and Identity: Engagement and Demission in the Contemporary World, pp.47-62, p.62 110 Rodzi et al., 2013, “Between Tourism and Intangible Cultural Heritage”, Procedia - Social and Behavioral Sciences 85, pp 411-420, p.420 107

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CONCLUSION It is too simplistic to provide a singular decision on the effects of the Fringe on the authenticity of Edinburgh’s Old and New Town. In each of the examined case studies we see the city become sacrificial to the innovation of the festival, from which it ultimately benefits. If the principles governing future interventions are to foster and satiate the demands of mass tourism, we could see the authenticity of the city deteriorate in the shadow of novelty and temporary space which threaten to overwrite the authenticity of their sites.

The Fringe and its associated interventions can offer fantastic opportunities for Edinburgh to reinforce its cultural heritage, if the city can learn to better regulate the unbridled expansion of the festival. As we reflect on the symbiotic relationship between the festival and its host, we are reminded that “a historic city is at one and the same time a physical space and a human space” 111.

111

Rodwell, D., 2012. “The Social Aspect of Urban Revitalisation”, Biuletyn Informacyjny, PKN ICOMOS 4(19), pp.27

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APPENDIX 1 Mapping showing the extension of The Edinburgh International Book Festival site out onto the west end of George Street, for the years 2017 112, 2018 113 and 2019 114

G

Edinburgh International Book Festival, 2017, It’s in Charlotte Square Gardens. Here’s a map - it’s number 6 [online], https://twitter.com/edbookfest/status/896230516411727872 [2020, November] 113 Edinburgh International Book Festival, 2018, Today is #ChangingPlacesAwarenessDay! [online], https://twitter.com/edbookfest/status/1019906368881549314, [2020, November] 114 Edinburgh International Book Festival, 2019, Festival Map 2019 [online], https://www.edbookfest.co.uk/visiting-the-festival/festival-map [2020, November] 112

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APPENDIX 2 Drawings by LDN Architects for proposed banners and fixings to the portico of the Assembly Rooms, reference 12/01363/ADV.

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APPENDIX 3 Drawings by Heath Architect and Stone Consultants for conservation repairs to stonework of Bedlam Theatre, reference 12_01155_LBC-NORTH_ELEVATION-1359837