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neighbours to experiment with aircraft design, radar and even atomic bomb components, before, during and after two world wars. Now, after nearly thirty years of Trust stewardship, its re-wilding programme has been hugely successful, with a growing ecology of migrating birds, rare plants and lichens.
And this example articulates what is so seductive about restoring ruins at this time – it speaks of rehabilitation, of second chances; a re-discovery of forgotten legacies or enduring values re-appraised and re-celebrated. It speaks of care.
Care is something Witherford Watson Mann (WWM) knows more than a little about, having won a Stirling Prize for their sensitive insertion of a contemporary holiday apartment into the ruined fabric of Astley Castle in 2013. And their latest project, the transformation and restoration of the Courtauld Institute’s strange arrangement – essentially, five, completely separate Georgian townhouses – into one coherent whole, also shows huge respect for the era and the intentions of original architect Sir William Chambers while giving contemporary
audiences a seamless, welcoming and distinctive experience.
As WWM wrote in their original Astley Castle submission: ‘We are convinced that history is not what happened to other people, but a dimension of human nature, and a fundamental part of our working conditions, even in the modern age.’
Te most profound statement we can make right now is one that demonstrates that human nature through careful stewardship of resources – environmental, financial, emotional, social and cultural.
which cantilevers over the north-east corner of the boundary wall, and is designed to complement the geometries of the Playfair Monument, balanced diagonally opposite. Approached along the adjacent dining terrace, it appears to be single storey, supported by stone columns which anchor the building back into the hill. The pyramid roof is topped by a glazed oculus – a nod to the complex’s historic purpose. The full height glazing of this upper storey offers the same stunning views out over the city towards Fife as the terrace.
CASE STUDY CITY OBSERVATORY, CALTON HILL, EDINBURGH
The City Observatory was one of Edinburgh’s lost landmarks. A monument to the Enlightenment, this complex of Category A listed buildings, designed by William Playfair, had been enjoyed by amateur astrologers of the Edinburgh Astronomical Society since its construction in 1818, but it was in poor shape when it was finally vacated in 2009. The public – who had rarely been allowed into its neo-classical spaces – had pretty much forgotten it, despite the popularity of its prominent spot on Calton Hill, near Edinburgh’s National Monument (modelled on the Parthenon in Athens) and with panoramic views over the city. When Edinburgh’s homegrown, not-for-profit contemporary art entity, Collective took over the space briefly in 2010 during the Edinburgh Art Festival, they saw its potential and took up temporary residence in two portakabins in 2013 while they fundraised and planned a more
permanent development. In 2014, Collective’s director Kate Gray launched a competition to re-imagine these buildings as exhibition, ofice, workshop and retail spaces, which was won by Malcolm Fraser Architects (MFA). However, after MFA went into liquidation in 2015, the same scheme was taken on by the then Glasgow-based Collective Architecture (no relation) in 2015, retaining the original project architect Emma Fairhurst, who is now one of Collective Architecture’s permanent team.
A mixture of contemporary and restoration work, the scheme entailed extensive refurbishment of the City Observatory, Transit House and Observatory House (where resident astronomers were once accommodated) and restoration of the City Dome plus construction of new ofice and exhibition space, and a new restaurant.
With the rare luxury of referencing a set of Playfair’s original
drawings, the architects were able to reinstate original features as Playfair had intended. This included restoring the City Observatory’s single central hall with double column arrangement, which allows light to flood into the space, now used for reception, retail and workshops. Some contemporary improvements to Playfair’s design include glazing two ‘Meridian Slots’ – 180-degree viewing apertures which slice into the roof and elevation of the east and west wings of this building. They had originally been covered in timber shutters, but now the night skies can be enjoyed by all (the original shutters are still there, and fully restored).
The smaller City Dome, added in 1895, has been stripped back to the original brick, and a false ceiling removed to create a dramatic and intriguing circular gallery space for exhibiting more established artists. The architects added a new, two-storey restaurant, The Lookout,
A new ‘Hillside’ gallery and ofice space for Collective was excavated into the basalt mound north of City Observatory. This earth-sheltered building becomes integral to the landscape, thanks to the roof terrace above it. Connections around and between these buildings are enhanced by the inspired landscaping scheme from Harrison Stevens Landscape Architects. The last element – a refurbishment of Observatory House into two elegant, luxury holiday apartments – will bring much needed revenue into Collective’s coffers, and adds unique and atmospheric accommodation for the city.
Client City of Edinburgh Council, and Collective Art
Architects Collective Architecture (competition scheme up to RIBA Stage 3 by Malcolm Fraser Architects).
Value £4m
Completed November 2018/Old Observatory House completed September 2021
Landscaping Harrison Stevens Landscape Architects
ALL IMAGES: TOM NOLAN
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