St Peters-Section 12 Appendices - Historic Scotland

More documents

Recommendations

Info

12.9.22 12.9.23 12.9.24 12.9.25 12.9.26 12. APPENDICES CONSERVATION ASSESSMENT - VOLUME 1: ST PETER’S SEMINARY FEBRUARY 2008 309 Final Issue A simple residential retreat would require basic accommodation with: separate bedrooms, shared bathrooms and attractive teaching spaces, along with self-catering facilities and or/ good on-site cook and restaurant service. A residential conference centre open to a wider remit would require better accommodation (en-suite bathrooms and good wi-fi communications). A cultural centre (Art powerhouse) would require specific facilities including a sprung floor for dance performance and workshops; controlled acoustics for music and theatre performance and workshops; wi-fi and digital workshops for visual arts performance; film and video projection and separate studio spaces for visual arts and designer-maker (craft) residences. Any public funding and use would require that the renovated building meet the Disability Discrimination Act and Public Health and Safety measures with disability access and the installation of lifts, etc. Having said this, it is noted that it need not be ssumed that all the above facilities would be accomodated within the Listed buildings themselves. The development of purpose designed facilities for specific elements that could not be satisfactorily assimilated should be regarded as part of the larger challenge of returning the site to beneficial use. In this context it is relevant to note the organisation ACAVA and its specific proposals for St Peter’s. ACAVA, Blechynden Street, London The Association for Cultural Advancement through Visual Art (“ACAVA”) is a registered charity and has been engaged for some 25 years in the promotion of community arts and ‘art in education’ projects, and the provision of studios, working spaces and exhibition facilities for artists and crafts workers. ACAVA provides strategic consultancy services to local authorities and other agencies supporting ‘regeneration through art’. The charity also owns and administers three freehold and 14 leasehold buildings at which work places for over 300 artists and creative workers are provided. ACAVA has very considerable experience in the conversion of existing premises to arts-employment, exhibition gallery, and arts-educational uses, and have also undertaken purpose built development. Their acclaimed headquarters building in North Kensington, with studios, digital arts suite and community arts space was the first purpose artist studios complex to the build in London for many years.
12.9.27 12.9.28 12.9.29 12.9.30 12.9.31 12.9.32 12. APPENDICES CONSERVATION ASSESSMENT - VOLUME 1: ST PETER’S SEMINARY FEBRUARY 2008 310 Final Issue ACAVA has recently drawn up an outline prospectus which proposes the regeneration of St Peter’s Cardross as a residential Arts Powerhouse, becoming a forum of national significance for the full range of arts including the visual arts, multi-media, video and film, music and dance, performance art, sculpture and emerging art forms. The prospectus is available to be taken forward. Possible analogies albeit not identical with existing venues include the following - The Commonwork Centre, Bore Place, Kent: can accommodate up to 46 residents, and up to 100 people for daytime use, in a variety of historically intriguing buildings surrounded by beautiful gardens and wild spaces. This is the current preferred venue for resident cultural retreats and conferences in England. As a result it is overstretched and booked out. Cove Park, Peaton Hill, Argyll and Bute: is an international centre for the arts and creative industries based on the shore of Loch Long in Scotland. The Centre and Seminar Room can accommodate groups of up to 50 people. It also offers up to ten residencies at any one time to national and international artists, writers, and workers in the creative industries. The residencies last for a week to three months. Its success has forced it to increase its accommodation in an ad hoc manner. The Creative Retreat, Banff, Aberdeenshire: this small commercial enterprise offers year-round tutored arts courses for up to 15 people. It is equipped with artist studios and has self-catering accommodation. It is based in the fishing village of Gardenstown on Scotland’s Banffshire Coast. Dartington Hall International Summer School, Totnes, Devon (Music only): a large residential summer school of weeklong courses that can accommodate 150 people. It is set on a 1000-acre estate near Totnes, South Devon, famous for its historic medieval hall and gardens, renovated and laid out in the 1920’s by Leonard and Dorothy Elmhirst as the base for an experiment in rural reconstruction and the promotion of the arts and crafts. It is not at present open as a conference centre, but is contemplating relocating the existing Art School to Falmouth, which would free up residential and teaching space at Dartington throughout the year for cultural conferences.
Page 1 and 2: Section 12 Appendices CONSERVATION
Page 3 and 4: General Roy’s map showing ‘indi
Page 5 and 6: 2nd Edition Ordnance Survey, 1896-1
Page 7 and 8: Aerial photograph, 15 May 1940 12.1
Page 9 and 10: Current ordnance survey map 12. APP
Page 11 and 12: MacGibbon and Ross indeed suggest a
Page 13 and 14: iii. The Gothick mansion The remain
Page 15 and 16: Detail of the upper part of the E s
Page 17 and 18: vi. Significance The significance o
Page 19 and 20: The possibility that much earlier a
Page 21 and 22: 12. APPENDICES CONSERVATION ASSESSM
Page 23 and 24: 18th Century 1721 ‘…the estate
Page 25 and 26: 1865-95 1st Edition Ordnance Survey
Page 27 and 28: The curling pond is labelled The no
Page 29 and 30: 1967 2 April: Opening of classroom
Page 31 and 32: Helensburgh Library West King Stree
Page 33 and 34: 12. APPENDICES CONSERVATION ASSESSM
Page 35 and 36: CONSERVATION ASSESSMENT - VOLUME 1:
Page 37 and 38: Buildings at Risk Register for Scot
Page 43 and 44: 12.9.6 12.9.7 12.9.8 12.9.9 12.9.10
Page 45: 12.9.17 12.9.18 12.9.19 12.9.20 12.
Page 49 and 50: 12.9.38 12.9.39 12.9.40 12. APPENDI
Page 51 and 52: 12.10 12.10.1 12.10.2 12.10.3 12.10
Page 53 and 54: 12.10.10 12.10.11 12.10.12 12.10.13
Page 55 and 56: 12.10.15 12.10.16 12.10.17 CONSERVA
Page 57 and 58: 12.10.18 12.10.19 12.10.20 CONSERVA
Page 59 and 60: 12.10.23 12.10.24 12.10.25 12.10.26
Page 61 and 62: authenticity the characteristics th

St Peters-Section 12 Appendices - Historic Scotland

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?