24 C O N T E X T 1 3 6 : S E P T E M B E R 2 0 1 4 Kengo Kuma. The design of the streetscape has been informed by extensive research into historic streets across Europe. These moves aim to integrate the new developments into the city, and to reconnect the urban core to the waterfront around which it was originally founded. All this is not to say that conservation in a traditional sense does not feature: a number of historic structures play major roles in the new layout, rooting it in Dundee’s mercantile and maritime past. For example, the former Temperance Hotel, dilapidated and vacant for many years, has been brought back to life by the Malmaison Hotel group, and the historic ships HMS Unicorn and RRS Discovery take pride of place in the new urban landscape. What really struck me about this project, apart from Galloway’s determination to deliver a colossal project in a time of austerity and shrunken ambitions, is the way in which the plans for this area have in a sense come full circle since the early 20th century. As Galloway explained, the first redevelopment proposals for this area were drawn up by city architect James Thomson before the first world war. Thomson imagined a vast, formal beaux-arts park reminiscent of Versailles. Various modernist schemes were drawn up throughout the century, including the 1970s Ballardian traffic landscape eventually realised. The current proposals attempt to rediscover something of the utopian aspirations of Thomson’s vision in an urban context, and draw on its grid as a flexible and simple form for sustainable development. Details on the Dundee Waterfront project can be found at www.dundeewaterfront.com. Tom Hunter Home is where the art is: conserving artists’ studios David McDonald, the IHBC education secretary, presented an interesting review on artist studios. ‘Home is where the art is’ highlighted the fact that art and architecture are part of our cultural activity and identity. The places where artists live and work are integral to this. McDonald explained the differing types of studios that artists have used over the centuries.These ranged from the studio houses, built for important artists of the age and designed by prominent architects, to the everyday houses that were adapted to become studios. A number of examples (all in and around Kensington and Chelsea, where McDonald was the council’s head of conservation) highlighted the differences. The talk showed how to identify these culturally important buildings and how to then protect them for future generations. The studio becomes ‘part of the art’ and part of the identity of the artist. It is therefore prudent that these types of buildings be recognised and statutorily protected by the use of mechanisms such as listings (both locally and nationally), Article 4 directions, policies and blue plaques. McDonald talked about the 21st century and artists such as Banksy, who have moved out of the studio and into the everyday world to make bold statements. Finally he paid respect to Charles Rennie Mackintosh, who has made an impact on so many people, and the disaster of the recent fire at Glasgow School of Art. He brought into stark realisation the fragility of art and architecture and the need to protect it. Kate Hannelly Conservation and art of judgment: some legal niceties Advocate John Campbell QC introduced himself as a plumber ‘joining up the pipes’. He is also chair of the Scottish Historic Buildings Trust, in which role he has led a programme which has spent £25 million in 35 years restoring historic buildings. The law is connected with everything we do in the management of historic assets. In this aspect of his work Campbell argues cases in front of reporters, inspectors and planning committees, ‘trying to make complex things simple’. The lawyer’s cool analysis can get inside aesthetic considerations. The Scottish Government’s strategy for the nation’s historic environment, about which we had heard from Fiona Hyslop earlier, concentrates on what is good in Scotland’s heritage rather than on problems and, in Campbell’s view, makes a good start in setting out aspirations. On the other hand Campbell was sceptical about the Scottish Government’s new heritage bill, which he considered impossible to understand without reference to predecessor legislation. Campbell challenged the audience by questioning basic terminology. How do we pay special regard? And to what, given that a listing description, for example, is someone else’s judgement? The 1992 South Lakeland case showed that special regard can, in any case, be overridden by other considerations where the judge deems it necessary. What is the desirability of preserving? What is it desirable to preserve and desirable to whom? What is preserving? And is setting more than a question of An artist’s studio in Melbury Road, Kensington: listed Grade II*, it was designed by R Norman Shaw in 1875 for Marcus Stone, one of the wealthy ‘Holland Park Circle’ of artists. (Photo: David McDonald)
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