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Discussion Starter #1
Plan for £8m Granton Motor Museum

Edinburgh Evening News - 2nd August, 2013

An ambitious plan to erect an £8 million motoring museum on the site of the one of the world’s oldest purpose-built car factories is being backed by some of the city’s most notable heritage figures.

City architect John McLaren has drawn up a blueprint to construct a National Motor Heritage Trust museum on the site of the disused Madelvic car factory in Granton.

The plant was built in 1899 to make electric vehicles but is now empty and derelict.

John’s vision, which also includes the construction of a karting centre, driving academy and hotel, has drawn considerable support in the form of renowned city architect Malcolm Fraser, heritage body The Cockburn Association and motoring journalist Graham Gauld.

Meanwhile, numerous funders such as Historic Scotland and the Heritage Lottery Fund have also declared an interest in the proposals.

However, when John pitched his plan to council-owned developer and landowner Waterfront Edinburgh Limited at their April meeting they were rejected in favour of increased housing in the area.

Government-funded regeneration company Places for People are currently consulting on plans which include the demolition of the car factory.

But John hopes to raise enough public backing for his plans to cause a rethink from WEL chiefs.

He said: “I’m sure there is a need for housing, but Granton is crying out for something like this. This would give it a real centre.

“This museum will bring a real focus to both the city and Granton as Edinburgh and the Lothians have a wonderful place in the history of motoring and motorsport, which has remained unrecognised by the city.”

The Capital boasts a wealth of motorsport history and tradition, involving current world stars Dario Franchitti and Paul Di Resta, 1957 Le mans winner Ron Flockhart, and David Murray, who in 1952 established Ecurie Ecosse at Merchiston Mews.

It was also suggested the museum could house exhibits on the city’s public transport history – such as the Capital’s original trams.

Motoring historian and writer Graham Gauld said: “I think this museum would do very well because there is a real interest in motorsport in the Lothians. Madelvic is a major part of motoring history itself.

“The only difficulty might be getting cars to show, but there are various people around Edinburgh who could be approached to lend models from their collections.”

The Cockburn Association has expressed their support for the proposal, while award-
winning architect Malcolm Fraser wrote of Places for People and the old factory: “We end up in the extraordinary position, that in a derelict part of Edinburgh, full of vacant, weed-filled sites, we are told it is necessary to pull down the one, remaining, piece of history, in order to build homes there.”
A Madelvic Electric Carriage, circa 1900 (Edinphoto)

The site in 1936 (RCHAMS)

The Madelvic offices and remaining factories today (Granton History).


11,776 Posts
Discussion Starter #2
Next external phase of Gareth Hoskins Architects masterplan for the National Museum of Scotland.

Chambers Street reconfigured, parking removed, pavements increased and resurfaced in Caithness stone. A new statue by Sandy Stoddart of William Playfair (1790-1857), architect of much of Athenian Edinburgh, will stand alongside the relocated statue of publisher William Chambers.

Current streetscape

Proposed streetscape

Playfair statue model by Sandy Stoddart

12/02997/LBC | Existing public statue to be relocated and new public statue to be located in new public space to be formed in front of the National Museum of Scotland. | William Chambers Statue, Proposed William Henry Playfair Statue 37 Metres Northeast Of National Museum Of Scotland Chambers Street Edinburgh

12/03982/LBC | Refurbishment of Law Entrance lobby. Alteration to storm doors, new secondary glazed doors and new internal glazed door. Additional stone entrance step. | Old College 68 South Bridge Edinburgh EH8 9YL

I suspect it won't be too long till we get some firm details on the next phase of Hoskins' internal redevelopment of the NMS - eight new galleries for European Art & Design and Science & Technology. Can't wait.

11,776 Posts
Discussion Starter #3
Traverse theatre set to move to new home

The Scotsman - 30th August, 2013

One of Scotland’s leading theatres could be set for a relocation after outgrowing its current venue, it has emerged.

The Traverse in Edinburgh has revealed it is exploring options for a new site after more than two decades at its current home off Lothian Road.

The venue’s artistic director, Orla O’Loughlin, told a BBC documentary marking 50 years of the theatre that it was “absolutely” time for another move for the venue.

Ms O’Loughlin was appointed two years ago to succeed Dominic Hill at “Scotland’s new writing theatre” after he left to take over the Citizens’ in Glasgow.

The Traverse has had two previous homes in the city since its formation by Richard Demarco and Jim Haynes in 1963.

Its current home is said to be inadequate, particularly during the Fringe, even though several parts of the modern building in which it is based, Saltire Court, are currently lying empty.

A major drawback identified by Ms O’Loughlin is a shortage of space to try out experimental work during the Fringe, when the Traverse is one of the major venues staging theatre productions in the city.

Stars to appear there early in their careers include Tilda Swinton, Richard Wilson, Alan Cumming, Robert Carlyle, Robbie Coltrane, Billy Connolly, Forbes Masson, Simon Callow, Timothy Dalton, Ewen Bremner and Ashley Jensen.

Marc Almond, Blythe Duff and Bill Paterson have appeared at the Traverse during the Fringe in recent years.

Among the long-term options for the venue, which opened in July 1992, are understood to be a vast site earmarked for a new cultural hub near Edinburgh College of Art.

In the shorter term, the Traverse is looking at establishing a major “pop-up” venue during the Fringe which would be dedicated to emerging artists.

A major redevelopment of its current home is also being explored.

Sue Perkins, narrator of the BBC documentary filmed over several months behind the scenes, revealed that a move to a new venue was part of Ms O’Loughlin’s vision for the theatre, having “outgrown” its current home.

Ms O’Loughlin said: “I absolutely think it’s time. Quite how that is made manifest, there are a number of possibilities being explored.

“But certainly, the future is going to be about regeneration and change and the place reimagining itself.”

In a separate interview with the Theatre Voice website, Ms O’Loughlin said: “Anything is possible at the moment.

“I’m quite interested in the idea of a pop-up venue that moves around the city, just taking our work up and out a little bit more. We are at such capacity with the spaces that we have already.

“I’m quite interested in finding something a little bit more mobile and mercurial, that could maybe surprise people out and about.

“If you’re not someone in the know about where the Traverse is, we can be quite hard to find. We are slightly off the beaten track away from Bristo Square and that hub.

“At the moment, Traverse One and Traverse Two during the festival doesn’t feel the right time and place for giving people their first break and trying out something that is in its embryonic stages.

“There is an expectation that if you come to the Traverse you see something that is finished, well-formed, rigorous, crafted and ready.

“I’m a lot more interested in offering something that is a bit more live and dangerous.

“It’s about getting the real new blood in, giving people their first break and then being able to try something for the first time.”
The "vast site earmarked for a new cultural hub" is almost certainly the current Argyle House, one of the city's worst eyesores.

11,776 Posts
Discussion Starter #4
Creative Scotland funding makes craft workshop and gallery a reality

Edinburgh Reporter - 13th September, 2013

The UK’s first multi-disciplinary craft workshop, gallery and shop will launch in Edinburgh next month thanks to five figure funding from Creative Scotland.

Edinburgh Contemporary Crafts (ECC) provides access to high quality workshop facilities for new and established makers plus gallery space and a range of exciting craft courses available to the public.

The Creative Scotland funding of up to £14,917, made available through its Small Capital Programme to assist in the improvement of facilities across Scotland, will enable ECC to provide permanent workshop space with tools and equipment for designer makers; create the gallery space, and expand the public craft course programme.

The new ECC gallery – named ‘Cabinet’ – will exhibit and sell the best of Scottish contemporary craft, including a selection from around the UK, as well as enabling makers to showcase their work to those interested in buying and collecting contemporary craft.

Cabinet officially opens at the Winter Show launch being held from 6.30-9pm on Thursday 17 October 2013.

Louise Smith, who established ECC in 2011, said:- “The Creative Scotland funding is obviously fantastic news as it enables us to finish off the workshops and provide much needed craft facilities for new and established designer makers. It also means we can complete our new gallery Cabinet which will sell high quality contemporary crafts unique to the makers and hold exhibitions throughout the year.”

Thanks to over 1000 volunteer hours, the ECC premises on Blair Street, in Edinburgh’s Old Town, have been restored to their former glory. The workshop space now provides courses in screen printing, illustration, crafted textiles, book binding, dressmaking, jewellery and upholstery – which opened to the public in June – with the second round of courses kicking off later this month.

Louise added:- “This has all been possible thanks to the Creative Scotland funding and a group of really hard-working volunteers who’ve been able to turn their hands to many things. It’s been exhausting but a lot of fun and already you can feel the creative energy as everyone begins to move in and the workshops fill up.”

Leonie Bell, Acting Director of Creative Development at Creative Scotland, said:- “Edinburgh Contemporary Crafts is a vibrant, developing centre for creating and learning about craft. It’s great that with this support they are enhancing the facilities and opportunities they offer to both makers and members of the public.”

All those involved in running Edinburgh Contemporary Crafts are practicing makers who are passionate about their craft, enjoy teaching, and believe that craft can be a catalyst for social and personal change. The move to Blair Street has helped to support new and established makers and aims to encourage public appreciation and enjoyment of quality Scottish craft.

11,776 Posts
Discussion Starter #5
Scottish Parliament stages Andy Warhol exhibition

Scotland on Sunday - 15th September, 2013

Andy Warhol seems to grow more relevant by the day. Though he died in 1987, long before the internet or the rise of the D-list celebrity, his work and his thinking seemed to anticipate what we now recognise as common trends. And just as he was right about mass media, consumerism and the 15 minutes of fame, he also had a few things to say about politics.

The first exhibition of Warhol’s work in the UK to focus specifically on politics will open on 5 October at the Scottish Parliament. Andy Warhol: Pop, Power And Politics is also the first exhibition of the artist’s work to take place in a Parliamentary building, and will include a number of iconic works never shown before in Scotland.

The exhibition continues to establish the Parliament as an important venue for art exhibitions, coming directly after the inaugural showing of the Great Tapestry of Scotland, which has been attracting record numbers of visitors. Eric Shiner, the director of the Andy Warhol Museum in the artist’s home town of Pittsburgh, which has loaned many of the works in the show, praised the Scottish Parliament: “Having exhibitions in government buildings is a fairly rare occurrence and the Scottish Parliament is being very liberal in its thinking for going in this direction. Perhaps it would be a great thing if other countries followed suit.”

The show is part of a 16-week celebration of the legacy of Scots-American industrialist, Andrew Carnegie, and a key exhibit is a painting by Warhol of Carnegie, who was born in Dunfermline, and made his fortune in steel in the city of Pittsburgh. Warhol attended art classes at the Carnegie Museum when he was at high school in the 1930s, and later studied pictorial design at the Carnegie Institute of Technology. Carnegie funds were then used to help establish the Andy Warhol Museum, which was started by the artist’s own legacy.

Warhol was born in Pittsburgh in 1928 to poor east European immigrant parents. After studying design, he went on to build a highly successful career as a commercial artist working in advertising in New York in the 1950s. His first solo exhibition of what was becoming known as “pop art” took place in 1962, and included iconic works such as the Marilyn Diptych and 100 Cans. Visionary and sometimes controversial, he blurred the boundaries between art and advertising, high and low culture. And he was careful never to disclose his political loyalties.

“He was a marketing genius, and knew that to be truly successful one should never commit to one side or the other,” says Shiner. “He realised that many of the customers buying his work were Republican and somewhat conservative, and that buying Andy Warhol was a way to be a little less stuffy, whereas most of his inner circle were incredibly liberal and left-leaning. He definitely leaned Democratic, but there was a strong fiscal conservative side to him – he wanted to maintain as much of his wealth as he could.”

Some of Warhol’s earliest political works concern the assassination of John F Kennedy in 1963, though that had less to do with Kennedy’s politics than the potent mix of celebrity and tragedy to which Warhol was always drawn. “I often explain Warhol as constantly jumping back and forth between these two poles: celebrity and fame and wealth on one side, and death and disaster and tragedy on the other,” says Shiner. “For him those were the two poles which American culture was constantly balancing between. President Kennedy’s assassination and Marilyn Monroe’s death were particularly perfect for Warhol because they encapsulate all those things: wealth, glamour, fame, tragedy, disaster – it’s all there.”

After JFK’s death, Warhol began a series of portraits of Jackie Kennedy, based on images in the international press following the shooting, and what would become his screenprint series Flash-November 22, 1963, using headlines and stories from newspapers and gossip magazines. “He was always drawing images from mainstream media,” says Shiner. “From his work in advertising, he was very conscious of the power of an image to change opinion, or to make people consume.”

In 1972, when George McGovern was fighting it out against Richard Nixon for the White House, Warhol made what might be his most explicit declaration of his own political hand. He made a picture with the handwritten slogan “Vote McGovern” but with a sinister, green-skinned image of Nixon’s face. “Whether by coincidence or not, that very year, Warhol was audited by the IRS for the first time,” says Shiner. “Warhol was convinced that Nixon called the IRS and said ‘Audit Andy Warhol!’ just to pay him back.”

The following year, he made one of his most important series of political portraits – of Chinese leader Chairman Mao. “In the early 1970s, Mao was front page news in America because of Nixon’s visit to China. I think at that point Warhol was known for his celebrity images, and by painting a political figure, all of sudden Warhol elevated Mao to the celebrity realm.”

Warhol was, by this time, a celebrity himself, and an association with him was considered worth having. In 1976, he was commissioned to do a series of portraits by the new incumbent of the White House, Jimmy Carter. His paintings of Carter, his wife and his mother, Lilian, were then sold to raise money for party funds. “It was like the Clintons courting Hollywood royalty, or Oprah,” says Shiner.

Warhol would later paint Ronald Reagan, drawing on an image created when he was a Hollywood B-list actor, in an ad for Van Heusen shirts. “When you think about Mao going from political leader to celebrity through Warhol, Ronald Reagan goes from celebrity to politician in real life. That’s why Warhol was interested in both Ronald and Nancy.”

But it was perhaps the equanimity with which he treated his subjects which may have been the most radical thing of all: a dead celebrity, a propaganda image of a dictator, a car crash or a can of soup, all were commodities, images – and an image, Warhol knew, had tremendous power. He made everyday objects famous, and celebrities mundane, and every day we live with his legacy. n

Andy Warhol: Pop, Power and Politics is at the Scottish Parliament, 6 October until 3 November. The exhibition is free but reserving tickets is recommended,, tel 0131-348 5454 or email [email protected].

11,776 Posts
Discussion Starter #6
Metaphor in £13m National Museum of Scotland project

Design Week - 24th July, 2013

National Museums of Scotland has awarded Metaphor Communications an exhibition design contract for the interpretation of ten galleries at The National Museum of Scotland in Edinburgh.

The project is worth £13m and according to National Museums of Scotland will see Metaphor create galleries showcasing the museum’s ‘internationally important Science and Technology and European art and Design Collections’.

Metaphor beat six other consultancies to land the contract worth between £620,000 - £1,000,000.

It will help NMoS with its Round 2 Heritage Lottery Fund application, phase three of the NMoS Masterplan and delivery of the ten-gallery project.

Around 75 per cent of the objects going on display in the galleries will be seen ‘for the first time for a generation or more’ and serve to ‘champion excellence and innovation, offering an inspirational resource for the scientists, engineers, artists and designers of tomorrow,’ the spokeswoman says.

The Masterplan is a £70m vision initiated in 2004, which saw the National Museum of Scotland’s 200-year-old building extensively refurbished and re-opened in 2011 with 16 new galleries.

The ten art, design, science and technology galleries being designed by Metaphor are an extension of this work and are expected to be completed by 2016.

11,776 Posts
Discussion Starter #7
I assume that the Richard Murphy scheme for the Queen's Hall is pining for the fjords?
I think that's a safe assumption.

On the plus side, it's a further hint that there's traction on a proposed multi-arts hub on the site of that carbuncle, Argyle House. SCO, the Filmhouse and the Traverse all seem to be gravitating in that direction.

It's potentially one of the most exciting developments in the city for a long time. I've been putting together a wee post with the few details that have been revealed so far - I'll try to get it up soon.

11,776 Posts
Discussion Starter #8
City’s iconic fire museum under threat

Edinburgh Evening News - 30th September, 2013

The museum honouring Edinburgh’s role as home of the first municipal fire brigade in Europe faces an uncertain future because of cost-saving plans agreed for Scotland’s new single fire service.

The Museum of Fire displays a unique collection of vintage fire engines and fire-fighting equipment from 1426 to the present day and charts the history of the Edinburgh brigade founded by pioneer James Braidwood in 1824.

But the city’s Lauriston Place fire station, which houses the museum, is one of a long list of fire service premises around the country that could be disposed of in a move designed to save £4.7 million a year in property running costs.

A report detailing the big sell-off said: “Steps will be taken to ensure continued public access to heritage assets in Edinburgh.”

But city politicians are demanding clearer answers about what fire chiefs’ intentions are for the museum.

Edinburgh Central SNP MSP Marco Biagi said the museum was “much loved” and could be developed into even more of an asset for the city.

He said: “I intend to push for the retention of the Museum of Fire. It’s an irreplaceable historic asset for the city, and rather than just being ‘protected’ it should be cherished and if at all possible expanded. There are many established cultural organisations in Edinburgh, and a future based on partnership with one of them could be a bright one.”

Mike Bridgman, who chairs the city council’s police and fire committee, said it would be “galling” if the fire museum was lost.

He said: “Edinburgh is where the first municipal fire service started. It would be disappointing if we lost the museum and its heritage all because of centralisation.”

A spokeswoman for the Scottish Fire and Rescue Service said the Lauriston station was a large site and the museum was based in a separate block. “We hope that part of the building can be retained so people can still access the museum,” she said.

She said the board of the single fire service had agreed long-term strategic plans for the properties which previously belonged to Scotland’s eight separate brigades.

She said: “We have inherited the property of eight organisations and we have to reduce that duplication, we have to rationalise our property estate. These are long-term aims and they rely on being able to sell these assets.” The board last week rejected plans to cut the number of fire control rooms from eight to two, which would have closed the Edinburgh centre at Tollcross and switched 999 calls to Dundee. Instead there are to be three – one in Johnstone in Renfrewshire and the other two to be chosen from Edinburgh, Dundee, Aberdeen and Inverness.

The board also approved the controversial closure of the national fire training *college in Gullane, East Lothian, which was saved from the axe in 2008.

11,776 Posts
Discussion Starter #9
Fruitmarket Gallery keep redevelopment plans under wraps

Urban Realm - 4th October, 2013

Edinburgh’s Fruitmarket Gallery is keeping a planned overhaul under wraps pending a decision on a £2m grant application to Creative Scotland to build a Gareth Hoskins penned design.

Hoskins saw off five other shortlisted practices, including the schemes original architect Richard Murphy, to secure the commission and have prepared early plans in support of the bid.

The gallery is remaining tight lipped on precisely what it will incorporate but the difficult site is built on a truss above a live railway line of Waverley Station below, which makes any substantial intervention a tricky undertaking.

Nevertheless it is thought that these plans could entail an extensive remodeling of the Richard Murphy designed gallery, including expansion into its airspace, basement and adjoining land, to increase gallery space by as much as a third.

The plans follow comments from gallery director Fiona Bradley who described the existing space as ‘restricted and limited’.

No budget has been quoted for the plan but the first scheme designs are set to be unveiled in December, whereupon a public consultation will be held.

11,776 Posts
Discussion Starter #10
Row explodes over £6m plans for Edinburgh gallery

Building Design - 11th October, 2013

Architects slam lack of consultation over plans to expand Richard Murphy’s landmark Fruitmarket building

Plans to redevelop one of Scotland’s most significant contemporary buildings have been denounced as “disgraceful” by some of the country’s leading architects.

They accuse the Fruitmarket Gallery in Edinburgh of trying to push through a £6 million expansion by Gareth Hoskins Architects without consultation.

But Fruitmarket director Fiona Bradley insisted there was nothing to consult on until they know whether Creative Scotland has approved a £2 million lottery funding bid, a decision expected on December 9.

The gallery, which opened in 1993, was converted by Richard Murphy from a 1938 fruit and vegetable market over Waverley station. It was his first public building in Scotland.

Despite its budget of little more than £300,000 the gallery is considered a landmark project for the Scottish capital, marking a new approach to the adaptation of buildings in the Old Town – which had been characterised for years by pastiche.

“It was the first overtly modern intervention in the World Heritage Area for maybe a couple of decades,” said Will Tunnell, principal at Edinburgh-based WT Architecture. “It alarms me a little that this might be lost.”

Hoskins, who did not return BD’s calls, was selected from an invited shortlist of six by a panel chaired by Seona Reid, who oversaw Steven Holl’s redevelopment of the Glasgow School of Art campus. The others were Malcolm Fraser, Oliver Chapman, Neil Gillespie of Reiach & Hall and Richard Murphy himself.

Reid told the Herald newspaper that Hoskins was the right choice for the radical change necessary for the gallery to build on its international significance. But architects who spoke to BD questioned this need.

Charlie Sutherland of Sutherland Hussey accused Bradley of having no sympathy for the building. “This is a disgraceful and contemptuous way for a small cabal of fairly powerful people in the arts world to behave and they should be held to account before it’s too late,” he said.

A fundraising video with two Hoskins sketches has been removed from YouTube. Bradley admitted the architect had produced a concept design to meet Creative Scotland’s requirement for RIBA stage B/C, but said they had taken down the images as they “stymied the conversation”.

“We are not talking about doing anything for three years and there will be time to publish plans and consult widely,” she said.

They were “proud” of the Murphy conversion, she said, adding: “It’s in no way our desire to spoil the building.”

Richard Murphy said: “Like everyone else, we are interested to see what’s being proposed.”

Editorial: Fruitmarket must balance its art and architecture

Murphy’s influential design no longer matches the art world’s expectations, says Ellis Woodman

As they say in Edinburgh, the plans for the redevelopment of the city’s Fruitmarket Gallery have escalated into a stooshie of major proportions.

While the city-centre gallery’s administration is adamant that its building needs to have a radical overhaul if it is to fulfil its curatorial ambitions, a number of prominent Scottish architects have voiced alarm at the prospect of Richard Murphy Architects’ now 20-year-old remodelling being obliterated.

Both positions invite sympathy. Murphy’s Fruitmarket is undoubtedly an important project in the recent development of Scottish architecture. Walking through the streets of Edinburgh’s Old Town today, one encounters numerous examples of the creative reuse of existing buildings for which Murphy’s work
has served as a guide.

Nonetheless, the space has always represented a challenging environment in which to show art. Sporting a stair running up the middle of the plan and an expressed steel structure that is characterised by elaborately articulated junctions, it is certainly the antithesis of the white box gallery environment.

As this week’s feature on gallery design makes clear, the white box model has emerged as a near-unwavering international standard in the years since Murphy’s project was realised. Whatever its architectural qualities, the Fruitmarket feels increasingly at odds with the expectations of artists, curators and the art-going public.

11,776 Posts
Discussion Starter #11
The Lister Project for the Royal College of Surgeons of Edinburgh

13/03602/FUL | Demolition of existing link block between two existing buildings and the creation of a new link block, incorporating a lift and stair, to improve physical access to the Surgeons' Hall Museums on the upper levels of the two buildings. This would represent a significant improvement to the current access arrangement that involves use of the narrow residential stair in the adjoining tenament. | 16A Nicolson Street Edinburgh EH8 9DH

The Lister project is an exciting new venture by the Royal College of Surgeons of Edinburgh (RCSEd) to extend public access to the College. It includes physical and intellectual access elements as well as conservation and training. There are four main elements:

1. Intellectual access for the general public:
The objective is to update the displays in the Museums and to introduce modern chronologies that will inform and engage the public in an interactive manner. Also to introduce a number of contemporary themes that will be of particular relevance to modern life that demonstrate the important contribution that surgery has made and continues to make to societal well-being.

2. The improvement of physical access into the site:
The current access to the Museums is via two flights of a common stair from Hill Square, behind the main public entrance from the street. It is difficult, unimpressive and excludes people with certain physical disabilities. The aim is to introduce direct access to the Museums via a lift and improve toilet services, education areas and add a temporary exhibition space.

3. The conservation of the Playfair building façade:
This Grade A listed building is unique in that it was specifically built to house the collections, the archive and to act as a teaching centre. Preservation of the exterior stonework and roofing against water ingress is essential to prevent more extensive repairs in the future.

4. Preventative conservation improvements in the archive store:
At present many of the archive documents are stored in poor conditions with high humidity and wooden racking. There brief outlines a requirements to replace and update the racking and install temperature control systems to improve this situation.
Replacement Link building / redesigned museum entrance

Current Link building

The Museums of the Royal College of Surgeons of Edinburgh houses one of the largest and most historic collections of surgical pathology material in the United Kingdom. Developed as a teaching museum for students of medicine it has also been open to the general public since 1832, making it Scotland’s oldest museum.The Lister Project is a new initiative by The Royal College of Surgeons of Edinburgh (RCSEd) that will focus on the College’s heritage and create a new and enhanced public space within the Surgeons’ Hall Museums. The internationally-relevant heritage of the College and the redisplay of the collections will inform and excite the general public, and encourage them to think about their health and well-being.

The project will open up the upper gallery of the Pathology Museum and introduce new audio visual and interactive technology. On the upper floor of the Jules Thorn Gallery new displays will chart the development of contemporary advances in modern surgical techniques and new themes will be introduced to support the RCSEd ongoing commitment to collect. Central to the new narrative will be an 18th century anatomical theatre.


11,776 Posts
Discussion Starter #12
Ming Dynasty treasures coming to Scotland

The Scotsman - 5th November, 2013

Treasures charting the history of China’s long-running Ming dynasty are to go on display in Scotland next summer under a new cultural agreement between the two countries.

The National Museum of Scotland in Edinburgh will be the only UK venue to play host to the rare works of art and artefacts, which are going out on loan from Nanjing’s museum, one of the most famous in China.

Among the precious items going on display will be the era’s iconic blue and white porcelain, jewellery, musical instruments, ornaments, calligraphy, paintings and silk textiles.

The exhibition will look at all aspects of Ming life, from the daily life of ordinary subjects to the luxurious and rare artefacts of the Royal Court, as well as the cultural, economic and social achievements of the 276-year-long dynasty.

Highlights include work by leading Ming painters, including Shen Zhou (1427-1509), Tang Ying (1470-1524), Qiu Ying (c.1494-1552), Wen Zhengming (1470-1559), and Dong Qichang (1555-1636), a map of the world created by the first Westerner to serve at the Ming court, one of the earliest paintings of the Forbidden City, and life-size portraits showing the faces of the men at the head of the dynasty’s well-educated elite.

The new international touring show, which has been put together by Edinburgh-based Nomad Exhibitions and Nanjing Museum, has just opened at the 15th century De Nieuwe Kerk building in Amsterdam.

Its run in Edinburgh, from June-October next year, was announced in Beijing during the on-going visit to China by First Minister Alex Salmond.

Dr Gordon Rintoul, director of National Museums Scotland, described the collection of treasures due to go on display in Edinburgh next year as “remarkable.”

He said: “The Ming empire represented a great period of cultural and social transformation but also produced truly beautiful works of art. Visitors to the exhibition will experience both a visual feast and a compelling story.

“We are delighted to collaborate with the Nanjing Museum, one of the most prestigious in China, in hosting the only UK showing of this exhibition.”

Mr Salmond signed a “cultural memorandum of understanding” with China’s culture minister Cai Wu, at a ceremony in Beijing almost two years ago.

It committed the governments in Beijing and Edinburgh to support “greater exchange and collaboration” across the arts, creative industries, heritage and its national collections.

Mr Salmond said: “As a result of the commitments by both the Scottish and Chinese governments we have seen a greater number of collaborations across the arts, creative industries, heritage and national collections allowing the people of both our countries to share some unique experiences.

“I am delighted that this partnership will see this exciting and special Ming exhibition brought to Edinburgh next summer, with National Museums Scotland and the Nanjing museum in China working together to exhibit the wonder of the Ming dynasty – an extraordinary period in Chinese history, renowned for its social, economic and cultural influence on shaping China’s present-day national identity.

“This is a fantastic example of a cultural exchange that is helping us enhance the mutual understanding between our countries, creating an atmosphere of respect, trust and celebration.”

11,776 Posts
Discussion Starter #13 (Edited)
Campaigners eye dedicated museum for Leith

Edinburgh Evening News - 11th November, 2013

A group of local history buffs are hoping to provide, for the first time, a centre to celebrate the changing tides of Leith.

The Spirit of Leithers – a team dedicated to the area’s past, present and future – has rolled out a petition calling for the Customs House on Commercial Street to become a treasure trove of artefacts.

A spokesman for the group said: “The town of Leith has for decades needed its own dedicated museum. There is a rich history to the Port of Leith stretching back hundreds of years. There are many exhibits stored in dark rooms never seeing the light of day. We need to *celebrate this history through a museum for Leith.”

The museum would honour the achievements of famous Leithers such as The Proclaimers and writer Irvine Welsh.

It would also celebrate landmark occasions over the years, including the visit of Mary, Queen of Scots in 1561, the attempted attack by the American navy during the War of Independence in 1779, the Siege of Leith from 1559 to 1560 and Leith’s controversial merger with Edinburgh in 1920. Already, the petition has been signed by 220 people.

The idea of using the Custom House as a museum, which is supported by Sir Tom Farmer, is backed by Leith History 

Society chairman Jim Tweedie said: “There’s a huge maritime history in Leith and we would like to see this celebrated. It’s a matter of looking for premises, and the one we’re interested in is the Custom House, but we have to wait for National Museums Scotland – who are using it for storage – to move out. A previous estimate of the cost of establishing the attraction was £10 million.

A facility for Leith’s maritime past already exists – Trinity House – but access is by appointment only. The new museum would be open to the public and about the whole area.

Edinburgh North MP Mark Lazarowicz, chairman of the Leith Museum Company, a body formed to complete the plan, said: “I welcome the interest shown by those who have signed the *petition. We hope the museum will get some government support because the Custom House is ultimately owned by the government.

“The aim is to have a museum with a focus on *maritime history but also Leith through the centuries.

“I’m certain there’s an audience – every time the issue is raised people are very interested in the possibility.”

National Museums Scotland is drawing up plans for a new storage facility in Granton.

A spokeswoman said: “In the past we have met with a number of local representatives keen to establish a Leith Museum. For many years it has been our long-term aim to bring all our stored collections on to a single site at the National Museums Collection Centre at Granton.”

11,776 Posts
Discussion Starter #14
Fundraising drive to save Fruitmarket Gallery

Edinburgh Evening News - 13th November, 2013

The director of Edinburgh’s flagship contemporary art gallery has warned its very future is “at risk” unless it is able to carry out a multi-million pound revamp in the next few years.

The Fruitmarket, next to Waverley Station, is set to launch a major fundraising appeal to help pay for a £6 million overhaul which would bring its outdated facilities up to scratch, amid warnings it is being left behind by rival galleries across Britain.

The gallery, on Market Street, faces closure for more than a year while a planned revamp overseen by leading architect Gareth Hoskins, who was behind the transformation of the old Royal Museum building, is carried out. If the funding can be secured, it is hoped work will start after the 2016 Edinburgh Art Festival.

Among the artists to stage work at the Fruitmarket over the last decade have been Jeff Koons, Martin Creed, Nathan Coley, Lucy Skaer, Callum Innes, Christine Borland, Toby Paterson and Douglas Gordon.

Extra storey wanted

Edinburgh’s planners are being asked to allow the gallery to build an extra storey on top of the existing building - which dates back to 1938 and was extensively refurbished 20 years ago - including adding on a roof terrace offering visitors spectacular views across the city.

The existing building would also be extended out on either side to create new stairwells and see lifts installed for the first time to help safely transport expensive works of art around the building.

Extra gallery space would also be created with the removal of a central stairwell, where large works of art currently have to be carried up and down, past customers in the gallery cafe, while proper climate control facilities will be installed in the building for the first time.

Director Fiona Bradley, who has been at the helm of the Fruitmarket for the last decade, said the current building was “no longer fit for purpose” and needed “urgent attention” to ensure it had a future, saying it may no longer be able to attract significant works on loan unless its facilities were overhauled.

A “vision for the future” bulletin due to be posted on the gallery’s website within the next few days states: “The Fruitmarket is locally, nationally and internationally regarded as one of a network of galleries exhibiting the very best modern and contemporary art.

“However this position is under threat. Although internationally significant, successful and popular now, the Fruitmarket risks being left behind as our collaborators and competitors invest in their buildings.”


Creative Scotland is being asked to fund the planned revamp to the tune of £2 million, while the city council has already agreed to waive the rent it charges the gallery while the revamp is being carried out.

Ms Bradley said the Fruitmarket’s project would be the most significant addition to the visual arts scene in Scotland since the opening of the Dundee Contemporary Arts centre in 1999.

She added: “We appointed Gareth Hoskins to come up with a concept design, which we presented to Creative Scotland in the summer, and we’re currently waiting on a decision on a funding application from them next month.

“We’ve costed the designs that Gareth has come up with at £6 million to do what needs to be done here. In the scheme of other people’s visions for projects, I don’t think it is a lot of money, although we don’t know at the moment what we may have to raise ourselves.

“The ceiling on Creative Scotland’s funding is £2 million for each application, although they’ve been aware for the need for change in our building for some time.

“It’s worth pointing out that there’s not really been public investment in new contemporary art facilities in Edinburgh over the last decade or so. There has been investment in the visual arts, but not the kind of thing we do.

“It does feel that we’re at something of a crucial point right now. We’ve built up an audience, we’ve built a programme and the very best international and Scottish artists are keen to show with us. No-one has ever turned down an invitation to show work at the Fruitmarket, but I’m beginning to worry that they might start to.

“Should we be successful in our application to Creative Scotland, it will kick-start a campaign to develop the Fruitmarket into the world-class facility it has the potential to be and that Scotland’s internationally successful art scene deserves.”


Leading figures from the nationwide art scene have recorded tributes and warnings that the Fruitmarket, which has been a visual arts hub since 1974, desperately needs overhauled for a special promotional video to be launched this week.

Sir Nicholas Serota, director of the Tate, said: “The Fruitmarket is a gem, amazingly important in Scotland, hugely important for the UK, and is also really quite unlike any other gallery running at the moment in the UK.

“The building has huge potential, but at the moment it’s a mess and it has really outlived its life. It probably worked when it was first remade 20 years ago but now the gallery has grown and the whole building now needs a rethink.”

As well as waiving its rent while any refurbishment work is ongoing, the city council said it had also offered the Fruitmarket an entire floor to use in its own flagship gallery, the City Art Centre, on the other side of Market Street, so that it can continue to stage exhibitions.

Richard Lewis, Edinburgh City Council’s culture leader, said: “The Fruitmarket Gallery is one of the foremost contemporary art galleries in the city and the proposals to refurbish the Market St building sound exciting and if they do go ahead it will only add to the strength of the arts and festival scene within the city.

“We will continue to work with the gallery and support their proposals however best we can. Even in a climate of squeezed budgets, it’s crucially important that we continue to invest in the city’s cultural infrastructure and maintain Edinburgh’s position as the one of the world’s great cultural and festival cities.”

Creative Scotland confirmed another round of grants under its large capital investment fund are due to be announced next month.

11,776 Posts
Discussion Starter #15
Surgeons’ Hall Museum’s life-changing operation

The Scotsman - 2nd December, 2013

A museum said to house the UK’s largest and most historic collection of surgical pathology artefacts is to be transformed with the help of a £2.7 million lottery grant.

Surgeons’ Hall Museum in Edinburgh houses anatomical specimens and surgical instruments and charts the transition of medicine from perceived “witchcraft” through to recognised science.

Its collection includes a pocket book made from the skin of the 19th century murderer William Burke and a letter from Sir Arthur Conan Doyle crediting Royal College of Surgeons of Edinburgh Fellow Dr Joseph Bell as the main inspiration for the character of Sherlock Holmes.

Originally developed as a teaching museum for students of medicine, it has been open to the general public since 1832, making it Scotland’s oldest medical museum.

The Royal College of Surgeons of Edinburgh (RCSEd), the UK’s oldest surgical Royal College, has been awarded the Heritage Lottery Fund grant to help redevelop its Surgeons’ Hall Museum.

The money will fund work to create new displays and galleries, doubling the number of items which can be put on display and showcase innovative audiovisual and interactive elements.

Ian Ritchie, president of the RCSEd, said: “We are delighted that the Heritage Lottery Fund has chosen to support this exciting and important project.

“The promotion of patient safety and care has been at the heart of our college and its activities for over 500 years, inspiring advances in our profession and across healthcare.

“Our museum and library lie at the core of this heritage. Through them we are able to highlight the achievements of the past, educate surgeons and the public about the development of our profession and inspire generations of future surgeons.”

The Lister Project – named after Fellow of the College Joseph Lister, who radically improved the safety of surgery by promoting the use of antiseptic technique – will cost £4.2m and transform the building, the first time it will have been radically altered since 1908.

The building, designed by William Playfair, will be conserved with contemporary additions such as a new glass atrium, providing the public with easier access. It will also feature a 17th century dissecting theatre.

A new, dedicated education suite will increase opportunities for learning for schools, families and special interest groups.

Colin McLean, head of the Heritage Lottery Fund in Scotland, said: “The Lister Project will take Surgeons’ Hall Museum to a world-class level commensurate with its outstanding collections.

“Scotland’s pioneering history of surgery will soon be a source of education and inspiration for visitors from home and abroad while making an important contribution to our tourist economy. The Heritage Lottery Fund is delighted to be helping make that happen.”

The museum has seen a “marked increase” in visitor numbers over the past four years according to the college’s director of heritage Chris Henry, who will lead the rebuilding project.

He said: “The museum collections are unique in their content and also in that they are displayed in the building originally built to house them nearly 200 years ago.

“The challenge of the Lister Project has been to produce a plan which will enhance the public space within the museum and ensure accessibility across all areas, whilst maintaining the integrity of the William Playfair-designed building in which the museum is primarily housed.”

11,776 Posts
Discussion Starter #16
Already reported above but Urban Realm's coverage of The Lister Project contains a few (typically) large images.

McAslan’s Surgeons’ Hall revamp secures £2.7m lottery grant

Urban Realm - 2nd December, 2013

The Royal College of Surgeons of Edinburgh have been named as recipients of a £2.7m grant from the Heritage Lottery Fund toward an extension and redevelopment of Scotland’s oldest medical museum.

Dubbed The Lister project it will entail creation of new displays and galleries by Campbell & Co, doubling the number of items on display and introducing audiovisual and interactive elements. A number of contemporary additions, such as a new glass atrium, will also be built to designs by John McAslan & Partners.

Royal College director of heritage Chris Henry commented: “The Museum collections are unique in their content and also in that they are displayed in the building originally built to house them nearly 200 years ago. The challenge of the Lister project has been to produce a plan which will enhance the public space within the museum and ensure accessibility across all areas, whilst maintaining the integrity of the William Playfair-designed building in which the Museum is primarily housed. We are proud of being the oldest medical museum in Scotland and of our important role in the work of the UK’s oldest surgical Royal College.”

The William Playfair designed Surgeon’s Hall houses a collection of surgical pathology artefacts; including anatomical specimens, surgical instruments and curiosities such as a pocket book crafted from the skin of murderer William Burke and has been open to the public since 1832.


11,776 Posts
Discussion Starter #17
Page\Park's redevelopment of St Cecilia's Hall - Scotland's oldest surviving purpose-built concert venue and home to the University of Edinburgh's Museum of Musical Instruments - in for planning approval.

13/04667/FUL | The redevelopment of St Cecilia's Hall including conservation and repair and the construction of an extension to provide a re-orientated entrance. | St Cecilia's Hall 214 Cowgate Edinburgh EH1 1NQ

From the official redevelopment project site:
Originally built in 1763 and named after the patron saint of music, St. Cecilia’s Hall is the oldest purpose-built concert hall in Scotland, and the second oldest in the British Isles. At the heart of this Georgian building is its concert room, surrounded by three galleries which house one of the world's most important collections of historic musical instruments, many of which are still playable in a concert setting. Yet time, architectural intervention and urban development have hidden away this exceptional Georgian treasure and the rare collections it contains. The University’s vision is to restore and renovate the building and its facilities in order to preserve the Collection and broaden its appeal to a wider public.

The restoration and renovation of St Cecilia’s Hall will enable us to offer increased performances, longer opening hours to the museum and provide new ways to experience its world class collection of instruments. It will also attract further scholarship and research and ensure the future of this outstanding building and it’s Collection for generations to come.

The St. Cecilia’s Redevelopment Project will focus on five specific aims:

• Restoring the original historic frontage of the building and creating a new entrance facing the Royal Mile
• Upgrading the building infrastructure and the public realm around Niddry Street
• Improving the Concert Hall and audience experience
• Expanding, redesigning and developing the gallery spaces and interpretation
• Assuring preservation of the Collection for generations to come


11,776 Posts
Discussion Starter #18
University unveils images for St Cecilia’s Hall

Edinburgh Evening News - 16th December, 2013

Work to create a “world-class museum of music” in the heart of the Old Town will begin within months.

Edinburgh University bosses said they were aiming to “break ground” in autumn next year and have unveiled new images of how the museum will look once the £6.3 million revamp of St Cecilia’s Hall in the Cowgate is complete.

The overhaul of the internationally significant collection of early keyboard and plucked string instruments – billed as the musical equivalent of London’s Globe Theatre – will involve the creation of a harpsichord-shaped entrance designed to draw visitors from the Royal Mile, a 40 per cent expansion of gallery space and improved acoustics.

A redesign of the building’s main concert hall to restore its original oval shape – allowing musicians to perform on a raised stage or surrounded by audiences – is also included.Jacky MacBeath, head of museums at Edinburgh *University, said: “At the moment, it’s a building for people in the know. We want to change that completely.”

Built in 1763 and named after the patron saint of music, St Cecilia’s is the oldest purpose-built concert hall in Scotland and the third-oldest in the world. Among its rare instruments are harpsichords, virginals, spinets, organs and fortepianos – some around 400 years old – as well as harps, lutes and citterns.

University museum leaders said the revamp would also boost outreach work.

“We’ve been working on a programme of activities – *concerts, workshops, a rolling programme of exhibitions, with some curated by community groups,” said Ms MacBeath. “This building is in a part of the Cowgate that wouldn’t usually be regarded as the most attractive area of the city.

“We hope that this will help with its regeneration.”

Leaders at Canongate Youth Project said talks had taken place with university bosses about increasing the involvement of youngsters from deprived neighbourhoods in Dumbiedykes and St Leonards.

Vicki Ridley, youth project manager, said St Cecilia’s could become an Edinburgh version of the world-famous El *Sistema music education system in Venezuela, which has set up youth orchestras and training programmes in some of the country’s poorest communities.

She said: “I welcome anything that’s new and *different, and something that offers young people more choice, especially around music.”

11,776 Posts
Discussion Starter #19
St. Cecilia's Hall Redevelopment - Museum of Instruments

Some details (from the official site) and visuals of Page \ Park's £6.5m redevelopment.

I'm really excited about this project. It will see the restoration and renovation of one of the city's least known architectural gems - St. Cecilia's Hall - the oldest purpose-built concert hall in Scotland (and second oldest in the UK after Oxford's Holywell Room). 1960s additions to the original Georgian building will be demolished and replaced by striking new-build insertions as part of the redevelopment of the building and its role as a concert hall and museum of musical instruments. The University of Edinburgh holds one of the world's finest collections of historic musical instruments. Currently the items are split between St. Cecilia's Hall and the Reid School of Music, but the collection is little known to the general public and both current venues are only open intermittently. This project will see them united under one roof in a newly designed visitor destination and performance venue.

Original 1763 concert hall entrance, Niddry Street elevation

1812 extension, Cowgate elevation

About the Project

Nestled within the heart of Edinburgh’s historic Old Town, and forming part of the UNESCO World Heritage site, lies one of the city’s unique treasures, St. Cecilia’s Hall and its Museum of Musical Instruments, part of the University of Edinburgh.

Originally built in 1763 and named after the patron saint of music, St. Cecilia’s Hall is the oldest purpose-built concert hall in Scotland, and the second oldest in the British Isles. At the heart of this Georgian building is its concert room, surrounded by three galleries which house one of the world's most important collections of historic musical instruments, many of which are still playable in a concert setting. Yet time, architectural intervention and urban development have hidden away this exceptional Georgian treasure and the rare collections it contains. The University’s vision is to restore and renovate the building and its facilities in order to preserve the Collection and broaden its appeal to a wider public.

The restoration and renovation of St Cecilia’s Hall will enable us to offer increased performances, longer opening hours to the museum and provide new ways to experience its world class collection of instruments. It will also attract further scholarship and research and ensure the future of this outstanding building and it’s Collection for generations to come.

The St. Cecilia’s Redevelopment Project will focus on five specific aims:

• Restoring the original historic frontage of the building and creating a new entrance facing the Royal Mile
• Upgrading the building infrastructure and the public realm around Niddry Street
• Improving the Concert Hall and audience experience
• Expanding, redesigning and developing the gallery spaces and interpretation
• Assuring preservation of the Collection for generations to come
Birdseye of proposed roofscape - new L-shaped block with gold coloured metallic cladding

Proposed Niddry Street elevation

Proposed Entrance - metal fretwork facade to be designed in collaboration with Edinburgh College of Art

Proposed Entrance foyer and feature stair

The Collection

St Cecilia’s Hall is home to the collections of early keyboard and plucked strings, part of Edinburgh University Collection of Historic Musical Instruments, which ranks among the world's most important collections of musical heritage. The sister collection is currently on display and in store at the Reid Concert Hall Museum of Instruments. As part of the Redevelopment Project the two collections will be brought together as one, creating a single visitor destination at St Cecilia’s Hall. It has official Recognised Collection of National Significance to Scotland status.

The emphasis of the Collection is on instruments that are no longer in regular current use and the collecting policy is to acquire instruments when they fall out of use rather than to collect instruments by contemporary makers. The Collection thus covers the period from the 16th century (the earliest from which examples are available for acquisition) to the 20th century (the most recent from which instruments can be regarded as historic).

Many of the instruments are still playable and through an established concert programme and as a regular venue during the Edinburgh International Festival, the Concert Room provides a contemporaneous setting for performances, within which the audience can be seen as the interface between the University and the public. For instance, St Cecilia’s Hall is the only place in the world where it is possible to hear 18th century music in an 18th century concert hall played on 18th century instruments.

Highlights include:

• harpsichords by Ruckers and Taskin,
• guitars and lutes by Sellas, Staufer, Lacote, Harz and Railich,
• bowed strings by Bassano and Tielke,
• woodwind instruments by Haka, Stanesby, Simiot, Bassano & Denner and
• brass by Schnitzer, Winkings and Sax.

The instruments are supplemented by an archive of original materials, working papers and a sound archive. The Collection as a whole attracts researchers from far and wide and is an extensively cited resource in international scholarship. Instruments are lent to prestigious exhibitions at home and internationally.
Section through proposed development

Exhibition layout

Galleries One & Two - Early keyboard and plucked string instruments

Gallery Two - Early keyboard and plucked string instruments

Gallery Three - Nineteenth century instruments

The Laigh Room - multifunctional display and educational space

The Hall

Celebrating its 250th Anniversary in 2013, the building was originally commissioned by the Edinburgh Musical Society and constructed to the designs of architect Robert Mylne (1733-1811) with its inaugural concert being held in December 1763.

Since its original construction, St Cecilia’s Hall has undergone many changes and today its very location presents problems; with noise, access and lack of street presence as it is enclosed by tenement blocks to the east and north. The fabric of the building is in a poor state of repair, with damage to the ornamental features and exterior stonework. The result is that the Hall has lost much of its streetscape appeal.

The renovation and restoration of St Cecilia’s Hall will reinstate the architectural splendour of the venue and key modifications will be made to the external fabric, infrastructure and the surrounding public realm to improve the visitor experience.

Conservation and architectural feasibility studies have resulted in a proposal to reinstate the Hall’s identity and prominence. This includes:

• Repairing the original historic frontage of the building, giving it ‘street presence’, relocating the public entrance and restoring the 18th century character of the Concert Room.

• Gallery spaces will be redesigned and redeveloped, and an additional fourth gallery will be created to house 1,000 instruments currently held in the sister museum, the Reid Concert Hall Museum of Instruments.

• The new public entrance, with its feature door, will open out to the existing St Cecilia’s Hall gable, and will be highly visible from the Royal Mile, a main thoroughfare for locals and tourists alike. This will provide much-needed space for a reception, box office and visitor orientation. This will be built on the site of an existing 1960s extension (which will be demolished).

• We will improve the Concert Hall and audience experience, through the introduction of bespoke tiered seating and staging platforms.

• An upgrade of the building infrastructure to provide improved access for all and the best possible care for the instruments, thus ensuring their long-term preservation.
Concert hall

13/04668/LBC | Redevelop St.Cecilia's Hall through the conservation and repair of the existing building, demolition of the caretakers flat and the construction of an extension to provide a re-orientated entrance. Internally a full refurbishment of existing galleries and the re-configuration of support functions is proposed whilst achieving level access throughout and from the sloping topography. | St Cecilia's Hall 214 Cowgate Edinburgh EH1 1NQ

11,776 Posts
Discussion Starter #20
New Leith Museum Petition

Greener Leith - 6th January, 2014

Most of Leith follow the popular “Spirit of Leithers” Facebook page, which focusses on sharing historical photos of the neighbourhood.

And if you are among them, you’ll probably already know that the folk behind it – some of whom are in the photo above – have an ambition to go beyond social media. They have rekindled the long-standing campaign to persuade the powers that be to establish a dedicated Leith museum in Customs House on Commercial Street.

A key plank of the campaign is a petition – targeting the First Minister no less. The petition reads:

“The Town of Leith has for decades needed it’s own dedicated Museum. MP’s, MSP’s, Local Councillors and, more importantly, the residents of Leith know that the History of Leith is immense. Despite numerous attempts having previously been thwarted to instigate a Museum, The people of Leith, will continue to use their own Motto, in this request. ” PERSEVERE”. We shall. Edinburgh has for far too long negated it’s responsibility towards Leith. We request that this be put right.”

If you would like to see Customs House turned into a Leith Museum, you can sign the petition online here.
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