Mar 142013
 

With thanks to Dave Macdermid

One of the objectives of the ongoing DuthiePark restoration project is to create, in conjunction with the Park Ranger Service, a natural wildlife area with frogs, ducks and swans which, it is hoped, will attract a variety of new visitors to the park can also be utilised for school projects.

To assist in this becoming a reality, the Friends of Duthie Park and Aberdeen Greenspace have organised for the Middle Lake to be planted with natural Scottish wildlife plants this Sunday, 17th March and are seeking volunteers to help with this exercise.

Duthie Park Outreach & Training Officer Arthur Gill commented:

“Members of the public are invited to join us on Sunday for what will be a different type of planting than that we normally tackle.  

“It will be muddy so wellington boots are a necessity.”

Anyone interested in assisting should come to the Middle Lake at noon this Sunday.  All ages are welcome!

Jul 262012
 

With thanks to Dave Macdermid.

The Friends of Duthie Park group is looking for a part time fundraiser to assist with ongoing funding to improve the park, following the completion of the current major restoration work.

This will see the return of many original Victorian elements.

As ‘Friends’ Chairman Tony Dawson outlines, there are potentially some tremendous opportunities for local organisations within the confines of the Park.

 “There are specific projects that do not come within the remit of the restoration work, including both winter and summer planting. Additionally there are initiatives we would love to be able to afford, such as the installation of a water harvesting system for the glasshouses, or the development of a Duthie Park smart phone application. The Friends also has its Annual Open Day which would, I believe, be an excellent community ‘fit’ for a local company, with this year’s event next month on Sunday 19th August.

“We have produced a selection of potential packages that could be available and what we are looking for is someone who could spend time speaking to local businesses persuading them to become involved, in return for a commission on any funds secured.”

Anyone interested in the position should, in the first instance, contact info@friendsofduthiepark.co.uk including full contact details.

Mar 152012
 

With thanks to Suzanne Kelly.

A new cloud covers the controversial Union Terrace Gardens Referendum today, as a care home worker came forward with concerns about postal votes sent to a residential home.

The worker, who wishes to remain anonymous, approached Aberdeen Voice to say that over a dozen postal vote envelopes arrived at one residential home – but when the worker went to retrieve them a short time later – they were not where they had been left. No one at the residence seemed to know precisely what became of them.   The concern is whether or not the residents’ votes were properly distributed and managed.  The matter is still being looked into, and no allegation of wrong-doing has been made at this stage.

Aberdeen Voice’s Suzanne Kelly is researching further, and contacted the elections officer, and the other recognised campaigning organisations on the issue.

Kelly asked the elections officer for the marked Register to be checked with a view to how many care home residents returned votes, and whether there are any unusual voting patterns.  However, the elections officer’s position is that “it would be illegal for me to provide this in terms of the Representation of the People(Scotland) Regulations 2001.”  In an election relevant parties would normally  be able to view the marked Register.

Crawford Langley, the Elections Officer for the Union Terrace Gardens referendum vote, previously contacted the police over potential postal vote fraud in May 2005 when he was elections officer and a small number (between 6 and 12) of anomalies arose, where people appeared not to have received their postal vote forms.

Langley was quoted at the time as saying:

“We are talking about a very small number but, given the publicity elsewhere and the tight ship we run in elections in Aberdeen, it was sufficiently unusual that I needed to do something about it.”

The controversial referendum, which was over the future of Aberdeen’s Victorian Union Terrace Gardens, gave residents a choice to either ‘retain’ the gardens, or to endorse a £140 million pound scheme called the Granite Web. This entails the city obtaining a £70 million pound TIF loan, which will be matched by Sir Ian Wood / The Wood Family Trust (£50 million), £5 million from an anonymous donor, and another £15 from as-yet unnamed private sources. The TIF scheme is still in trial stages in Scotland.

many feel the media bombardment influenced the vote

The referendum was dogged by controversy. Official campaigning groups were entitled to place a 300 word essay into the voting pack, and had to adhere to strict expenditure limits.

The Green Party’s statement was not printed in full. Also controversial were the actions of a ‘secretive’ group (as described by a BiG Partnership employee) known as ‘Vote for the City Gardens Project.’ This federation of businessmen and women, who prefer to remain anonymous, are thought to have spent tens of thousand of pounds to promote the City Garden Project Granite Web.

Their glossy, A3 full colour brochure went to households in Aberdeenshire which were not eligible to vote as well as to City residents. The group also issued a four-page newspaper format item, and had several full-page spreads in the local press. Local radio stations broadcast pro City Garden Project commercials. None of the officially recognised campaigning groups would have been able to afford such a campaign, and many feel the media bombardment influenced the vote.

The materials produced by the group used projections by PriceWaterhouse Coopers to claim the scheme would create over 6,500 permanent jobs and mean £122 million to the local economy every year until 2023. Those who tried to contest these projections being used as fact found that the Vote for the City Gardens Project group was not accountable either to the elections officer or the Advertising Standards Agency. Other points of contention have been brought to the election officer’s notice as well.

Willie Young of the Labour Party, who were an official campaigning organisation, had this to say:

“We really do need to see the mark register so we can prove to ourselves that the referendum was run correctly. In a democracy we need checks and balances and the Electoral Commission is clear that those involved in an election should be given access to the mark register. I am not suggesting anything is untoward, but it is our right to make sure that it isn’t. We are baffled by the stance taken by the counting officer”.

Suzanne Kelly commented:

“It is abundantly clear to me why my source wishes to stay anonymous. They are keen to continue in the job they love, and are all too aware of what can happen to a whistle-blower. This issue is still being investigated, but I thought bringing it to the election officer’s attention immediately was the right thing to do.  This is why we need to check the votes sent to all of our residential care homes – we must ensure no one has been exploited and no votes have gone astray. Were all the votes sent to the homes used, and if not, what percentage went unused? Did the vote split at the residential homes echo the nearly 50–50 split the total vote saw? If not, then further research will be needed.

There is at present no allegation of any wrong doing by any individual – but it is clear that we need to have the transparency we were always promised concerning Union Terrace Gardens, but which we so sadly lacked. We’ve seen redacted minutes – minutes where lines of text have been ‘blacked out’ to keep the public in the dark. Why should there be any secrecy over what is common good land?”

Kelly was chair of one of the recognised campaigning organisations (‘Democracy Watch’) and has been liaising with other campaigners; a number of issues remain over the referendum, and these will be reviewed soon.

Feb 292012
 

Shakhaf Barak wrote to a friend highlighting the history behind the current referendum that is dividing the city. He has kindly allowed Voice to use it, almost verbatim as the deadline approaches for voting.

Dear Friend,
Here in Aberdeen there is a bitter referendum taking place, and it could go either way. Over 70,000 people have voted thus far, in a city of barely 212,000 souls, and both sides have reported each other to the police. Central to this story is a 250-year old city centre park, Union Terrace Gardens, and the billionaire oil tycoon seeking to redevelop it.

Union Terrace Gardens are similar to Edinburgh’s Princes Street Gardens, lying in the natural amphitheatre of the Denburn valley, the Denburn being a stream which flows right through the city, underground where it borders the Gardens. Much of Aberdeen’s best architecture was clearly envisaged to overlook this area.

The Gardens are home to a cluster of 260-year old elms trees that once formed part of the Corbie Haugh, a historic wood which ran through the valley. This is among the largest concentration of healthy mature elm trees in Europe, and they are reputed to have escaped Dutch Elm Disease, not only due to their isolation, but also because the pollution of the city has afforded some sort of protection from it.

Both the park and its beautiful Victorian toilets are Grade A-listed, and all of the trees are under preservation orders. Up until as late as 2003, the Gardens formed the centrepiece of Aberdeen’s Britain In Bloom entry, and they were truly stunning, but since then expenditure has all but ceased, and the toilets have been closed for several years.

In 2008 a local arts organisation, Peacock Visual Arts (PVA) was granted planning permission for an award-winning and sympathetically-designed arts centre to be built into the hillside of the Gardens. This would have meant felling a small number of trees but none of the elms. The design was universally acclaimed and it was hoped that this scheme would help regenerate interest in the Gardens.

Enter Sir Ian Wood, one of Scotland’s richest men, and chief of Wood Group PSN. Sir Ian decided that he’d like to redevelop the Gardens by building a five-storey bunker in their place, whilst covering over the adjoining railway line and urban dual carriageway, with the entire roof of this construction forming a flat civic square at street level. It was not entirely clear what would be installed in the bunker, although speculation was rife to say the least.

He offered the council £50m towards the cost of this project, which was mooted to cost £140m. This was possibly an optimistic figure since Union Square, a similarly sized shopping mall with none of the technical difficulties or prior excavation work, cost £250m to build. The council felt this offer was too good to refuse, but the some members of the public were up in arms.

Sir Ian decided to put the proposal out to public consultation and promised to walk away should the public reject it.

The ‘consultation’ was commissioned by Aberdeen City and Shire Economic Future (ACSEF), a publicly-funded unelected QUANGO, and conducted by The BiG Partnership, Scotland’s largest PR company.

It many ways it resembled a marketing exercise. The bulk of participation was via a website, which asked several questions with a somewhat loaded feel to them. For technical reasons, the question on whether or not to proceed with the plan defaulted to a YES vote.

If, during completion of the questionnaire, any previously-given responses were subsequently amended, this again defaulted back to a YES vote. When the results were released, it became apparent from the comments sections that may people who had intended voting NO had instead been recorded as YES voters.

Over 10,000 people participated in the consultation, and In spite of it’s technical oversights, the public voted against the Civic Square proposal by 54%-46%, a healthy and significant majority. However the PR machine kicked in and somehow spun that the 202,000 people who had not participated possibly represented a silent majority in favour of this scheme.

  Critics described it as a cross between Tellytubby Land and a skate park

Sir Ian decided not to walk away, and the project went to a council vote. The council voted in favour of taking the plan forward at the expense of PVA who by that time had 80% of their £20m funding in place. It has subsequently been alleged that some of the PVA funding was diverted into the new project.

The BiG Partnership now re-launched the plans under a new name, The City Garden Project (CGP). It was claimed that the outcome of the public consultation was that the public were broadly in favour of a garden as opposed to a civic square. Any implication that they were actually in favour of preserving the existing gardens was ignored.

The interested parties now felt that the best option was to redevelop the Gardens by building a five-storey bunker in their place whilst covering over the adjoining railway line and urban dual carriageway, with the entire roof of this construction forming a new garden at street level.

The whole thing had an air of déjà vu.

This time it was decided to hold an international design contest, paid for with public money. Six designs were shortlisted from hundreds of entrants. One, The Granite Web, bore a striking resemblance to Civic Square concept, albeit with less concrete and more greenery. Critics described it as a cross between Tellytubby Land and a skate park.

The local press heavily promoted the Granite Web design from the outset of the contest, leading with it on their front page and providing it with more photo coverage than the other designs. It was almost as though it had been ordained.

The public voted, and spoiled ballots aside, all indications were that The Winter Garden design proved the most popular. An independent poll confirmed this and put The Monolith in second place.

Tellingly both of these designs retained much of the topology of the existing Gardens. Word on the street was that The Granite Web was not a popular choice, but we’ll never know for sure, because a decision was taken not to release the results of the so-called public vote to the public.

It was then announced that the winner of the private-public vote would be put forward to the selection panel, along with another design. The self-appointed selection panel consisted of Sir Ian, some other influential people from the oil industry, an architectural consultant on the project payroll, and a councillor who backed the project.

The two designs discussed were the acknowledged public favourite, The Winter Garden, and you’ve guessed it, the joker in the pack, The Granite Web. When the panel announced the result, it should have come as no surprise to anyone that they had chosen The Granite Web, yet there was a shocked silence, and even those had come out in favour of the redevelopment initially appeared bemused if not downright confused.

The original Civic Square was mooted to cost £140m, with £50m coming from Sir Ian, £20m from the private sector, and the rest to be borrowed through a Tax Incremental Funding (TIF) scheme. Any over-run would be covered by the council (read local taxpayer) .

Only £5m of the private sector contribution has materialised thus far, but there has been an announcement that The Granite Web would be significantly less expensive to build than the previously-envisaged, but somewhat less complex, civic square. Sir Ian has offered to personally fund up to £35M of any cost over runs, should they occur.

The TIF proposal cheerfully bends all the guidelines of TIF funding. TIF is intended to be used to redevelop brownfield sites, with the loan being repaid over a 25 year period through increased rates recouped from any businesses setting up in the redeveloped area. The city council had already approved planning permission for two new industrial estates on the outskirts of town, under the business case for the TIF funding, these new estates become part of the TIF zone, so in The Granite Web’s case, sections of the TIF zone are located several miles away from the actual redeveloped area.

The predictions are for 6,500 jobs and £122m annual revenue to the local economy, all based on the new industrial estates, which have no obvious linkage to The Granite Web, operating at full capacity. Even if one were to accept that any new jobs could be somehow attributed to The Granite Web, the figure of 6,500 seems unlikely given that the London Olympics is only projected to create 3,500 jobs.

Either way, the setup feels a bit shaky; the truth is that these jobs and their associated revenue will accrue with or without The Granite Web.

By this time, councillors seemed to be getting edgy and unwilling to green-light the project, so they decided to hold a public referendum. Any group wishing to campaign was required to adhere to an £8,000 spending limit, and for this they were provided with 300 words of text in the voting pack.

The packs went out, but unfortunately some of the Retain lobby’s statements were mangled due to a ‘computer error’. The voting packs were closely followed by a big money public relations mail bombing campaign by The BiG Partnership promoting The Granite Web. Publicity materials went through every letter box, pro Granite Web articles dominated the press, and adverts were played around the clock on the local radio stations.

Apparently this expenditure was permitted by virtue of being funded by an ‘unregistered’, and as yet anonymous, campaign group – whatever that means! I guess it’s a bit like not having to pay tax because your parents never applied for a birth certificate, who knows? By this point, things were becoming surreal to say the least.

The referendum closes on 1 March and it’s a bitter fight that has divided the city. For example, an oil company boss has made a complaint to the police alleging mail hacking and cyber bullying. The police claim they are taking this allegation seriously. There have also been two arrests possibly related to claims of vote-rigging, but ultimately no one was charged.

The town has gone berserk and it’s civil war all over Facebook. It’s as if we’re all experiencing a really, really bad shared dream. I just dread to think what we’ll all be waking up to on Saturday morning.

Feb 242012
 

By Mike Shepherd.

The polling cards are out for the Union Terrace Gardens referendum and you have until March 1 to vote. The hype means you’ll have been bombarded with leaflets, pamphlets, news items and radio adverts.
If ‘connectivity’, a ‘21st century contemporary garden’, or ‘street-level access’ are key factors in deciding your vote, look no further; vote for the City Garden Project.

If you are undecided or swithering then read these very good reasons for voting to retain Union Terrace Gardens. 

1. Your vote will preserve the look and feel of the Granite City. Union Terrace Gardens are an integral part of the heritage of Aberdeen. Planned by the same architects who designed the Art Gallery and the frontage of Marischal College, they show an architectural harmony in the city centre which would be destroyed by a modernistic City Garden.

2. Your vote will not result in a ghastly modern structure replacing our park. Although described as the City Garden, it is in fact a mixture of buildings, flyovers, underpasses and parkland. The design has a passing resemblance to 1960s-style new town architecture. At one public meeting, someone said that the underpasses in particular were likely to end up as urban no-go areas. I have even heard a supporter of the scheme conceding that it will look dated after about five to ten years.

3. Your vote will stop a multitude of new glass box office blocks being built in the city centre. Council documents show that consideration has been given to plans to build a central business district in the city centre and encourage office block construction. The building of the City Garden Project, “will encourage development in the city centre sooner, and on a bigger scale, than might otherwise be the case without public investment in enabling infrastructure.”

4. Your vote will improve our much-loved park. Jimmy Milne, oilman and MD of Balmoral Group, has said:

“I and many of my business contemporaries, are committed to establishing a fund which will help bring the gardens back to their former glory. Without destroying our heritage, and without putting Aberdeen City further into debt, it would not be difficult to breathe fresh life into the park. Improved access, new planting, cleaning and restoration, park wardens and live events could all be relatively easily and cost effectively achieved.”

5. Your vote will ensure that the mature trees in Union Terrace Gardens will be saved. All 77 trees will be kept, including the twelve elms, some of which are at least 200 years old.

6. Your vote will stop our Council borrowing £70m they can’t afford. Aberdeen City Council, £562m in debt, is being asked to borrow £70m through a risky tax scheme to help fund the City Garden Project. If there is insufficient money to pay back the loan, Council funds will be required to service it.

7. Your vote will avoid significant disruption and pollution in the city centre for the near three years it will take to build the scheme. The technical feasibility study for the project estimates that the equivalent of 3,947 dump trucks of earth and 4,605 dump trucks of granite will be excavated from the Gardens causing ‘large environmental impacts from noise, transport, dust and energy use.’

8. Your vote will avoid the major traffic problems caused by the movement of heavy lifting equipment, dumper trucks and lorries in and out of the city centre. It is estimated that the City Garden will take almost three years to build. It is likely that there will be major traffic problems in the city for much of this time. City centre business will be impacted by this and may never recover.

9. Your vote will avoid much, if not all, of the Council’s cultural activities being displaced to the underground building in the City Garden. The council funds institutions occupying cosy, intimate venues such as the Music Hall, Lemon Tree and Belmont Cinema. A review of council-funded cultural activities will be made with a view to possible relocation to the underground concourse.

10. Your vote will avoid any consideration that the future of the HM Theatre could be in doubt. Two major performance venues will be built in the City Garden only yards from HM Theatre. Councillors have asked if this will have an impact on the future of HM Theatre. No specific assurances have been given.

Aberdeen could change forever if the City Garden is built, and probably not for the better.

We have the chance to keep the leafy, green heart of the Granite City. 

VOTE: RETAIN UNION TERRACE GARDENS

Feb 172012
 

A lecture by Charles Renfro, held at the Robert Gordon University, Tuesday the 14th of January. By Jeremy Millar.

I pulled on my black turtleneck and picked up my Mac book pro and set off for the lecture. Would I be mistaken for an architect; yes I was – it’s all in the attention to detail. The theatre was pretty full, with architecture students to the back, and bolder interested parties to the front. Charles Renfro is an engaging character – think Niles Crane amalgamated with Andy Warhol.

He had flown in especially for this event, and encountered the usual techie difficulties in getting his gleaming Mac book pro to talk with a PC campus. The lecture was a run through of a number of the DS+R projects, and very impressive it was too.

At their heart DS+R are artists, often very clever and imaginative conceptual artists. This approach is exemplified by the ‘blur’ installation on lake Neuchatel in Switzerland. This brought to mind ‘Smoke on the Water’ for some reason. This building was a folly in the architectural sense and Charles spoke of playing with the senses as the visitor entered the water cloud and saw nothing. Like many of the DS+R projects there is an element of passing through, rather than destination.

The revolving trees in Liverpool are another witty play on perception.

Understandably the main focus of the lecture was on the High Line project in New York. I have to say that I was a fan before, and now I am even more so. This project demonstrates all that is great about urban design. It involves people with their environment on so many levels. There are many small spaces along the route that offer opportunity for performance. There is a sense of people owning and playing up to the intimacy of these spaces. If it is not to your taste – well you can just move on. It was, however, sooo New York – and I was reminded of “just a New York conversation rattling in my head”: thanks Lou.

 a walk-through video that involved much playing of the bagpipes

I was impressed by the way in which the High Line acknowledges routes and roots, and builds in memory of decay and goes wild. Charles is keen on letting the DNA show through and inform the evolution of the space. He ably demonstrated this with the Lincoln Centre and the new Rio gallery designs.

Loving what I’ve seen so far, in that it is visionary, interactive and accessible.  These projects are also all in large metropolises with sophisticated urban elites, and large numbers of tourists pretty much the year round. There is no question that I would visit if in New York, Rio or Boston.

And so onto the ‘City Garden Project’ for which Charles launched a walk-through video that involved much playing of the bagpipes. The key words and phrases included diversity of ecology, ideas pulled from existing context (that DNA concept) sustainability, green lung, reconnecting the city, reinforcing heritage moments, keeping topographic interest; and I have to say he lost me.

I could see some of the connections to the successful DS+R projects, but this vision betrayed a fundamental absence of an understanding of what makes Aberdeen unique both architecturally and culturally. The DNA of Aberdeen city centre is in the crisp Victorian lines of squares, crescents and terraces. The grand public buildings echo a past of commerce and culture as one strolls down Union Street.

The visual dominance of ‘education, salvation and damnation’ overlooking the gardens and leading the eye round to the gallery are rightly flagged up in guides to the city.

The gardens as they stand reveal this DNA and tell Aberdeen’s story. Charles in his presentation showed photographs of this evolution, the exposed Denburn, the trains pulling into the station, the bandstand and the vistas beyond. This legacy would be obliterated, and as for the DNA, we would have some balustrade and two statutes. I would defy any visitor to read the city from the perspective of the Web, unlike the active interpretation gained from a stroll along the High Line.

A question about the merits of consultation with the public gained an acknowledging that this had not happened

Granite is what makes Aberdeen noteworthy. The city centre is a symphony of granite. Apart from the granite in the name of the Granite Web it barely features in the design. The talk of the eye being drawn to new perspectives is compromised by the edifice of the Web blocking views towards the Theatre and the Terrace. The parade of arches under Union Terrace barely feature in the walk through.

The biodiversity of the various garden spaces are for me messy and confused. The High Line took it’s planting from the wild flowers that colonized the derelict line and the wildness was utilized to great effect. The current gardens are formal with wild edges and they reflect a city rightly famed for this form of planting. If people want to experience the Scot’s pine they can catch a bus to the Duthie Park. We have parks for all tastes and occasions in Aberdeen. There is no need to create a microcosm of the northeast in the city centre.

There was time for a few questions. A question about the merits of consultation with the public gained an acknowledging that this had not happened, although there was an awareness of the controversy. DS+R worked to the brief and they may consult more widely if the referendum is successful. There was no acknowledgment of contact with heritage groups at any stage of the process. Charles has made four visits to the city and feels he is getting to know it.

A question about the profile and presence of the arena space referred to as the ‘butterfly’ draws on the restaurant at the Lincoln centre, and both attempts to sit in the landscape and be iconic. There was an acknowledgement from Charles that this is a work in progress and they will get it perfect.

There was a question about sustainable build and climate change. Charles said that the build will reach the highest standard and will probably be the first in Scotland to do so. He talked to the advantages of green roofs for maintaining ambient temperatures. He did not address the concrete involved in the build, but did say that he was given materials to work with.

A further query focused on the tunnel through to the station. Charles was clear that this is not part of the project, but the Web would provide the opportunities for others to take these developments forwards. The man from Keppie spoke of connecting with the harbour and opening access to Aberdeen’s other areas in 10, 20, 30 years. He added that the project is about creating an identity for Aberdeen going forward.

 Make Union Street a cultural space and preserve the gardens

A question followed which addressed scale of the design and queried the numbers of people required to make the space work. The observation that Aberdeen was not New York was made.

Charles interestingly responded by reference to walking on Union Street and having to ‘fight’ people off. He went on to claim that the Web would provide the space for people to escape Union Street, which he acknowledged was dying, with the malls draining the energy away.

He then went on to claim that a range of cultural programming would attract people to the Web. It would be a melting pot for all the different populations that are around. In a further observation about walking down Union Street in the rain, he wondered why the ‘sidewalks’ couldn’t be bigger.

The final question was the magical one, and asked Charles that knowing what he knows now and if given a free rein to develop a project – would he go for the current one? The answer was of course, absolutely. He then returned to his battling down Union Street theme and made the obligatory one man and his dog in the gardens observation of the usage of the gardens by the public.

So there you have it. For me the most revealing evidence from Charles came with his ‘Why can’t the sidewalks be bigger’. In looking into the tranquil sanctuary of the gardens from the bustle of Union Street he was blind to the answer beneath his feet. Pedestrianise Union Street: create a space, a green corridor that revitalizes the Street; brings together all the successful elements of his other projects, preserves and lets the DNA speak. Make the Street a cultural space and preserve the gardens – subject to access improvements and recreational attractions – as the sanctuary within the hustle and bustle of ‘downtown’ Aberdeen.

The final train journey along the High Line delivered turkeys to New York for Thanksgiving.

Don’t let the City Garden Project deliver another architectural turkey to Aberdeen. Vote ‘Retain Union Terrace Gardens’  in the referendum.  

Cue ‘Won’t Get Fooled Again’…

Jan 062012
 

Over three years ago, Sir Ian Wood announced the City Square Project with the intention of replacing Union Terrace Gardens with “a cross between the Grand Italian Piazza and a mini Central Park.” It has since been renamed the City Garden Project. The cost of building the project is nominally £140 million, of which it has been proposed that £70M of this would be borrowed by Aberdeen City Council involving a tax scheme.  Mike Shepherd offers some analysis of current local government trends, the recession, and what it may mean for Aberdeen.

So what is the justification being put forward for this expensive project, a project that has caused so much controversy since it was announced?

The project’s supporters allege the City Garden Project is needed to ensure that Aberdeen is attractive enough to retain energy professionals long term and to ensure Aberdeen’s economy is based on tourism post-oil.

For instance, an advert by ACSEF in the Press and Journal (January 2010) stated that:-

“Creating a new heart for Aberdeen presents a unique opportunity to put the city on the ‘must visit’ list.”

 Aberdeen City Council is £562 million in debt (2010 figure).
See:
http://www.scotland.gov.uk/Publications/2011/02/21143624/4

Last November, Perth and Kinross Council approved demolishing the listed Perth Town Hall to build a Civic Square in its place, a move that has raised much controversy.  The BBC reported:

“The council said many local businesses supported the civic square proposal. And council officers have argued that full demolition and reuse of the site as a public space would provide the most additional value to the local economy.  The cost of scheme is estimated at £4.4m, but the report said an additional 15,000 people per year would extend their stay in the city, with an extra 60,000 coming for events. “This would result in a combined additional spend per person per visit of £23 generating a total gross expenditure of £1.65m per annum,” it added.
See:
http://www.bbc.co.uk/news/uk-scotland-tayside-central-15742937

Perth and Kinross Council is £222 Million in debt (2010 figure).

A similar controversy has been raging in Cork, Ireland, where the struggling Cork Council has been involved in a plan to install the Sky Garden Project. Celebrity TV gardener Diarmuid Gavin’s Irish Sky Garden won the gold medal at the Chelsea Flower Show (It looks like a giant hanging flower basket).

  There is a pattern here. Local governments the world over are in serious debt

The Council agreed to put the garden on permanent display in the city’s Fitzgerald Park at a cost of at least €300,000, with more than €1.7 million given to the project by Fáilte Ireland, the Irish tourism body.

In tones, redolent of the Aberdeen controversy, the Irish Independent wrote:

“THE taxpayer could be hit with a further bill of over €100,000 in costs connected to Diarmuid Gavin’s award-winning garden.

“Workers’ Party councillor Ted Tynan said the council needed to clarify precisely how much the garden cost, and what the council would pay in transport, insurance and operating costs. He also expressed disbelief that the garden — including its 30-metre high floating ‘pod’ and crane — may only open for three months each year.

“I love gardens and flowers and parks, but this is absolutely ridiculous. You’d put a hell of a lot of flower beds around the city for this kind of money. We should keep our feet on the ground not in the clouds with a sky garden’,” Mr Tynan said

“There are 500 boarded-up council houses in Cork and 120 people with various disabilities waiting on home adaptations. But the funding to go to all this has been cut by central government,” he added.

“Last night, the council said support for the “iconic garden” was in line with the policy that led to the creation of successful visitor attractions in the city.”

“This is part of a long-term policy to create a necklace of top tourist attractions that will bring people to Cork, get them to stay longer here and spend more money here,” a council spokesman said.

“Fáilte Ireland insisted that the garden would generate significant tourism earnings.”

See: http://www.independent.ie/national-news/diarmuid-gavinrsquos-euro2m-lsquosky-gardenrsquo-growing-in-cost-2661548.html

There is a pattern here. Local governments the world over are in serious debt. Services and amenities are being cut, yet it doesn’t stop them from spending money on expensive big-ticket items that might bring visitors in.  There is a feedback loop between local government, chambers of commerce and national government that serves to create the syndrome, “if we build it, they will come”.

  While a worthy cause, this has caused controversy as the annual budget will be part-funded by the city’s Common Good Fund

Where local economies have failed as in Cork for example, tourism may be the last throw of the dice to engender outside income.  There will be much competition for the dwindling number of international tourists as the recession bites. Recent reports suggest that countries such as Greece and Spain will focus relentlessly on promoting tourism as the last glimmer of light in their busted economies.

Aberdeen has caught up on the trend of pushing long-term tourism. The local chamber of commerce have been promoting a new destination marketing organisation for the city called ‘Visit Aberdeen’.

While a worthy cause, this has caused controversy as the annual budget will be part-funded by the city’s Common Good Fund; £107,000 for 2011 / 2012 and potentially for the next six years also. Arguably this is more ‘commerce good’ than ‘common good’.

The draft business plan recognises the future of the City Garden Project / Union Terrace Gardens as a primary issue. It is to be hoped that an organisation part-funded by Common Good money will not be promoting the controversial development of a public park that lies on Common Good land.
See: http://committees.aberdeencity.gov.uk/mgConvert2PDF.aspx?ID=15678

Are the citizens of Aberdeen willing to support the allocation of scarce resources to “a build it and they might come” vision for the city, allowing a public park to be developed for the sake of possible future tourists? Or is this all pie in the sky stuff that will use up money desperately needed elsewhere and will result in the appearance of the Granite City changing forever?

You have the chance to decide yourself.  The referendum on the fate of Union Terrace Gardens will be held in February.

 

 

 

 

 

Dec 292011
 

By Mike Shepherd.

The jury for the City Garden Project will announce the final scheme for the proposed development of Union Terrace Gardens sometime in January.  The choice will be between two designs, one with a web-based motif and the other with a big glass building in the middle which looks like a giant worm.

It is clear from both designs that most of the existing trees will be removed to build the new ‘garden’, whichever is built. 

New trees could of course be planted, but it would be decades before these grew to a comparable size, and this may not even be possible in those areas with a shallow concrete substrate. There will be claims that some of the smaller trees could be replanted, although the practicalities of this are obvious.

The big trees are particularly important as they absorb carbon and filter more pollution from the air compared to smaller trees. One study concluded that for this purpose:

“Big trees, the ones the Victorians planted for us, are what we need to maintain, but they are few and far between.”
See: http://www.theecologist.org

This week saw the shocking news that people living in Scottish cities are being exposed to dangerously high levels of pollutants. A WWF Scotland report identified three pollution hotspots in Aberdeen; Union Street, Market Street, and Wellington Road. These show  levels that are in breach of EU targets intended to protect human health. The main problem is the high levels of nitrogen dioxide caused by traffic fumes.
See: http://www.pressandjournal.co.uk

Aberdeen has a highly-polluted city centre. The solution to the problem would be to reduce the level of traffic in the city centre; pedestrianising Union Street has been suggested as an option.

It is also clear that we need to maintain the tree population of the city centre to help absorb the pollution. The key areas are Bon Accord Gardens, St. Nicholas churchyard and Union Terrace Gardens itself. Otherwise, Aberdeen city centre can hardly be described as awash with trees.

Yet, the proposed City Garden Project will remove a population of mature trees from the city centre. The problem is acknowledged in the Technical Feasibility Study for the project.

“Removal of mature trees and existing ecological habitat; 78 mature trees would be lost including 17 number mature Elm trees. The ecological value of these trees would take decades to replace as many of the trees are up to 200 years old.”

The City Garden Project will itself be a major source of pollution while it is being built (for the duration of almost two and a half years according to the same study).

“Excavation of rock/earth; It is anticipated that 30,000m3 of earth and 35,000m3 of granite will need to be removed from site. This which will cause large environmental impacts from noise, dust, transport and energy use. The removal of this volume of material is equivalent to approximately 3,947 dump trucks of earth and 4,605 dump trucks or more of granite to be removed from site or re-used where possible on site. This would have large environmental and social impacts on the local area and community surrounding the gardens.”
See:  
http://www.acsef.co.uk

It is clear from this, that the ecological downside of building the City Garden Project is substantial. The construction phase will see a protracted period of dirt and pollution in the city centre. By contrast, it is no exaggeration to describe Union Terrace Gardens as the green, living heart of the Granite City; its big trees acting as a natural washing machine, helping to keep us healthy by removing noxious pollution.

Those living in Aberdeen City will receive a postal ballot in mid February allowing them to decide between retaining Union Terrace Gardens or sanctioning the construction of the City Garden Project.

I will vote to retain Union Terrace Gardens.

Oct 152011
 

Aberdeen Voice reporter Suzanne Kelly attempts photography around Union Terrace Gardens Design Exhibition, only to be threatened with police and forced to delete some photos from phone. 

Last week a news story showed just how far security had over-ridden basic civil rights, as a father from Glasgow was apparently cautioned by both private shopping mall security and police. He had taken a photo of his daughter atop a child’s seat within the confines of the mall in question. It seems signs warned shoppers against taking photos, and this otherwise perfectly harmless photo wound up being a cause celebre.

A Facebook campaign to boycott the mall was organised, and the suddenly contrite shopping mall seemed to have changed its colours.

Perhaps Apardion Security (motto: “job done”) which work Aberdeen’s Academy Shopping mall and Aberdeen City Council didn’t get wind of this story. 

Despite absolutely no signs prohibiting photography being visible in the mall itself – despite my taking a photo while standing on a public street of a poster – I was followed by security from one mall to the next, cornered, threatened with police and legal action being implied –  and forced to delete some (but not all) photos from my phone:  from a guard who refused to say who he was or who had given him this instruction to stop photographers.

I had spent a pleasant morning at an event in town – Prince Charles had arrived to unveil and dedicate a statue erected to commemorate the Gordon Highlanders.  It was a great  morning, a well-attended event, and provided a good opportunity to talk to Gordon Highlanders, who were all happy to talk about this now legendary unit, sadly resigned to history in 1994.

At the end of the event, I bumped into two separate people who had been taken aback by the over-enthusiasm of security guards at the Academy Shopping Mall. 

The mall, with several vacant shops, is to be the home of the public exhibition of the six designs shortlisted to win a competition to replace the city’s Victorian Union Terrace Gardens with some form of design centre/parking/shopping/’cultural’ space. 

The actual competition shop is not within the Mall itself but in the old ‘Pier’ outlet on Belmont Street, formerly a Presbyterian Church which houses a tribute to Mary Slessor. Aberdeen’s other memorial to Mary Slessor lies in Union Terrace Gardens and would be obliterated by any new design. 

Many journalists have written to reflect the public’s dismay at the proposal to change the gardens.  They are the remains of the Denburn Valley as landscaped in Victorian times.  They are the only city-centre green park and contain listed, ancient trees – some of the few trees in the City Centre, seen as vital against air pollution. 

The City it should be rememembered is nearly £500 million in debt, and does not have money for this project, estimated to cost upwards of £140 million. 

A local millionaire has offered £50 million to change the gardens into something else, an anonymous donor wants to give another £5 million, and the rest will come from Tax Incremental Funding if the City succeeds in a bid to be one of the pilots of the TIF scheme.  If TIF is secured, local retailers will pay increased rates if the area is commercially successful (so trees are not exactly what’s wanted).  And as is suspected, such increased taxes on the retailer will be passed onto the consumer in the final analysis.

With the tales of the two people being harassed, I went to Belmont Street where the space for the exhibitions has a large glass front. 

I took a photograph of a long, thin poster advising that the public display of the shortlisted designs would be forthcoming.  I also stood on the  steps of the shop front (where absolutely no signage warned me against taking photos), and took a single shot of the poorly draped glass window and the paltry displays that were being set up.   Then I left.   

I went inside the Academy shopping centre itself, and noticed a poster saying what shops were in the Academy.  This poster, on a round pillar, advised that several of the shops were vacant.

I thought that would be a good photo.

The premise of those who want to build in Union Terrace Gardens is that shops will revitalise Aberdeen. Aberdeen’s problem, as any first-year economic student would confirm, is not a lack of shop spaces.

Vacant shops are found all across the city centre, as large multinationals offering cheap goods (often made abroad) are taking customers who in more stable economic times would probably have preferred to buy from local shops.

As I was considering this shot I had my mobile in my hand, and was suddenly very aware of a security guard eyeing me as if I were a criminal.  I made a quick call to a friend to say I was going to Marks & Spencer, and I left.

you took photos of an exhibition which isn’t even open to the public yet

I had by now taken three photos – one of the poster visible to all the world on Belmont Street; one standing on the steps of the shop where the exhibition would be, and one inside the academy showing the rear of the exhibition area.

Upon entering the Bon Accord & St Nicholas Mall, I was immediately stopped by a security guard.  The
dialogue was along these lines, but this is not verbatim (text in blue is the writer):

“Are you the woman who took photos inside the Academy shopping centre?”

“I was on my phone”

“You were seen taking photos and you are not allowed to”

“I didn’t see any signs – who says photos aren’t allowed?”

“you took photos of an exhibition which isn’t even open to the public yet”

“I took a photo of a poster when standing on Belmont Street”

“you also took photos through a window”

“Yes I did – where does it say I can’t do this?”

“If you don’t delete those photos right now I am going to call the police”

“I might call the police myself”

“There is no sign telling me I can’t take pictures”

“we can’t have a sign up telling you everything that’s not allowed”

(at this point the guard, in a deep blue t-shirt with photo ID spoke into his radio)

“This lady is being difficult” he told the person on the other end

“Look- I’ll show you my photos, and you can tell me which ones to delete, OK”

We then looked at my photos.  There were only three.

“Look at this one” I said “you can’t even tell what’s behind the window at all”

The guard didn’t make me delete this.

“And here’s another photo – do I need to delete this?”

The guard did not reply, and I did not delete these photos.  We then came to the photo of the poster

“You have taken a photo of an exhibition which is not even open yet”

“I took this photo while standing on Belmont Street in public – why do I have to delete that?”

“We will call the police”

“What is your name – let me see your ID”

(at this point the man in his 40s, balding, slightly chubby and about 5’5 or so turned his photo ID  badge around so I could not see it)

“I think  your surname started with ‘E’”  “My name is Suzanne”

“I don’t need to know who you are and you don’t need to know who I am” he cut across me.

I deleted the phone photo he told me to.

I had moved – deliberately – outside the shopping centre and stood by the very clear, permanent sign which had symbols of prohibited activities.  In the heat of the moment I noted ‘no radios’ ‘no eating’ ‘no skateboarding’ – but no ‘no photography’ sign.  I mentioned this to the guard.

“We are in a public place now, arent’ we?” I asked “yes”

“Well, then I think I’d better take your picture as you aren’t going to tell me your name”

At this point I took a photo of his back as he scurried away, and another of the prohibited activities poster.

The public are largely against borrowing money to build in Union Terrace Gardens, this was reflected in a public consultation.

Those who are determined that something should go there now have no fewer than 9 entities – either specific vehicles invented for the project, private companies, the quango Scottish Enterprise, and the local economic forum ACSEF promoting the project.  There is also a public relations company (which also apparently represents the Wood Family Trust, involved in the project), the Big Partnership.

It seems as if one or some of these entities are very keen that no one should get any press on the exhibition, certainly no photographs.

Perhaps they will be pleased with the public relations the heavy-handed security measures have provoked.  Perhaps not.

But if those behind the Union Terrace Gardens ‘design’ project do not want the poster  advertising the event photographed, may I kindly and gently suggest it not be posted on a public street?

______________________________

At the time of publishing, the shopping mall’s staff are unable to comment, and suggest I contact the manager on Monday.  Two security guards are apparently standing in front of the storefront on Belmont Street this afternoon, and are reportedly stopping anyone taking any photos.

 

Oct 092011
 

By Alex Mitchell.

Art Deco: a style in the decorative arts as defined by a major international exhibition held in Paris in 1925.   It had been planned for 1915, but was postponed because of the First World War.   The exhibition was a celebration of modernity, of modern materials and techniques.   The expression ‘Art Deco’ describes the style which predominated there; a jazzy application of a visual vocabulary derived from Cubism, Futurism, Functionalism and other recent movements to a variety of decorative, fashionable and commercial purposes.

There was a shift in emphasis from the Fine Arts to the Arts Decoratifs.   Artists now applied their aesthetic skills to all areas of design, ranging from architecture and interior decoration to fashion and jewellery.   Oddly enough, the expression ‘Art Deco’ did not come into use until a much later exhibition in London in 1968.   In its own time, the style was generally referred to as moderne (not to be confused with’modernist’) and sometimes as ‘jazz’ or ‘jazz-style’.  

Although it applies to the decorative arts and interior design of the 1920s and 1930s, the description ‘Art Deco’ can be extended to analogous styles in architecture, where it is characterised by smooth, sleek, aerodynamic or ‘streamlined’ motifs, reflecting the contemporary preoccupation with speed and the setting of new land, sea and air speed records.

Sunbursts, sunbeams and sun-rays are another very characteristic Deco motif, reflecting the new fashion for sunbathing and the perceived benefits of natural light and fresh air.   The ‘Deco’ style created clean simple shapes suitable for mass production in factories using modern materials such as plastic, chrome and aluminium.   Even mundane objects like vacuum cleaners and radios were given the Deco treatment, adorned with smooth, streamlined surfaces and sleek lines resembling those of racing cars and aircraft.

Following its revival in the 1960s, Art Deco has been seen as the natural sequel to the Art Nouveau of the 1890s, of which the early work of Charles Rennie Mackintosh (1868-1928) provides several examples, e.g., the Willow Tea Rooms in Glasgow.   Art Nouveau drew much of its inspiration from the natural world of plants and flowers and is characterised by a sinuous, curvilinear style.   A local example of Art Nouveau is the cast-iron Ventilator at the Holburn Street end of Justice Mill Lane.

But Art Deco is more a product of the machine age, and is characterised by flat, geometric shapes.  

Mackintosh at first incorporated a significant degree of Art Nouveau ornamentation in his work, but he later pared down these decorative elements in favour of a starkly elegant and geometrical aesthetic, e.g., the vertical emphasis of his notorious ladder-backed chairs.

Art Deco and other aspects of Modernism as applied to architecture were in conscious rebellion against pre-1914 styles such as Victorian Gothic, Scottish Baronial and Edwardian Baroque, which came to be seen as dark, stuffy, cluttered, over-decorated, pompous and impractical. It was now felt that design should reflect function, that function should dictate form, and that buildings serving modern purposes such as railway stations or schools should not be disguised so as to resemble medieval cathedrals or castles.

Modernism came to favour asymmetrical compositions, unrelievedly cubic shapes, metal and glass framework often resulting in large windows in horizontal bands, and a marked absence of decorative mouldings or ornamentation.  The pendulum of fashion had swung from the one extreme to the other, from Gothic extravagance and whimsy to a style, or absence of style, often described as ‘Brutalist’, if not as ‘Stalinist’.

Art Deco may be seen, at its best, as a via media, a happy medium between the over-ornamentation and clutter of the Victorian-Edwardian era and the stark, totalitarian style too often characteristic of the 20th century.

Art Deco emphasised stylishness attuned to domestic use and popular consumption, and was characterised by geometric patterning, sharp edges and flat, bright colours, often involving the use of enamel, bronze and highly polished chrome.

The simplicity of the style can be seen as Classical in spirit, apparent in the extensive use of Egyptian, Aztec and Greek motifs.   This reflected the widespread interest in the discovery of the tomb of the Egyptian boy-king Tutankhamun in 1922.

The craze for all things Egyptian coincided with the spate of cinema construction in the 1920s and 1930s, and was often incorporated into both exterior and interior designs, being very apparent in Odeon, Gaumont and other chain-cinemas of the period.

Sumptuous picture-palaces were built in Aberdeen during the inter-war period, the ‘Age of Deco’, including:

The Palace Cinema; the old Palace Theatre was substantially extended in 1931 to create its impressive Rubislaw granite frontage on Bridge Place, which itself stands on a ridge extending from Holburn Street to Crown Terrace. The Palace became a dance-hall in 1960. The building was owned by Scottish & Newcastle Breweries from 1993 until recently, and its shabby and neglected condition did them no credit.   It is now a nightclub, operated by Luminar, who have tidied it up considerably.

The Regent Cinema in 1927, by Tommy Scott Sutherland (1899-1963), was built on the site of the Upper Justice Mill, at the Holburn St. end of the ridge described above.   The Lower Justice Mill was down the brae in Union Glen; its mill-pond lay between the two buildings.   The two mills had been in operation well before 1320, when they were granted to the Burgh of Aberdeen by King Robert I, Robert the Bruce, and were still in operation 600 years later in the 1920s.

The Capitol had the most remarkable interior of all the Aberdeen cinemas, which included a Compton theatre pipe organ

The Lower Mill pond was drained and filled, the three streams diverted and covered and the site was levelled by excavating it back towards Justice Mill Lane.   The Regent cinema occupied the eastern part of the site formerly occupied by the Upper Mill; the western part of the site is occupied by the McClymont Hall.

The frontage of the Regent Cinema (latterly the Odeon) was of Rubislaw granite, decorated with bands of red terracotta, with a polished black granite base.   The vertical central windows, giving the impression of height, became something of a Sutherland trade-mark, later deployed to useful effect in the Kittybrewster Astoria and the Majestic.

The Regent opened on Saturday 27 February 1932, a few months after the Palace.   The building is now occupied by the Cannon sports centre and health club.   The new owners have renovated the exterior to a high standard, extending to the rear of the car park, where it abuts Union Glen.

The Capitol in Union Street in 1932, by A. G. R. Mackenzie, had a sparkling dressed granite frontage, slightly asymmetrical in layout.   Above the entrance were three tall windows with two shorter windows to the left and three such to the right.   The frontage was/is surmounted by a plain but elegant pediment which had the effect of concealing from street view the high, steeply pitched roof of the auditorium.

The Capitol had the most remarkable interior of all the Aberdeen cinemas, which included a Compton theatre pipe organ, and it was also the most influenced by Art Deco, both inside and out, e.g., the outer doors with their stainless-steel semi-circular hand plates, forming full circles when the doors were closed.

The Capitol opened on Saturday 4 February 1933.   Its more recent conversion for Luminar involved the horizontal division of the auditorium into two complementary night-clubs, one upstairs, one downstairs.   We are unable to say how this affects the Compton organ, or just what remains of the Art Deco interior.

Tommy Scott Sutherland went on to design the Astoria Cinema in Clifton Road, Kittybrewster, which opened on Saturday 8 December 1934.

This was followed by the Majestic in Union Street, (opposite the Langstane Kirk), which TSS regarded as his finest creation.   It had a fairly plain and austere frontage of Kemnay granite in the style by now known as Sutherland Perpendicular.
It opened on Thursday 10 December 1936.   By then, Aberdeen could boast one cinema seat per seven inhabitants, more than double the ratio in London.   (For more on this, see The Silver Screen In The Silver City by Michael Thomson, 1988.)

Other Deco-influenced buildings in Aberdeen are:

Jackson’s Garage in Bon-Accord Street/Justice Mill Laneof 1933, by A. G. R. Mackenzie.   This is a rare example of excellent commercial architecture of the inter-war period in Aberdeen, and has many Deco characteristics.   It incorporates the distinctive horizontal banding of windows and glazing, curving around the corner to Justice Mill Lane.   The Bon-Accord Street frontage has an impressive central section with three very tall vertical windows surmounted by a distinctive 1930s clock.   The building is now occupied by Slater’s Menswear.

The Bon-Accord Baths in Justice Mill Lane, of 1937, is one of the most characteristically 1930s buildings in Aberdeen, being a giant buttressed granite box.   Inside, there is an abundance of curved blond wood and shiny metal; the swimming pool roof is supported on concrete arches.   The window glazing is distinctively ‘Deco’.

Amicable House, Nos. 250-252 Union Street, of 1933, by Tommy Scott Sutherland, built just west of his Majestic Cinema, embodies some Art Deco motifs and characteristics.   The Majestic was demolished in the early 1970s and replaced by the present bland, characterless office block.

The 1930s Medical School at Foresterhill.

The King’s College Sports Pavilion of 1939-41, by A. G. R. Mackenzie; one of the few Modernist buildings in Aberdeen before World War Two.

Tullos Primary School, begun 1937, but not completed until 1950, by J. Ogg Allan; one of the best 1930s buildings in the city.

I should mention the Carron Tea-room in Stonehaven, built 1937 and recently fully refurbished; it may be the finest Art Deco building in the north of Scotland.

Finally, the Northern Hotel, Kittybrewster, of 1937, by A. G. R. Mackenzie.   Its curved frontage is dominated by broad horizontal banding of windows and glazing.   The Northern Hotel is the most distinctively ‘Deco’ building in Aberdeen, and has recently been fully restored.   The interiors are well worth seeing.

For all that, the Northern Hotel is arguably more a thing of interest than of great beauty.   The Deco style seems to work better in pastel colours and in sunny locales.

I used to walk past the Northern Hotel regularly, and it never occurred to me to think of it as a beautiful building; striking, yes, beautiful, no.   By the time it was built, in the late 1930s, the new architecture of Aberdeen had perhaps slipped too far down that long descent from Victorian Gothic to Stalinist Brutalism; all the way from the splendid Flemish-Medieval Town House of 1867 to the irredeemably awful St Nicholas House of 1967.

These bitter-sounding thoughts were occasioned, quite some years ago, whilst walking from the Castlegate back to the Brig o’ Dee.   It occurred to me that every building I liked along the way dated from long before I was born, and that almost nothing put up in my own lifetime was any good at all.   I like to think that things bottomed out, perhaps as far back as the 1970s or ‘80s, and are now on an improving trend, but the evidence is still uncertain.

That said, ‘Deco’ influences are apparent in at least three recent buildings in Aberdeen, as follows:

The Lighthouse Cinema; I like those sleek glass curves along the line of the old Shiprow.

The huge block of student flats in Mealmarket Street/West North Street is distinctively ‘Deco’ in style, brightly coloured in pastel shades of blue, white and pink/orange.

Talisman House in Holburn Street is another symphony in tinted glass with its undulating green roofline, now complemented by Gillie’s new furniture store across the street.

Talisman House is certainly a big improvement on the old College of Commerce; but is the Boots/Currys building by the Brig o’ Dee an improvement on the former, much-unloved, Dee Motel?   At least the Dee Motel was a low-rise building, set well back and largely obscured by trees and shrubs.   The Boots/Currys building might be acceptable somewhere else but, on this prominent corner site, is too big, too far forward and too close to the historic Brig; and it completely dominates the view all the way down South Anderson Drive and out Holburn Street.

Contributed by Alex Mitchell.