logo
Robert Burns historic home to be saved as architect firm appointed

Robert Burns historic home to be saved as architect firm appointed

The National06-06-2025
The award-winning firm Collective Architecture has been appointed to develop plans to save the A-listed building by the charity responsible for safeguarding Ellisland Farm and Museum near Dumfries.
Built in 1788, the farmstead is recognised as a site of exceptional historic and cultural importance as it is where Burns wrote a third of his creative output, including famous works such as Auld Lang Syne and Tam o' Shanter.
Earlier plans for a new-built visitor centre on the site have been scaled back to focus solely on adapting and conserving the historic buildings, which several reports have assessed as being 'at-risk'.
READ MORE: Scotland's first ever children's hospice announces major £17 million revamp
Led by Emma Fairhurst and Gerry Hogan of Collective Architecture, the team will develop proposals to reverse historic damage to the 18th-century buildings, provide a safe home for the museum collection, and adapt certain structures to serve as event and education spaces.
Fairhurst welcomed the announcement, stating that Collective Architecture aims to ensure the legacy of the building is preserved.
She said: 'It is a privilege to be appointed to lead the design team for Ellisland Farm, a site of deep historical and cultural value.
'We look forward to working closely with The Robert Burns Ellisland Trust to restore and enhance this remarkable place, ensuring its legacy is preserved and celebrated for generations to come.'
The cottage that Burns built for his wife, Jean Armour, will also be restored as closely as possible to its original 1788 condition.
Modern alterations will be removed to create an 'immersive historical experience' for visitors while a visitor accommodation will also be included in the plans to revamp the farm aiming to give people the chance to host creative retreats and workshops so that future generations of artists can also 'see nature through the poet's eyes'.
The design work is part of the Saving the Home of Auld Lang Syne project, which is supported by the National Lottery Heritage Fund, South of Scotland Enterprise, Museums Galleries Scotland, and The Holywood Trust.
Joan McAlpine, project director of Saving the Home of Auld Lang Syne, said: 'The Trust was impressed by Collective's collaborative approach and their outstanding track record in conservation-led adaptive reuse.
'We particularly admired their work on other A-listed sites such as the restoration of the Calton Hill Observatory in Edinburgh and the James Watt Institute in Greenock.
'Both projects involved the sensitive adaptation of heritage buildings housing important collections.
'Now that we are focused on delivering our vision using the A-listed farm buildings, Collective's expertise made them our first choice.'
(Image: Wimbledon Auctions/PA Wire)
Collective Architecture, which owns studios in Glasgow, Edinburgh, and Dundee, is one of several consultants appointed to the Saving the Home of Auld Lang Syne project.
Peebles-based Abound will develop an interpretation plan for the site, while Rob Robinson Heritage will produce a revised business plan.
In addition, Peter Thierfeldt, whose previous experience includes The Willow Tea Rooms, The Citizens Theatre, and Pitlochry Festival Theatre, has been appointed Director of Development to lead a major international fundraising campaign.
The development stage of Saving the Home of Auld Lang Syne is projected to cost more than £900,000 and could unlock more than £1.2 million from the Heritage Fund to help deliver the completed project.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Robert Burns: 'Fitting' story of Scotland's bard told through eyes of three women who knew him best
Robert Burns: 'Fitting' story of Scotland's bard told through eyes of three women who knew him best

Scotsman

time3 days ago

  • Scotsman

Robert Burns: 'Fitting' story of Scotland's bard told through eyes of three women who knew him best

Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... He is beloved as Scotland's national poet, but is renowned for not only his verse and songs, but also his colourful personal life. Now a new play told from the perspective of the three women who knew Robert Burns best has been created and is set to be performed this summer. Advertisement Hide Ad Advertisement Hide Ad Toast Fae The Lassies will see three women closely connected to Burns - his mother, Agnes Broun, his wife Jean Armour and muse Clarinda - meet at his graveside in Dumfries. The story takes place on January 25, 1797, the poet's first birthday following his death six months earlier. The cast of a Toast Fae the Lassies. | Pitlochry Theatre The story describes how Ms Broun's grief over her recently departed son is interrupted by an unexpected encounter with Ms Armour, Burns's widow, and mother to his nine children. The two women, bound by a shared history and unresolved tensions, clash as they come face-to-face. Meanwhile, they come across Clarinda, Burns's muse and soulmate, and the three recount their stories of the poet through songs, including My Love Is Like a Red, Red Rose, Ae Fond Kiss, and Auld Lang Syne, A Toast Fae the Lassies. Advertisement Hide Ad Advertisement Hide Ad Playwright and director John Binnie, who co-wrote the play with composter Alyson Orr, said: 'We are very excited to delve into the lives of the three women who were crucial to Rabbie Burns's life - his wife, his mother and his muse. These women are rarely given a voice, and the play is the perfect opportunity to explore the influences of Jean Armour, Agnes Broun and Clarinda. Featuring the most beautiful Burns' songs which are interwoven throughout the story, these timeless melodies will be sung in close harmony by the cast. 'The intimacy of Pitlochry Studio theatre is the perfect setting for this heart-warming and poignant tale and the play is a fitting tribute to Scotland's most famous poet and the women in his life.' John Binnie and Alyson Orr co-wrote the play. | Pitlochry Theatre Mr Binnie added: 'It's looking at the three women and their lives, and thinking, how much did they contribute to the songs, and looking at the different versions of what actually happened. Those three women are mourning him, but also celebrating him and arguing about who influenced his work the most.' Ms Orr, who also plays Ms Broun in the stage production at Pitlochry Festival Theatre, said the idea had come to her during the Covid lockdown. Advertisement Hide Ad Advertisement Hide Ad She said: 'I'd had this idea that it would be nice to have a show about Robert Burns, but from the female perspective, the women and his wife, rather than another story about Burns. I really love Burns's music and I do a lot of harmony singing and arranging for voice and I thought it would be lovely to hear some of these songs in a play setting. So I got in touch with John and asked if that might be something he'd be interested in getting involved with it.'

Former ‘Blue's Clues' host Steve Burns to launch a podcast for adults
Former ‘Blue's Clues' host Steve Burns to launch a podcast for adults

NBC News

time26-06-2025

  • NBC News

Former ‘Blue's Clues' host Steve Burns to launch a podcast for adults

Former 'Blue's Clues' host Steve Burns is starting a podcast that aims to continue conversations from the iconic Nickelodeon show, except now for grown-ups. Burns, 51, who hosted 'Blue's Clues' from 1996 to 2002, is coming out with a new podcast this fall called 'Alive' with Lemonada Media, according to a YouTube video he shared on Wednesday. 'It's basically a societal requirement at this point that everyone has a podcast, so why don't we have one?' he says in the video. 'It could basically be what we've always done. You and I have always been about this deep and curious investigation of our world in search of these little bits of information that lead to greater understanding,' he continues. The weekly show will feature the actor speaking about adult topics. 'It used to be about shapes and colors and letters and numbers and vegetables and stuff, but now it could really be about death and sex and taxes and everything that makes it so weird and wonderful to be alive,' he says in the video. viral tweet in 2021. In a video, Burns addressed his departure from 'Blue's Clues' as the show celebrated its 25th anniversary. 'I mean, we started out with clues,' he says in the 2021 video. 'And now, it's what — student loans and jobs and families? And some of it has been kind of hard, you know? I know you know.' 'I wanted to tell you that I really couldn't have done all of that without your help,' he adds. 'I'm super glad we're still friends.' The host said during a 2024 commencement speech at SUNY Delhi in New York that he is regularly approached by adults who tell him how much the show mattered to them as children. He also has become a regular presence on TikTok, where he dispenses advice, shares his fears and provides inspiration while taking time to listen to his nearly 4 million followers. Burns hopes for the new podcast to continue what he started with 'Blue's Clues.' On the educational children's show, he played a fictional version of himself, also named Steve, who followed paw prints that served as clues left by an animated dog named Blue.

For some in the industry, AI filmmaking is already becoming mainstream
For some in the industry, AI filmmaking is already becoming mainstream

NBC News

time16-06-2025

  • NBC News

For some in the industry, AI filmmaking is already becoming mainstream

Across Hollywood, talking about it publicly can sometimes be taboo. Using it without disclosing that you did could make you the center of controversy. And protesting its use has been the norm. But even amid widespread vocal pushback against generative artificial intelligence, industry leaders say its use in film and TV is slowly becoming mainstream. More filmmakers are using evolving AI tools, and studios are partnering with AI companies to explore how they can use the technology in content creation. 'It's being used by everybody that doesn't talk about the fact that they're using it,' Michael Burns, vice chairman of Lionsgate, said during a panel at the third annual Runway AI Film Festival in Los Angeles last week. Lionsgate, which is behind hits like the 'John Wick' and 'Hunger Games' franchises, signed a deal with Runway last fall allowing its video generation model to train on the studio's movies and TV shows. Burns joked that AI tools are like the Ozempic of the film industry, referring to the popularity of the semaglutide-based weight loss drug. Burns was among hundreds — including a mix of creatives and execs — who attended the AI video company's showcase of user-submitted short films made with generative tools. The festival, which was also held in New York City this month, ballooned from 300 film submissions in its first year to 6,000 submissions this year, its organizers said. While using AI in film isn't completely new, the technology has continued to stoke concerns among creatives. AI was a sticking point during the 2023 writers and actors strikes against studios, with creatives seeking assurances that their work wouldn't be replaced by the technology. Runway CEO Cristóbal Valenzuela, however, is optimistic about AI's impact on the labor force, telling reporters before the Los Angeles festival that history has 'proven once and again' that industries can adapt to new technologies. AI-generated video-making has taken off even as it remains controversial. The technology has given rise to music videos to brand advertisements to nonconsensual deepfakes. Though AI videos have frequently been marked by telltale distortions, such as extra fingers or nonsensical physics, Google's latest video generation model, Veo 3, shocked the internet last month with how seemingly flawless its outputs were. 'There are going to be new industries' as a result of AI, Valenzuela said. 'Just the hard thing is it's really hard to understand these industries when they're new; we have never experienced them.' The company has increased its presence in Hollywood in the past few years. Burns said the partnership between Lionsgate and Runway is an attempt to create higher-quality content for lower prices. 'Even a year or two years ago, there was no chance that the output was going to be able to be projected on the big screen without you seeing gaps or somebody with three arms or a dragon that didn't look like a dragon,' Burns added. 'And now, today, it's a completely different place.' Runway also recently reached a deal with AMC Networks, giving it access to Runway's AI tools for use in marketing materials and TV development processes, such as pre-visualization or special effects ideation. All 10 of the films shown at the festival included generative video, but not all were made entirely with AI. The shorts, which were created in a variety of animated and photorealistic styles, appeared to lean into the more absurdist themes made possible by generative tools. One followed the perspective of a chicken on its way to prison. Another offered life lessons through a small insect's journey. And another painted a scene of human souls desperate to reclaim their bodies after Earth's collapse. Other AI companies have also upped their visibility in the industry in recent years. OpenAI, which is behind ChatGPT, held its own AI film screenings this year in New York, Los Angeles and Tokyo to tout its popular text-to-video model Sora. The tool, launched in early 2024, stirred both buzz and panic when the company first teased its hyperrealistic generation capabilities. Last year, the Tribeca Film Festival partnered with Runway and OpenAI to highlight more short films that leveraged AI. Even some film schools appear to be hopping on the AI bandwagon. Elizabeth Daley, dean of the University of Southern California's School of Cinematic Arts, said AI is being embedded in various courses, including one focused on AI creativity. She said the school encourages students to explore AI as long as it doesn't become 'an excuse not to work.' 'We need to stay in that conversation. We need to stay in the struggle to make sure that the tools that are developed are actually the tools that writers, directors, producers, cinematographers, animators need to do their work,' Daley said at a panel at the Runway film festival. 'And those will create other jobs. No doubt.'

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store