Ossian’s Hall Reopens at The Hermitage

“Ossian’s Hall now offers another element to what visitors can experience, as it takes them out of the natural environment and plays with the senses, enhancing the natural wonders of the falls.”

Background
Built initially in 1757, it was reformed in 1782 to be Ossian’s Hall. The visitor would have entered from the peaceful woodland, into a small quiet chamber lit from above with a full-length portrait of Ossian, the blind poet before them.

From here they would have been directed towards a pulley in the wall which, once released, would have opened a sliding door into the second chamber. Entering into this glass panelled and furnished boudoir, the visitor would have opened the bay window and experienced the waterfall, wild and loud, in complete contrast to the peace and tranquility of the woodland setting.

The Hall has had at least 7 phases in its 250 year lifetime and has enjoyed a high profile for most of its history, being a much visited, highly charged and emotive building. It has been and still continues today to be a focus for recreation, as well as an inspiration to artists.

The building had fallen into a poor state of repair, exacerbated by the decision in the 1950’s to remove the window and doors, with a the colour scheme that had little relevance to earlier phases, and create a viewing platform for the falls. This stripped away, the real significance of the place as a theatrical experience, a journey through different spaces leading to the falls themselves.

Its location, so close to the waterfall, was allowing the weather into the building, resulting in a perpetually damp atmosphere that was affecting the historic plasterwork and the woodwork, even basic maintenance was an ongoing struggle. While much enjoyed, it was no longer fulfilling its original function by giving the intended experience to visitors as they rushed through to simply view the falls.

Project Aims
The two main aims were to ensure the building’s surviving original features were conserved and protected, and to reintroduce the elements of surprise - and indeed shock - that were the intention of the original designers and owners.

The project started with very detailed historical research and archaeological investigations, during both of which much new knowledge was gained. Despite an amazing amount of information, knowledge of many of the details from each historical phase is, and will probably remain, incomplete. To recreate any one phase completely accurately would be impossible, each phase was important in its own right so choosing to restore one over another would have been a difficult choice. However a number of common themes and the original intentions of surprise and shock run through out most of its history.

The Ossian theme has been reintroduced, as has the element of visitors having to physically engage with the building, this being done in three main ways

• The change in sound levels as visitors move into and through the hall. From the outside dull roar of the falls, though the comparative silence in the first chamber when both doors are closed, to the increased volume in the main chamber, to the final turning up of the volume as visitors step out onto the balcony.

• The visual surprises. From the first door, designed to look like the surrounding stone, the image of Ossian’s face appearing as peoples’ eyes adjust to the low light in the first chamber, the shock of colour and images in the main chamber and finally to the natural splendour of the falls.

Callum Colvin drew his inspiration from the history and atmosphere of the place, the installation will surprise visitors as they enter the two chambers and come face to face with some striking images (above), as was the original intent of the building.

• The different forms of door not only slow movement through the hall, but physically have to be opened in a different way.

Ben Notley said:“Following the completion of the main project, we are still developing appropriate interpretation. Any change to such a popular building is always going to be slightly controversial, but is very much in keeping with its true purpose.

“It was very nearly demolished sixty years ago; the Trust restoration at the time saved the building, but didn’t restore the elements that had been so important for most of the previous two hundred years. It’s now a more complete building that goes forward to the next phase of its history”