The Bervie Brow Research Station is a setting on the north-east coast of Scotland, named after the high promontory on which it stands. The Station's dramatic outlying location fuses a rural landscape with Cold War archaeology. The Station is a home, research centre, stage for creative work, and source of inspiration.
'Deep-field research stations as a spatial type can be understood as remote sites of institutional living-working, temporary community, proximity to nature, and physical refuge in a landscape. They are often positioned geographically and conceptually on a frontier. In the polar regions, for instance, stations evolved through the twentieth century from simple wooden huts to sleek sci-fi styled architecture.' [L. 5. 1, p.14]
Bervie Brow began as a military signals station, built in 1952 as part of an early-warning radar system against atomic attack. It was subsequently a listening station for US Naval cryptologists, and an emergency communications outpost for the British Army.
The Tardis-like Station brings together several strands of Harry's work. A precursor was the Field Tent
, which was used notably for a research installation
with Jane Wildgoose. Another point of origin is Strands: Station to Station
, an art project with Gregory Whitehead and others. A key influence is the subject of Harry's doctoral thesis: the towers built by the artist R. C. Lucas
, while thinking of the work of Gaston Bachelard and Frances Yates. The Station also builds on aspects of the Session Five programme, which included the restoration of a WW1 War Shrine
The Station is available for professional filming/photography.