Design and heritage
“Landscape is loud with dialogues, with story
lines that connect a place and its dwellers...”
Anne Whiston Spirn
lines that connect a place and its dwellers...”
Anne Whiston Spirn
Heritage and landscape are inextricably entwined - all heritage is spatial; it all occurs somewhere. Designers often try to reflect or express the history associated with a site to help create a sense of place. However, heritage is a cultural construct, a version of the past created by people to serve their needs in the present. Because it is invented by people it is always contestable; what is significant and valued by one group of people will not be so by others. In relation to landscape there is a tendency to think only of built forms, material objects, historical narratives associated with place and scenic qualities as heritage concerns. Intangible heritage such as traditional practices, activities, art and story may be more important than material heritage for some people.
Taking these ideas into account, there are three main aspects to my approach to designing with heritage.
Engaging with the community - what are the meanings and values the community holds about this place?
The first is to first explore the meanings and values of different kinds of heritage to the community that relates to the site, and to uncover the politics of heritage in relation to the site. Whose stories dominate? What stories are suppressed? This might involve interviews and focus groups with relevant communities, public meetings, or other forms of consultation and community engagement.
Understanding the politics - how should the design respond to the politics of heritage in this site?
The second step is to locate the design process within the social-cultural-political frame that generates heritage - design is part of the process that creates heritage, rather than simply reflecting it. This means that as a designer I have to be conscious of how design decisions relate to the politics of heritage; how do I respond, for example, to suppressed or disinherited voices? How do principles of democracy influence design for public spaces?
Working with intangible heritage - how can time and process be used to promote a living heritage on this site?
The third step is to look beyond the material manifestations of heritage, such as buildings and objects, and consider occupation, participation and activities as organising principles for design.
Taking these ideas into account, there are three main aspects to my approach to designing with heritage.
Engaging with the community - what are the meanings and values the community holds about this place?
The first is to first explore the meanings and values of different kinds of heritage to the community that relates to the site, and to uncover the politics of heritage in relation to the site. Whose stories dominate? What stories are suppressed? This might involve interviews and focus groups with relevant communities, public meetings, or other forms of consultation and community engagement.
Understanding the politics - how should the design respond to the politics of heritage in this site?
The second step is to locate the design process within the social-cultural-political frame that generates heritage - design is part of the process that creates heritage, rather than simply reflecting it. This means that as a designer I have to be conscious of how design decisions relate to the politics of heritage; how do I respond, for example, to suppressed or disinherited voices? How do principles of democracy influence design for public spaces?
Working with intangible heritage - how can time and process be used to promote a living heritage on this site?
The third step is to look beyond the material manifestations of heritage, such as buildings and objects, and consider occupation, participation and activities as organising principles for design.