Planning model for heritage conservation management policy

The process and policy model for undertaking cultural heritage, landscape study, is set out in this model here. This is the way most people look at it, there can be changes. Very often, this process is linked to that of preparing what we call a conservation management plan, whether it’s for a design landscape such as a park or garden, and everyday living rural landscape, or an urban landscape, or an associative landscape.

So the steps that we go through here, and there what you called iterative, they follow each other. In some of them, you might be doing this the same time as you do that. You look at what you’ve been asked to do, then who are the key players? And then what documentation is available? And then you go out on site and start looking at the site, ready to do the assessment and say what the significance is, and then the management assessment. So it goes through. And then you go through defining a policy and choosing a management strategy. How will management objectives we bring to practice?

For example, in this you got what are the main strategies that is needed for this place. What are the conservation strategies? One of the visitor management strategies for tourists, visitors, national and international, and any other strategies. Don’t forget this isn’t the end. You then need to go on through time monitoring and reassessing what’s happened.

In order to prepare conservation management and sustainable development plans, a systematic approach to reading and understanding of the landscape is needed, in order to address these steps.

A bit more in key interest groups documenting history, significance, assessment, and so on. And methods used must give adequate consideration, too, intangible values of landscape, as well as the physical fabric. So in undertaking study, I find it’s useful to ask these five questions. What has occurred? Where has it occurred? When? Who was involved? And why? And the first three objects, anybody can do that.

It’s tangible doctrine.

Here you’ve got to start thinking, you gotta start looking in the documentation. You could start digging for information, who’s been involved in making this landscape through history? Why have they made the landscape like they have? And then how has it changed? Because you’ll virtually always find in most landscapes, except perhaps some gardens, evidence of early periods. So the landscape is what we put a strange word, it’s what we call a palimpsest. It reflects through time various cultures. There are people who lived in the area. So we see landscapes as having layers through time.

The documentation step is particularly important. It’s the outcome of specific research informing us why the landscape takes the shape as it tells, which distinguishes cultural landscape studies from what we call visual assessment, where you just say you watch, what you can see. (It tell us what the landscape) Visual assessments tell us what the landscape looks like, not why it looks like that. And so research will be necessary, and will be multidisciplinary involving dependent on various parameters of the study very specialist, such as the landscape history, archaeologists, architectural historians, anthropologists, landscape architect. If tourism is involved, you need a tourism expert.

In fact, what’s taking place is we’re aiming to improve methods used in practice through research, rather than just applying a set recipe. One of the reasons why we take a multi-disciplinary approach is to communicate and engage with others in order to develop and employ methodologies in an informed way to understand the heritage. So it becomes possible through the documentation state to describe the story of events, people and places through time. And the meaning of heritage will vary over time and for different groups of people it serves, both culturally and politically. But the heritage during this process doesn’t remain static unchanged. It changes. Now, in addressing the questions,

and I think this is important for the people involved in tourism. Addressing the questions will also provide interpretive information that will not simply or primely consist of instruction. Number of years ago, man, by the name of Tilden, wrote a book interpreting our heritage. And it’s still used. He stated these 6 principles of interpretation. And so we need to look at these, when from the documentation material. An interpretation that doesn’t somehow relate to what is being displayed or described to something within the experience of the visitor will be sterile. Think of who’s coming to the side, think what they want to be looking up, think of the information that will interest them. And then going on to a NO.

2, interesting information is. Information just saying this was built in 1654 and someone lived here, someone left here, someone died here. That’s not interpretation. That’s Information. Interpretation is revelation to the background of the place based on information.

Information and interpretation are different things. But all interpretation includes information. Thirdly, interpretation is an art.

It combines many arts, whether the materials presented are scientific, historical or architectural. And the chief aim of interpretation is not instruction, but what we call provocation, provoking people looking at the thing. Ah! That’s interesting. I could have been involved in making this landscape. You get your people interested, yeah, I can see how that’s coming back. And interpretation should aim to present a whole rather than a part, and should address itself to the whole rather than any phase. And lastly, interpretation address the children shouldn’t be a dilution of presentation given to adults. You need a different approach.

They’ll be interested in different things. And you need advice on how to do this.