Upgrading Historic Sites Within Contemporary Urban Development

8/12/2019 Upgrading Historic Sites Within Contemporary Urban Development

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UPGRADING HISTORIC SITES

WITHIN

CONTEMPORARY URBAN DEVELOPMENT

Sitangika Srivastava

This dissertation is submitted in part ful lment of the regulations for the MA in Urban Design.

Department of PlanningOxford Brookes University

2013


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In the current scenario, nations around the globe are going througha rapid process of development. The progress in scienti c andtechnological innovation to culture and art outlooks is seenmanifested in urban design and development. While there isurbanization on one hand, on the other, the relics from the pastare losing their value. Their signi cance is being noted only bethe conservationists and historians. Taking this into account, the

presented research questions how to integrate historic sites withincontemporary urban development through the transformation oftheir public realm, thereby enhancing the visitor experience. Theaim of the research was to produce a set of guidelines in responseto this question.

This dissertation has been structured and presented in seven chapters.A research overview with the aspects of urban transformation andheritage values has been presented in rst chapter. It also de nesthe research methodology. Chapter two presents the theoreticalframe work forming the conceptual base of the research carriedout. This has been formulated based on an exhaustive literaturereview relevant to the aims and objective of the research proposal.India, currently a developing country, has a rich cultural past with alegacy of historical assets from ancient to modern times. A review

of monuments in India has been presented in the next chapter 3.Following this, chapter 4 discusses case studies and the analyticalframework used to conduct them. The studies were based in thecontext of UK, a developed country. A set of design principles weredrawn from these studies.

Qutb Complex, a UNESCO World Heritage Site located in NewDelhi, is further used as a reference site from India. Though it

is a popular tourist attraction, it lies isolated amidst the busytraf c network. A study was conducted using the same analyticalframework following an analysis of its context from an urbandesign perspective. These are presented in chapter 5. Followingthis, a design proposal in the form of guidelines is presented. Thiswas obtained by applying the design principles on this site. Thislead to the further development of universal guidelines presentedin Chapter 6 ful lling the desired outcome. Some of the detailedinformation is given in the appendices included after the referencecitation. In the end, conclusions arrived at and suggestions for scopefor further research are presented in chapter 7.

Words: 21,964

ABSTRACT


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With a background in Exhibition Design and keen interest in constructing spatial narratives,historic sites with the layers of history they behold has always intrigued my interest. But their

perception as only a tourist attraction, a place of interest only for historians or another derelictsite to be avoided motivated me to explore them from the perspective of urban design and theirrelevance to the contemporary audience. Thus, the presented research questions the methodsof bridging historic sites within the current landscape by upgrading their status in the urbanform.

As a methodology, being based in UK- a developed nation and having a background in India-a developing country, I have taken the opportunity to conduct my research by looking at thefactors which both these contexts provide. While the case studies were selected from sites inUK, the conclusions obtained were applied to a UNESCO World Heritage Site in India.

In conclusion, through the process of inquiry by design, this research provides a set of guidelinesin response to the research question: How to integrate historic sites within contemporaryurban development through the transformation of their public realm, enhancing the visitorexperience?

PREFACE


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With the completion of this dissertation my course MA Urban Design at Oxford BrookesUniversity also concludes. With great pleasure, I would like to take this as an opportunity tothank everyone who made it an enjoyable and an enriching experience. I would like to thankmy supervisor Prof. Brain Goodey for mentoring me through the course of this research. His

guidance, encouragement and belief in my abilities not only strengthened this piece of workbut widened my understanding of the realms of urban design. His motivation gave me theopportunity to explore the various dimensions of this research topic.

I would like to thank JCUD and its faculty members, Prof Georgia Butina Watson for sharing

her knowledge and facilitating us with all the resources, Dr Alan Reeve, Dr Laura Novode Azevedo, Dr Jon Cooper, Dr Regina Lim and Dr Tom Medcalf for introducing us to thediscipline and guiding through the studio projects. I would like to thank my classmates forcritical urban design discussions during studio hours and being a family otherwise.

I would like to thank my parents and siblings, for giving me the chance to explore my desired path of study in a new cultural context and keeping me motivated throughout its course. Iwould also like to thank my friends back at home for being there for me in every little way

possible. Above all, I thank my late grandmother without whose blessings none of it wouldhave been possible.

Thank you Oxford Brookes University, for giving me a home away from home.

Sitangika Srivastava

ACKNOWLEDGEMENTS


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ABSTRACT ...........................................................................................................................02

PREFACE ...............................................................................................................................03

ACKNOWLEDGEMENTS ...................................................................................................04

TABLE OF CONTENTS ................................................................................................ .......05

LIST OF TABLES ............................................................................ ......................................12

LIST OF FIGURES ................................................................................................................14

CHAPTER 1: INTRODUCTION....................................................................................... ..20Chapter Introduction .....................................................................................................20

1.1 Research Overview.................................................................................... ................21

1.2 Urban Transformation And Public Realm .................... ............................................21

1.3 Heritage, The Concept .............................................................................................21

1.3.1 Heritage Typology

1.3.2 Heritage: Value and Uses

1.3.3 Heritage in the Changing World

1.4 Monuments In India ............................................................................................... ..241.5 Visitor Experience Design ...................................................................................... .25

1.5.1 Visitor Interpretation at Heritage Sites

TABLE OF CONTENTS


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1.5.2 The New Visitor

Conclusion ....................................................................................................................26

1.6 Research Question ...................................................................................................26

1.7 Research Approach ................................................................................................ ..26

1.7.1 Aim

1.7.2 Objectives

1.7.3 Methods and Stages

1.8 Structure of the Report .............................................................................................27

Expected Conclusions ...................................................................................................28

CHAPTER 2: THEORETICAL FRAMEWORK .............................................................29Chapter Introduction .....................................................................................................29

2.1 City And Urban Heritage ........................................................................................30

2.1.2 Heritage- Led Urban Transformation

2.2 Institutional Frameworks ........................................................................................32

2.2.1 International Level

2.2.2 National Level

2.2.3 Local Level

2.2.4 Private Sector and Property Owners2.2.5 Public Participation

2.3 Conservation Policies .............................................................................................33


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2.3.1 Listed Building

2.3.2 Scheduled Monuments

2.3.3 WHS Status

2.4 Monument: The De nition .....................................................................................36

2.4.1 Monument Typology

2.4.2 Values of Monuments

2.5 Public Realm ...........................................................................................................38

2.5.1 Buffer Zone

2.5.2 Issues

2.6 Setting .....................................................................................................................40

2.7 Visitors At Monuments ........................................ ...................................................402.7.1 Leisure Economy

2.7.2 Visitors In Historic Towns

Conclusions ...................................................................................................................42

CHAPTER 3: STATUS OF MONUMENTS IN INDIA ................................................... ..43

Chapter Introduction .....................................................................................................43

3.1 Indian Architecture .................................................................................................44

3.2 Institutional Framework ..........................................................................................443.2.1 Government Organizations

3.2.2 Management Policies


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3.3 Typology Of Indian Monuments .............................................................................46

3.3.1 Sacred Places

3.3.2 Forts and Palaces

3.3.3 Mausoleums

3.3.4 Gardens and Landscape

3.3.5 Thematic Spaces

3.3.6 Indian Administration/Public Buildings

3.3.7 Historic Towns

3.4 People At Monuments .............................................................................................53

3.4.1 Local Community

3.4.2 Monuments in Daily Life3.4.3 Tourists

Conclusion ....................................................................................................................54

CHAPTER 4: ANALYTICAL FRAMEWORK and CASE STUDIES .............................56

Chapter Introduction .....................................................................................................56

4.1 Analytical Framework .............................................................................................57

4.2 Site Selection Criteria .............................................................................................57

4.3 Developing the Framework ....................................................................................574.3.1 Data and Information

4.3.2 Spatial Perception


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4.4 Building the Instrument ..........................................................................................59

4.4.1 Framework Section A: Interpretation

4.4.2 Framework Section B: Experience

4.5 Framework Testing ................................................................................. ...............65

4.6 Comparative Review .................................................................................. ...........70

4.6.1 Soft Visitor Management

4.6.2 Hard Visitor Management

4.6.3 Propaganda

4.6.4 Value- addition for Tourism

4.7 Case Study .......................................................................... ...................................71

4.8 Design Principles ..................................................................................... ..............724.8.1 The Monument

4.8.2 The Public Realm

4.8.3 The Setting

4.8.4 The City

Conclusions ..................................................................................................................75

CHAPTER 5: TEST SITE ................................................................................... ...............76

Chapter Introduction ..... .................................................................................... ...........765.1 Site Selection .................................................................................... .....................77

5.2 Monuments within Qutb Complex ........................................................................78


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5.3 Site Context .............................................................................................................80

5.4 Heritage Interpretation Analysis .............................................................................82

5.5 Site Study Conclusions ...........................................................................................92

5.5.1 Values Derived

5.5.2 SWOT Analysis

5.5.3 Conclusions from heritage interpretation analysis

5.6 Design Actions ........................................................................................................94

Conclusion ....................................................................................................................97

CHAPTER 6: PROPOSED GUIDELINES ........................................................................98

Chapter Introduction .....................................................................................................986.1 Design Proposal for Qutb Complex ........................................................................99

6.1.1 Approach to Site

6.1.2 Qutb Complex Interpretation

6.1.3 Qutb Setting

6.2 Universal Guidelines .............................................................................................107

6.2.1 Analysis of Site and Setting

6.2.2 Guidelines at Scale of Monument

6.2.3 Guidelines at Scale of Public Realm6.2.4 Guidelines at Scale of the Setting

6.2.5 Guidelines at Scale of the City


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Conclusion ..................................................................................................................109

CHAPTER 7: CONCLUSIONS ......................................................................... ................111

Chapter Introduction ...................................................................................................111

7.1 Response to Research Question ............................................................................112

7.2 Further Scope of Work ..........................................................................................114

7.3 Research Limitations ............................................................................................115

BIBLIOGRAPHY ...............................................................................................................116

APPENDICES ....................................................................................................................128A: Factors Affecting Historic Properties .................................................................... .129

B: Field Evidence, Rochester Castle ...........................................................................131

C: Field Evidence, Worcester Cathedral ...................................................... ...............143

D: Field Evidence, Oxford Castle ...............................................................................155

E: Field Evidence, Tower of London ..........................................................................166


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Table 4.1: Section A, Interpretation ........................................................................ ................60

Table 4.2a: Section B1, Experience ........................................................................................63

Table 4.2b: Section B2, Experience ........................................................... .............................64

Table 4.2c: Section B3, Experience ........................................................................................65

Table 4.3: Section A, Setting ................................................................................................. ..67

Table 4.4: Section B, Interpretation ........................................................................................68

Table 4.5a: Section C1, Experience ........................................................................................68

Table 4.5b: Section C2, Experience ........................................................... .............................69

Table 4.5c: Section C3, Experience ........................................................................................69

Table 5.1: Setting Analysis, Qutb Complex .... ........................................................................84

Table 5.2: Interpretation Analysis, Qutb Complex .................................................. ................86

Table 5.3: Experience Analysis (Section C1), Qutb Complex .................................................88



Table 5.6: Design Actions of Qutb Complex ................ ..........................................................97

Table B.1: Framework Section A, Interpretation, Rochester Castle ......................................134

Table B.2: Framework Section B1, Experience, Rochester Castle ........................................136


LIST OF TABLES


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Table C.1: Framework Section A, Interpretation, Worcester Cathedral ................................146

Table C.2: Framework Section B1, Experience, Worcester Cathedral ..................................148Table C.3: Framework Section B2, Experience, Worcester Cathedral ..................................149

Table C.4: Framework Section B3, Experience, Worcester Cathedral ..................................152

Table D.1: Framework Section A, Interpretation, Oxford Castle ..........................................158

Table D.2: Framework Section B1, Experience, Oxford Castle .............................. .............160

Table D.3: Framework Section B2 Experience, Oxford Castle ............................... ..............161

Table D.4: Framework Section B3, Experience, Oxford Castle .............................. ..............164

Table E.1: Setting, Tower of London ........................... .........................................................170

Table E.2: Framework Section B, Interpretation, Tower of London .....................................172Table E.3: Framework Section C1, Experience, Tower of London ........... ............................174

Table E.4: Framework Section C2, Experience, Tower of London ........... ............................175

Table E 5: Framework Section C3, Experience, Tower of London .......................................178


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Fig 1.1: Methodology Chart. (Source: Authors Own, 2013) ................................................................................................................. ..........27

Fig 2.1: Phoenix Initiative, Coventry. (Source: Waterman, 2009) .................................................... ................................................................31

Fig 2.2: DCMS (2013) Actions for Historic Environments. (Source: https://www.gov.uk/government/policies/protecting-conserving-and-

providing-access-to-the-historic-environment-in-england) ..............................................................................................................................32

Fig 2.3: Listing of Building. (Source: https://www.gov.uk/government/publications/principles-of-selection-for-listing-buildings,2013) .....34

Fig 2.4: Ancient Monuments and Archaeological Areas Act 1979. (Source: http://www.legislation.gov.uk/ukpga/1979/46) .........................34

Fig 2.5: Operational Guidelines for the Implementation of the World Heritage Convention. (Source: UNESCO, 2012) ...............................35

Fig 2.6a: Nelsons Column, London. (Source: http://www.best-london-attractions.co.uk/nelsons-column.html,2013) .......................... ........36

Fig 2.6b: Parthenon, Greece. (Source: http://www.nashville.gov/Parks-and-Recreation/Parthenon.aspx, 2013) ............................................36

Fig 3.1: Jaisalmer Fort and its Urban Setting. (Source: Aparajita Barai, 2013) ...............................................................................................44

Fig 3.2a: Tourists at Shore Temple. (Source: Authors Own, 2012) .............................................................. ...................................................47

Fig 3.2b: Shore Temple Structure. (Source: Authors Own, 2012) ........... .................................................................................... ....................47

Fig 3.3: Shop outside north Indian temple selling offering made to Gods. (Source: Authors Own, 2012) ....................................................47

Fig 3.4: Prayers at Jama Masjid, Delhi. (Source: http://indiaafricaconnect.in/index.php?param=news/195/panorama/115,2013) .................47

Fig 3.5: Stepwell, Adalaj. (Source: Authors Own, 2009) ................................................................................................................................48

Fig 3.6: Independence Day Celebrations at Red Fort, Delhi. (Source: http://www.hindustantimes.com/photos-news/Photos-India/

HappyIndependenceDay/Article4-1108306.aspx, 2013) ..................................................................................................................................48

LIST OF FIGURES


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Fig 3.7: Humayuns Tomb, Delhi. (Source: Authors Own, 2012) ............................. .................................................................................... ..49

Fig 3.8: Shalimar Bagh, Srinagar. (Source: Authors Own, 2012) ....................................................................................... ............................49

Fig 3.9: Plan of Ranakpur Temple, developed on the concept of mandala. (Source: Jain, 2002) ....................................................................50Fig 3.10: Version of Chattri in British India. (Source: Authors Own, 2012)........................................................................................... .........51

Fig 3.11: Peacock Courtyard, City Palace, Udaipur. (Source: http://karimsahai.photoshelter.com/image/I0000E0wC2IpYZTI, 2013) ........51

Fig 3.12: Victoria Terminal (Chatrapati Shivaji Terminal), Mumbai. (Source: http://www. ickr.com/photos/betta_design/3064581931/,

2013) .................................................................................................................................................................................................................52

Fig 3.13: Presidents House (Rashtrapati Bhavan), New Delhi. (Source: http://www. ickr.com/photos/rkarthikphotography/5847847104/

sizes/l/in/photostream/, 2013) ...........................................................................................................................................................................52

Fig 3.14: Cinema personalities at Taj Mahal for lm promotion. (Source: http://www.thehindu.com/todays-paper/tp-national/tom-cruise-is-

here/article2685738.ece, 2013) .........................................................................................................................................................................53Fig 4.1: Rochester Castle and Cathedral. (Source: Authors Own, 2013) ........................................................................................................65

Fig 4.2: Worcester Cathedral. (Source: http://www.geograph.org.uk/photo/2358153, 2013) ................................. .........................................66

Fig 4.3: Public Event Oxford Castle. (Source: Claudia Redondo Torregrosa, 2013) ....................................................... ................................66

Fig 4.4: Tower of London. (Source: http://www.hrp.org.uk/TowerOfLondon/, 2013) ............................... ......................................................72

Fig 4.5: Delivering the values of a Monument. (Source: Authors Own, 2013) ...............................................................................................72

Fig 5.1: Monuments within Qutb Complex. (Source: Mitra, 2002) .................................................................................................................77

Fig 5.2: Qutb Complex, UNESCO World Heritage Site. (Source: Sumegha Mantri, 2011) ............................... .............................................77

Fig 5.3: Qutb Minar. (Source: Authors Own, 2011) ........................................................................................................................................78Fig 5.4: Corridor of Quwwat-ul- Isman Mosque adjacent to Qutb Minar. (Source: Authors Own, 2011) ......................................................78

Fig 5.5: Iron Pillar. (Source: http://pixels-memories.blogspot.in/2012/10/iron-pillar-new-delhi.html, 2013) ..................... ............................79


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Fig 5.6: Smiths Folly (Background - Qutb Minar, Alai Darwaza & Zamins Tomb). (Source: http://pixels-memories.blogspot.in/2012/12/

qutb-complex-new-delhi.html, 2013) ...............................................................................................................................................................79

Fig 5.7: Mughal Sarai Remnants. (Source: Sumegha Mantri, 2011) .................................................................................................. ..............79Fig 5.8: Alai Darwaza. (Source: Authors Own, 2011) ............................................ .................................................................................... .....79

Fig 5.9: Network of Routes. (Source: Authors Own, 2013) ................................................................................................................... .........80

Fig 5.10: Resources in the Setting. (Source: Authors Own, 2013) ..................................................................................................................81

Fig 5.11: Edges of Qutb Complex. (Source: Authors Own, 2013) ..................................................................................................................81

Fig 5.12: Adham Khans Tomb (Qutb Minar in the Background). (Source: http://www. ickr.com/photos/webethere/3021032621/sizes/l/in/

photostream/, 2013) ............................................................................................. .................................................................................... .........83

Fig 5.13: Qutb Minar seen from Metro Station. (Source: http://indiatoday.intoday.in/gallery/central-secretariatqutub-minar-metro-line-gets-

operational/3/3604.html#photo3, 2013) ............................................................................................................................................................83Fig 5.14: Information Panels. (Source: Authors Own, 2011) ..........................................................................................................................85

Fig 5.15: Reconstructed Image of Qutb Complex. (Source: ASI, 2013) ............................................................................................. .............86

Fig 6.1: Qutb Complex Area Maspterplan, (Source: Authors Own, 2013) .....................................................................................................99

Fig 6.2a: Primary Roads. (Source: Authors Own, 2013) ...............................................................................................................................100

Fig 6.2b: Secondary Roads. (Source: Authors Own, 2013) ...........................................................................................................................100

Fig 6.2c: Tertiary Streets. (Source: Authors Own, 2013) ............................................... ...............................................................................100

Fig 6.2d: Vegetation Surveillance Routes. (Source: Authors Own, 2013) ................................................. ...................................................100

Fig 6.3: Integrating the site. (Source: Authors Own, 2013) ...........................................................................................................................101Fig 6.4: Landuse zones at Qutb Complex. (Source: Authors Own, 2013) ....................................................................................................101

Fig 6.5a: Public Event at Millennium Place, Coventry. (Source: http://london2012.cswp.org.uk/image-gallery?title=london-2012-open-


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weekend%2C-millennium-place%2C-coventry, 2013) ..................................................................................................................................102

Fig 6.6: Event at Tower of London Moat. (Source: http://www.pavilion-towero ondon.co.uk/news.php, 2013) .........................................102

Fig 6.7: Navigation System. (Source: Authors Own, 2013) ..........................................................................................................................103Fig 6.8: Trail Route connecting sites. (Source: Authors Own, 2013) ............................................................................................................104

Fig 6.9: Historic Trail Van. (Source: Malika Soin, 2013) ............................................................................. .................................................105

Fig 6.10: Historic Trail Road Section. (Source: Authors Own, 2013) ................................................................................... ........................105

Fig 6.11: Landuse distribution Concept. (Source: Authors Own, 2013) .......................................... .............................................................106

Fig 6.12: Height Regulations. (Source (Qutb Minar): http://www.shutterstock.com/pic-60132508/stock-vector-vector-illustration-of-qutab-

minar-in-delhi.html, 2013. Authors Own, 2013) ...........................................................................................................................................106

Fig 6.13: Adding Surveillance- Active frontage overlooking the vegetation (Plan). (Source: Authors Own, 2013) ....................................106

Fig 6.14: Adding surveillance (Section). (Source: Authors Own, 2013) .......................................................................................................107Fig B.1: Rochester Castle Map. (Source: Ashbee, 2012) ...............................................................................................................................131

Fig B.2: Rochester Heritage Trail Map. (Source: Moss, 2005) ......................................................................................................................131

Fig B.3: Cafe adjacent to the Castle. (Source: Authors Own, 2013) .............................................................................................................132

Fig B.4: Information Panel. (Source: Authors Own, 2013) ...........................................................................................................................132

Fig B.5: Reconstructed image of the Keep. (Source: Ashbee, 2012) ......................................................................................................... ....132

Fig B.6: Celebrated Historic High Street. (Source: Authors Own, 2013) .....................................................................................................141

Fig B.7: Attractions on High Street. (Source: Malvern Hills District Council, 2013) ....................................................................................141

Fig B.8: Reference to Works of Charles Dickens. (Source: Authors Own, 2013) ............................................................. ............................141Fig B.9: The Portal, Entrance to castle at the river. (Source: Authors Own, 2013) .... ...................................................................................141

Fig B.10: Framed Vista unfolding on Arrival. (Source: Authors Own, 2013) ................................................................................ ...............141


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Fig B.11: Within the Keep. (Source: Authors Own, 2013) ............................................................................................................................142

Fig B.12: Marketing Image for Rochester. (Source: Medway Council, 2013) ...............................................................................................142

Fig C.1: The Path- Pedestrianized High Street. (Source: Authors Own, 2013) .............................................................................. ...............143Fig C.2: Tourists Worcester Map. (Source: www.visitworcester.com/maps.asp, 2013) ............................................................................ ....143

Fig C.3: Place branding. (Source: www.visitworcester.com, 2013) ........................ ..................................................................................... ..144

Fig C.4: Navigation within the Cathedral. (Source: (s.n.) Worcester Cathedral, 2013) ........................... ......................................................144

Fig C.5: Cathedral model for reference. (Source: Authors Own, 2013) .................................................................................. ......................144

Fig C.6: Highlighting the Alter as the focal point. (Source: Authors Own, 2013) ........................................................................................144

Fig C.7: Cathedral separated by high speed traf c motor road. (Source: Authors Own, 2013) ....................................................................153

Fig C.8: Cathedral in Royal Worcester Porcelain Works. (Source: Authors Own, 2013) ........................................................................ .....153

Fig C.9: On Historic Street with Preserved buildings. (Source: Authors Own, 2013) .................................................. ................................153Fig D.1: Tourist Attractions Map. (Source: www.visitoxfordandoxfordshire/travel-information/map.aspx, 2013) ......................................155

Fig D.2: Oxford Castle Complex. (Source: Continuum Group, n.d.) .............................................................................................................156

Fig D.3: Entrance to Castle block. (Source: Authors Own, 2013) ................................................................................................................156

Fig D.4: Costumed tour guide. (Source: Authors Own, 2013) ......................................................................................................................156

Fig D.5: Exemplifying Castle History (at the entrance). (Source: Authors Own, 2013) ...............................................................................165

Fig D.6: Life as a prisoner exhibition. (Source: Authors Own, 2013) ...........................................................................................................165

Fig D.7: Illustration of Oxford Skyline (from the tower). (Source: Authors Own, 2013) .............................................................................165

Fig D.8: Alices Shop in Oxford. (Source: http://www.aliceinwonderlandshop.co.uk/history.html, 2013) ...................................................165Fig E.1: Tower of London Setting. (Source: Daphne Hoekman, 2013) ..........................................................................................................166

Fig E.2: Tower of London Place Image. (Source: http://www.hrp.org.uk/towero ondon/, 2013) ............................... ..................................166


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Fig E.3: Tower of London Map. (Source: Historic Royal Palaces, 2013) .................................................................. ....................................167

Fig E.4: Public plaza with visitor facilities. (Source: Authors Own, 2013) ..................................................................................................168

Fig E.5: Relative Scale of White Tower. (Source: Authors Own, 2013) ................................................................ .......................................168Fig E.6: Beefeaters Guided Tour. (Source: Authors Own, 2013) ................................................................ .................................................168

Fig E.7: Public Transport Links. (Source: http://www.hrp.org.uk/TowerOfLondon/planyourvisit/gettinghere, 2013) .............................. ...179

Fig E.8: Artworks introducing the Tower of London in the subway. (Source: Authors Own, 2013) ............................................................179

Fig E.9: Exhibitions within White Tower using audio/visual, real objects and themes. (Source: Authors Own, 2013) ...............................179


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CHAPTER 1Chapter Introduction

This chapter provides an overview of the presented researchdocument. It establishes its relevance and usability in the currenturban design scenario by dwelling into the conceptual understandingof the key themes that have led to the research question. It providesthe de nitions of the overarching concepts. It establishes the aimsand objectives. It also provides the methodology used and theexpected conclusions. It gives the structure of the dissertation aswell.

INTRODUCTION


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1.1 RESEARCH OVERVIEW

The proposed research is set in the context where rapid urbanizationand ever increasing scienti c and technological innovations arein uencing the land-use patterns and our lifestyle choices. In this

ever evolving landscape the heritage sites act as anchors, providingconsistency, rootedness and a sense of belonging. They howeverstand as isolated islands bearing the test of time. Though there areconservation policies and practices to safeguard them, but thesealone cannot ensure their well- being. There is a need to nd waysin which their value is exempli ed and they can maintain theirqualities in these changing times.

The aim of the research is to bridge the gap between historic sitesand urban development. Closer studies of the key elements to this

problem indicate that there are possible means of making historicsites a player in urban transformation of cities.

1.2 URBAN TRANSFORMATION and PUBLICREALM

Transformation is a marked change in form, nature, or appearance.This approach nds its roots in the work of M.R.G. Conzen. It wasin early 1900s in Berlin, when he and other geographers testedthe morphological approach in order to study urban settlements.In relation to urban design, it affects the urban morphology andtypology. People invest in places with meanings related to ruleswhich they have learned through their own cultural backgrounds(Bentley, 1999: 03). These transformations are mostly evident inthe design of public spaces and buildings in reaction to internal and

external socioeconomic processes. Historic sites are set in spacesthat need to abide by the preservation and conservation rules.This public realm, by conforming to the globally evolving spatial

practices and the needs of a monument acts as a method of buildinga coherent historic urban landscape.

1.3 HERITAGE, THE CONCEPT

If personal memories can be mediated by the materiality of photographs, then collective might also- and perhaps must- be

buttressed by preserving authentic traces of the past as mnemonics,symbols or (an increasingly fashionable trope) icons (Fairclough,Harrison, Jameson and Scholield, 2008: 297).

The amount of time and effort which many people put intoimproving unloved places, or protecting loved ones from

negative change, bears witness to an active resilience whichis not the preserve of any particular social group (Bentley,1999).


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The term heritage originates from the traditional societies in which

values were derived from ancestral relationships. From valuesof the past, to the things of the past, heritage has nally come tomean simply a veneer of pastness (Davison, 2008: 32). Thus, thetwo concepts of heritage as ideals and heritage as things are closelyknotted. Further illustrating this concept, Smith (2006) emphasisesheritage as a process, and its practice the construction of identity. Hede nes it as a management and conservation protocols, techniquesand procedures. Thus, heritage re ects contemporary socio- culturalvalues, debates and aspiration.

As agreed upon by UNESCO and ICOMOS, the scope of heritageincludes natural and cultural heritage with monuments, and groupsof buildings and sites. Australia refers to its heritage as place,cultural signi cance and fabric, Canada refers to material culture,geographic environments and human environments, New Zealandto place, and China to immovable physical remains, (Yahaya,2006: 299). Thus a gap has been identi ed in the scope andterminology adopted by different countries.

1.3.1 Heritage Typology

Heritage is both tangible objects and intangible culturalexperience. Intangible Cultural Heritage is de ned as the practices,

representations, expressions, knowledge and skills that communities,groups or individuals recognise as part of their cultural heritage.

Tangible heritage includes buildings and historic places, monuments,artefacts which are considered worthy of preservation for the future(UNESCO, 2013). McManamon refers to it as places and objectsof commemoration and remembrance. They are further categorizedas natural heritage which is the landscapes and cultural heritagewhich encompasses historic buildings, monuments and collectionsof information on how people lived, in the form of paintings,stories, books, etc. In 1994, the application of information andcommunication technology to generate computer visualizations ofartefacts and virtual reality environments lead to the emergence ofvirtual heritage.

The proposed research will focus on monuments as heritage.Monuments stand in complex relation to time: they state a past orits imitation, but are erected to impress contemporary publics withthe relation to history to those who hold power and the durability ofthat relation expressed in stone or bronze (Miles, 1997: 59).

1.3.2 Heritage: Value and Uses

L. Smith (2009) has put forward the perspective that heritage is nota material object. The site is only a tool which enables us to engage


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and understand the cultural process. They are a proof of event,leading to meaning making and remembering. It is not a commodity

but an experience of something vital and alive. It is a moment ofaction, not something frozen in material form (Smith, 2009: 87).While associated memories are passed down in the process, newones are constantly created.

Heritage also provides a physical manifestation to the ephemeralconcept of identity. This is due to the links it establishes with our

past, fostering a sense of belonging and continuity. This also triggersthe ideologies of place- branding and creation of icons symbolic. Heritage could also be used to invoke and express emotion, memoryand belonging. It is an embodiment of thought and emotion. Itsymbolically represents intangible meanings and affects that emergedue to cultural and political forces on the urban form. Heritage isalso a tool for collective memory and remembering. This may helpus bind ourselves, or may see us become bound to, national or arange of sub- national collectives or communities, but it remains a

process of intense emotional power (Smith, 2009: 66).

As de ned by Casey (2000), reminiscence is a performance ofremembering, explicitly social and framed by exchange of meaningand memory. Heritage sites are places of this performance. On avisit, personal and family memories are created. Above all, heritage

provides sense of place, both as a category of thought and its

construct in reality. It is an anchor to place ourselves in social orderand also in a geographical location.

1.3.3 Heritage in the Changing World

In urban development what stays and what goes is a critical decision.Archaeological Heritage Management is the processes andstrategies that are applied to protect, manage and regulate the useof archaeological resources. Laurajane Smith (2006) describes it asan intersection of archaeology with law, conservation and planning

policies. The rst wave for conservation started in response to theinappropriate development close to sites of national or religiousimportance. The second wave was area based conservation asa reaction to the disruptions caused by clearance policies andre- development schemes. Ashworth and Tunbridge (1990) have

pointed out that there are implications on the demography andsocial composition due to townscape conservation policies. Thethird wave attempts to revitalize historic quarters through localeconomic development.

Beyond planning policies, urban revitalization of the publicrealm needs to reconcile the mismatch between monuments andcontemporary market. Their social public realm needs to respond tomodern urbanism and an international audience.


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1.4 MONUMENTS IN INDIA

The place value of a site is a local phenomenon. The contrast isexempli ed when comparing a developed and a developing area.Since Indian independence in 1947, the country has been goingthrough a phase of intense urbanism. While it seeks to bring ingrowth and development, the development policies have renderedthe monuments as isolated islands which demand to be integrated

physically and socially.

Indian urban layout has the intrinsic qualities responding to theclimatic and social demands. It is overlaid with forms and motifs ofthe number of political powers that it hosted. It speaks a languagewhich engages with multiple cultural societies.

[T]he ancient architecture of India was material evidence of thedistinct and primordial nature of Indian civilization; a form of textin stone, more stable and hence authentic than ephemeral writtenrecords, in which one could read essential truths about the valuesand creative propensities of the peoples who had produced it(Scriver, 2007: 28).

Archaeological Survey of India (ASI) was established in 1862with a mandate to survey, document and catalogue the survivingarchitectural monuments of Indian antiquity (Scriver, 2007: 36).

It functions under the Ministry of Culture, Government of India. Non- pro t organizations such as Indian National Trust for Art and

Cultural Heritage (INTACH) are also working in coordination withthe government and other interest groups of local, national andinternational level for heritage conservation.

Ancient Monuments and Archaeological Sites and Remains Act,1958 de nes monuments as any structure, erection or monument,or any tumulus or place of interment, or any cave, rock-sculpture,inscription or monolith which is of historical, archaeological orartistic interest and which has been in existence for not less than100 years (ASI, 2013). These also include remains of ancientmonuments, their site and the adjoining land which might berequired protection, access and inspection of the structure.

ASI currently holds 3650 ancient sites and monuments rangingfrom prehistoric to colonial periods. As a preservation strategy, theysimply lie on manicured green gardens, spotted with some benchesand at times with few public facilities in a deserted corner. An area of100m around them comes under the part of the heritage site. These

places, niches and corners are often illegally occupied by membersof the local community and low income groups.


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1.5 VISITOR EXPERIENCE DESIGN

In todays consumerist world, places are being branded and marketedfor the distinct experiences they provide. Visitor experience designfocuses on generating situations which are attractive, stimulating,thought provoking and memorable. It is a tool to unlock the secrets ofour own world. Uzzel (1989) has put forward four principles served

by visitor interpretation. Firstly, it is soft visitor managementthrough which they are made aware of the value of the site andthe consequences of their actions over there. Secondly, its hardvisitor management which restricts the access by carefully designed

paths and walkways while it also narrates the stories. Thirdly, it is atool for building networks. Finally, it markets them as products fortourism industry.

1.5.1 Visitor Interpretation at Heritage Sites

[H]eritage is a moment of experience, remembering and meaningmaking that may occur at physical places (Smith, 2006). TheSociety for the Interpretation of Britains Heritage was formed onlyin 1975 (Machin, 1989). Martin Selby (2010) states that there isa need to provide signs and symbols to the consumers to enablethem to interpret a cultural history. It leads to forming opinions andseeing the place for yourself. Interpretation can thus be associatedwith the explanations of the unfamiliar worlds. It builds upon

previous stock of knowledge and validates the current experiences.Therefore, for a rich visitor experience, it is necessary to formulate

appropriate designs for interpretation which would ensure the safetyof the heritage structure and communicate relevant data.

1.5.2 The New Visitor

People are the users and the caretakers. The interpretation strategiesare the tools that determine the interaction between people and

place. This group includes both tourists and the residents of a city.The new visitor is exposed to a plethora of mixed- media. We arein which e-tangibles are engaged with, consumed and viewed. Thishas been associated with complex, far- reaching paradigm shifts atthe heart of society and culture, correlated with dramatic increasein speed and de-materialization into data (Freyer, Noel and Rucki,2008).

Taking into account the shift in spatial design preference, the ideasof leisure and the search for the exotic gives opportunities to turnhistoric sites into leisure/luxury destinations. Living history sitesemphasize their location- speci c importance, suggesting that incontrast with the anonymised virtual access that a user might haveundertaken in a visit to a traditional museum, it is still importantto bodily experience the past (Groot, 2010). By harnessing theircultural, economic and social potentials, monuments can be


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connected back to the landscape. With supplying their spatial designwith the needs of the new visitor, historic sites can be bridged with

contemporary developments.

CONCLUSIONCities are a composite of urban form, cultural values, socialstructures, economic forces and technological revolutions. Theyrepresent a society that fashioned and used them. In order toaccommodate the demands of the society and to keep pace with time,urban transformation becomes a necessity. These changes howeverneed to take place in a manner such that the urban infrastructurespeaks the contemporary language while the prized elements of thelandscape are not lost.

Though specialized bodies work towards conservation and protectionof monuments, their safeguard can be ensure only when the publicrecognizes their worth. It can be concluded that communicatingtheir values to the crowd will foster associations between them.Proposed strategies for the people while responding to the changingspatial requirements will enhance the values of these sites.These when translated through the design of their spatial narrativeand urban development of their surroundings will function aslinks between historic sites and new developments. The proposedresearch explores how this intersection between historic sites andurban development can be achieved. It focuses on monuments in

particular.

How to integrate historic sites within contemporary urbandevelopment through the transformation of their publicrealm, enhancing the visitor experience?

1.7 RESEARCH APPROACH

In order to investigate the research question and produce a set ofwidely acceptable conclusions, the aim of the research has beende ned. To achieve it, a set of objectives have been identi ed withthe methodology to approach them. These are as below:

1.7.1 Aim

The aim of the research is to formulate urban design guidelines tointegrate historic sites with contemporary urban fabric of a city.This is proposed to be done through the urban transformation oftheir public realm. It will be in the context of monuments, therebyenhancing visitors experience on site.

1.7.2 Objectives

1. To develop the conceptual framework de ning the parameters of

1.6 RESEARCH QUESTION


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heritage interpretation, the values of a monument in urban form andthe relationship of public with historic sites.

2. To develop a conceptual framework for understanding status ofmonuments in a different socioeconomic context.

3. To use the above theoretical base for developing a methodologyfor conducting case studies which give information on interpretationtechniques and how they can be used for building a relationship

between the monument and its surrounding developments.

4. To develop urban design principles for integrating historic siteswith its setting, as a response to the research problem.

5. To formulate urban design guidelines by testing the principles ina different cultural context. 1.7.3 Methods and Stages

In order to achieve the above de ned aims and objectives, thefollowing methodology has been devised. Steps 1 to 5 correspondto the above ve objectives ( g 1.1).

Developing theConceptual Framework

1

Data Collectionand

Building Linkages

3

Developing Urban DesignPrinciples4

Testing the Principles forformulating Guidelines

5

Study of the key themes:Urban Transformation,Heritage Interpretation,Visitors in Historic Towns

Study of UK basedmonuments by on- sitespatial perception

By building linkages

between themes in theoryand case studies

Applying the principlesto a site in India, andidentifying which elementsin the guidelines need to

be alter.

Conceptual Framework-Different socioeconomic

context

2 Study of the status ofmonuments in India

Fig 1.1: Methodology Chart

1.8 STRUCTURE OF THE REPORT

The presented report is structured parallel to the stages identi ed insection 1.7c above. Followed by this rst introductory chapter which


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sets the scene, the conducted research is presented as described below:

Chapter 2: Theoretical Framework This presents the conceptual backbone. It is developed on varioustheories associated with historic sites, their values, methods tosafeguard them and public engagement with them. It pins down thede nitions used over the course of the research.

Chapter 3: Status of Monuments in IndiaThis seeks question the value of monuments in a different socio-economic scenario versus England. Through the case of India, it

presents their use by the public and conservation methods used bythe authorities.

Chapter 4: Analytical Framework and Case StudiesThis presents the development of the framework to be used forconducting site studies. It gives the inductive approach of testingand re ning the tool through study of three heritage interpretationcases. Further, it presents the study of Tower of London by usingthis framework. In conclusion, it gives a set of design principlesdrawn from the conclusions of theory and practice studies.

Chapter 5: Reference SiteThis presents the spatial analysis of the site selected in India to testthe principles for formulating the guidelines. The chapter presents

the description of the site, study of the urban design qualities of itssetting followed by an analysis using the framework from chapter

four. Structuring the analysis on its values, urban design qualitiesand visitors experience, it presents a set of design actions. Theseare then used as the brief for designing development.

Chapter 6: Proposed GuidelinesThis chapter presents the design proposal for the reference site- QutbMinar. This is re ned and presented as the generic design guidelinesas the outcome.

Chapter 7: ConclusionsThis presents the response to the research question. It also gives thelimitations encountered and the scope for further work on the topic.

EXPECTED CONCLUSIONS

Heritage assets are unique and non- renewable resources which needto be used frugally. In response to the ever developing urban form andchanging lifestyle preferences, this research will prove that historicsites are not frozen in time. Focusing on monuments, the researchwill nd connections to bridge the gap between historic sites andinnovative, growing infrastructure. Through urban transformation,the research will communicate the values of monuments, makingthem pertinent to the contemporary audience.


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CHAPTER 2Chapter Introduction

This chapter questions the values of monuments and visitorsinteraction with them. It investigates into conservation andmanagement techniques in uencing future developments. It reviewsthe urban form at three scales with monument in the centre, furtherits public realm and then the setting.

THEORETICAL FRAMEWORK


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2.1 CITY and URBAN HERITAGE

Culture is the dynamic component of human society bridging pastto the future. Intellectual, political, economic and social trends areetched with the characteristic spirit of their era (Landry, 2008: 14).Historic objects occupying a large proportion of landscape are itsmanifestations. Urban heritage is an interpretation of history by awide range of users; its value though, is not simply in the historicattributes of the built fabric and spatial aspects of the townscape,

but also in the life of its contemporary resident community,differentiating it from other forms of heritage (Orbasli, 2000: 1).

Every city and society seems to be going through a process ofmuseumi cation. The past is being commoditized and culturemarketed for economic bene ts.

2.1.2 HERITAGE- LED URBAN TRANSFORMATION

The alteration of a buildings context; the moving of an object fromone site to another; renaming and re- classi cation through legalframeworks such as listing and shifted ownership; re- framingthrough strategies of display and mediation; all these can be readas curatorial interventions that affect the value and meaning of theobject for the beholder in critical ways (Arrhenius, 2012: 140).

Urban heritage as a link to history is a combination of physical parts, historic associations and mythical story telling (Orbasli,2000: 12).While experienced in the present, it simultaneously addslayers for next generations. Heritage-led urban transformationaims to conserve and present the environment while ensuring thatit continues as a desirable place to live. Since historic sites fostersense of place in vast measures, design will respond to and reinforcelocally distinct patterns of landscape and culture. [T]he result ofhistoric processes and only if we understand these can we hope toachieve a quality of design intervention that responds to the geniusloci or spirit of place (Samuels and Clark, 2008: 5).

Destruction, conservation, restoration and adaptive re- use are the patterns that set fate of the structures that have lost their value in

their current use. The decisions are governed by their physicalcharacteristics, state of conservation and the will to preserve them.

The city is a related collection of primary groups and purposiveassociations: the rst, like family and neighbourhood, arecommon to all communities, while the second are especiallycharacteristic to city life. These varied groups supportthemselves through economic organizations that are likewiseof a more or less corporate, or at least publicly regulated,character; and they are all housed in permanent structures,within relatively limited area (Mumford, 2011, 1937: 93).


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While it challenge their historical authenticity, unique interventionsare required which would reinvest their value to the society. Themanagement of change and the active use of remains for presentand future purpose are preferable to an in exible reverence for asacrosanct past. The past must be chosen and changed, made in

present. Choosing a past helps us to construct a future (Lynch, 1972,2007: 301). PhoenixInitiative, Coventry illustrated in g 2.1 is anexample of a regeneration scheme revitalized the run- down citycentre quarter. The masterplan presents a metaphorical journey from

past to future by linking public places, starting from the Cathedraland culminating at the Millennium Place.

Fig 2.1: Phoenix Initiative, CoventrySource: Waterman, 2009


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2.2 INSTITUTIONAL FRAMEWORKS

City- making is about making choices, applying values, using politics to turn values into policies and exerting power to get yourway. Choices re ect our beliefs and attitudes, which are based onvalues and value judgements. These in turn areshaped by our culture(Landry, 2006: 14). It is a battle of power, and politics its mediumof delivery.

2.2.1 International Level

The threats imposed by the on- going rapid urbanization,globalization, warfare and natural disasters keeps the heritageassets at a risk. But there is no international law for their protection.

National parties could sign up to international conventions which provide a code of practice but implementation in their countries isvoluntarily. Even The sites with World Heritage Site (WHS) statusare also not protected by UNESCO directly but are managed underthe national conservation, planning or environmental policies. Toavoid overlapping interests of expert organizations, InternationalCouncil of Museum (ICOM) was created in 1946 to ensure the

protection, conservation and transmission of cultural goods. Thusall archaeological collections and movable property fall within the

purview of ICOM.

2.2.2 National Level

The responsibility of monuments is designated to a Ministrysupported by national legislations. In India and Turkey, it is managed by the joint ministry for culture and tourism. The Department ofCulture, Media & Sports (DCMS) of Government of UK is theministerial department working in the eld. It supported by 44agencies and public bodies. The issues and action are given in the

policy for Protecting, conserving and providing access to the historicenvironment in England. Figure 2.2 below gives its set of actions.

Fig 2.2: DCMS (2013) Actions for Historic EnvironmentsSource: https://www.gov.uk/government/policies/protecting-conserving-and-providing-access-to-the-historic-environment-in-england

Promoting the understanding, valuing, caring and enjoyment of the historic environment throughfunding English Heritage

Nominating places in the UK for World Heritage Site statusProtecting buildings of special architectural or historic interest by giving them listed status, which

prevents them being demolished, extended or altered without permission

Protecting nationally important sites and monuments of archaeological or historic interest bygiving them scheduled status, which protects them from being changed without permission

Protecting shipwreck sites of archaeological, historical or artistic importance by giving them protected wreck site status

Allowing charities and faith groups to claim grants equal to the VAT they pay on maintainingmemorials and listed places of worship

Co- sponsoring the Churches Conservation Trust with the Church of England, which maintainsover 340 churches of architectural, historical or archaeological importance

Appointing the Chair of the Heritage Lottery Fund, which gives out grants of National Lotterymoney, and making sure it meets its funding agreements


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2.2.3 Local Level

The local planning departments are responsible for the protectionof monuments through development controls, regeneration andenvironmental improvement initiatives, authorizing permissionsfor change in uses and reviewing the applications within its own

planning. Non- governmental organization and other societies cansupport them.

2.2.4 Private Sector and Property Owners

Applying protection regulations on privately owned property is a burden on the owners. The state can issue a notice if the ownerfails at the maintenance of the structure. Though the protectionincreases the economic value of the land, it is problematic when ithas a higher development value. The bargaining power of a privatedeveloper can in uence the decisions regarding their upkeep.

2.2.5 Public Participation

It plays an important role in the decision making process. Commoninheritance functions beyond the legal ownership. It engages localcommunity, ethnic groups or society as a whole. This sense ofownership is indicative of what is valued.

2.3 CONSERVATION POLICIES

Heritage planning and management is governed by internationallyrecognized codes such as the Venice Charter, 1994 and UNESCOWorld Heritage Convention, 1970. These transnational agreementssystematically advocate the responsible parties maintain thecultural value of cultural heritage assets for the enjoyment of presentand future generation (McKercher and du Cros, 2003: 43).What islisted is often viewed as what is important.

2.3.1 Listed Building

Buildings are listed to conserve a representative sample and interpretits intrinsic values for public appreciation. UK follows a three gradelisting system protecting buildings against unauthorized demolition,alteration or extension as below:

Grade I are buildings of exceptional interest. Grade II are particularly important buildings of more thanspecial interest. Grade III are buildings of special interest, justifying every effortto preserve them (DCMS, 2013).

As per the Planning (Listed Buildings and Conservation Areas) Act1990 the Secretary of State compiles and approves the list of graded

buildings for reference to the development authorities. Fig 2.3 gives


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the criteria for the assessment of the buildings.

ArchitecturalInterest

Its architectural design, decoration or craftsmanship; Nationallyimportant examples of particular building types and techniques andsigni cant plan forms

HistoricInterest

Illustrating important aspects of the nations social, economic, cultural,or military history and/or have close historical associations withnationally important people.

Age and rarity

Before 1700, all buildings that contain a signi cant proportion of theiroriginal fabric are listed; 1700 to 1840, most buildings are listed; After 1840, because of the greatly increased number of buildingserected and the much larger numbers that have survived, progressivelygreater selection is necessary; Careful selection is required for buildings from the period after 1945; Less than 30 years old, if they are of outstanding quality and underthreat

AestheticMerits

For intrinsic architectural quality and craftsmanship. Though theymight have little external visual quality, but they could be valued fortechnological innovation or for their contributions in social or economichistory.

Selectivity For representing their particular architectural styles. Those which aremost signi cant go onto the list.

NationalInterest

Vernacular buildings representing distinct local characteristics are puton the list of the national historic stock.

State of Repair The building is listed for the other above mentioned criteria irrespectiveof the state of repair.

Fig 2.3: DCMS (2013) Listing of Building

Source: https://www.gov.uk/government/publications/principles-of-selection-for-listing-buildings

2.3.2 Scheduled Monuments

UK Governments party to the European Convention on the Protectionof the Archaeological Heritage (the Valetta Convention) requiresit to institute a legal system for the protection of archaeologicalheritage, on land and under water. (DCMS, 2010: 5). The AncientMonuments and Archaeological Areas Act 1979 or 1979 Act, g2.4, places a duty on the Secretary of State for DCMS to compileand maintain a schedule of monuments. Any form of damage to ascheduled monument is a criminal offence.

An Act to consolidate and amend the law relating to ancient monuments; to make provision for the investigation, preservation and recording of matters of archaeological or historical

interest and (in connection therewith) for the regulation of operations or activities affecting such matters; to provide for the recovery of grants under section 10 of the Town and Country Planning (Amendment) Act 1972 or under section 4 of the Historic Buildings and Ancient Monuments Act 1953 in certain circumstances; and to provide for grants by the Secretary ofState to the Architectural Heritage Fund.

Fig 2.4: Ancient Monuments and Archaeological Areas Act 1979Source: http://www.legislation.gov.uk/ukpga/1979/46

2.3.3 WHS Status

2010 marked the 40th anniversary of the signing of UNESCOWorld Heritage Convention, which launched the concept of worldheritage and began the process of listing sites deemed to possessoutstanding universal value (Chakravarty and Irazabal, 2011: 360).


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World Heritage Sites are nominated by their national government tothe World Heritage Committee, evaluated by international AdvisoryBodies to the Convention and inscribed on the World Heritage List

by the intergovernmental UNESCO World Heritage Committee,a process that takes at least 18 months from nomination (EnglishHeritage 2009: 3).

There are 890 WHS. Nominating places for WHS has numerousadvantages. Firstly, wide arrays of values get associated with themonuments- economic, aesthetic, cultural, political and educational.These are matched with different stakeholders who can otherwisehave con icting opinions. Secondly, though owned by individualsor authorities, monuments are essentially collective. DCMR (2007)states that the potential bene ts gained can be accessed on thecriteria of Tourism impacts, Agricultural and Landscape impacts,Social and Community impacts, Education, Learning and Culturalimpacts, Funding and Investments, and Partnership Developments.UK currently has 28 sites listed on it. Fig 2.5 gives the criteria formaking into the list.

(i) represent a masterpiece of human creative genius;(ii) exhibit an important interchange of human values, over a span of time or within a culturalarea of the world, on developments in architecture or technology, monumental arts, town-

planning or landscape design;(iii) bear a unique or at least exceptional testimony to a cultural tradition or to a civilizationwhich is living or which has disappeared;(iv) be an outstanding example of a type of building, architectural or technological ensemble orlandscape which illustrates (a) signi cant stage(s) in human history;(v) be an outstanding example of a traditional human settlement, land-use, or sea-use which isrepresentative of a culture (or cultures), or human interaction with the environment especiallywhen it has become vulnerable under the impact of irreversible change;(vi)be directly or tangibly associated with events or living traditions, with ideas, or with beliefs,with artistic and literary works of outstanding universal signi cance. (The Committee considersthat this criterion should preferably be used in conjunction with other criteria);(vii) contain superlative natural phenomena or areas of e xceptional natural beauty and aestheticimportance;(viii) be outstanding examples representing major stages of earths history, including the recordof life, signi cant on-going geological processes in the development of landforms, or signi cant

geomorphic or physiographic features;(ix) be outstanding examples representing signi cant on-going ecological and biological

processes in the evolution and development of terrestrial, fresh water, coastal and marineecosystems and communities of plants and animals;(x)contain the most important and signi cant natural habitats for in-situ conservation ofbiological diversity, including those containing threatened species of Outstanding UniversalValue from the point of view of science or conservation.

Fig 2.5: Operational Guidelines for the Implementation of the World Heritage ConventionSource: (UNESCO, 2012: 30)

Protection and management is ensured by the following measures: Legislative, regulatory and contractual measures for protection Boundaries for effective protection

Buffer zones Management systems Sustainable use


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2.4 MONUMENT: THE DEFINITION

Monuments are symbols of power, prosperity and extravagance.Reigl speculated the popularization of heritage, de ning monumentsas in its oldest and most original sense is a human creation, erectedfor a speci c purpose of keeping single human deeds or event alivein the minds of future generations. The term historic monumentused in the Venice Charter 1964 was reinterpreted by ICOMOS in1965 as monument and site; and by UNESCO in 1968 as cultural

property to include both movable and immovable. The differentterminology between the UNESCO and ICOMOS was reconciledat the World Heritage Convention 1972 (Yahaya, 2006: 292).

Since there is no international standardization, this research usesUNESCO as its reference. It states, monuments: architecturalworks, works of monumental sculpture and painting, elements orstructures of an archaeological nature, inscriptions, cave dwellingsand combinations of features, which are of Outstanding UniversalValue from the point of view of history, art or science (UNESCO,2012: 13).

2.4.1 Monument Typology

The typology is based on form and reasons for construction.Structures can be designed as icons, cenotaphs and memorials to

commemorate the causalities of wars, sacred places- temples andchurches, and statues, columns and triumphal arches commemoratingvictories. Places could gain monumental signi cance because of theevents having an immense impact on society might have happenedthere. Thordius Arrhenius (2012) has questioned the notion of age asassociated with monuments. They are categorized as intentional andunintentional. An intentional monument, erected to commemoratea human deed or event, always has the purpose of overcomingdistance, to in one sense refuse the passage of time. With its physical

presence it aims to create a lapse in time that renders the past presentand establishes a transparent connection to the event or the personthat the monument is to commemorate (Arrhenius, 2012: 97). Inunintentional monuments, the enigma of absence is central. Theyare historical objects re ecting a distanced past. Their age stands

Fig 2.6a: Nelsons Column, LondonSource: http://www.best-london-attractions.co.uk/ nelsons-column.html

Fig 2.6b: Parthenon, GreeceSource: http://www.nashville.gov/Parks-and-

Recreation/Parthenon.aspx


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atop as their virtue. Ones outlook towards them is also based on the prevailing perception, priorities and attitude towards the past.

2.4.2 Values of Monuments

Though seemingly static in time, monuments are a representation ofthe social transformations. What gets built is strongly conditioned

by the structures and dynamics of political power in society; howand where it gets built is a subject to a host of laws, code, standardsand regulations that re ect the interests of political powers and

pressure groups (Knox, 1987, 2007: 116).

2.4.2A Environmental Values

Monuments add variety,functioning as landmarks, increasingthe legibility in landscape. The unintentional monuments areusually a reference of work of art, their designation relative andsubjective. Their primary purpose is to evoke memory and retaintheir signi cance as long as the person of event is remembered. Theintentional monuments originally had a speci c function to serve.When that becomes obsolete, for instance a kings palace in a newdemocracy or warehouses in an abandoned dock, its virtues are theinvested intangible values.They become places of other activities,get layered with meanings for individuals and communities

becoming icons of the shared past. If unattended, the intangible

values are also lost rendering the sites derelict.

2.4.2B Social Values

Monuments are anchors, providinga sense of belonging. Withaccessibility and visibility, they create public importance, makingthem a xture in everyday lives. A convenient location withliberal restrictions for visits, allows high public participation in itsactivities. If they have restricted access but work in public interest,they evoke a sense of ownership represented through these values.Visibility is achieved by ensuring them as a part of the skyline or amedia publicized image.They thus belong to public at large thoughtheir legal ownership could be with another authority. Changes inthe structure or surrounding of monuments are perceived by peopleas changes being made to their environment.

Physical appearance, activities, and meanings are the raw materialsof the identity of places, and the dialectical links between them arethe elementary structural relations of that identity (Relph, 1976,2007: 105). Identity is rstly of the monument itself, emergingfrom the symbolic meanings, the functional attributes and the rolein construction of history. Secondly, it is shared identity of thecommunity alleviating cultural stress, thirdly, it is the place image

at a local scale and lastly national identity globally. Kevin Lynch hasde ned identity of a place as that which provides it individuality ordistinction from other places and serves as the basis for recognition


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as a separable entity.

2.5 PUBLIC REALMThe public realm of cities brings people together and also separatesthem. Theyare the arteries and veins of a city. Besides de ningcirculation patterns, they are conjunctions between buildings andactivities that boarders them. Overlaid with layers of conventions,they re ectboth human needs and psyche. A good space beckons

people in, and the progression from the street to interior is criticalin this respect. Ideally, the transition should be such that its hardto tell where one ends and the other begins. You shouldnt have tomake a considered decision to enter; it should be almost instinctive(Whyte, 2011; 517).

In this research, public realm refers to the buffer zone and openspace around monuments.It gives a chance to interact with historicstructures in close proximity without engaging in a touristicexpedition. It however has the challenges of ensuring protectionof the structures while responding to the trends of currentspatialdesigns.

Peoples movements are the greatest spectacles of the public realm.Its rhythm changes with time of the day. Its social compositions,gender ratios and usesre ect the quality of experience it offers.

William H. Whyte (2011) has provided an analysis of the use of plazas. Busy- hours such as lunch time, people occupy seats whereavailable. However, off- peak hours provide clues of peoples

preferences. Women incline to take places that are slightly secludedwhile men are seen upfront, couples are noted to be found upfronttoo but oblivious of the crowd. Certain locations also tend to beidenti ed for the various kinds of groups they attract.

2.5.1 Buffer Zone

A buffer provides a layer of protection against any incompatibleactions. It is depicted in religious artworks as a circle of supernaturalforces. Indian Mandala, the model for ideal city layout is anotherexample. In heritage management, it regulates the activities ofthesurrounding areas. UNESCO states A buffer zone is an areasurrounding [a] property which has complementary legal and/orcustomary restrictions placed on its use and development to givean added layer of protection to the property. This should include theimmediate setting of the property, important views and other areas orattributes that are functionally important as a support to the propertyand its protection. The area constituting the buffer zone should bedetermined in each case through appropriate mechanisms. Thisarea is in itself not of universal value but adds to the signi canceof the core object (UNESCO, 2005: 25). These are not mandatoryif explained why they are not required.The size, components and


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characteristics are site speci c.

2.5.2 IssuesPublic places provide civic pride, social contact and a sharedaesthetic taste. They need to be comfortable and inclusive. Withunde ned boundaries historic sites face issues of uncertainty ofownership, inactivityand underused. [S]ince positive interventionsoften need permission from the owner, this can make interim usemore dif cult, along with acquiring grants, getting insurance coverand responsible risk management (Taylor, 2008: 3).Activities growin number, duration and scope at high quality public realm. JanGhel (1971, 2007) has classi ed outdoor activities in public spacesinto necessary activities, optional activities and social activities.The necessary activities take place under all conditions but optionalactivities occur only in optimal environmental conditions. Socialactivities are resultant when necessary and optional activities havea good physical framework.

Jane Jacobs (1961) in the article The Uses of Sidewalks: Safety points safety as the fundamental criteria for creating liveableenvironments. Well- de ned neighbourhoods, multi- use streetswith eyes on the streets and public surveillance provide social

cohesiveness. She provides three aims that should be achieved indesigning streets: to try to secure streets where the public space is

unequivocally public, physically unmixed private or with nothing-at- all spaces, so that the area needing surveillance has clear and

practicable limits; and to see that these public spaces have eyes onthem as continuously as possible (Jacobs, 2011: 108). Unintended

behaviour, a breakdown of community control and unattended property invites anti-law abiding behaviour for fun or plunder makes public realm prone to vandalism. Once a sense of disregard sets in,obligations of civility are lowered and there are signals of no onecares, areas become criminal hubs. Social psychologists and policeof ces tend to agree that if a window in a building is broken and isleft unrepaired; all the rest of the windows will soon be broken. Thisis as true in nice neighbourhoods as in run- down ones (Wilson andKelling, 2011: 266).

Lack of users makes a place meaningless. It is conducive with anappropriate mix of users and uses. Michon and Antably (2013)have noted that if a place is occupied single so

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Upgrading Historic Sites Within Contemporary Urban Development