2014 Yearbook

R E V I E W 19 related places and related objects. Places may have a range of values for different individuals or groups’. Master planning when creating a place, a subject which is discussed in Barry Sellers’ article (see page 25), is a way of ensuring that the various aspects of cultural significance are fully recognised. English Heritage’s Conservation Principles: Policies and Guidance for the Sustainable Management of the Historic Environment (2008) gives aesthetic value as one of four interrelated themes that define heritage value. The four themes are: evidential value, historical value, aesthetic value and communal value. The sum of the values of a particular heritage asset is called its significance. Conservation is defined as the process of maintaining and managing change to a heritage asset in a way that sustains and, where appropriate, enhances its significance. This definition is also used in the NPPF, which sets out the government’s objectives and policies for the historic environment. Aesthetic value refers to the sensory and perceptual experience of a place or asset, and how we respond to both visual and non-visual aspects (such as sounds and smells). In considering aesthetic value, the revised version of The Burra Charter (2013) suggests that it is useful to ask: • Does the heritage asset or place have special compositional or uncommonly attractive qualities involving combinations of colours, textures, spaces, massing, detail, sounds and scents? • Is the asset distinctive within its setting or a prominent visual landmark? • Does the asset have qualities which are inspirational or which evoke strong feelings • Is the asset symbolic for its aesthetic qualities: for example, does it inspire an artistic or cultural response, is it represented in art, photography, literature, or other imagery or cultural arts? • Does the asset display particular aesthetic characteristics of an identified style or fashion? • Does the asset show a high degree of creative or technical achievement? These questions are a way of ensuring that the artistic element of conservation practice is properly considered when evaluating significance. This brings us back to the theme of this yearbook and of the forthcoming annual school: the art of conservation. In this sense ‘art’ may refer to an understanding of the context of time and place which gives heritage its meaning, as well as to creative, innovative activity. So just like the art of negotiation or the art of downhill skiing, the annual school is about recognising creative skills and excellence. This approach is summarised by the ICOMOS Guidelines for Education and Training : The object of conservation is to prolong the life of cultural heritage and, if possible, to clarify the artistic and historical messages therein without loss of authenticity and meaning. Conservation is a cultural, artistic, technical and craft activity based on humanistic and scientific studies and systematic research. Conservation must respect the cultural context. David Kincaid, policy@ihbc.org.uk