Making history matter: the politics of physical heritage

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We discuss the idea of the ‘souvenir’ in relation to heritage buildings - the way the souvenir loses its memory function over time and lapses into kitsch is a salutary lesson for h ow we need to reconsider the role of history and its engagement when faced with historic buildings that are often functionless, other than as residues of previous narratives that unless understood become redundant. Age does not de facto confer importance in people’s minds, it needs work to interpret and communicate. Can people grasp ‘significance’ – do we even let them try? Conservation practice enshrined within the Charters and guidelines of ICOMOS can be accused of prioritising technical expertise over common ownership, we see a disjuncture between heritage protection and heritage as common inheritance. William Morris evoked the right of society to inhabit and value history as a continuity of ownership. Craft is a working persons contribution to that history and its ongoing use is the creation of an active citizenry, and to avoid pastiche or imitation which undermines the passing of time and the hands and graft required to sustain historic buildings in active use. The presentation of a perfect, sanitised history, he felt, allows the contribution of labour and daily life to be actively overlooked - the historical artefact sustains the enduring inevitability of those who endowed these buildings, however 90% of the National Trust houses are built with revenues generated directly from slavery. Does conservation create cultural capital, or simply capital? This module will discuss its obligations. Alan Chandler The ethics of material specification and technique selection interests Alan, informing his practice as a director of Arts Lettres Techniques and the impetus for being one of the first examiners for the RIBA Conservation Register, the Steering Group of which he now co-chairs. In his recent book with Michela Pace, ‘The Production of Heritage’, the relationship between material, technology, history and culture is articulated using award winning projects he has been involved with, such as the Palacio Pereira in Chile and St Pancras Church in London. It is critical that practitioners understand conservation technically and materially, but also within a cultural and social context. This module was recorded in November 2020 and is available to view on demand.Two ways to book on demand Core CPD topics On demand Core CPD Club Ticket: one single booking for all 10 topics Pay-as-you-go: purchase webinars individually in our Learning Programme Please note that there are no live interactions as part of this series. RIBA Chartered Members are eligible to use their £200 voucher code for this course. For more information, please refer to our step-by-step instructions, terms and conditions and FAQs. Please view the Terms and Conditions for more information. For more information on this course, or if there are no places available, please email us, or call +44 (0)20 7307 5355 to talk to a member of the team.Core CurriculumBuilding conservation and heritage Show more