BUILT HERITAGE MANAGEMENT AND PRESENTATION
BHM&P NATIONAL HERITAGE FOUNDATION
2018Conference–Serbia Interpretation of cultural heritage on the example of medieval fortresses in European Union countries Nikola Lecic1, prof.dr LjiljanaVasilevska2 1
City of Niš, Serbia,
[email protected], +38118504549
2
Faculty of Civil Engineering and Architecture, University of Nis, Serbia
[email protected], +38163453036
Abstract Interpretation of cultural heritage is one of the development, management and, often, planning tools that are used for the purpose of its better understanding and perception by the visitor. In addition, cultural heritage can have an exceptional tourist potential, which comes to light through a well-designed and properly implemented process of interpretation, but also the subject of interpretation can be one that does not possess significant tourism potential but it becomes attractive due to it. In the last fifty years several different principles of interpretation have been defined and applied. Regardless of the fact that they all refer to or rely on the oldest setting shaped by Tilden, there is a change in the direction of action in line with the contemporary social context. Starting from the assumption that the cultural heritage of local communities is one of the main potentials for the sustainable development of tourism, the objective of this paper is, besides considering the basic principles of its tourist interpretation, to explore the multiple benefits of its application. They are recognized and perceived by a comparative analysis of examples of good practice that are representative of different aspects of interpretation, all in the function of sustainable usage and protection of cultural heritage. For this purpose, the Papal Palace in Avignon (France), the Bled Fortress (Slovenia) and the Mauterndorf Castle (Austria) were analyzed in more details.
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Key words Interpretation, Cultural Heritage, Medieval fortresses.
1 Introduction During the second half of the 20th and the beginning of the 21st century numerous and varied definitions of interpretation appeared, while its genesis and foundation as discipline also follow different conceptual approches. Generally, it is always an act of communication there is something to get to know and make it understandable, all in a specific way (Morales, 2001; Baeyens et al., 2005; Desvallees and Mairesse, 2010). According to Tilden (1957), interpretation is an educational activity that aims to interpret heritage through the use of original items, by direct experiences or through various media, trying to avoid the mere listing of information. Carter et al. (2001) considers that interpretation is all that helps people to feel and understand the significance of heritage, while Colquhoun (2005) implies under interpretation an explanation of the natural, cultural or historical values associated with places. In practice, interpretation is a working method that facilitates the presentation and social use of heritage for the purpose of simpler interpretation and its active use, enabling visitors to understand the reasons for preserving and protecting our heritage. The interpretation is based on cultural and/or natural facts, whether they have material or immaterial nature, and seeks to promote the specificities of the site in their original context. Cultural heritage implies a set of resources inherited from the past, which people identify, regardless of ownership over them, as a reflection and expression of continually evolving values, beliefs, knowledge and traditions. It encompasses all aspects of the environment created by the interaction of man and space over time. The heritage-based community consists of individuals who value certain aspects of cultural heritage that they want to maintain and transfer to future generations within the framework of public policies and actions (Council of Europe, 2005). Cultural heritage is, among other things, seen as a tourist resource, that is in the function of satisfying tourist needs. In this sense, the goal of cultural heritage interpretation is to raise awareness of the public, as well as to define and implement guidelines that will allow visitors to see, explore, understand, observe, analyze, understand and truly feel the "spirit of the place" of the cultural sitess that they visit. Starting from the assumption that the cultural heritage of local communities is one of the basic potentials for sustainable tourism development, the main aims of this paper are following:
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1) investigation of the basic principles of tourist interpertation of cultural heritage, and 2) observation of the multiple benefits of its application. Medieval fortresses represent an important segment of the cultural heritage of many countries. Among the numerous medieval fortresses that were revitalized in the previous decades in the EU countries, for the purposes of this research three of them are analyzed: 1) the Papal Palace in Avignon (France), 2) the Bled Castle (Slovenia) and 3) the Mauterndorf Castle (Austria). Selected fortresses are representatives of the best practice examples - all of them are revitalized and presented to the public in the spirit of basic principles of interpretation, linking protection, sustainable use, cultural values and tourism, but with a clearly expressed and highly established goal to affirmate the cultural heritage at the local, national and global level .
2 Cultural heritage interpretation principles As a modern discipline, interpretation is based on the principles of interpretation of heritage. Regardless of the fact that they all invoke or rely directly on the earliest concept developed by Tilden (1957), who is considered the father of modern interpretation, in accordance with the contemporary social context changes in the direction of action are observed (Korac, 2011). According to Tilden (1957), the six basic principles on which the tourist interpretation relates are the following: Any interpretation that does not somehow relate what is being displayed or described to something within the personality or experience of the visitor will be sterile. Information, as such, is not Interpretation. Interpretation is evelation based upon information. But they are entirely different things. However, all interpretation includes information. Interpretation is an art, which combines many arts, whether the materials presented are scientific, historical or architectural. Any art is in some degree teachable. The chief aim of Interpretation is not instruction, but provocation. Interpretation should aim to present the whole, rather than one part, and must address itself to the wholeman rather than any phase. Interpretation addressed to children (say, up to the age of twelve) should not be a dilution of the presentation to adults, but should follow a fundamentally different approach. To be at its best will require a separate program.
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Although many institutions and numerous authors have innovated the principles underlying the interpretation of heritage, those who were set up by Tilden retained their actuality to this day. Fourth International Congress of Interpretation, held in Barcelona in 1995, brought new trends and principles: The need to open up heritage to all the senses of human perception. The importance of satisfying the visitor, by providing new experiences, sensations and suggestions based on cultural and natural resources. Seeking an active participation from the visitor, rather than seeing them as mere information receivers. The importance of basing efforts to increase appreciation and understanding of heritage on the immediate surroundings of the visitors’ daily life. According to Beck and Cable (2002), interpreters transform their rich experiences into magic, to a place where everything is unified, a pleasant satisfaction of the needs for knowledge and experience - greater joy for life, better understanding of someone's place, with a positive hope for the future. By remodeling six Tilden principles and elaborating another nine principles, Beck and Cable (2002) set up a conceptually wider framework of interpretation: To spark an interest, interpreters must relate the subject to the lives of visitors. The purpose of interpretation goes beyond providing information to reveal deeper meaning and truth. The interpretive presentation – as a work of art – should be designed as a story that informs, entertains, and enlightens. The purpose of the interpretive story is to inspire and to provoke people to broaden their horizons. Interpretation should present a complete theme or thesis and address the whole person. Interpretation for children, teenagers, and seniors – when these comprise uniform groups – should follow fundamentally different approaches. Every place has a history. Interpreters can bring the past alive to make the present more enjoyable and the future more meaningful. High technology can reveal the world in exciting new ways. However, incorporating this technology into the interpretive program must be done with foresight and care. Interpreters must concern themselves with the quantity and quality (selection and accuracy) of information presented. Focused, well-researched interpretation will be more powerful than a longer discourse. 4
Before applying the arts in interpretation, the interpreter must be familiar with basic communication techniques. Quality interpretation depends on the interpreter’s knowledge and skills, which should be developed continually. Interpretive writing should address what readers would like to know, with the authority of wisdom and the humility and care that comes with it. The overall interpretive program must be capable of attracting support – financial, volunteer, political, administrative – whatever support is needed for the program to flourish. Interpretation should instill ability, and the desire in people to sense the beauty in their surroundings – to provide spiritual uplift and to encourage resource preservation. Interpreters can promote optimal experiences through intentional and thoughtful program and facility design. Passion is the essential ingredient for powerful and effective interpretation – passion for the resource and for those people who come to be inspired by the same. At the 16th General Assembly of ICOMOS, the Charter for the interpretation and presentation of cultural heritage, known also as the Ename Charter, was ratified. According to ICOMOS (2008), the interpretation is seen as a series of potential activities aimed at raising public awareness and increasing understanding of cultural heritage. It can include printed and electronic publications, public lectures, on-site and/or directly linked to off-ssite installations, educational programs, community activities and permanent training, research and evaluation of the interpretation process itself. This document provides guidelines for public interpretation and a sustainable presentation of cultural heritage. The Ename Charter is based on seven basic principles: Principle 1: Access and Understanding Interpretation and presentation programmes should facilitate physical and intellectual access to cultural heritage sites to the public. Principle 2: Information Sources Interpretation and presentation should be based on evidence gathered through accepted scientific and scholarly methods as well as from living cultural traditions. Principle 3: Context and Setting The Interpretation and Presentation of cultural heritage sites should relate to their wider social, cultural, historical, and natural contexts and settings.
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Principle 4: Authenticity The Interpretation and presentation of cultural heritage sites must respect the basic tenets of authenticity in the spirit of the Nara Document (1994). Principle 5: Sustainability The interpretation plan for a cultural heritage site must be sensitive to its natural and cultural environment, with social, financial, and environmental sustainability among its central goals. Principle 6: Inclusiveness The Interpretation and Presentation of cultural heritage sites must be the result of meaningful collaboration between heritage professionals, the host and associated communities, and other stakeholders. Principle 7: Research, Training, and Evaluation Continuing research, training, and evaluation are essential components of the interpretation of a cultural heritage site
3 Analysis of best practice examples In order to illustrate the benefits of applying the interpretation, three examples of best practice have been analyzed in this chapter: 1) the Papal Palace in Avignon (France), 2) the Bled Castle (Slovenia) and 3) the Mauterndorf Castle (Austria). 3.1 Papal Palces (Palais des Papes) Avignon silhouettes, a city in the south of France, make a magnificent urban landscape. The Papal Palace, fortified by powerful walls and towers, as well as the Avignon Bridge and the Bishop's Ensemble, make up the historic center of the city which is on the UNESCO World Heritage List. It extends over 15,000m2. A grandiose building with high exterior walls, where sparse small openings appear, reminiscent of the fortified monastic complexes of the late Middle Ages. The massive walls, huge machicoulis and rhythmically arranged pointed arches were incorporated as a whole and practically made an unbreakable fortress (Magi, 2014). From 1305 until 1376 Avignon was the seat of the papal state. The Papal Palace, built in the 14th century during the reign of the three popes, Benedict XII, Clement VI and Inosent VI, is the largest building of Gothic architecture in Western Christianity. In the first half of the 15th century, at the end of the Great Break and pontification of Pope Benedict XIII, the Pope's Palace became the residence of the legates, who stayed at this place until the beginning of the French Revolution in 1789. After the revolution, it served as barracks. At the beginning of the
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20th century, the palace was opened to the public (Lefranc, 2012). Tourist interpretation and presentation of cultural heritage has greatly contributed to the Pope's Palace being one of the most visited monuments in France. More than 25 rooms are open for public visits: a Large auditorium room, Consistory - a dormitory where debates were held, a Ceremonial room in which official events and liturgical services were held, banquet rooms such as the Grand Tunnel etc. With accompanying professional guides, the private chamber of the pope can also be visited, as well as the frescoes painted by the famous Italian artist Mateo Giovanni.
Figure 1 Papal Palace. Application of interpretation - illustrations. A digital mediation system allows visitors to see and get to know the original appearance of the palce through the reconstruction of parts of the object (left). Film projection on the walls of the Papal Palace (right). Sources: https://www.idboox.com/wp-content/uploads/2017/10/palais-des-papes-avignon-realiteaugmentee.jpg; https://www.gonomad.com/wp-content/uploads/2017/06/P1690110.jpg
During the tour of the palace, through seven film projections in different rooms it is possible to get to know the chronological construction of a palace, which is largely reorganized and equipped with new lighting, signs and monitors. Through accessible multimedia messages, dual interpretation approach allows visitors to experience the museum items more intensively - room decoration in the past, with frescoes, complete furniture and its materialization, for example (Fig. 1, left). Interactive electronic travel guides are linked to the texts and images data bank, in order to interpret the evolution of construction as well as the most important historical events. "Looking at the magnificent building, standing proud in the historic center of Avignon, people often ask: What did the Popes look for here in Provence? Why did they leave the Roman slopes and come to the coast of Rhone? "(Palais des Papes, 2015). Through monumental video projections, music and texts (Fig.1, right), the play "Les luminessences d'Avignon" reveals the history of the building, the city and the region. Visitors can enjoy an outdoor 360 ° trip in time and space at an attractive location, at the mouth of the European great rivers in the center of old Avignon, in the courtyard of the Papal Palace.
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3.2 Bled Castle The Bled Castle is one of the oldest buildings of this type in Slovenia. In written sources, it was mentioned for the first time in 1011, when German King Henry II donated it to Bishop Adelberon. The romantic scene of the fortified castle with a curch on a lake island, is a key feature on the basis of which Bled became recognizable on a world scale. There is an exceptional view of the Gorenjska region from the terrace of the fortress, located between Karavanke and Julian Alps (Šribar, 1999; Bled Castle, 2015). The buildings within the the fortified complex are located around the courtyard, which is organized in two levels. There is a printing shop in the lower courtyard as well as memorial rooms of Primož Trubar, Toranj gallery and catering trade, while on the interchange we have the wine cellar and gallery of plants. The most important parts of the complex are in the upper courtyard - the churh from the 16th century and the museum, in which artefacts testify about the historical development of the region on Bled Lake from the Bronze Age to the present. In addition to them, there is also a blacksmith and a restaurant with a terrace. Both levels are protected with high Roman walls, including a defensive corridor, entrance gate and a powerful Gothic defense tower (Bled Castle, 2015). The permanent exhibition of the National Museum of Slovenia is located in the baroque premises of the castle. The history of Bled, from the origin to the present, is presented through eight thematic units which include nature, everyday life, crafts, spiritual culture and other developmental aspects. Segments are named: 1) Water: creating and forming of landscapes; 2) Landscape: a natural environment and the people; 3) Fire: man shapes nature; 4) Caught in the circle of time; 5) Place and its people; 6) Word: transforms society; 7) Homo viator: Migrating Middle Ages; 8) Bled: Tourist resort. In addition to viewing the permanent museum items, visitors are given the opportunity to learn about ancient arts and crafts through the active tourist interpretation. In the printing work, visitors can learn the skills of "black" art and, with the help of expert staff, print a certificate on handmade paper on the reconstructed Gutenberg printing press from the 16th century (Fig. 2, left). The wine cellar offers the possibility of tasting top quality wines from this region, as well as the experience of bottling wines from oak barrels. Visitors have the opportunity to clog the bottle, wax it and then take it as a souvenir. A mixture of colors, aromas and tastes of a wine cellar brings tourists joy and enjoyment. The blacksmith, located in the upper courtyard, represents different artifacts. For example, visitors have the opportunity to make their own coin. 8
Figure 2 Bled Castle. Application of interpretation - illustrations. The printing work (left). The theater group evokes visitors to the Middle Ages (right) Sources: http://www.blejski-grad.si/en7castle-printing-works; http://www.blejski-grad.si/gledaliskaskupina
The theater group takes visitors to the Middle Ages (Figure 2, right). The group demonstrates cultural manners, fire games, dances and other customs which revive the medieval atmosphere. Features of Countess and Count have become almost indispensable decor during official visits, weddings and other cultural events. Visitors can also see the multimedia projection of documentaries in the chamber hall. The projection consists of the following films: Bled Castle; Tourism for selected; Pictures of heaven; Bohinj glacier; and Events. 3.3 Mauterndorf Castle Mauterndorf Castle is located in the central Austrian province of Salzburg. It was mentioned for the first time in written sources in 1002, in the documents of Emperor Heinrich I, as a toll station on the route of the famous Roman Via imperialis. During the late medieval period, the castle was rebuilt several times. It received its present form in the 15th century, when the Archbishop Lionhard von Kojshah began to use the building as his summer residence. Until 1806, the fortress was owned by the Catholic leadership and in the function of the administrative center, after which it was handed over to the state. During the 19th century, the building has been degraded and devasted to a large extent. In 1894, the Prussian military doctor Dr Herman von Ipenstein took over the fortress and it was restored with great effort and material costs. After it changed several owners, the government of the Salzbur Province took over the fortress in 1968. Between 1979 and 1982, this significant historical building was completely revitalized and converted into a regional cultural center (Brodil & Kron, 1998; Salzburger Burgen & Schlösser, 2015). Today, the fortress Mauterndorf is an impressive monument of medieval construction achievements and the keeper of history of the
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Lungau region. A well-designed tour within the castle makes history "tangible", includes a visit to the museum, chapel, inner courtyard, living rooms, wardrobe, cave-basement, banquet hall and archbishop's private chambers.
Figure 3 Mauterndorf Castle. Application of interpretation - illustrations. Wax figures show authentically the medieval way of life (left). Interpretation of medieval customs is adapted to children (right). Sources: Foto Lečić, 2014.; https://www.salzburg-burgen.at/en/mauterndorf-castle/
Audio guides provide an opportunity for visitors to explore all parts of the castle. Listening is available in seven languages, and a fun version of interpretation was made especially for children. One of the highlights of the tour is a visit to the main defense tower. Designed models in a natural size authentically show the medieval lifestyle (Figure 3, left). The sixth floor of the tower provides a beautiful view of the entire Lungau region. In the Mauterndorf Castle, children and young people of all ages have the opportunity to experience time travel. Trained museum pedagogists transmit fascinating information about medieval customs (Figure 3, right), the method of collecting tolls for caravans that passed through the famous trade route, the interim summer residency of the Salzburg Archbishop and others. In the realization and the activities related to the interpretation there is a lot of fun, acting, authentic medieval scenes and enjoying of the typical culinary skills of that era. There is a large number of medieval costumes in the dressing room. The cave-basement is dedicated to the topics of "attack" and "defense", while the banquet hall is, among other, intended for children's play (Salzburger Burgen & Schlösser, 2015).
4 Conclusion Based on the analysis of selected best practice examples, it can be concluded that the initial assumption was confirmed - efficient approaches to the protection, presentation and interpretation of immovable cultural heritage, as well as adequate management, are crucial for the sustainable use and protection of immovable cultural heritage as one of the key
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potentials for the sustainable development of tourism and local communities. Examples of the Papal Palace in Avignon, the Bled Castle, and the Mauterndorf Castle confirm the premise that each place is authentic and that their presentation to the public is successful thanks to the well-founded principles of tourist interpretation. The planning and management solutions that promoted these medieval sites in the tourist market and made them world-famous, are in full interaction with their integrity, identity and local characteristics. There are also recognizable specific models of the interpretation of abstract objects, which emphasize the intangible aspects of authenticity related to the meaning of the place, historical events, tradition, life style, customs, as well as their natural features and values. The analysis of the chosen examples confirms that the protection of immovable cultural heritage and its tourist interpretation have many touching points, even unbreakable ties in some aspects. But, it also indicates that sustainable use and protection of immovabe cultural heritage can not be achieved through predefined forms and principles, but through adequate presentation and interpretation that must be designed in a way that authentically represents the spirit of the place. In this sense, interpretation is rather a philosophy, a matter of culture or an approach to solving development problems, than a set of ready-made solutions that are applied. The analyzed examples confirm the significance of the interpretation in the contemporary use of heritage, as well as in the development of a positive image, branding sites and creating innovative products. Examples also point to the importance of institutionalorganizational support to interpretation, in order to combine effective protection of cultural heritage and sustainable development of tourism. Acknowledgement This paper was carried out within the framework of the Technology Development Project Optimization of Architectural and Urban Planning and Design in the Function of Sustainable Development of Serbia (project code TR 36042).
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Beck, L. and Cable, T. (2002). Interpretation for the 21 st Century: Fifteen Guiding Principles for Interpreting Nature and Culture, Sagamore Publishing, L.L.C. Blejski grad (2015). Preuzeto: Jun 2, 2017. sa http://www.blejski-grad.si/ Brodil, I. and Kron, M. (1998). Die Burg Mauterndorf im Salzburger Lungau, Leber Druck, Oberndorf. Carter, J. et al. (2001). A Sense of Place: An interpretive planning handbook, Scottish Natural Heritage, The Tourism and Environment Initiative Bridge House, Bridge Street, Inverness IV1 1QR. Colquhoun, F. (2005). Interpretation Handbook and Standard: Distilling the essence, Department of Conservation, Wellington. Council of Europe (2005). Framework Convention on the Value of Cultural Heritage for Society, Faro. Desvallees, A. and Mairesse, F. (2010). Key Concepts of Museology, Armand Colin, ISBN: 978-2-200-25398-1. ICOMOS (2008). Charter for the Interpretation and Presentation of Cultural Heritage Sites, Quebec (Canada). Korać, M, (2011). Zaštita i interpretacija kulturnog nasleđa i održivi razvoj turizma, Održivi razvoj turizma u Evropskoj uniji i Srbiji, IAUS, Beograd, pp. 302-345. Lefranc, R. (2012). The Popes Palace in Avignon, Editions Ouest-France, Rennes. Magi, G. (2014). Avignon, Casa Editrice Bonechi, Firenze. Morales, J. (2001). Los objetivos especificos de la interpretacion, Boletin de Interpretacion, Asociacion Espanola de Interpretacion. Palais des papes (2015). Preuzeto: Jun 4, 2017. sa http://www.palais-des-papes.com/ Salzburger Burgen & Schlösser (2015). Burgerlebnis Mauterndorf. Preuzeto: Jun 4, 2017. sa http://www.salzburg-burgen.at/de/mauterndorf/index.htm Šribar, V. (1999). Blejski otok – L’isola di Bled, Turističko društvo Bled, Slovenia. Tilden, F. (1957). Interpreting our heritage, The University of North Carolina Press, Chapel Hill, 3a ed. 1977. UNESCO (1995). Historic Centre of Avignon: Papal Palace, Episcopal Ensemble and Avignon Bridge, Report of the 19th Session of the Committee. Vidic, M. (2011). Blejski grad – 1000 let prve omembe, Narodni muzej Slovenije, Bled.
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