ࡱ> 5@bbjbj22 8XXZ% 8 |,,"#,%,%,%,%,%,%,$@.R0^I,>>>I,^,> #,>#,V(@( t S( ,t,0,_(x00(0(80"#?I,I, $rX How architecture and urbanism can be preserved in situ? A case study of Dubrovnik-World Heritage Site Sandra Uskokovic University of Dubrovnik, Dubrovnik, Croatia ABSTRACT: Probably, the greatest and gravest change in the recent past that deserves attention is the destruction of urbanism. Therefore, the crucial question is how to achieve urban context value that would both enhance local character and reinforce a sense of community. The context value refers to preservation of urban spaces i.e. the urban culture of the city that enables continuity which is proven to be desirable characteristic of cities. Nevertheless, urban problems cannot be solved exclusively by architecture (or urban design) as a medium of direct communication but more likely by a social and economic process of which architecture is only a part. Today, we are aware that the idea, the concept, is more important than physical form. The fact is that architecture and urbanism form a part of living heritage areas that calls for a highly developed heritage protection and management systems in place. Perhaps concentrating on material evidences to be preserved is an inappropriate appraoch to a theme chiefly characterized by its volume of output. Instead, might it not be better to consider its residue as resources to be revalued? Along with the weak legal protection and under representation of the urban tissues of our cities, other threats such as environmental degradation, pollution, infrastructural development continue to affect the state of its conservation. We should move away from revering buildings and cities as vessels of culture towards revaluing them as a social resource, thereby aquiring more, and firmer, handholds on the realities of urban life. So much depends upon how we see, and with to see, our towns and cities. The representation of the contemporary city is no longer determined by a succession of streets and avenues. The critical issue is: How much of the original needs to be retained in order to preserve the integrity of the urban landscape as originally realized? Commercialization versus Conceptualization of Heritage The process of globalization and the emergence of new forms of communication and entertainment have created new imperatives for the conservation' and the preservation' communities, and the larger discourse about heritage. In this new arena where history is invented, heritage is often manufactured, and traditions are regularly commercially consumed, there is a need to re-conceptualize heritage and recognize the role that the hyper-traditions of the new built environments are playing in this ever-changing dynamic process. However, a greater focus on the cultural heritage as a resource for societal growth, such as tourism or other aspects of the experience industry, has turned the cultural heritage into process of becoming a commercial product. Consequently, a developed commercial use of the cultural heritage can mean over-exploitation, wear and tear, and idealisation, and new valuations of authenticity. Setting limits for the wear and tear of the cultural heritage is likely to be an important issue, and new cultural heritage work methods will be necesarry in terms of valuation and selection. On the other hand, the result of a developed commercial use of the cultural heritage may be over-exploitation and idealisation, but could also mean that cultural authenticity is valued in a new way. Authenticity may become something quite unique and one of several alternatives in a widened and multifaceted cultural heritage work of the future. Traditional economic models are designed to express all values in terms of prices, which are established in markets. We are aware that all heritage values cannot be put into the single, traditional economic framework, nor can they all be measured in monetary terms. Many cultural economists today, reject this view and turn their attention to decision making, policy formulation, understanding the role of gifts and other non-market-priced exchanges. There are number of social issues, cultural processes, and political goals, which contribute to civil society but are fairly invisible to traditional economic discourse. The recent model of sustainability has introduced the notion of economic terms, but also of cultural terms with respect to our heritage. One thing that economics has helped us do through the model of sustainability is to ask not simply the current value, but the value over a whole series of generations. The question is therefore how to bridge economic and cultural approaches in the evaluation of heritage that would enable us to understand, and engage, economic and other social forces that shape the ways we value heritage and conservation decisions forces that are ever more important in the globalization of society. It is important to emphasize that as a society we dont only work toward increasing our economic capital that generates economic values; we invest a great deal in social capital, which is the ability to associate with others, to form communities. Markets dont do well generating social values. It is actually the third sector or civil society that is critical in generating social capital, the sense of community and identity. Even the economists nowadays embrace the third sphere as the institutional setting for different kind of transactions distinct from market transactions and modes of governmental action such as grants, incentives, and regulation. In short, the three spheres' model seems to admit both economic and cultural analyses equally, and thus holds promise as a concept in which the full range of heritage values can be brought into a useful framework. It is thus an imperativ to consider and recognize the unique role of the third sphere as the locus of non-market, non-governmental, economic activities that is of great significance to heritage conservation. Finally, the architecture and the built environment are by-products of civilization, ideology and cultural processes, which therefore cannot be separated from each other. In other words, a focus on the cultures themselves, is needed too. All judgments about values attributed to cultural properties as well as the credibility of related information sources, may differ from culture to culture, and even within the same culture. It is thus not possible to base judgments of values and authenticity within fixed criteria. On the contrary, the respect due to all cultures requires that heritage properties must be considered and judged within cultural contexts to which they belong. Over the last 20 years, the vessel for the values and significance of the heritage sites have been discovererd in ill-defined immaterial constructs that have proven hard to grasp. The challenge is that at present, few tools have been developed for understanding, identifying or characterizing what those vessels for significance are, much less what the right legal or even moral procedures for protecting them should be. It is a major paradigm shift that relies on the acceptance of a new set of values and that requires a whole new way of conceiving heritage. Heritage actually has manifold views: heritage as a set of ideals, and heritage as things. It is thanks to the globalization that we have been able to think about, and discuss these conservation issues in a much broader context, connecting them horizontally beyond geographic areas. Today, we are aware that the idea, the concept, is more important than physical form, and that the idea should be incorporated into concept of heritage management. This dilemma raises several issues: What is that we are trying to preserve? Do we preserve things? Or do we preserve timeless, universal values? What kind of values, and whose? The last question forms a core of the broader problem in heritage management that involves issues of balancing and effectively managing a range of values ascribed to a site. What seems to be crucial in this value-based management is understanding, conservation, and communication of those values that make the site significant. Heritage certainly does not manage itself. Heritage management is equally concerned with managing human behaviour, as it is with managing a biophysical environment or a built structure. Perhaps concentrating on heritage to be preserved is an inappropriate approach. Instead, might it not be better to consider its residue as resources to be revalued? Consequently, preservationists have to promote broader, more abstract interpretations of historic context by addressing deeper levels of significance expressed in the cultural attributes of historic sources. We should therefore encourage the approach that focus on buildings as urban catalysts, and approach them from the point of view of their usage and significance as part of an urban reality. The example that illustrates such approach being embraced today in Croatia, is the case study of Lazarets in Dubrovnik. Case study The Lazarets, Dubrovnik Over the last eight years major rehabilitation programs have been carried out in Dubrovnik. The establishment of a system of budgeting through financial engineering (budget funding, other funding like joint ventures, concessions, donations, etc.) has proved to be so far as one of the most successful financial control mechanisms in Dubrovnik with respect to culture heritage' management. However, heritage organizations in Dubrovnik today lack conceptualization of heritage as cultural capital, that could suggest ways to measure resources and investments the subject of indicators (rather than price). Furthermore, cultural capital notion views heritage as an asset that appreciates over time, requires investment, incurs risk, and so on, that heritage organizations in Dubrovnik hesitate to embrace. Another problem that the cultural heritage protection in Dubrovnik is facing, is the question of the intended use and management of historic buildings and districts. After the 1979 earthquake, and the recent war in 1991, the cultural heritage organizations in Dubrovnik experienced a period of excessive state funding that had a double-sided effect, since it enabled the restoration and conservation of major important historic buildings but also led to the conservation approach that was essentially more similar to the building industry as by not taking into consideration the economic viability of the historic urban fabric. Museumification of the restored buildings resulted with the loss of the building vital functions and instead created a series of isolated buildings in a historic district originally characterized by diversity of expression and functions. Furthermore, the current Master Plan of Dubrovnik lacks viable conservation guidelines and an efficient system of mobility and infrastructure as an indispensable element in urban upgrading of both the historic center and the outskirts of the city. Additionally, during the last decade, recent redistribution of property, capital investment, new market economy, and tremendous tourism flows buoyed up by a wave of political and social transformation in Dubrovnik that have led to the drastic gentrification of the area and greatly exacerbated the situation. Despite the economic activities related to the increase of tourism, the inhabitants tend to abandon the Old City. Many well-off foreigns have recently bought the properties in the Old City, thus investing in them, a process that helped the restoration of the urban fabric, but consequently led to the gentrification of the area since the real estate prices went enormously high. Traditional houses of the Old City are inhabited today by families living on modest income which does not allow them to repair or upgrade their houses. For example, only 800 hundred inhabitansts live today in historic city of Dubrovnik, in comparison with 3000 people that lived there just few years ago. The city of Dubrovnik needs a rehabilitation program as a model for sustainable regeneration that would preserve both physical and socio-economic integrity of the historic center, and its communal territory. Future economic strategies for rehabilitation of the city should reflect the local needs and aspirations, and involvement of the grass roots in decision-making structures; and finally the initiation of small-scale local industry and business as an income generating projects in order to help the city to recover economically and socially. Finally, the objectives for the urban rehabilitation of Dubrovnik can be summarized as following: To preserve both the physical and socio-economic integrity of the architectural patrimony of the historic center and of the communal territory; To establish a system of better coordination between various governmental and non-governmental cultural (heritage) management organizations; To assure the continuity of the cultural heritage protection through long term planning strategies; To articulate urban conservation as a way of sustaining life in the city. The situation of heritage in Dubrovnik today, evidence the importance of restoring the lost urban context in order to enhance the genius loci of the place and reinforce a sense of community. Preservation of urban spaces contributes to the urban culture of the city that enables continuity which is proven to be desirable characteristic of cities. Based on the previously elaborated facts, it is obvious that urban problems cannot be solved exclusively by architecture (or urban design) as a medium of direct communication, but more likely by a social and economic process of which architecture is only a part. In February 2001 ART WORKSHOP LAZARETS (AWL) has initiated the Karantena which is a project of renovation and reuse of the Lazareti' complex that is a national landmark in Croatia. Art Workshop Lazarets (AWL) is the only non-profit organisation in cultural heritage field in Dubrovnik, and actually represents the third sector in Dubrovnik. Since its foundation, the AWL organised 160 exhibitions by foreign and local authors, about 20 international multimedia happenings, more than 150 concerts, and 70 theatre performances. During last three years the AWL also produced a festival of new theatre and performance, and organised numerous lectures, symposiums, video and film programmes. Meanwhile, Art Workshop Lazareti has gained an important and responsible role in the local community, especially in the cultural sphere. Projects like Karantena are not only opposing the galloping trends of mass tourism industry, present anywhere in Europe, but also promoting a cultural model for managing such situations. The main economic impulse for the Karantena project was free lease agreement (for a period of 25 years) that the city of Dubrovnik granted to AWL in 2001. It is a project of strategic importance not only for its conceptual quality and its character, but also as a landmark in remaking of historical site into object of real-life economy, and a venture for local and regional development. The Lazarets in Dubrovnik are among the few remaining and the best preserved examples of its kind in Europe, and the only example of a maritime lazaret in the Mediterranean (Figure 1-2). When the plague danger was over, all lazarets in Europe were pulled down, even the oldest ones in Milan and Venice. Construction of Lazareti in Dubrovnik began in 1627, but was not completed until 1642. The walls surrounding the complex were added in the 18th century in order to protect the population of the city following the outbreak of another epidemic of disease. Because of the severe effects of the sea, especially in the winter when the complex is exposed to southern winds and waves, the salt corrosion occurs, which is currently the main cause of deterioration of the complex. Sea salt has deteriorated the stone structure of the building and its connective materials, and its roof as well, that is made of wood. The complex was also frequently exposed to earthquakes, with especially negative impact on the building during the earthquakes in 1979 and 1996. In addition, the complex suffered significant damage during the war years of 1991 and 1992. The contract regulating a long term use of this complex signed between the city of Dubrovnik and the Art Workshop Lazareti, enables revitalization and restoration of three buildings, that should consequently lead to the revitalisation and restoration of the entire complex. In this way an ideal communication between the owner and the user of the complex is achieved.  Figure1-2: Exterior and atrium, the Lazarets The preliminary design, made by a group of young architects, an idea of a house within a house in the square, is inspired by a beehive. It is in harmony with the ambient and enables various programmes to be carried out at the same time (Figure 3-4). The project Karantena conceptualizes the whole complex as vertically integrated independent cultural center (exhibiting space, production studios and workshops, cinema, concert and performing space, new-media studio), hosting in-residence programs for artists, school for visual arts and dance, and a non-profit womens organization. In 2004/2005 local authorities (county of Dubrovnik and the city of Dubrovnik) have fully recognized and supported Karantena project as the best future function for the Lazareti complex.  Figure3-4: Layout and the interior of the Lazarets It also means that the better quality for the community life will be eventually achieved. Finally, integration of heritage and community goals is the key to sustaining the communities. The county of Dubrovnik took over the obligation to finance the renovation of the Lazareti so it can be used for arts school. Additionally, the city of Dubrovnik has already secured funds for the virtual museum of Dubrovnik that will be included in the project as well. Due to its modern urban profile program openness and its recognizable model, Karantena is one of main channels of getting Dubrovnik into the global heritage community. Thanks to the Karantena project the city will benefit a significant cultural, social and tourist dimension that leads to its sustainable development. Future , Heritage and Change Conversion to a sustainable society affects the conservation and protection of the cultural heritage. As the world constantly shifts in the context of the immediate past; we should ask ourselves which changes have been valuable, which not; how change can be externally effected; how change out to occur in the future? Finally, conservation is the process of managing change. Therefore, general development' tendencies are identified as being of special importance to the future historic environment field: an increasingly borderless society, democratization, participation and accessibility, a long-term sustainable development, regions taking new forms, more privatization and new actors in an increasingly borderless market, continued development of the experience economy, increased integration of IT in everyday life, a more heterogeneous population, changed public sector circumstances. Today's heterogeneous society takes shape with more visible and differentiated cultures followed by dissolution of geographical and cultural boundaries. Such diversity assumes greater variation in, for example, social visions and values. Eventually, in more heteregeneous and polarised society, the cultural heritage will become a more flexible tool and used by different groups and for different purposes. The future landscape will also be noticeably different. An increase in the number of future interests will lead to a parallel governance of activities and the risk of sub-optimisation. This could in turn cause reduced overview and control on the part of the cultural heritage sector, although it could also contribute to market adjustment and an emphasis on results and efficiency. Cultural heritage and historic environments are used today to market regions through the creation of regional profiles. An increased flow of information with new technologies, the Internet, GIS; etc., opened new possibilities for increased knowledge relating to the cultural heritage. However, the increased flow of information makes it more difficult to gain correct information. For example, brands have become more and more important today and the virtual visits compete with physical ones. Travel, increased mobility, increased physical and virtual contacts, and a mobile and borderless lifestyle, have also increased knowledge and openness relating to different cultures and ways of life with new forms and values. We are witnessing today a multifaceted cultural heritage concept, where a variety of conservation ideologies exist side by side. Although cultural heritage work becomes more multifaceted, rich and dynamic, it becomes more difficult to interpret. In a high technological, borderless and experience based society, the demand for visualisation and other interpretations of the cultural heritage and historic environment also have increased. The preferential right of interpretation that was previously the sole domain of public cultural heritage actors is now shared with those within others areas, such as experience production and role play, the tourist industry, the building industry, private property, owners and mangers. Finally, the cultural heritage's management conditions and requirements are always interlinked with societal development as a whole, which means that most of the questions that are of significance for the cultural heritage's protection and development are outside the direct influence of the cultural heritage sector. The historic environment sector is active today in many areas, such as environmental and nature conservation, energy, town planning, regional growth, integration and human rights and thus occupies an important role in the development towards a sustainable society. Society's different sectors, such as nature, culture, agriculture, social care, integration, etc,. now must work much closer together. This will give better and more substantial projects with new challenges and cooperative gains. We should not forget that new cultural heritage is created each time when landscapes are changed. New or intensified use, also increase possibilities for the conservation and use of parts of the cultural heritage or may mean that some cultural heritage disappears. There is a danger that environments will be increasingly tailored or Disneyfied in order to satisfy people's demands for more exciting experiences. This raises important questions about the use of history, and the effects of increased pressure on the historic environment. Therefore, we should ask ourselves, what does the cultural heritage say about people, society and our age, how is it used and what does it mean to people? Though we have already partially answered this question, it is the next generation to come that will be able to steward this new role of heritage in our lives and society. 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