Contemporary Architecture in Historic Urban Environments

Contemporary Architecture in Historic Urban
Environments
By Susan Macdonald
A critical issue facing decision makers and conservation
professionals is accommodating change to heritage places and
adding new layers to the historic urban environment in ways
that recognize, interpret, and sustain their heritage values. Over The Kunsthaus Graz in Graz,
the last decade, a vigorous debate has ensued regarding the Austria, designed by Peter
appropriateness of contemporary architectural insertions into Cook and Colin Fournier.
historic urban areas. This debate has polarized sectors of the Opening in 2003 and located
architectural community, pitting conservationists against in the center of the historic
planners and developers. It has positioned conservationists as city, it is representative of
antidevelopment and antiprogress, responsible for stifling the high-profile buildings that
creativity of a new generation of architects and their right to aim to be iconic by
contrasting with a city's
contemporary architectural expression.
urban
Change, however, is inevitable. Buildings, streetscapes, and existing
Photo:
urban areas evolve and change according to the needs of their fabric.
Flavio
Vallenari.
inhabitants. Therefore, it is important to determine the role of
contemporary architecture in contributing to this change in
ways that conserve and celebrate the special character and quality of the historic environment
that communities have recognized as important and wish to conserve for future generations.
Historic areas typically exhibit a range of heritage values, such as social, historical, and
architectural. Frequently, they also have aesthetic significance; therefore, the design quality of
new insertions in a historic area is important. One of the challenges in this debate on the role of
contemporary architecture in historic contexts is that design quality can be seen as subjective.
Assessing the impact of new development in a historic context has also been accused of being
subjective. However, increasing development pressure has pushed governments and the
conservation community to provide more objective guidance to secure what is termed "the three
Cs," namely:
certainty in the planning system about what constitutes appropriate development;
consistency in government decision making; and
communication and consultation between government decision makers and the

development sector on creating successful outcomes.
Design professionals differentiate between taste and design quality. Taste is subjective, while
quality is measurable. Prescriptive planning tools such as height restrictions, envelope
limitations, and requirements to use certain materials all attempt to provide qualitative design
measures. In many places, it is only when a historic building or area is involved that issues of
design quality and character are included in the planning process through development or impact
assessment. Clearly there is a need to provide guidance or establish well-understood standards to
assess new development occurring within treasured streetscapes, neighborhoods, or historic
landscapes, in order to meet the three Cs. Given that the debate is now occurring at a global
scale, such standards need to achieve some level of consensus at an international level.
STARCHITECTURE IN THE HISTORIC CITY
The recent phenomenon of celebrity architecturethose Ait Ben Haddou in Morocco.

landmark buildings described by Charles Jencks as "enigmatic This World Heritage Site is
signifiers"has elevated the new architectural monument to an example of an urban
in
which
the status of a great artwork and signals the emergence of those settlement
traditional
who have come to be known as starchitects. City leaders, vernacular
building
forms
and
materials
anxious to secure global status for their city in an increasingly
competitive world, have turned to these international celebrity continue to be used for new
architects to create new iconic landmarks to put their city on construction, resulting in an
the map. For example, Frank Gehry's brief for the Guggenheim architectural integrity and
Museum (199397) was "to do for Bilbao what the Sydney authenticity that offers a
harmonious
relationship
Opera House did for Sydney."
Jencks, in his 2005 book The Iconic Building, contrasts the between the natural and
traditional monument with the celebrity buildingwhich is social environment.
driven by commercial needs and whose role it is to stimulate Photo: GCI.
interest and investment in cities through its attention-grabbing,
provocative design. "In the past," he writes, "important public buildings, such as the cathedral
and the city hall, expressed shared meaning and conveyed it through well-known
conventions." Such important public monuments may be museums, as is the case with the
Guggenheim in Bilbao, but since the mid-1990s, the monumental approach has been extended to
a wider range of private buildings, such as department stores, apartment buildings, and even
additions to family homes. The acceptability or fashion for attention-grabbing buildings means
that difference is applauded and is celebrated over contextualized designthe approach the
preservation community generally advocates. Some of these buildings may be fabulous, but how
many monuments does the urban environment need? What will it be like in the future when the
buildings are all unrelated, each vying for attention and without the traditional hierarchy of
monumentality that enables a reading of the urban landscape as it relates to function? Where
does the iconic building fit within the already existing iconic urban fabric of the historic city?
Herein lies the conflict. Starchitecture clamors for attention to consciously create an identity for
the aspiring global city. In the case of the historic city, such as those included on theWorld
Heritage List, the city has already been recognized more often than not for its architectural,
aesthetic, and historic character. Preservationists would argue that the historic city is already
iconic, so new development that seeks to stand apart from it is likely to receive criticism from
communities, many of which have worked hard to protect the historic area. Sometimes it is the
homogeneity or unity of the architecture that is important; sometimes it is the combination of
historic layers and parts that contributes to significance. Perhaps ironically, inevitably it is its
local distinctiveness that is being celebrated through the international recognition World Heritage
listing brings.
In the early 2000s, a number of World Heritage sites were nominated to the List of World
Heritage in Danger, due to proposed, highly contemporary development deemed inappropriate
because it potentially threatened the outstanding universal values of the nominated sites. The call
by the World Heritage Committee (WHC) for action to address this issue resulted in a 2005
conference in Vienna entitled "World Heritage and Contemporary ArchitectureManaging the
Historic Urban Landscape." The outcome of this meeting was the Vienna Memorandum,4 which
proposes an integrated approach to the contemporary development of existing cities in a way that
does not compromise their heritage significance. Since that time, the WHC has worked with its
advisory bodies to address a number of related issues pertaining to the conservation and
management of the historic urban landscape.5 Simultaneously, many local governments and
heritage institutions have worked to develop guidance to gain a shared understanding of what
constitutes appropriate development in the historic environment between owners, developers,
and decision making bodies.6
CREATING TOMORROW'S HERITAGE
There are varying views on what constitutes appropriate new development within a historic
context. Some argue that new insertions to the fabric of the historic urban environment should be
in the style of the old. Historically, traditional settlements and cities like Ait Ben Haddou in
Morocco or Zanzibar's stone town have demonstrated a continuum of building traditions that
exemplifies this approach. In the pre-modern era, redevelopment in commercial city centers,
such as London's Regent Street, followed a Beaux Arts approach, with grand town planning and
architectural gestures. With the advent of Modernism, large-scale reconstruction, which
architecturally broke with traditional architectural and planning forms, changed the face of many
cities in the twentieth century. In recent times, in reaction to modern interventions, some
architects have chosen to continue to design buildings in a more historical style while
nevertheless utilizing modern materials and technologies. Others abhor historicism and argue
that each generation should represent its own time. New layers should represent the ideas,
technology, materials, and architectural language of each generation. Pastiche is a dirty word.
The historic environment can, in fact, accommodate a rich variety of interpretations and
expressions. A vernacular or traditional response may be as valid as a more contemporary
response. It is the quality of the relationship between old and new that is critical, not the
architectural language per se. Issues such as scale, form, siting, materials, color, and detailing are
important to consider when assessing the impact of a new development within a cherished
historic town, city, or site. These criteria are examples of those typically considered when
assessing the impact of new development in a historic context.7
Most successful new buildings designed in a valued historic context inevitably rely on an
understanding of, and then response to, the special character and qualities of the context. As with
any conservation work, understanding significance of the place is crucial. Also in common with
most conservation work is that it is case specific. A city center with an architecturally unified city
core may need a different approach than one that has a variety of architectural forms, scales, and
expressions. In an urban settlement that continues to sustain traditional craft and building
techniques and materials, it may be extremely important to promote the continuation of these
practices.
An important starting point is the premise that the place has been identified by present and past
generations to be important enough to warrant protection and be subject to the prevailing laws,
regulations, and policies to secure its conservation and to manage change in such a way that its
significance is conserved. The responsibility of designers is to ensure that their work contributes
to and enriches rather than diminishes the built environment. Conservation principles can often
lead to heightened levels of creativity. Many architects, initially frustrated by the seeming
interference of the conservation practitioner, in the end will agree that the outcome has been
enhanced through a rigorous, well-articulated process.
Conservation is a balance between preserving the special character, quality, and significance of
the historic place and facilitating change in a way that sustains it into the future. Inevitably every
decision and subsequent action is of its own time. The role of the conservation practitioner is to
ensure that today's decisions do not do irreparable damage. Successful designers recognize that
working within the historic context is not a constraint but an opportunity where the whole can
be greater than the sum of the parts, and where a contemporary building can add a rich new layer
and play a role in creating the heritage of the future.
Susan Macdonald is the head of Field Projects at the Getty Conservation Institute.
1. Charles
Jencks, The
Iconic
Building (New
York:
Rizzoli,
2005).
2. Jencks, Iconic
Building,
12.
3. Jencks, Iconic
Building,
7.
4. UNESCO World Heritage Centre, Vienna Memorandum on World Heritage and
Contemporary Architecture Managing the Historic Landscape (Vienna: UNESCO World
Heritage Centre, 2005). 5. The World Heritage Center's Historic Cities Program is engaged in
developing a recommendation on the Historic Urban Landscape, including investigating the
impact of contemporary architectural additions on historic urban environments. See
www.whc.unesco.org/en/cities.
6. Examples include the United Kingdom's Commission for Architecture and the Built
Environment (CABE) and English Heritage, Building in Context: New Development in Historic
Areas (2001), available online at http://webarchive.nationalarchives.gov.uk/20110118095356/
http://www.cabe.org.uk/publications/building-in-context. See also NSW Heritage Office and
Royal Australian Institute of Architects (NSW Chapter),Design in Context: Guidelines for Infill
Development in the Historic Environment (Sydney: NSW Heritage Office and RAIA NSW,
2005),
available
online
at
www.heritage.nsw.gov.au/docs/DesignInContext.pdf.
7. See, for example, NSW Heritage Office and Royal Australian Institute of Architects, Design in
Context, which includes these as criteria.

Contemporary Architecture in Historic Urban Environments

Uploaded by

Copyright:

Available Formats

Contemporary Architecture in Historic Urban Environments

Uploaded by

Document Information

Original Description:

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Contemporary Architecture in Historic Urban Environments

Uploaded by

Copyright:

Available Formats

Contemporary Architecture in Historic Urban

certainty in the planning system about what constitutes appropriate development;

consistency in government decision making; and

communication and consultation between government decision makers and the

The recent phenomenon of celebrity architecturethose Ait Ben Haddou in Morocco.

You might also like