Barker Langham has worked on the project for several years, helping secure funding, undertaking comprehensive audience development and producing an interpretive plan for the park. Whilst the finishing touches still need to be completed, we’re delighted to see the culmination of several years work in the regenerated People’s Park.

Barker Langham is assisting the University and a board of stakeholders in creating a new project at Uppåkra – a world-class archaeological centre based around a functioning archaeological dig, and a new Cultural Heritage Bank for the Skåne region.

We have defined the spatial requirements for the project, assessed the programming and visitor needs, and created an operational business plan for the project, based on local user and market research. We are working with the UK office of Ralph Appelbaum Associates, who are leading the feasibility study and creating a concept for the interpretation of this fascinating site.

We researched the various alternatives and engaged the local community in the process, working with architects Form_Art to develop a range of options. Following this, three imaginative concept designs were developed combining a bike storage solution with a cultural element, so that we could create a recognisable visual point for the area, and offer opportunities for the local community to express their heritage through the curation of displays.

The toilet block will now be demolished and a bike storage solution for 80 bikes is being installed for use by local residents, as well as new toilet facility. The site will also be home to a cafe kiosk.

Javier Caro-Martínez: Are terms such as sustainability (which in a broad sense could also imply the “cultural” sustainability of the building), or “green”, understood in the same way by all stakeholders?

Fiona King: I think that there is definitely some variation in the way that people interpret the terms ‘sustainability’ and ‘green’ and there has certainly been lots of discussion about the usefulness of these terms in the sustainability sector, for example some people argue that the term is too abstract and perhaps not meaningful enough to many people. Sustainability is generally seen as supported by three pillars, that is, environmental, economic and social sustainability. Personally I believe environmental sustainability to be the most important of them, since both social and economical sustainability are only achievable within a sustainable environment. I think the term ‘sustainability’ is useful, and can help provide a framework for all organisations – including museums and heritage organisations – to work within. Even if museums and heritage are not as far along this path as I’d like to see, they are definitely en route, and are key players along with other stakeholders (which includes everyone!) in the debate on sustainability.

JC: Do you think that the adaptation of historic buildings to new necessities may in a way challenge assumed perceptions of historic heritage as something untouchable that must be preserved as it was passed down to us? Have you found any opposition from the stakeholders to some of these projects, for example from those who view them as sacred?

FK: It is true that some organisations, such as the Churches Conservation Trust, may be perceived as being overly-traditional when in actual fact this is not necessarily the case. The Churches Conservation Trust is doing brilliant things with a church in Bolton for example and are in the process of turning it into a very cool building for the community. I suppose these types of projects often challenge common assumptions about traditional buildings and some people might find that difficult. However, I think you have to be realistic and realise that buildings sometimes need to adapt to survive. And I think lots of people do realise this. Either you have a decaying, unused building in the heart of your community or you can transform that building, give it a new use and help it to survive, albeit in a changed way. Of course, you must be sensitive and choose an option that suits the building and the local community but this is completely possible. And from an environmental perspective, you are also making the most of the embodied carbon in the building, the materials, the resources that went into the building of it, and reusing rather than destroying and rebuilding.

JC: It seems that one of the major concerns of professionals concerned with both sustainable environmental and heritage matters is to consider the local communities’ needs and opinions when developing a project. Is it really possible to bring together expertise and the real needs of the community? If so, how may the locals get involved in the project?

FK: Yes, it is definitely possible and completely essential! Community consultation is a vital part of project development and if you are seeking funding for your project, from organisations like the Heritage Lottery Fund, then this is usually a must. I definitely don’t see the bringing together of expertise and the real needs of the community as problematic. Communities are often pleased to see investment in their local area and heritage. And if they are not properly consulted, then this can have a real impact on the long-term social sustainability of the project. Consultation, of the type we do at Barker Langham, is all about involvement and creating a sense of ownership. Without that, a project won’t work well for anyone, whether the local community or the heritage professional.

JC: Partnerships, such as that of the National Trust and the electricity and gas company Npower, seem to be an interesting way to tackle environmental problems. Do you think that partnerships between heritage organizations and private companies may be the model to be followed the future?

FK: I think these types of models can be quite successful as in the National Trust case, but is just one model out of several that we should be using to tackle the enormity of the issues that we need to tackle today. It does help to get genuine commitment from the private sector, but you also need the commitment of central government, local authorities… everyone really… to develop new models and partnerships to actually get things moving and changing.

JC: As you mentioned in one of your articles some argue that heritage buildings were made to last and thus there is a lot we could learn from them. Do you think it is feasible to go back to former ways to understand and create buildings in a different economic and social milieu?

FK: I believe it is definitely feasible. We can learn a good deal from the past. For example, traditional building techniques would I think consider the position and orientation of a building to make the most of the natural environment. To perhaps maximise solar gain, for example, or make the most of shelter. I love the idea of incorporating this into modern contexts where possible. We need a massive cultural shift but within a modern context and applying modern knowledge.

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Fiona King is a Consultant with Barker Langham, prior to which she worked for sustainable development organisation Forum for the Future. She has also worked at the Horniman Museum and Gardens and the National Trust for Scotland. She has an MSc in Built Environment: Sustainable Heritage from University College London, and is a regular contributor to the environmental magazine Green Futures.

Javier Caro-Martínez received his BA in History in Madrid and is currently undertaking an MA in Cultural Heritage Studies at University College London. He is part of a student team working with the Geffrye Museum on a project as part of the Cultural Olympiad. He is currently interning with Barker Langham.

Eric has worked in the Middle East since 2005 on a number of high profile cultural heritage projects such as Al Jahili Fort in Al Ain and the Wilfred Thesiger exhibition, Freedom of the Desert.

We’re working with them to help develop their new flagship National Museum in Doha, a Jean Nouvel-designed building inspired by the intricate petal-shaped sand formations of the desert rose. Due to open in 2015, this museum will capture Qatar’s culture and heritage in a series of impressive galleries, designed to appeal to both locals and tourists alike.

Take a look at what to expect here.

Research Support

Rachel is responsible for conducting research and developing content for exhibitions, and for processing information on Barker Langham’s content management system.

Rachel joined Barker Langham after completing a Masters in Art Gallery and Museum Studies at Manchester University, where her research focused on public collaboration in museum collecting. She graduated with First Class Honours in Classical Archaeology and Ancient History from the University of Oxford in 2010.

During her studies, she volunteered at Fishbourne Roman Palace and Manchester Museum, gaining valuable experience in content management, collections care, archaeological fieldwork, education and research.

We’re there to undertake some community engagement for the RSPB, as part of their Round 2 application to the Heritage Lottery Fund. We’re hoping to find out what activities and events people in the villages of Bempton and Buckton, as well as those slightly further afield in Bridlington and Filey, want to see take place at Bempton Cliffs in coming years.

We won’t be quite the spectacle of the 250,000 seabirds that flock there every spring and summer, creating an awesome sight. But we hope to do our bit…

If you would like to have your say about Bempton Cliffs, then do let us know.

Over the next few months, we will be developing the business plan for the project, which aims to bring together Manchester’s most important archives under one roof. The revamped Manchester Central Library will be home to this significant collection, and locals and visitors alike will benefit from much greater access to the city’s heritage, as well as their own.

Take a peek inside the Library to look at the work that has been done so far.

Working alongside the V&A curatorial team and with architects Caruso St John, a new design brief was developed that provided the museum with a new thematic structure, visitor route and visitor reception, suitable for both children and adults. For children, we ensured that interactives, games and object-rich exhibits provided National Curriculum learning opportunities. And for adults, we provided more in-depth content and experiences, alongside bite-size information on objects that could be easily conveyed back to their families.

The Museum won the Visit London Kids Love London Award in 2004 and the Museums and Heritage Magazine Readers’ Award in 2008.