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Julian Smith is an architect, planner, and educator. He is Executive Director of Willowbank, an alternative non-profit educational centre in Canada that works at the boundary between heritage conservation, ecological awareness, and contemporary design and development. It teaches builders, designers and urbanists using a shared curriculum combining theory and practice. He is also principal of Julian Smith & Associates Architects, and has worked on culturally-significant sites in North America, Europe and Asia. He is President of ICOMOS Canada, and was one of the contributing authors for the 2011 UNESCO Recommendation on the Historic Urban Landscape.
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Presentation Abstract: ‘Everyday Use’
Alice Walker grew up as the youngest of eight children in a sharecropper’s family in the American south. Her wonderful short story, Everyday Use, is about quilts, and about quilting, and about family, and about confronting change.
The cultural heritage world is facing change – moving out of the comfortable confines of a self-contained field with its own rules and regulations. The definition of fabric in the Burra Charter is being constantly challenged by new shades of interpretation. Our field is becoming part of broader conversations, about sustainability and lifestyle and language and creativity. Disciplinary boundaries are being broken and refashioned. PTN, ICOMOS, IUCN, Habitat III, the Post-2015 Development Agenda – these are all interconnected. It is wonderful, this slow opening up of conversations between previous solitudes.
However, we must not lose sight of the ‘quilt’ – the making of the quilt, the caring for the quilt, the passing down of both the knowledge of quilt-making and the exquisite beauty of the patina of everyday use. It is the fabric of the quilt that connects us to who we are. Without it, we are at risk of being adrift in a broad sea of conversations without an anchor.
In Canada, Willowbank is one effort to provide such an anchor while encouraging the exploration. We are an independent nonprofit institution, providing an alternative path to working in the cultural heritage field. We use the same curriculum to train carpenters, stone masons, community activists, gardeners, urban planners, architects, theorists. Our faculty is aboriginal and non-aboriginal. Our method of teaching is both apprenticeship and academic. Why? Because the slow process of the lime burn, the sweaty teamwork of timber framing, the intricate pinning of a damaged gravestone, the planting and harvesting of a community medicinal garden – these are as important to our students as designing the adaptive reuse of an abandoned factory, collecting cognitive maps in an at-risk neighbourhood, discussing the relationship between Nara and HUL. It is a respect for cultural heritage that comes from an appreciation of its gritty day-to-day reality. And that appreciation then connects us to the broader world.
We are all surveyors of the fabric, in our own ways. Not perhaps in the sense of Sir Bernard Fielden at York Minster, but surveyors nonetheless, of our own quilts and tapestries. And in ways that are physical as well as intellectual, sensual as well as rational. Ours is not a field of theory, but of theory and practice inextricably intertwined. That is the joy of it, and of this conference.
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