Heritage Preservation Education by Digit

Robert PotoÄ?nik

Heritage Preservation Education in primary school fine art activities

Robert PotoÄ?nik

Bratislava, 2018

Heritage Preservation Education in primary school fine art activities

Written by: Reviewed by: Translated by: Published by:

URL access:

dr. Robert Potočnik dr. Tonka Tacol, Prof. Dr. Božena Šupšáková, PhD. Dora Debeljak Digit, s.r.o., Publishing House, Bratislavská 18, 900 21 Svätý Jur, Slovakia

http://www.arteducation.sk

The cover image has been created by two Grade 6 students.

CIP Data created by the Slovak National Library. On-line ISBN: 978-80-968441-4-2

Index Preface ..........................................................................................................

Cultural heritage concern ..........................................................................................................

The cultural heritage concept ..........................................................................................................

Definition of cultural heritage concern concepts .......................................................................................................... 13 Global and national cultural heritage concern in various periods of world history ..........................................................................................................

Architectural, cultural landscape and visual art heritage concern ..........................................................................................................

Architectural heritage concern ..........................................................................................................

Cultural landscape heritage concern ..........................................................................................................

Visual art heritage concern ..........................................................................................................

Inclusion of cultural heritage concern content in the educational process .......................................................................................................... 39 Inclusion of content in curricula ..........................................................................................................

Heritage Preservation Education implementation performance ..........................................................................................................

Raising awareness and Heritage Preservation Education in primary school fine arts activities .......................................................................................................... 52 Recommended content in the first educational period .......................................................................................................... 53 Recommended content in the second educational period .......................................................................................................... 55 Recommended content in the third educational period .......................................................................................................... 56 Practical examples ..........................................................................................................

Architectural heritage concern ..........................................................................................................

Cultural landscape heritage concern ..........................................................................................................

Visual art heritage concern ..........................................................................................................

Results of the research on students' awareness of cultural heritage concern in fine art activities in primary school ..........................................................................................................

Conclusion .......................................................................................................... 94 References ..........................................................................................................

Subject index .......................................................................................................... 106

Preface

The aim of the monograph is to examine heritage preservation education in primary school fine art activities. Organisations, such as the UNESCO (United Nations Educational, Scientific and Cultural Organisation), ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property), have all launched programmes whose purpose is to raise the awareness on the importance of preserving cultural heritage among youth (Aslan, Adremagni, 2006). The National Culture Programme in the Republic of Slovenia (2014) stresses the need to include cultural heritage content in all levels of the education system (kindergarten, elementary school, high school, under- and postgraduate studies and lifelong education). A high-quality inclusion thereof requires highly qualified professionals in educational and cultural institutions and inter-institutional collaboration. The National Guidelines for Culture and Arts Education in the Education System (2009) in the Republic of Slovenia highlight the importance of promoting the conservation and preservation of cultural creation significant for national, European and global cultural heritage. Students should be encouraged to follow arts and culture and become involved therein by means of diverse didactic approaches applied in the learning process in the classroom, arts and cultural and other institutions. Didactic approaches shall thus develop their ability to provide critical interpretation and evaluation of visual arts and their creativity in their own artistic expressions. By systematically promoting critical thinking and raising awareness of students on the importance of cultural heritage concern in all levels of the educational process in addition to providing students with artistic tasks by including such content, teachers have the ability to impact the values, views and behaviour of students with regard to cultural heritage, its conservation and preservation. The importance of cultural heritage to empower national and cultural identity can be promoted by imparting the knowhow on the conservation and preservation thereof (Gesche Koning, 2008; Greffe, 2009).

Cultural heritage concern The cultural heritage concept

Heritage as a concept has two different meanings: either as estate under succession or as tradition; historical memory, the past; tangible, social and spiritual elements of culture and ways of life that interconnect the respective present with past periods (Slovenian Glossary of Ethnological Terms, 2004). The Cultural Heritage Protection Act of the Republic of Slovenia (ZVKD-1, 2008) defines heritage as assets inherited from past generations defined by the citizens of the Republic of Slovenia as a reflection and expression of their values, identities, religious and other beliefs, knowledge and traditions. Heritage thus includes all aspects of the environment that arise from the interaction between people and space over time. The adjective “cultural” is required only by focusing to differentiate between man-made and natural heritage, i.e. heritage created by nature without interacting with humankind. The adjective “cultural” is justified also when you seek to use a term normatively introduced by law. A few decades ago, heritage was associated with succession, with what an individual receives as heritage after the death of their ancestor. Ethnology and anthropology have provided various definitions of culture which have changed over time. Culture as a concept stands for all tangible, social and spiritual efforts of humankind that mark tangible social and spiritual culture achievements of past generations that serve as the basis for preserving the identity of a specific nation. The main function of culture is its non-subordinate inclusion into contemporary life, with an emphasis on education, economy and tourism, imparting past knowledge, empowering national and cultural identity. The broad definition of culture has yet to be implemented in practice. The understanding of culture remains to be associated predominantly with exceptional cultural works, something unique, the best, the most exquisite. This elitist view and treatment of the issue continues to be widespread both in the general public and in political and economic circles (Testaniere, 2012:4). In Slovenia, cultural heritage was introduced as an official concept in 1974 when Yugoslavia signed The Convention concerning the Protection of the World Cultural and Natural Heritage – The World Heritage Convention (Bogataj,

1993:13), in the past, it was referred to by the terms monuments, sights, tradition, antiques. A broad definition of culture introduces new dimensions to the cultural heritage concept as well. One could go as far as to say that both concepts are almost identical given that cultural heritage stands for all human creativity created as a result of human agency and not agency of nature or arising therefrom. As such, cultural heritage refers to various forms of relations between humankind, their cultural environment and creations contained therein. Cultural heritage thus encompasses all cultural expressions handed down from past generations and inherited by contemporary society (Testaniere, 2012:5). In particular since the 1970s, heritage stands for all valuable properties and cultural elements of the local environment that one seeks to protect against deterioration or destruction by the technologically developed world. However, some artefacts may be seen as heritage despite their recent creation and lack of historical importance (Fakin Bajec, 2011a). Cultural heritage includes various sources and evidence of human history divided into tangible, intangible or living, immoveable and moveable heritage (Jokilehto, 2005, Ahmad, 2006, Vecco, 2010). Cultural heritage as a term has been expanded in a way that one could claim that it stands for any type of positive or negative inter-generational relationships on the individual and social levels (Hall, 2007; Tunbridge, Ashworth, 1996). Cultural heritage has been created as a result of past developments, which is why, generally speaking, all cultural heritage also forms part of historical heritage (Podgornik Zaletelj, 2014:285). All cultural heritage has been created as a result of historical developments and bears witness thereto, concealed behind its form, author, purpose of use. By focusing on solely tangible heritage, it can be found that its definition has expanded to include at least three additional types of heritage: contemporary art; non-artistic and non-historical (natural) heritage, the heritage of science and technology and the heritage of lore and folklore. “Heritage standing for inherited property shifted to symbolic identity-based heritage; heritage controlled by the state shifted to society-, ethics- and community-based heritage.” (Lah, 2002:47) It could be argued that cultural heritage as a concept is composed of:  

values (such as humanity – e.g. the Franja Partisan Hospital); experiences (such as construction methods – e.g. the construction of dry walls);

   



symbols (such as the lime leaf as a Slovenian symbol); life patterns and rules; creation (fine arts, music, etc.); works resulting from all of the above and which bear witness to historical developments (such as highly important artistic, scientific and other achievements throughout the development process on an individual or group/national level); (natural) rarities and sights that have been discovered, explored and are protected and bestowed for future generations (Testaniere, 2012:5; Grafenauer Bratož, 2009:6).

Various sources (Bogataj, 1993; Testaniere, 2012; Bader, 2001) describe three ethnological concepts of culture and cultural heritage: identity, continuity and alternative. Culture and cultural heritage of the local territory imparts a unique identity. Identity is a characteristic that heritage applies to help co-shape your own, personal, community, regional and national manifestations. The fundamental identity given to every human being is their physical identity that is usually fixed (with the exception of plastic and sex reassignment surgery (Ćernelič, Krošelj, 2012)). Other identities are conditioned by society and do not exist in their own right until they are designed, substantiated and accepted by dividing people and artefacts into various categories, by linking someone/something to someone/something else in a specific social environment. Identity is thus an analytical construct that is found in social practices and processes associated with human activity. In that sense, all human identities are social identities created as a result of specific social relations and can thus be only understood as a process (Brumen, 2000). This diversity is a specific and exceptional characteristic compared to other world nations and serves as link therewith. It facilitates overcoming self-sufficiency and serves as a guiding post. One thus cannot demonstrate one’s cosmopolitanism by simply copying foreign patterns and seeking links between them and us. Any element of our own culture and cultural heritage is just as valuable as any element of the French, Greek or Thai cultures. There are namely no objectives and widely-accepted criteria used to measure their specific values, attractiveness and importance. Quite often, even though value can display a strictly symbolic nature, that feature does not reduce the significance of a particular element in the entire mosaic of cultures. One could

also suggest that the state of cultural heritage and the attitude of a society towards it serves as a mirror of a specific society, its values and, most of all, a reflection of the quality of life. One could describe that as continuing tradition in contemporary society and new contemporary forms created thereby. In short, that is continuity, which builds upon the perception of time built on the history or geography of a specific area present for at least one generation, which thus marks one of two factors that heritage is composed of (Bogataj, 1993; Testaniere, 2012). Culture and cultural heritage facilitate alternativity, a challenge that introduces an element of quality to contemporary life. Terms such as quality of life are becoming increasingly important and, from our point of view, almost unattainable, since, more often than not, quality of life refers to the financial and economic aspect. Quality of life in a more profound sense is connected to and subject to our social, spiritual (mental) and cultural dimensions which can be provided by heritage as demonstrated in inter-personal relationships, hospitality, creativity, etc. Heritage models shall be understood through the lens of a specific period of time and by establishing a link to the contemporary world by observing the ever-changing nature of heritage. Heritage is not only the bearer of national, aesthetic, religious and other values but is also an economic, spatial (e.g. heritage seeks to confirm spatial identity/heritage serves as ground for protecting, restoring and facilitating the development of a specific space) and social category (e.g. heritage brings people together or divides them subject to their perceived identities). In contrast to heritage, tradition is a more neutral term whose significance lies in the importance of handing over, passing on, referring to and drawing from the past; traditionally, tradition also stands for ensuring referring to the past by, for example, elements thereof. The term tradition can also be understood as everything preserved and consolidated through a lengthier period of time in the life of specific groups or individuals or the manifestation of a repeated event consolidated in a lengthier period of time referred to as “traditional” (Bogataj, 1993, Testaniere, 2012). Our attitude toward cultural heritage can be divided into various groups (Bogataj, 1993; Ćernelić, Krošej, 2012): romantic and nostalgic, negative, economic or market-based, development- and innovation-based, invention-based and professional attitude. The romantic and nostalgic attitude is the most widespread and includes various types of pathos and amateurishness. The romantic and nostalgic attitude

usually includes an emphasis on national awareness and, in many cases, excessive attempts to find typical and original features of one’s own cultural heritage. This attitude can be found in the education system, the tourism sector and the parts of the Slovenian nation living outside the territory of the Republic of Slovenia. Folklorism which is a substitute for heritage and which could be described as an imitation or amateur reconstruction can also be found (Bogataj, 1993; Černelič, Krošej, 2012). A negative attitude towards heritage is most prevalent in various forms and associations. Such an attitude towards heritage can also result from the ignorance and lack of awareness of its importance in the contemporary context and can be found in numerous individuals who refute everything associated with the past. Some individuals frequently describe elements of heritage in housing culture, internal design, culinary and some other types of culture in addition to elements of heritage characteristic for their parents and grandparents as backwardness. By refuting the past, they believe to have become categorically “contemporary” themselves. In some individuals, a negative attitude towards heritage stems from negative memories of a tough youth, of a world and environment they are ashamed of. Frequently, elements of heritage go hand in hand with the specification of a social environment that a specific individual belonged to in their youth or in a specific social system. An extreme type of a negative attitude towards heritage can be associated with ideology which regards specific monuments as material evidence of everything that simply must be destroyed. Even though iconoclasm or the destruction of monuments or assertive rejection of veneration of sacred images (Verbinc, 1968) is historically associated with the rule of the Byzantine Emperor, Leo III the Isauran, and the prevalence of the iconodules, it is a relatively wide-spread phenomenon dating back to Ancient Egypt which has remained present in contemporary society (Badurina, 2000). Justifications for such behaviour can differ – in most cases, they are based on religion, but can also stem from specific ideologies, political beliefs, cultural and aesthetic values or are simply acts of vandalism when individuals seek to damage artefacts displayed in galleries, museums and churches. Almost no culture has been spared from the destruction of monuments. Extensive systematic destruction or destruction of specific monuments can be found all over the world, from Europe and Africa to Russia, India, China and South America, during the last two decades also in Muslim countries. An economy- or market-based attitude has a rich history. Antiquities trade dates far back in history. Nowadays, the market-based attitude dominates. The market-based attitude does not refer only to trade but also to its various forms,

such as resale and exports. Collecting various artefacts, purchasing buildings and even castles have become extremely fashionable practices. Private-owned collections definitely can be credited with preserving numerous elements of heritage. Nevertheless, the phenomenon has resulted in negative consequences: in situ robbing of heritage, trafficking abroad, unprofessional restoration procedures, etc. The development-, innovation- and invention-based approach regards heritage as a development category that facilitates innovative co-shaping of the present and development of the future and which serves as the basis for new ideas and developing new heritage. The last example of attitude towards cultural heritage is a professional attitude towards heritage with the following characteristics: discovery and exploration, preservation, conservation, protection and presentation (Bogataj, 1993; Testaniere, 2012). A list of short definitions of the main terms for standardisation purposes is provided below.

Heritage

Stands for assets inherited from past generations defined as a reflection and expression of one’s values, identities, religious and other beliefs, knowledge and traditions. Heritage can be divided into the following:  values (such as humanity – e.g. The Franja Partisan Hospital);  experiences (such as construction methods – e.g. the construction of dry walls);  symbols (such as the lime leaf as a Slovenian symbol);  life patterns and rules;  creation (such as architecture, paintings, sculptures);  works resulting from all of the above and which bear witness to historical developments (such as highly important artistic, scientific and other achievements throughout the development process on an individual or group/national level);  (natural) rarities and sights that have been discovered, explored and are protected and bestowed for future generations.

Cultural

The adjective “cultural” is used when you seek to differentiate between man-made and natural heritage, i.e. heritage created by nature without interacting with humankind.

Identity

Culture and cultural heritage of the local territory imparts a unique identity. Identity is a characteristic that heritage applies to help coshape your own, personal, community, regional and national manifestations.

Tradition - In contrast to heritage, tradition is a more neutral term whose traditional significance lies in the importance of handing over, passing on, referring to and drawing from the past; traditionally, tradition also stands for ensuring referring to the past by, for example, elements thereof. The term tradition can also be understood as everything preserved and consolidated through a lengthier period of time in the life of specific groups or individuals or the manifestation of a repeated event consolidated in a lengthier period of time referred to as “traditional”. Attitude towards cultural heritage

Romantic and nostalgic attitude, negative attitude, market- or economy-based attitude, development-, innovation- and inventionbased and professional attitude.

Definition of cultural heritage concern concepts

In order to facilitate the understanding and further application of cultural heritage as a term and its conservation and protection, the useful definition contained in the Convention concerning the protection of the world cultural and natural heritage (1972) is provided below: monuments: architectural works, works of monumental sculpture and painting, elements or structures of an archaeological nature, inscriptions, cave dwellings and combinations of features, which are of outstanding universal value from the point of view of history, art or science; groups of buildings: groups of separate or connected buildings which, because of their architecture, their homogeneity or their place in the landscape, are of outstanding universal value from the point of view of history, art or science; sites: works of man or the combined works of nature and man, and areas including archaeological sites which are of outstanding universal value from the historical, aesthetic, ethnological or anthropological point of view. The current Cultural Heritage Protection Act of the Republic of Slovenia does not differ between various types of monuments but simply distinguishes between registered cultural heritage and cultural monuments (Podgornik Zaletelj, 2014:285). According to the Constitution of the Republic of Slovenia (1991), the main role of the state shall be to “provide for the preservation of the natural wealth and cultural heritage”. In addition, “everyone is obliged in accordance with the law to protect natural sites of special interest, rarities, and cultural monuments”, since the cultural, scientific and general identities of a nation make the conservation and protection of cultural heritage a matter of national interest (Council of Europe Framework Convention on the Value of Cultural Heritage for Society, 2005). In Slovenian literature, the term “cultural heritage protection” was used until the end of the 20th century for all works associated with cultural heritage (Erhartič, 2014:27), protection as a depiction of professionals involved in the “protection of monuments” and as a synonym for conservation (Pirkovič, 2012:4). Since cultural heritage conservation and protection terms have broad definitions, specific narrow terms that define the purpose subject to the scope and content of tasks have been developed recently.

The term with the broadest sense is conservation of cultural heritage which combines a set of policies, strategies, statutory, administrative and professional measures and activities associated with heritage (Pirkovič, 2012:5). Literature also uses the term preservation which stands for concrete measures and activities whose purpose is to prevent irreversible damage and unnecessary changes and combat a deteriorating state of heritage (Pirkovič, 2012:5). However, other authors use the term preservation as a synonym for the term conservation (Castellanos, Descamps 2008:142). Protection is a subordinate term and includes statutory mechanisms, administrative and professional activities in particular (Pirkovič, 2012:5). Article 3 of the Cultural Heritage Protection Act of the Republic of Slovenia (ZVKD-1, 2008) includes definitions of terms with a special emphasis on protection and preservation. Protection signifies legal, administrative, organisational, financial and other measures introduced by the state, regions and local communities intended to safeguard the subsistence and enrichment of heritage whose protection measures, with the exception of legal and administrative, are also performed by other subjects involved therein – therefore, protection is understood as an activity performed by state authorities and organisations (public protection services) established for this very purpose. Guardianship stands for heritage management by providing regular maintenance and restoration services that facilitate the subsistence of heritage values and the use of heritage at least to the minimum extent – therefore, guardianship is understood as various activities performed on cultural heritage that contribute to the physical conservation of heritage by the owner and under the guidance of guardianship and protection experts (conservators). International documents on the conservation and guardianship/protection of cultural heritage and relevant national regulations during the last 60 years have shown changes to the approach towards the subject of guardianship/protection – i.e. how and why heritage shall be protected/guarded. Previously, protection was focused on specific facilities or groups of facilities with pronounced heritage features and symbolic national identity values (monuments). Later on, the attention of heritage experts shifted to the protection of facilities with less pronounced heritage features and, more recently, in particular to larger areas, such as cultural landscape heritage (Pirkovič, 2012:5). As far as architectural heritage is concerned, heritage experts (conservators) in the past focused on conserving and restoring physical structures. Nowadays, their main focus lies in the methods of conserving essential values of architectural heritage and in facilitating changes thereto by means of restoration/changes thereto that conserve existing structures (Šmid, 2010), thereby contributing to the revival and long-term use of heritage and, indirectly, to the creation of proper social ties in

heritage areas and to sustainable and economic development therein (Pirkovič, 2012). The term “conservation” stands for various processes, measures and activities whose aim is to conserve material (tangible) cultural heritage and its cultural significance for the present and future generations (The Burra Charter, 1999). Basic material (tangible) cultural heritage conservation activities are the three following professional interventions – preventive conservation, conservation and restoration (ICOM-CC, 2008). Preventive conservation stands for processes and actions whose aim is to prevent, reduce further deterioration or prevent loss of material cultural heritage. Preventive conservation procedures and activities are indirect and thus do not interfere with the material or its structure and do not alter its appearance. Preventive conservation constitutes properly performed procedures in the following areas: lighting, environmental conditions, air quality, integrated pest management, management, packaging, transport, displaying, storage, maintenance, use, safety, fire protection and the ability to response in urgent cases (Code of Ethics and Guidance for Practice, 2000). Maintaining cultural heritage thus stands for various actions whose aim is to conserve the basic material of the relevant cultural heritage and prevent drastic interventions resulting from negligence (The Burra Charter, 1999).

Preventive conservation of architectural heritage – metal protection against birds.

Preventive conservation â&#x20AC;&#x201C; sculpture protection during winter (photograph by: Wikipedia).

The term conservation or curative conservation (VokiÄ&#x2021;, 2010) of material cultural heritage stands for actions performed directly on an object or group of objects with the aim of preventing further adverse impacts and deterioration. Conservation interventions may change the appearance of the material. Material cultural heritage conservation thus stands for actions such as textile disinfection, desalination of ceramics, dehydration of humid archaeological material, metal corrosion stabilisation, consolidation of murals, impregnation of stone sculptures, weeding of mosaics, etc. (Petzet, 2004). In architectural heritage, conservation stands for the maintenance of roof coverings, plaster, pavement, whitewash, fixtures, etc. Preventive maintenance is a powerful tool that prevents deterioration and involves comprehensive conservation and restoration interventions (Castellanos, Descamps, 2008).

Mural conservation ‒ consolidation of particles coming off the mural.

Restoration is the third term depicting one of culture heritage conservation intervention types. Restoration is a Latin term whose literal translation means “restoration” or “restitution to the previous state” (Verbinc, 1968). Restoration stands for direct actions and measures whose aim is to facilitate the recognisability, understanding and use of cultural heritage objects. Restoration is a highly specialised activity whose aim is to conserve and disclose the aesthetic and historical aspect of cultural heritage in a way that respects the original nature of the material and credibility of sources (The Venice Charter, 1964). Restoration is performed when an object loses a part of its recognisability or deterioration of its material. Restoration serves to restore the lost authentic appearance of the object to the maximum extent (Castellanos, Descamps, 2008) subject to respect for the original and reversibility – by facilitating the removal of added new materials at a later point if required (Petzet, 2004). In practice, the restoration of the original or previous state is not feasible. As a result, restoration is always only an interpretation of the past state. Restoration is usually performed after conservation and shall not replace the latter under any circumstances. The scope of restoration is subject to the context in which the object will be located in the future. Restoration stands for conservation of the authentic substance but mere conservation complements and exceeds the damaged or stunted cultural values. The purpose of restoration is not to have an object “radiate newness” because that would require extensive treatment, the loss of the original substance and forgery. The purpose of restoration is to conserve the aesthetic and historical values of a monument and increase its expressiveness. Restoration as part of contemporary conservation procedures shall be subject to diligent respect for the

conserved original material substance and authentic documentation (SapaÄ?, 2008:35). Restoration tasks include the treatment of damaged parts of the monument which constitute a negative aesthetic impact and hamper the understanding and readability of the monument. Add-ons and retouching are useful to restore the recognisability of the aesthetic and historical expressiveness of the monument. Add-ons shall sufficiently differ from the original upon closer inspection and shall be carried out with materials that are easily removed at a later point in time (SapaÄ?, 2008:35).

Oil painting before and after a restoration intervention (retouching).

Fresco before and after a restoration intervention (photo by: Marko Buljan).

In order to understand the specific features of conserving and protecting cultural heritage, one needs to understand the importance of the originality of material and cultural heritage. Originality and uniqueness of material cultural heritage can be defined as follows: the term “original” derives from Latin and is translated as “original” or “original work”. The term stands for a unique, innovative and one-of-kind version of a specific product. All interventions in the substance of the original irreversibly reduce its value and significance. Original works are irreplaceable. Copies are impossible to create. Various copies and reconstructions of architectural and visual art heritage can resemble original works and can replicate their characteristics in part in addition to providing psychological assistance in the event of loss, but can never serve as an alternative to the conservation of original works. The attitude towards original works is one of the main issues associated with the conservation and guardianship/protection of moveable and immoveable cultural heritage. The development of contemporary material cultural heritage conservation procedures has consolidated the awareness that the material constitutes a source for artistic, cultural and generally relevant activities on a social level. This kind of understanding of cultural heritage has led to the conclusion that authenticity is no longer used to depict the original state but to observe subsequent changes as well. Authenticity of cultural heritage is defined as follows: the term derives from the Ancient Greek word “authentikos” and means “real”, “authentic”, “original”. Authenticity cannot be used as a synonym for originality of material. Authenticity may not be essentially and fully associated with the original material but also with the underlying idea, spiritual dimension and expressiveness of cultural heritage. By alternating original material and structures and by repeating and restoring lost parts, the authenticity of material cultural heritage is reduced. However, the authenticity of the idea is restored and re-emphasised (Sapač, 2008:34). A list of short definitions of the main terms for standardisation purposes is provided below.

Cultural heritage Authenticity may not be essentially and fully associated with authenticity the original material but also with the underlying idea, spiritual dimension and expressibility of cultural heritage. By alternating original material and structures and by repeating and restoring lost parts, the authenticity of material cultural heritage is reduced. However, the authenticity of the idea is

restored and re-emphasised (SapaÄ?, 2008). Documenting heritage

Includes in particular: recording materials, collecting data for heritage unit stock survey purposes, documenting the state and level of endangerment of the relevant heritage unit and documenting all interventions thereto (ZVKD-1, 2008). It also includes existing archival data, findings and interventions in the cultural heritage unit in addition to prompt and systematic collection and recording of data that serve to specify or serve as evidence of facts and testimonies accessible to future generations (Letellier, 2007).

Integrated heritage Stands for a set of measures whose aim is to preserve the conservation continued existence and enrichment of heritage, its maintenance, restoration, use and revival (ZVKD-1, 2008). Conservation curative conservation)

(or Material cultural heritage conservation stands for actions on an object or group of objects with the purpose of preventing further adverse impacts thereon and deterioration thereof such as textile disinfection, desalination of ceramics, dehydration of humid archaeological material, metal corrosion stabilisation, consolidation of murals, impregnation of stone sculptures, weeding of mosaics, etc.

Conservator

Conservators are experts with various types of expertise (such as architects, archaeologists, conservators - restorers, ethnologists, landscape architects, etc.) who are committed to comply with the highest cultural heritage conservation and protection principles and standards (Castellanos, Descamps, 2008).

Conservation plan

Is a document that contains various combinations of textual, visual, audio and electronic content (Castellanos, Descamps, 2008) whose aim is to thoroughly document all material cultural heritage intervention steps. Conservation and restoration plans are an integral part of a detailed spatial planning document for the local community that plans an integrated restoration of the entire rural and urban, cultural landscape or other heritage area that forms a typical part of the space and constructed structures. Conservation and restoration plans safeguard the observance of the social

importance and development opportunities of heritage during spatial planning procedures (Conservation Plan for Renewal, 2010). Cultural monument

Heritage declared a monument of local or national importance by means of a relevant designation decree (ZVKD-1, 2008).

Material (tangible) Subject to their manifestation in space this can constitute heritage various buildings, groups of buildings, areas, objects and groups of objects (ZVKD-1, 2008). National treasure

This term stands for moveable property that forms part of one type of heritage whose importance limits their export from the Republic of Slovenia and for which various trade and storage measures apply.

Intangible heritage

This stands for knowledge, skills, customs and lore, beliefs and values perceived and used by people who are associated with the creation, use, understanding and transfer thereof to the present and future generations.

Immoveable heritage

Real estate or its parts that contain heritage values entered into the Heritage Registry (ZVKD-1, 2008). Immoveable heritage includes the following: archaeological sites, buildings, parks and gardens, buildings with parks and gardens, memorial facilities and locations, other facilities and devices, settlements and their parts, cultural landscape and miscellaneous that includes all other immoveable heritage that cannot be included above (Rules on the Registry of Types of Heritage and Protection Guidelines, 2010).

Cultural heritage The term â&#x20AC;&#x153;conservationâ&#x20AC;? stands for various processes, conservation measures and activities whose aim is to conserve material (tangible) cultural heritage and its cultural significance for the present and future generations (The Burra Charter, 1999). Basic material (tangible) cultural heritage conservation activities are the three following professional interventions â&#x20AC;&#x201C; preventive conservation, conservation and restoration.

Cultural heritage The term stands for a unique, innovative and one-of-kind originality version of a specific product. All interventions in the substance of the original irreversibly reduces its value and significance. Original works are irreplaceable. Copies are impossible to create. Various copies and reconstructions of architectural and visual art heritage can resemble original works and replicate their characteristics in part in addition to providing psychological assistance in the event of loss, but can never serve as an alternative to the conservation of original works. Moveable heritage

Moveable heritage includes moveable property or groups of moveable property that contain heritage values (ZVKD-1, 2008). Moveable heritage includes: weapons, tools, fixtures, furnishings, clothing and personal items, means of transport, toys and other items used for leisure activities, works of art, works of applied art, items used in rituals, means of communication, coats of arms, flags, prizes and awards, trade and banking tender, items used for displaying or depicting various objects, machinery and devices, educational, scientific and technical materials, geological items, botanical items, zoological items, human remains, musical instruments and other historical objects that cannot be included in the above categories (Rules on the Registry of Types of Heritage and Protection Guidelines, 2010).

Preventive conservation

Preventive conservation stands for processes and actions whose aim is to prevent, reduce further deterioration or prevent loss of material cultural heritage. Preventive conservation procedures and activities are indirect and thus do not interfere with the material or its structure and do not alter its appearance. Preventive conservation constitutes properly performed procedures in the following areas: lighting, environmental conditions, air quality, integrated pest management, management, packaging, transport, displaying, storage, maintenance, use, safety, fire protection and the ability to respond in urgent cases.

Registered heritage

Registered heritage is moveable, immoveable and living heritage entered into the Registry (the central heritage database kept by the ministry in charge of heritage) with the

following characteristics: constitutes an exceptional expression of creativity or makes a valuable contribution to cultural diversity, forms an integral part of the territory or heritage of the Republic of Slovenia or its regions and constitutes a source for understanding historical processes and their connection to contemporary space and culture. Restoration

Restoration stands for direct actions and measures whose aim is to facilitate the recognisability, understanding and use of cultural heritage objects by restoring the original or previous state by means of adding missing parts or removing subsequently added excessive parts. Restoration as part of contemporary conservation procedures shall be subject to diligent respect for the conserved original material substance and authentic documentation. Restoration tasks include the treatment of damaged parts of the monument which constitute a negative aesthetic impact and hamper the understanding and readability of the monument. Add-ons and retouching are useful to restore the recognisability of the aesthetic and historical expressiveness of the monument. Add-ons shall sufficiently differ from the original upon closer inspection and shall be carried out in materials that are easily removed at a later point in time (SapaÄ?, 2008).

Cultural heritage Protection includes statutory mechanisms, administrative protection/ and professional activities in particular (Mlakar, 2004a). guardianship Heritage protection Encompasses areas of archaeological heritage or cultural area landscape protected with the aim of preventing the destruction of or damage to the cultural heritage in a wider area (ZVKD-1, 2008). â&#x20AC;&#x153;Living heritageâ&#x20AC;?

Living heritage stands for intangible assets such as practices, presentations, expressions, know-how and associated moveable property and cultural areas where the heritage is presented or expressed that are passed on from generation to generation by communities, groups or individuals and continue to be recreated as a response to the local

environment, nature and history (ZVDK-1, 2008). “Living masterpiece”

A type of living heritage declared a monument (ZVKD-1, 2008).

Global and national cultural heritage concern in various periods of world history

The beginnings of the international cultural asset protection system date back to the provision of the Delphic or Great Amphictyonic League of Ancient Greek polises dating back to around 1100 BC prohibiting the demolition of cities to their foundations (Petrič, 2008:8). Ibid., the author refers to the first codes of conduct of the two warring armies during the American Civil War in the 19th century that lay down that all cultural assets shall be deemed private property that shall not be subject to confiscation or misappropriations and shall be protected against damage. The next more recent efforts to introduce a global protection system date back to the Brussels Conference convened in 1874 whose aim was to codify law of war. The draft version was not adopted but contains principles that refer to cultural assets and which were applied both in theory and practice until the adoption of the Convention for the Protection of Cultural Property in the Event of Armed Conflict with Regulations for the Execution of the Convention 1954. The Convention with respect to the Laws and Customs of War on Land adopted at the First Hague Conference convened in 1899 includes two provisions on the protection of cultural assets. According to Article 27, “in sieges and bombardments all necessary steps should be taken to spare as far as possible edifices devoted to religion, art, science, and charity (...). The besieged should indicate these buildings or places by some particular and visible signs, which should previously be notified to the assailants.” According to Article 56 thereunder, “the property of the communes, that of religious, charitable, and educational institutions, and those of arts and science, even when State property, shall be treated as private property. All seizure of, and destruction, or intentional damage done to such institutions, to historical monuments, works of art or science, is prohibited, and should be made the subject of proceedings.” Both provisions were upheld by the Convention respecting the Laws and Customs of War on Land adopted at the Second Hague Conference convened in 1907. Unfortunately, such provisions did not prevent major damage to monuments as

demonstrated in World War I when security measures no longer matched the progress of military technique. Before World War II, in 1935, the so-called Treaty on the Protection of Artistic and Scientific Institutions and Historic Monuments or Roerich Pact was intended solely to the defence of cultural assets in war situations (ibid.). The main principles of the Pact are as follows: 

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“the same respect and protection shall be accorded to the historic monuments, museums, scientific, artistic, educational and cultural institutions in time of peace as well as in war; the historic monuments, museums, scientific, artistic, educational and cultural institutions shall be considered as neutral and as such respected and protected by belligerents; the same respect and protection shall be due to the personnel of the institutions mentioned above; in order to identify the monuments and institutions mentioned in article I, use may be made of a distinctive flag.”

Under the auspices of the League of Nations, the International Museums Office drew up a draft Convention for the Protection of Historic Buildings and Works of Art in Times of War which was presented to the League of Nations’ Council and General Assembly in autumn 1938. Its adoption was halted by the onset of World War II and the existing Hague Conventions remained in force. The draft Convention foresaw the protection of monuments and works of art not only as national but as global heritage that shall be protected for the benefit of all humankind. The main task of the Convention was to provide for the protection of endangered monuments and works of art in times of peace. The draft also foresaw a list, organisation and supervision of protected shelters for the most valuable cultural treasures of global importance. The draft foresaw the neutrality of protected areas containing monuments. The effects of World War II led to the founding of several international organisations vested with the task to protect cultural heritage on a global level (Petrič, 2000). In 1946, the UNESCO or United Nations Educational, Scientific and Cultural Organization was founded. Its first convention adopted in 1954 was The Convention for the Protection of Cultural Property in the Event of Armed Conflict with Regulations for the Execution of the Convention 1954 or 1954 Hague Convention (Stokin, 2014).

Developments in the concern for heritage and standards not directly associated with times of war can be dated back to 1931 when the Athens Conference laid down the first foundations for professional reflections on conservation activities (The Athens Charter for the Restoration of Historic Monuments, 1931, Stokin,2014:329) and prescribed heritage documentation criteria and recommendations for the collaboration of various professions (interdisciplinary approach to heritage protection). In 1964, the Second International Congress of Architects and Specialists of Historic Buildings convened in Venice to adopt thirteen resolutions known as The Venice Charter for the Conservation and Restoration of Monuments and Sites (The Venice Charter 1964, Stokin, 2014:329). In parallel to The Venice Charter, the International Council on Monuments and Sites or ICOMOS was founded in 1965 under the auspices of UNESCO. ICOMOS is an advisory body of UNESCO for immoveable cultural heritage. ICOMOS has adopted more than 40 various documents. Their recommendations, declarations and resolutions have served as the basis for the creation of international treaties and conventions and EU regulations (directives) that have heavily contributed to the development of cultural policies (Stokin, 2014:329). The most recognised international documents include the Convention concerning the protection of the world cultural and natural heritage (1972) which had a significant impact on the organisation of protection services in Slovenia, in particular on the Cultural and Natural Heritage Protection Act (1981) and, indirectly, on the development of local archaeological protection provisions. In the previous century, conservation focused on individual monuments and protected areas and, a while later, on urban city centres. The World Heritage Convention has recently caused a shift to integrated and complex protection of major industrial complexes (such as Idrija, Slovenia), architectural heritage of the 20th century (such as the architectural heritage of the Slovenian architect JoĹže PleÄ?nik), large natural and cultural parks and reserves, cultural landscapes dating back to various historical eras, large natural reserves, open-air museums and eco-museums and, ultimately, large transnational natural parks (ibid.). The first written sources bearing witness to the human need to conserve and protect cultural heritage date back to antiquity. In his extensive work, Natural History, Pliny the Elder mentions how sculptures are coated with layers of paint that protect them from damage and how various lacquers protect various objects against dirt in addition to recommending to cover paintings with a piece of cloth which shall be removed only if needed (Stanley Price, 1996). In his treatise De architectura â&#x20AC;&#x201C; Ten Books on Architecture, Vitruvius records in an encyclopaedic manner the highly developed knowledge on construction materials, processes and

techniques whose aim is to prevent internal deterioration causes such as the construction of a double wall constructions for frescoes that facilitate air circulation, application of several layers of plaster to improve its sustainability, etc. In addition, he also recommends to not light any fires and candles in areas that contain works of art (Vitruvius, 2009). There are written records of architectural heritage, equipment and decoration concern previously passed on orally from generation to generation dating back to the 17th century. Various manuals thus contain recommendations on how to protect equipment and works of art against direct sunlight by means of various curtains (Whatman, 2014) and on architectural appearance, construction materials and ventilation (Betton, 2014). The first records on the concern for literary works in archives (Simon, 2014) and detailed instructions on the various risks posed to books date back to the 18th century (Blades, 2014). The first well-known examples of restoration of visual art heritage in Slovenia are restorations of murals. In 1393, John Aquila restored and filled up murals in the original Romanesque apse of the church in Turnisce as part of the gothization process. Restoration processes in the past were rough and their main aim was to adapt the existing works of art to their new use and taste at the time. Older murals were frequently hewn, partially removed with a chisel, plastered, covered with new murals or coated with whitewash. Paintings on canvas were subjected to shape changes, placement of new canvases below them, reinforcements or re-painting according to the painting techniques at the time. Changes in style in interiors of churches often resulted in changes to altar architectures or specific parts of plastic art (Kavčič, Klančar, 2014:194). The founding of the Central Monument Protection Committee in Vienna in the mid-19th century triggered a systematic and professional examination of protection of monuments. In 1913, the Central Austrian Committee appointed Mr. France Stele as the Chief Land Conservator for Carniola. After 1919, the Monument Protection Office for Slovenia was formed within the newly-created State of Slovenes, Croats and Serbs (SHS). During World War II, numerous monuments sustained substantive damage, a large number thereof was destroyed, damaged or plundered during or after the war. After World War II, the expropriation of a large share of architectural heritage, its symbolic devaluation and long-standing inadequate management combined caused significant harm to the attitude towards heritage that remained prevalent in the lay public for decades to come (Kavčič, Klančar, 2014:194). In 1945, the Monument Protection Institute of the People’s Republic of Slovenia was founded as the successor of

the former Monument Protection Office for Slovenia. Initially, the Institute did not have neither a restoration workshop nor any professional staff. In 1950, the Institute founded a restoration department in the premises of the National Gallery in Ljubljana. In 1954, a post-graduate programme for the conservation and restoration of plastic art was introduced at the Academy of Fine Arts in Ljubljana (in 1996, a separate department was established). According to The Cultural Monument Protection in the People's Republic of Slovenia Act, adopted in 1961, district monument protection committees were transformed into regional institutions and regional units of the Institute that included restoration workshops or at least individual restorers who continue to perform various local operational tasks and minor local conservation and restoration interventions. In 1983, a separate institution called the Restoration Centre of the Republic of Slovenia was established as the successor of the former restoration workshop of the People’s Republic of Slovenia Institute, which was merged with The Public Institute for the Protection of Cultural Heritage of Slovenia in 1999. Since 2009, it has formed an integral part of the Conservation Centre of The Institute for the Protection of Cultural Heritage of Slovenia (Kavčič, Klančar, 2014:194).

Architectural, cultural landscape and visual art heritage concern Architectural heritage concern

Architectural heritage forms an integral part of cultural heritage, a unique space in which Slovenians have created a way of living and coexistence with nature, developed various types of buildings, treatment of materials obtained from the environment, decoration techniques and works of art that integrate us into the European cultural area (Deanović, Kavčič, 2004:37). For the purposes of the Convention for the Protection of the Architectural Heritage of Europe, adopted by The Council of Europe, the expression “architectural heritage” shall be considered to comprise the following permanent properties: monuments: all buildings and structures of conspicuous historical, archaeological, artistic, scientific, social or technical interest, including their fixtures and fittings; groups of buildings: homogeneous groups of urban or rural buildings conspicuous for their historical, archaeological, artistic, scientific, social or technical interest which are sufficiently coherent to form topographically definable units; sites: the combined works of man and nature, being areas which are partially built upon and sufficiently distinctive and homogeneous to be topographically definable and are of conspicuous historical, archaeological, artistic, scientific, social or technical interest (Petrič, 2000). In the interests of transparency, the Rules on the Registry of Types of Heritage and Protection Guidelines classify architectural heritage into the following categories:   

secular (rural, town/city and market-town buildings); sacred (churches, chapels, plague columns); secular-sacred (monasteries, presbyteries).

The following elements thereof are granted special protection:  

floor and elevation plans (loading gauges); substance and construction design;

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configuration of the exterior (breakdown of the facility and façades, shape and incline of the roofing, roof coverings, fittings, paint, details, etc.); functional design indoors and in the corresponding outdoors; communication and infrastructure connection to the surrounding environment (corresponding open space with surface gradients, and position, intended use and configuration of the corresponding facilities and surfaces, relation to other facilities on the same plot and to neighbouring facilities); spatial context, manifestation and vedute (applicable in spatially dominant facilities such as churches, castles and plague columns in particular).

Protection is provided also to the wider environment of the facility that ensures the functional integrity of the protected architectural heritage unit in the wider environment without any interfering elements (Rules on the Registry of Types of Heritage and Protection Guidelines, 2010: Article 4). Maintenance, rehabilitation, research and restoration works performed on architectural heritage units are only allowed insofar they serve to improve the presentation of the facility in compliance with cultural heritage protection regulations and the consent and provisions of the conservation programme applicable to the relevant monument. The principles of conserving and preserving architectural heritage were once fierce enemies but have nevertheless impacted the development and contemporary ethics of works on architectural heritage. To conserve a facility means to preserve it in its full original state, monitor adverse impacts of the environment and inhibit its deterioration with as minimum interventions as possible – one could also say that to conserve means to preserve and maintain. All interventions that serve to protect, repair or replace the damaged segments of architectural heritage shall be performed in a way that unequivocally restores the known original state of the existing elements, removes inadequate elements without causing any damage and, in particular, does not distort the original state of the building (Deanovič, Kavčič, 2004). In conservation practice in architectural heritage, the line between conservation, restoration and reconstruction interventions is blurred (Sapač, 2008:36). In order to improve the understanding of the conservation and protection of architectural heritage, some of the terminology has been explained in detail below.

Architectural heritage conservation (also preservation/ rehabilitation)

Architectural heritage restoration (also reconstruction/ renovation/ adaptation) Architectural heritage reconstruction

To conserve a facility means to preserve it in its full original state, monitor adverse impacts of the environment and inhibit its deterioration with as minimum interventions as possible – one could also say that to conserve means to preserve and maintain. All interventions that serve to protect, repair or replace the damaged segments of architectural heritage shall be performed in a way that unequivocally restores the known original state of the existing elements, removes inadequate elements without causing any damage and, in particular, does not distort the original state of the building (Deanovič, Kavčič, 2004). Restoration stands for interventions that restore the state of the building at the time of its erection, including its original materials and appearance, which frequently serves to explain historical facts or forms part of a museum collection (Running a Museum, 2004). Renovation includes drawing up new and contemporary intervention solutions, facilitating its use for the needs of contemporary life or it refers to improving existing buildings or communities (Architectural Heritage Protection, 2004). The intervention facilitates “further use” of the building (Castellanos, Descamps, 2008). In internationally established conservation theory, the term “reconstruction” means a scientific method that enables the restoration of facilities lost in times of catastrophes (such as wars, earthquakes or floods), frequently conditioned by the inability of people to come to terms with the loss (Sapač, 2008). Materials can be the same or contemporary (Castellanos, Descamps, 2008). Reconstruction in Slovenian monument protection stands for the restoration of the missing facility in the selected development phase when the entire documentation on the building (at its creation and prior to its destruction) is available. According to local construction regulations, reconstruction is deemed changing technical properties of a building and adapting the building to its changed intended use without making any significant

changes to its size and exterior appearance. In conservation, reconstruction is the restoration of a lost original facility or its part in compliance with a contemporary interpretation thereof. The level of replication of the historical state is subject to the documentation available. The restored facility can model the original facility in terms of shape, material structure, construction, content and role of the lost original facility in the wider environment. Four essential approaches are used in reconstruction interventions: 

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anastylosis (reconstruction technique whereby a ruined building or monument is restored using the original architectural elements to the greatest degree possible); copy (reconstruction technique using the same shapes, constructions and materials); facsimile (reconstruction technique using the same shapes but by applying contemporary materials and constructions); retroversion (reconstruction technique using sovereignly interpreted shapes of the original and by applying contemporary materials and constructions) (Sapač, 2008:23).

Conservation protection of architectural heritage is a complex process that requires the combined architectural knowledge of various professions (engineers, chemists, technologists, conservators - restorers, architects, etc.). A qualified professional with a Bachelor of Science in Architecture draws up conservation documentation and supervises the conservation and restoration intervention. Professional architects working on immoveable architectural heritage who successfully pass a professional examination are awarded the title “Conservator Architect” by the Ministry of Culture of the Republic of Slovenia. Conservators architects draw up plans for the physical restoration of immoveable architectural heritage. They also advise and propose solutions to the client subject to the type of facility, proposed interventions, legal frameworks and expenses. Conservators - architects perform various inspections during the conservation plan drawing up process that serve to establish the state of the immoveable property. Subject to established facts, conservators - architects give their opinion on the options and frameworks of the planned intervention. The conservation plan is followed by

the creation of a facility rearrangement plan that takes into account the intended use of the building, traditional materials that shall be used, appearance, functionality, etc. Professional know-how in a specific work area facilitates the creation of a suitable construction or restoration plan. If the client agrees with the proposed plan, conservators - architects create a draft drawing that contains precisely specified dimensions, materials, equipment, expenses, etc. Conservators - architects consult with other experts such as chemists, technologists, conservators - restorers, conservators - ethnologists, machine and electrical engineers, civil engineers, site supervisors and legal advisers. Contracts are negotiated with all contractors involved in the project. Conservators - architects are frequently present on site and supervise the performed works and their quality in addition to resolving any issues that may arise (summarised from the description of professions on the official website of the Employment Service of the Republic of Slovenia, 2015). Required competences of conservators architects are laid down by recommendations issued by the ICOMOS in 1993 (Conservation Register Handbook, 2012).

Cultural landscape heritage concern

Cultural landscape heritage stands for special and distinguishable areas of the land cover, i.e. an area, as perceived by people, whose character is the result of the action and interaction of natural and/or human factors (Gullino, Larcher, 2013). Initially, cultural landscape was the subject of focus of environmentalists, in particular with an emphasis on the protection of specific habitats, whereas less focus was paid to its cultural content which is more challenging to define and conserve (SimiÄ?, 2014). The fundamental characteristic of cultural landscape heritage is its harmonious spatial appearance shaped through the use of space and adapted to natural conditions. The distinct combination of natural and cultural elements is reflected in the recognisable spatial structure arising predominantly from the use of space and the spatial diversity which brings the natural features of the space to the forefront. The Cultural Heritage Protection Act of the Republic of Slovenia defines cultural heritage as immoveable heritage, an open space with natural and man-made elements whose structure, development and use are predominantly dictated by human interventions and activities (ZVKD-1, 2008).

ICOMOS – The International Council on Monuments and Sites established criteria for evaluating and nominating exceptional landscapes with exceptional cultural components (Mlakar, 2004). The categories of cultural landscape are: (i) designed landscapes and created intentionally by people; mainly parks and gardens; (ii) organically evolved landscape, that may be relict or continuing. Organically evolved landscapes fall into the following sub-categories: a relict (or fossil) landscape is one in which an evolutionary process came to an end at some time in the past, either abruptly or over a period. Its significant distinguishing features are, however, still visible in material form; a continuing landscape is one which retains an active social role in contemporary society closely associated with the traditional way of life, and in which the evolutionary process is still in progress. At the same time, it exhibits significant material evidence of its evolution over time; and associative cultural landscape which is directly or tangibly associated with events or living traditions, with ideas, or with beliefs, with artistic and literary works of outstanding universal significance. Predominantly cultural landscape encompasses the major part of Slovenian territory. Combined with architectural, settlement and landscape heritage, it shapes the cultural visibility of Slovenia. Most cultural landscapes develop in areas isolated from major urban areas – on hills, plateaus, in Carst areas and in poorly drained plains. Its predominant feature is a mosaic-like complex combination of forests, agricultural landscape patterns and traditional population structure (Hudoklin, 2005:3). The creation and development of landscape is subject to various natural processes that cause its continuous changing and to man who utilises the space for settlements, agriculture, industry, power plants, sports and recreational facilities to create cultural landscapes (Hladnik, 2004). Various uses of space in cultural landscapes are, as a rule, complemented and do not cause any spatial disharmonies or devaluations (Simič, 2014). Cultural landscape is also distinguished by its complexity – from its visual, experiential, environmental to its production and communication value (Simič, 2014). Cultural landscapes are subject to continuous changes arising from the technological level of cultivation and residential development method and other era-specific socioeconomic and social characteristics. Even though cultural landscape is regarded as one of the main factors that define national identity, the implementation of its protection solely with cultural heritage protection levers is practically impossible. The conservation and protection of cultural landscapes cannot be successful without the coordinated interdisciplinary and inter-institutional approach to sustainable development that is subject to sufficient political will. Unfortunately, the approach to its conservation and protection during recent years has witnessed a trend towards liberal capitalism who puts private and capital interests first,

resulting in spatial chaos and negation of the fundamental postulates of regulating space and landscape protection (Simič, 2014). The state of cultural landscape heritage in Slovenia and its conservation status (such as spatial relations, individual man-made or natural elements) has been deteriorating as a result of the excessive vagueness of wording of programme and spatial planning acts and of the lack of efficient control of the implementation of spatial planning regulations. On the one hand, Slovenia has been experiencing the abandonment of settlements and agricultural areas which leads to overgrown arable areas and settlement deterioration, while, on the other, a continuous rise in new interventions into the same areas with unsuitable restorations, new buildings, changes to the plot structure and other regulations (Hudoklin, 2005). The signatories of the European Landscape Convention of the Council of Europe (2003) have noted that the landscape plays an important public interest role in the cultural, ecological, environmental and social fields. Member States of the Council of Europe also acknowledge that the landscape is an important part of the quality of life for people everywhere: in urban areas and in the countryside, in degraded areas as well as in areas of high quality, in areas recognised as being of outstanding beauty as well as everyday areas. Cultural landscape is protected in a way that conserves its protected values such as:        

landscape structure and recognisable spatial appearance (natural and constructed or shaped elements); distinct existing plot structure, plot size, shape and division (crowns, waterways with extensive vegetation, isolated trees); traditional land use (sustainable management of a cultural landscape); typology of landscape elements and traditional buildings (dryingframes, plague columns, vineyard cottages); relation between the landscape structure or spatial appearance and the building or settlement; authenticity of the location of significant historical events; relief transformation and corresponding facilities, constructed structures, substances and constructions and visual art elements; and Earth’s strata containing any architectural remains (Rules on the Registry of Types of Heritage and Protection Guidelines, 2010: Article 4).

The main task of the conservator - landscape architect who is engaged in conserving and protecting cultural landscape heritage is to perform analyses which shall lead to the provision of justified guidelines for spatial development that conserve essential elements of a cultural landscape that define a particular cultural landscape as a heritage unit (Simič, 2004). The task of the conservator landscape architect is to seek balanced solutions between protection and development and to guide development in a way that does not result in any losses to the protected qualities of the landscape (Simič, 2014). The protection of cultural landscape heritage can be successful only as part of a comprehensive protection of cultural heritage in which cultural heritage protection services only serve to guide development, whereas actual activities are performed subject to policies implemented by other institutions and the spatial planning system. Because the appearance of a cultural landscape is shaped predominantly by the person who manages it, agricultural and settlement policies from up to down, all the way to local administrations and real estate owners shall be more actively involved in protection efforts. Conservators - landscape architects are also involved in promoting, informing and educating both the expert and general public on the issues associated with garden - architectural heritage and cultural landscape heritage (Simič, 2004).

Visual art heritage concern

Visual art heritage is registered heritage, entered into the inventory register of a museum or various collections or as a part of immoveable heritage, entered into the Registry of Immoveable Cultural Heritage kept by the competent ministry for heritage (ZVKD-1, 2008). Painting heritage is divided into moveable and immoveable. Moveable painting heritage includes paintings on wood or canvas (old traditions) and contemporary paintings created through the continuous testing of new opportunities for the use of traditional and new materials (Trček, Pečak, 2004). Immoveable painting heritage is divided into: real frescoes (fresco buono) and derivative works (lime techniques). The third group includes tempera techniques that involve the application of colour pigments mixed with a watersoluble binder medium (glue, casein, egg yolk, egg white, acrylic resins, etc.) to dried plaster or whitewash. The fourth group includes mosaics (where the layers of the medium are similar to frescoes, only the final layer is replaced by glued multi-coloured pebbles) and sgraffito, which is a composition created by removing the top layer of multi-coloured layers and plasters. Paintings are thus:

murals, frescoes, mosaics, sgraffito, stained glass, paintings on canvas, wood and other materials (Zaubek, Sitar, 2004). Sculpture heritage is classified subject to the material used, which can be either traditional – clay, plaster, stone, wood, metals – or contemporary; and the environment in which it is located – as part of immoveable property (e.g. a part of a portal) or a moveable sculpture. Sculptures are: stone sculptures, wooden painted sculptures, wooden sculptures, stone painted sculptures, architectural sculptures (including advanced moulding), metal sculptures, ceramic sculptures, sculptures made from other materials (Makuc Semion, Dolenc Kambič, 2004). Conservation and restoration interventions on works of visual art shall be well thought-out and shall not interfere with their lyricism. They shall be focused on clearing and reinforcing their structure or protect them against further decay. All conservation and restoration interventions shall be as reversible as possible and changes to the original works of art shall be clearly distinguishable from the original state and recorded in the relevant documentation. All interventions shall be performed by professionals (Sketelj, 2008). In the majority of countries, the conservator - restorer profession continues to be undefined - whoever is engaged in the conservation and restoration of cultural heritage is regarded as a conservator or restorer regardless of their qualification and training levels. For ethical and procedure standard intervention purposes, a clear definition of the profession that serves to differentiate from other similar professions and lay down the training requirements has been specified in Slovenia. The work of a conservator and restorer entails various procedures. Prior to the intervention, the conservator - restorer examines original structures and materials, establishes the degree of decay and loss of substance and examines documentation on any previously performed interventions. The conservator restorer limits further deterioration or damage on the asset by controlling the environment or stabilising the structure of its substance (preservation) and by maintaining a maximum unaltered state. Restoration that the conservator restorer performs stands for all interventions that restore the recognisability of degraded or damaged objects by sacrificing the minimum aesthetic and historical integrity. Conservators - restorers are experts who work in museums, in cultural heritage protection services and private-owned companies whose role is to understand the material aspect of objects of historical and artistic importance with the aim of limiting continuous deterioration of cultural heritage objects and differentiating between original and non-original substances of an object. Conservators - restorers are people with special responsibilities who perform

activities on irreplaceable original visual art works or their parts with a religious, historical, scientific, cultural, social or economic value. The value of their objects lies in the nature of their material creation, in their expressiveness as a documentation source and their authenticity (ICOM-CC, 1984). Conservator - restorer interventions in visual art works is composed of three essential steps: conservation, restoration and documentation (Milić, 2003). Conservation (preventive and active) is composed of a whole set of general measures that professionals adopt to take care of visual art and other objects of cultural heritage (micro-climate conditions, safe handling of objects, safe storage, transport, etc.) in an effective and integrated manner and to directly and actively intervene in objects to delay their further deterioration. Restoration stands for direct interventions in damaged products or objects in order to facilitate their understanding by observing their aesthetic, historical and physical integrity and documentation including all written reports on the previous inspections, conservation and restoration interventions and other relevant and useful information. Conservators - restorers collect general data on the treated products or objects in addition to data on their environment, establish the state of the product and performing examinations and analyses by themselves and in collaboration with people and identify any damages thereto. They prepare a programme of procedures required to rectify the negative state of the product/object. All phases of work and procedures shall be documented and a report on the performed intervention on the object drawn up. If the intervention is extensive, conservators - restorers supervise their colleagues and coordinate their work. Subject to their level of success and know-how, they are also involved in the education process and training of junior professionals, provide professional assistance, draw up papers for publications and scientific panels. In addition to conservators - restorers of visual art works, there are also conservators - restorers of archival materials and books (paper, parchment, leather, textile, etc.) and conservators - restorers of museum artefacts (made from metal, ceramics, glass, leather, wood, textile, etc.) (Milić, 2003). The fundamental task of qualified and experienced conservators and restorers is to preserve and protect cultural heritage for future generations as material evidence of human activities and environment. Conservators - restorers are responsible for visual art works and other objects of cultural heritage towards their owners, the general public and future generations. The same conditions apply to the conservation of all objects of cultural heritage irrespective of their owners, age, state, integrity and value (Bogovčić et al., 2004).

Inclusion of cultural heritage concern content in the educational process Inclusion of content in curricula

The importance of raising awareness of the school population with deliberate education on cultural heritage conservation and the prevention of adverse effects thereon was first mentioned in The Athens Charter, adopted 1931, which reads: â&#x20AC;&#x153;The Conference recommends that educators should urge children and young people to abstain from disfiguring monuments of every description and that they should teach them to take a greater and more general interest in the protection of these concrete testimonies of all ages of civilisation.â&#x20AC;? (The Athens Charter for the Restoration of Historic Monuments, 1931: Article 7b). Article 27 of the Convention concerning the protection of the world cultural and natural heritage (1972) sees educational programmes as means to strengthen appreciation and respect by their peoples of the cultural and natural heritage. The participation and the involvement of the residents, starting with school children, are essential for the success of conservation programmes and should be encouraged (ICOMOS, Washington Charter, 1987, Principles and Objectives:15). Preservation education content has been systematically integrated into the US education system since 1966 when the National Historic Preservation Act (regulating the conservation and preservation of historical and archaeological sites) was adopted (Thorntol, 2008). In 1987, the US government drew up detailed guidelines on the integration of cultural heritage conservation and protection content into elementary and secondary schools (National Council for Preservation Education). Even though the discussion of content associated with the conservation and protection of cultural heritage with elementary school students promotes their respectful and responsible attitude towards tangible cultural heritage, it has not been included in the national curricula as a separate school subject. Teachers are thus left to their own devices to include such content into existing school curricula to their best of their ability and at their sole discretion. A survey conducted in the United States of America (Thorntol, 2008) showed that preservation content can be meaningfully integrated into various school subjects (music education, history, mother tongue, foreign languages, fine

arts, social education, natural sciences, mathematics). There have been reports of various types of collaboration between heritage experts, students, educators and teachers from kindergarten to the end of elementary school levels. Students in higher grades are given presentations on the specific features of shaping space and how to take care of our heritage by using examples of contemporary and historic buildings. In collaboration with experts, teachers focus the students’ attention on learning about space through the lens of heritage concern in one's own environment and involvement in various relevant activities and promote their collaboration, communication and ability to analyse one's own work. According to the survey, learning about the specific features of local cultural heritage frequently leaves a deeper impression on students than cultural heritage from the less “known” and more distant units of cultural heritage in addition to promoting their interest and understanding of the importance of cultural heritage concern (Thorntol, 2008). An analysis of textbooks used in Slovenian schools has shown that local cultural heritage is insufficiently or poorly represented (Kukanja, Gabrijelčič, 2008). The results of the survey suggest that classes should include more aspects of local life in the past and present. Various organisations prepare various didactic programmes for educators and teachers who want to include preservation education into their programmes with the aim of raising awareness and promoting respect for a diverse tangible cultural heritage, e.g. by visiting heritage, observing it, drawing it or painting it, by doing brainstorming activities on how to protect cultural heritage (paintings, sculptures, architecture, etc.) against destruction and vandalism and by writing texts on heritage. The survey also highlights how most programmes prepared by various organisations and experts for educational programmes in kindergartens and elementary school unfortunately lack content which would focus on professional interventions (conservation or conservation and restoration interventions), traditional materials, pre-industrialisation material treatment technologies in architecture, painting, etc. and field work (documenting and analysing architecture, visual art heritage, etc.) (Thorntol, 2008). The UNESCO Young People’s World Heritage Education Project gives youth an opportunity to express their concern and to become actively involved in the protection of our joint cultural and natural heritage. The aim of this project is to promote and facilitate the participation of decision-makers in cultural and natural heritage conservation activities. The project is also a response to the continuous threats posed to world heritage. The aim of the project is to become integrated into existing curricula and world heritage subjects all over the world in order to improve the understanding of its importance and conservation concern. For this

purpose, UNESCO created the mascot Patrimonito who depicts a young heritage protector (UNESCO World Heritage in Young Hands, 2002). Preservation education facilitates learning about cultural heritage, with an emphasis on local units, by visiting them in situ, and by learning about its specific features and issues such as the importance of cultural heritage, its level of endangerment, its (construction) materials, protection services, local history, expression of views on urban development and preservation of architectural heritage, etc. Various organisations (protection services, associations, etc.) can raise awareness, draw attention to and promote the discussion on conservation and protection of cultural heritage in fine art activities, promote collaboration among heritage experts and various schools (Guilfoil, 2004). Discussing cultural heritage, its conservation and protection content can result in social harmonies, innovations, promotion of political collaboration and development, exchange of ideas and experiences, etc. (Alkateb, 2013). By discussing the conservation and protection of cultural heritage in fine art activities and raising awareness on its importance, teachers and educators can develop their students into critical citizens, future owners of cultural heritage and co-creators of society, who will be once able to evaluate and assess various impacts on cultural heritage. By being aware of the issues involved, all students - future active citizens - will be able to evaluate whether urban development interventions performed by various organisations or individuals are justified or not, will be able to understand and make correct decisions in collaboration with experts on what to conserve (i.e. on whether to perform preventive conservation, conservation or restoration interventions), what to properly restore - introduce changes that preserve the existing parts (i.e. properly renovate a contemporary apartment in an architectural heritage unit) and what to remove (Guilfoil, 2004). An integral part of the fundamental objectives of the curricula for fine art activities is also developing the correct attitude towards national and general human fine art heritage (KocjanÄ?iÄ?, 2011). The task of the teacher is to include these objectives into their preparation activities for fine art activities, fine art courses, elective courses, cultural activities, etc. in addition to all other objectives. By observing these facts, the teacher can contribute to the development of sensibility for cultural heritage, its conservation and respect towards it. Surveys conducted in the United States of America have shown that three main areas are included by teachers in preservation education: archaeological heritage, cultural landscape heritage and general concern for tangible cultural heritage, with an emphasis on architectural heritage (Thorntol, 2008).

Under the guidance of a mentor, children can prove excellent conservators and guardians of cultural heritage, such as great collectors of content on old beliefs or recorders of folk texts or even individuals who document old houses in their neighbourhoods in their own way, creators of pottery, illustrators of local anecdotes as part of selected motifs and similar (Karim, year of publication N/A). The Manual for Elementary School Fine Arts Teachers, published in 1979 (Roca, 1979:71), reads that students should not only understand or be familiar with the most important facts of specific units of cultural heritage, but that they shall be systematically trained from Grade 1 onwards in the aesthetic, intellectual and emotional perception of various units of cultural heritage in their home-town and country, in particular due to the rise in uneconomical management and vandalism thereof. The protection of cultural heritage is subject to continuous social concern and delegation of a part thereof to all elementary school and other educational institutions including their students. Several examples of sponsorship and other types of cultural heritage concern carried out by elementary schools can create a permanent shift in the perception of cultural heritage both in children (students) and adults. Roca (1979) provided a list of guidelines and programme of work that shall be performed by all local schools separately or as a group under the guidance of fine arts teachers in collaboration with teachers of other subjects:         

documenting local cultural heritage including their specific characteristics, documenting national cultural heritage, creating one’s own archive of photographs depicting cultural heritage, organising a systematic collection of old postcards depicting cultural heritage, collecting and identifying folk craft artefacts, recording local archaeological materials, collecting, observing and analysing ethnological heritage in the classroom, creating fine art works while observing folk craft artefacts and works of art either in the classroom or elsewhere, observing and analysing immoveable cultural heritage, identifying style and sculpture qualities and their harmonious fitting into the urban space or cultural landscape,

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keeping a diary on the details and personal impressions of students of their visits to cultural heritage units in the company of their parents, peers or under the guidance of their teacher, teaching children about techniques and methods that preserve cultural heritage from deterioration and restore it and the importance of the conservation service and Cultural Heritage Protection Institute, teaching children about cultural heritage conservation and protection legislation, organising occasional exhibitions of photographs taken by students of local cultural heritage or other cultural heritage visited thereby, drawing up a plan on managing order and surroundings of green areas and flowers around various types of sculptures, publishing the best fine art works or photographs of cultural heritage and cultural heritage concern (Roca, 1979:72).

In the conclusion, the author highlights the importance of regular collaboration between the school and various cultural heritage conservation and protection experts, the option to organise lectures for parents and the general public in collaboration with experts who shall facilitate learning and valuing cultural heritage and, indirectly, promote a respectful attitude towards one's own culture and homeland (Roca, 1979:72). Heritage preservation education can also be found in foreign fine arts curricula, although it is mentioned only indirectly. The Croatian Fine Arts Curriculum (Nastavni plan i program za osnovnu školu, 2006) includes a list of tasks whose objective is to develop skills, knowledge and a respectful attitude towards international and national cultural heritage. The Finnish Fine Arts Curriculum (National Core Curriculum for Basic Education, 2004) provides guidelines for the discussion of content with an emphasis on recognising specific features of national and local cultural heritage compared to international cultural heritage. The Finnish curriculum focuses on becoming familiar with specific features of architectural heritage and cultural landscape, learning skills and becoming familiar with various materials and the local community. The Italian curriculum for pre-schoolers and the first five elementary school grades (Indicazioni nazionali per il curricolo della scuola dell’infanzia e del primo ciclo d’istruzione, 2012) focuses heavily on shaping an appropriate and critical attitude towards cultural heritage, its recognition and respect thereof. According to the

document, learning about cultural heritage promotes a creative process in students and contributes to shaping active and responsible citizens who shall understand conservation of cultural heritage both on a local and wider level and express sensibility and respect for cultural heritage, its conservation and protection. The Elementary School Curriculum of the Republic of Austria (Lehrplan der Volksschule, 2012) for Grades 1 to 4 does not contain any specific guidelines or content associated with conservation and protection of cultural heritage. The Elementary School Curriculum of the Republic of Austria for Grades 5 to 8 (Lehrpläne für die Pflichtgegenstände, Bilderische Erziehung, 2004) regards various fine art phenomena as a continuously changing process that requires an expansion of the definition of fine arts, and regards cultural heritage as a medium that helps students upgrade and associate their knowledge with the objective of creating their own fine art work. Neither of the aforementioned curricula, however, specify any specific content that should be taught in various elementary school grades. Curricula contain only recommendations for teachers on hoe zo teach students how to assume a critical attitude towards cultural heritage, its conservation and protection. Various manifestations whose objective is to organise events that raise awareness on cultural heritage (UNESCO School, Days of European Cultural Heritage, etc.) serve to teach students under the guidance of their mentors of specific features of cultural heritage, its conservation and protection. There are various good practice cases, such as presentations of specific features of frescoes, most frequent restoration interventions and the most important local monuments (Premrl, 2014) for elementary and secondary school students by professional conservators - restorers or the “Adopted Monument” campaign (Henigsman, 2013) whose aim is to teach students of industrial cultural heritage and its specific features. A good practice case is also the “Learn, Protect, Conserve” project (Antonić, 2013:172) in which experts in collaboration with teachers guide students to recognise heritage in their local areas: “what we recognise and see, we appreciate, respect, conserve and protect.” The technical subject “Heritage Protection Fundamentals” as part of the fine arts programme of the arts grammar school plays an informational and educational role (Trček Pečak, 2010:4) by teaching students on the importance of conserving cultural and natural heritage and the activities performed by professional conservators and restorers. The curriculum for this subject focuses on high-quality material cultural heritage, in particular if its further existence is under threat. The subject focuses on visual arts heritage and other protected groups of monuments, cultural landscape and other monuments of shaped

nature. Intangible heritage is only touched upon. The main focus of the subject is cultural heritage conservation and protection and to guide students to study conservation and restoration, archaeology, ethnology, culturology, history of the arts, paintings, sculptures, architecture and landscape architecture. In cultural heritage units, the technical subject unveils symbols of national identity and sovereignty, awakens awe, curiosity, responsibility and educates students in the spirit of respecting cultural and natural heritage both locally and abroad (ibid.). With the exception of conservation - restoration university studies, conservation is not taught in Slovenia as a separate profession. Undergraduate programmes focus only on the fundamental features thereof associated with their line of expertise, in an uncoordinated and highly theoretical manner (Peskar, Grobovšek, 2014:139). Slovenia is very specific in European terms as regards to educating architects - conservators. Restoration and conservation can be explored only as part of these subjects during undergraduate architecture studies, thus forcing Slovenian architects - conservators to learn about both topics themselves or by studying abroad and basing their work on foreign experiences and foreign heritage. Experts engaged in the restoration of architectural heritage lack craft knowledge that would enable them to perform even the simplest maintenance works on various buildings, fix straw roofs or seal stone walls. The aforementioned work methods that form part of the facility restoration process do not serve only to conserve the facility but to preserve know-how that would have otherwise formed a part of forgotten heritage. Experts in the future shall focus on passing on their knowledge on contractors restoring the architectural heritage of the entire Slovenian territory (in addition to registered heritage and monuments) via workshops, presentations, publications and their inclusion into conservation and restoration interventions (Deanovič, Kavčič, 2004:46). The sustainable development role of heritage shall be achieved by bringing together professionals, politicians and the local community. The further existence of heritage shall be subject to the local community, its attitude, views, reflections on and use of heritage in particular (Fakin Bajec, 2011b:61).

Heritage Preservation Education implementation performance

Achieving an understanding of terms associated with cultural heritage and imparting responsibility for its conservation and protection is subject to the

ability of the teacher to organise activities performed by the students in a creative way. Communication between the teacher and students shall not be one-sided (static) in which the teacher acts solely as an authoritarian provider of knowledge. The teacher shall guide the students indirectly, help them and guide them to gain insights independently during their interaction between the teacher and student (Jacobsen, 2009). Cultural heritage conservation and protection knowledge in fine arts classes is passed on to students by means of work methods and forms that promote critical thinking and creativity in students. Teaching/learning methods are scientifically and experientially proven communication methods between teachers and students in the processes associated with providing and acquiring know-how, developing abilities and promoting other personal development potentials in the teaching and learning process. In the didactic sense, teaching/learning methods can be defined as paths to achieving teaching objectives appropriate for students which provide specific lesson situations with an optimum effect as part of other didactic components and subject to appropriate interactions. In specific lesson situations, teaching/learning methods are alternately focused on activities of the teacher and students. Nevertheless, their main objective remains to guide students towards active acquisition of knowledge, skills, habits that promote creative inclinations and skills. Methods shall be adapted to objectives, content and lesson participants (Duh, 2004). In order to achieve their objectives, teachers shall introduce special relationships and interactions into the learning process based on mutual respect (Tacol, 2003). Achieving real relationships and positive communication in the learning process and the objectives set as part of the teaching/learning process shall be subject to appropriate work methods adapted to learning objectives, fine arts tasks and specific students involved in meeting the objectives of the learning process. In order to select the correct method, teachers shall be familiar with specific features thereof and their effectiveness. Several methods shall be used in combination and repeated. Work methods shall be selected on a well thought-out and dynamic basis that guides students to acquire fine arts terminology, develop individual fine arts abilities and their individual fine art expression (Tacol, 2003, Šupšáková, 2009). There are several types of interactions in a classroom setting: student content, student - student and student - teacher. There are various types of alternating types of interactions in fine arts classes. In the introductory and central part of the lesson, the main methods of work are discussion and explanation that shall be focused on the student and promote active learning. Active teaching involves the use of strategies that maximise the interaction between the teacher and students, between students themselves and between

students and learning content. The results of active teaching are improved concentration of the student, development of various skill sets (such as communication, justified discussion, assertiveness, consideration of other people, collaboration, active listening, empathy), development of creative and critical thinking, improved motivation, reduction of negative emotions, etc. Studentbased teaching approaches include various research projects, outdoor classes, work in groups, examinations of cases, independent research, trial and error and simulations (Šimić Šašić, 2011). Most authors classify learning methods in fine arts activities into general and specific (Karlavaris, 1991, Tacol, 2003, Duh, 2004, Karlavaris, Berce-Golob, 1991):

General learning methods in fine arts activities include:

Verbal and textual methods

Discussion method - work method in the form of a dialogue between the teacher and students. The main elements of this method are questions and answers. Questions are designed subject to the content associated with fine arts terminology. In order to facilitate successful dialogue, the teacher shall create a favourable environment in which the students want to collaborate. Discussions shall be based on several questions which shall be logical and understandable and lead to desired responses. The explanation method takes place in the form of verbal communication in which the teacher guides the student who is the source of information. This method is used by teachers when they want to teach their students fine arts and other terminology they are not yet familiar with or explain to them the method of use of fine arts materials and specific features of fine arts motifs or when they present a fine arts task to be resolved by students. The explanation method can quickly shift to the discussion method. The success of the explanation method is subject to the level of preparedness of the teacher. The textual method means that students read a text on the

basis of which they create an illustration or they read a text on fine arts laws or artists in textbooks, encyclopaedias, etc. The drawing and writing method – this method has proven useful in fine arts activities to present theoretical and other fine arts laws that form an integral part of visual arts in a more illustrative manner. The writing method in the fine arts activity process is used in the creation of panel paintings or in recreating the task on a panel. Visual methods (with pictorial matter)

The display method – displaying artefacts and phenomena from the visible world, reproductions of works of art, various displays of cultural heritage, illustrations, everyday objects, etc. A direct interaction with the environment in the classroom is replaced by high-quality imitations of the real environment and works of art of renowned artists. Audio-visual method –fine arts activities include contemporary media (personal computer with highperformance software, multimedia projectors, interactive boards, etc.).

Practical and manipulation methods

Demonstration method – is particularly relevant in the fine arts activities learning process because it refers to a wide array of activities focused on presenting and showing teaching aids, objects, processes, phenomena, everything that can be a subject of an experience. Most frequently, this method in the fine arts process is used to demonstrate activities (the use of tools and materials used for a specific artistic technique, etc.) that involve observation, perception, understanding and experiencing. Works created by renowned artists and other students shall not be blindly copied and teachers shall ensure that the same motifs are not used repeatedly. They can, however, serve as an example to resolve a theoretical fine arts problem. A demonstration of a specific fine arts technique may only help understand the exact procedure and shall contribute to an original expression. Practical fine arts expression method – this method refers to all types of fine arts works whose purpose is to have students gain new insights and revelations associated with media and

design principles. Fine arts activities are based on the method of practical expression which forms the most important part of all lessons. Teachers help students whenever they observe a lack of motivation or if the students require assistance in resolving a technical or organisational issue. Experimentation method â&#x20AC;&#x201C; stands for active exploration of students, in particular in terms of introducing new artistic techniques, materials and procedures. All fine arts activities can be seen as experimentation methods if worked out properly.

Specific learning methods in fine arts activities include:

Fine arts and aesthetic communication methods

The method of aesthetic cultivation (communication) and the method of dissemination and elaboration of artistic sensibilities promotes aesthetic communication in students with the aim of aesthetic awareness-raising or enriching the sensibility for fine arts structures. The teacher cultivates the awareness of students and the students express in their works the diversity of aesthetic experiences and judgements. Students thus expand their sensibility for various components of works of fine art, formal structures and mental elaborations in addition to enriching their sensibility for fine arts problems.

Creative process specific feature methods

The transposition and alternative and the indirect stimuli methods are based on developing creativity. Presented fine arts terminology, particularities of material handling, etc., shall serve to encourage students to experience a motif in an intense manner and preventing them from depicting motifs according to habitual patterns. Teachers should strive to promote imagination of the students.

Fine arts manifestation, function and process complexity methods

The complexity and intermixing method and the alternating influence method â&#x20AC;&#x201C; the creative use thereof promotes the stratification of fine arts creativity (motif, technique, artistic language, individual personality, etc.). Both methods serve to promote fine arts expression in students through one of the many elements of stratification which requires a creative and relaxed atmosphere. Students associate all components in their own unique ways and spontaneously express themselves in an original way.

Individual and subjective properties of fine arts phenomena

The inherent sensibility awareness and autonomous artistic procedure methods can be performed successfully by respecting the individual expression method of various students. The teacher shall not impose upon their own beliefs on the way various motifs should be depicted or how to resolve a specific fine arts problem but shall only help students regulate their own inherent expression method that the student becomes progressively aware of. The teacher shall use various didactic aids to perceive the individual fine arts expression of the student.

Fine arts technique The autonomous perception and mastering of a fine arts specificity methods technique through oneâ&#x20AC;&#x2122;s own experience method and the method of direct learning of a fine arts technique shall encourage students to find variations in well-known fine arts techniques and procedures and to create their own fine arts technique. Through their own fine arts and creative work, students become familiar with various fine arts techniques. The appropriate application of various methods results in the development of their own unique technique application method and individual process to the technical application of a work of fine art. An important issue in didactic theory and practice is associated with social interactions between teachers and students during fine arts lessons that foresee various activities between the various participants in the process (Duh, 2004). Activities are associated with objectives, fine arts tasks or teaching content, fine arts areas, teaching methods and aids, theoretical and practical work (Tacol, 2003).

Fine arts lessons can take place in the following instruction types:

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Frontal instruction – the teacher communicates with all students in front of the whole classroom, usually at the beginning and end of a lesson. Teachers should not be the sole holders of the teaching/learning process but shall simply guide students towards their own reflections. As a result, they shall include various teaching methods in their direct explanations. In a discussion held between the teacher and students, students identify and establish their understanding of fine arts terminology, analyse the presented content, teaching aids, demonstrated technique and motif. Group instruction – from time to time: the formation of groups which autonomously solve various fine arts tasks. Group work includes the creation of a group fine arts work created by several students, usually by all members of a group. Group work includes interactions and collaboration between members of the group and adapting the contribution of individual students to the contribution of the remainder of the group. Working in pairs – this type of instruction accustoms students to collaboration with other people, and a broader organisation of working and fine arts expression procedures. Working in pairs is usually used in practical work, namely as a form of dialogue between two students, introductory motivation and evaluation of the created work of fine art. This type of instruction can also be used for learning more advanced artistic techniques and work methods. Individual work – the most frequently used type of instruction in fine arts lessons. Students express themselves in a free manner that does not have to be adapted to anyone else’s. In individual work, teachers play the role of advisers who provide one-on-one assistance to students subject to their wishes and abilities. Individual work accustoms students to work independently and boosts their selfesteem. Excursions – when fine arts lessons are not conducted only in the classroom. From time to time, students leave the school environment to observe and analyse various phenomena in their environment. Excursions are composed of a technical-substantial and

organisational part. The technical-substantial part includes not only a theoretical segment but also fine arts creations of students at the site itself (in nature, a cultural heritage site, gallery, etc.), whereas the organisational part of the excursion involves the organisation of transport, scheduling of the excursion by the teacher, etc. (Adapted according to Tacol, 2003; Duh, 2004; Karlavaris, 1991).

Raising awareness and Heritage Preservation Education in primary school fine arts activities

Teachers should raise awareness of students on the importance of conserving and protecting cultural heritage throughout the entire schooling period and include related content in the performance of fine arts tasks in addition to adapting the content discussed to the age of the students. By integrating such content, teachers guide students to formulate an attitude and develop the skills required to protect everything created by both humans and nature and to raise awareness on the importance of cultural heritage for general and cultural identities. By raising awareness of the students on creation methods and/or materials used in cultural heritage, teachers enforce a respectful and responsible attitude towards various types of man-made heritage, with an emphasis on visual art and architectural heritage, cultural landscape and selected artefacts of folk craft and art (Bogataj, 1993). By systematically raising awareness in students by means of various teaching methods, teaching aids, fine arts materials, fine arts expression and work methods, teachers promote a positive and responsible attitude of students towards cultural heritage in addition to developing their creativity and ability for critical evaluation and interpretation of cultural heritage, its conservation and protection. Creative and diligent fine arts teachers guide elementary school students to recognise the specific features of cultural heritage and impart a critical attitude towards and responsibility for its conservation and protection. The fine arts curriculum (KocjanÄ?iÄ?, 2011) already focuses the attention of teachers thereto during the first educational period. According to the curriculum, teachers shall pay attention to the way students experience and express their emotions, how they relate to their peers, which kind of emotions they experience interacting with other students and how they handle various objects.

As early as during the first educational period, the teacher should meet the objectives and discuss the required content subject to the curriculum in addition to raising the awareness of students on cultural heritage, its conservation and protection on a basic level. Teachers shall pay special attention to guiding students towards observing various types of heritage in their own environments. They should also accustom their students to identify their state and to find simple solutions for their conservation and protection. During the second educational period, the teacher should meet the objectives and discuss the required content subject to the curriculum in addition to raising the awareness of students on cultural heritage, its conservation and protection on a more complex level. Teachers shall also pay special attention to guiding students towards observing various types of heritage in both their local environments and a wider area. They shall provide students with more in-depth explanations of the differences between tangible and intangible and moveable and immoveable cultural heritage. They shall also ensure that students learn the difference between conservation and protection on one hand and conservation and restoration of cultural heritage on the other. During the third educational period, teachers shall raise awareness and ensure that students learn the basic differences between various conservation and restoration interventions on paintings and sculptures subject to the elements (materials) used in works of art. They shall also teach students on the differences between various materials and the original and unrepeatable nature of material (tangible) cultural heritage. In addition, they shall focus on promoting observation of heritage in both the local environment and the wider area in students, in particular by ensuring that students express their findings and views on the state of the cultural heritage and make proposals for its improvement (critical thinking). Teachers should raise awareness in their students on the deterioration of local architectural and visual art heritage and other associated issues such as vandalism, neglect, theft, etc. thereof.

Recommended content in the first educational period

In the first educational period, teachers provide information on cultural heritage, present the differences between natural and cultural heritage, natural and cultural landscape and immoveable and moveable heritage. They shall discuss

the content in an appropriate manner based on the age of the students and shall apply work methods and types that promote exploration in students. They can shed some light on the origins of man-made fine arts creation and present the first known fine arts materials, preparation and creation methods and various uses. In painting, they can present soil pigments, charcoal, burnt bones and chalk as the first paint materials available to humans that they applied with their fingertips, with the help of lichen or moss, animal fur, by blowing paint through hollow bones, etc. In sculpture, the teacher can present the materials used in the first known sculptures: soil (clay, argil), bones, ivory, stones, various metals that humans found nearby and intervened into by means of simple aids, by adding â&#x20AC;&#x201C; modelling or by removing â&#x20AC;&#x201C; carving. In architecture, teachers can teach students about the first homes (caves) as the first original type of natural shelter, first buildings and construction materials: soil (clay), wood, stone, straw, baked clay (bricks) (Juvanec, 2006). During the first educational period, teachers should guide students to observe their local area and to find local examples of visual art heritage (e.g. in churches, chapels, squares, homes) and to describe differences between paintings and sculptures, between murals and paintings on canvas, between wooden painted sculptures and metal sculptures, etc. In particular, teachers should focus the attention of students to observing deteriorating architectural heritage and recognising the importance of a responsible attitude of both the owner and society as a whole towards it and finding simple solutions for the re-use of a particular architectural heritage unit, in addition to comparing traditional and contemporary materials used in paintings, sculptures, architecture and folk craft and the basic differences that both groups of materials allow for. In order to promote a more sensible perception of the importance of conserving cultural heritage and to enhance a responsible and respectful attitude towards it, students can also create fine arts works from materials they create themselves, such as by becoming aware of paint as a set of pigments (small grains of various natural substances) and binder medium created from substances/materials they are familiar with (milk, eggs, wax) by creating their own simple paint. By introducing students to the origins of various materials and to various simple application methods, teachers raise awareness in their students on the various materials used in cultural heritage. By teaching them about their transience, students are taught about the importance of their conservation and protection.

During the first educational period, students should visit various institutions in charge of conserving and protecting cultural heritage and learn the basics of heritage concern through various didactic aids.

Recommended content in the second educational period

During the second educational period, teachers can shed light on man-made fine arts creations and provide an in-depth insight into fine arts materials, preparation, creation methods and types of uses. In painting, they can make indepth presentations of parts of a painting: the mat created from the painting medium (such as paper, wood, canvas) and basis composed of a filler (such as plaster or chalk) and binder medium (such as glue or oil) on which paint (a set of pigment and binder medium) is applied. Teachers can also present the development of painting media: painted walls on cliffs, wall surfaces, wood, paper, canvas and various contemporary materials. Students can also be introduced to paint ingredients in early paintings: mixtures of pigments found in the local area (mineral dust, charcoal, burnt bones, limestone) and binder media (water, liquids from various plants, animal fat, protein and blood). Students are taught to understand the development of painting from wall paintings in the pre-historic era, paintings in lime plaster (frescoes), paintings created with a mixture of pigments, wax and resin (encaustic paintings), to egg tempera, oil paint and canvas as a painting medium and various types of synthetic paint (such as acrylic paint). In sculpture, students can be introduced to sculptures made from various materials: traditional (clay, plaster, stone, wood, metals) and contemporary materials. Students are taught to distinguish between immoveable sculptures that form part of a building and moveable sculptures. Sculptures are: stone sculptures, wooden painted sculptures, wooden sculptures, stone painted sculptures, architectural sculptures (including advanced moulding), metal sculptures, ceramic sculptures, sculptures from other materials (Makuc Semion, Dolenc KambiÄ?, 2004). In architecture, the teacher can teach students to learn about the development of space in a house (homestead), in a rural and urban environment (Juvanec, 2006).

In the second educational period, teachers encourage students to make indepth comparisons between traditional and contemporary painting, sculpture, architectural and folk craft materials, identify opportunities and basic differences both groups of materials allow for. Students should visit institutions in charge of conserving and protecting cultural heritage and become familiar with the following professions: conservator-restorer, conservator-architect, conservator-landscape architect, etc. By creating a fine arts work from traditional materials, they become familiar therewith and enhance the creation technology with a sense of responsibility towards visual art heritage, its conservation and protection.

Recommended content in the third educational period

In the third educational period, teachers can shed light on conservation practices both locally and abroad (Dvořák, 1916, Jokilehto, 1999, Hoyer, 1998). By applying contemporary fine artspractices (performances, textual art, landscape art, installations, etc.), students can learn about conservation and protection of visual art, architectural heritage, cultural landscape and selected artefacts of folk art and craft. In architecture, students are taught to distinguish between secular (rural, town/city and market-town buildings) and sacred (churches, chapels, plague columns) and secular-sacred (monasteries, presbyteries) heritage; they can distinguish between various types of use: residential or non-residential, changes to the intended use of a facility, describe roofs, builders’ joinery, materials, details, etc. used in architectural heritage and compare them to contemporary architecture. Students can also become familiar with various cultural landscapes and their distinct architectural heritage, important differences and specific origin (such as the Bovec House, the Carinthian House, etc.). They use photographs to identify new buildings that match the identity of a specific cultural landscape and to describe its characteristics. Teachers can also encourage students to observe appropriate and inappropriate interventions onto architectural heritage and cultural heritage both locally and elsewhere (materials used in restoration procedures, stylistic configuration of details, increasing apertures, replacing builders’ joinery, colours of the façades, additions to facilities, size of facilities, impact of architecture on the environment subject to existing architecture or

distinct cultural landscape, etc.). Illustrations of architectural heritage allow students to identify man-adapted measures and ratios (symmetry, rhythm, the Golden Ratio). Photographs of the landscape can serve to compare new buildings that match the existing identity of the cultural landscape and establish inappropriate characteristics of new buildings (such as oversized dimensions, imbalanced aperture ratio, inappropriate façade paint, decorative memorials, materials, etc.). They should also become familiar with the work of conservators-restorers and their interventions onto visual art heritage. They shall also be introduced to the types of architectural heritage conservation and protection procedures: restoration (maintenance, rehabilitation in compliance with the required conditions and subject to prior consent of the conservation service if the building is deemed cultural heritage or monument and has been entered into the Immoveable Heritage Registry). In terms of fine arts tasks, they can plan changes to the existing local architecture: reconstructing existing single-family houses (“cubes”) into buildings that match the identity of the local cultural landscape or urban environment (Ivanič, 2012), renovating architectural heritage in compliance with contemporary needs, exploring changes to the landscape and architecture by utilising past resources and by documenting the current state. Students shall create a fine arts work according to the traditional technology of creating a painting on canvas: tightening the canvas on a wooden frame, preparing the canvas (creating a semioil or oil medium), paint (creating one's own oil or other type of paint); a fine arts work according to the traditional technology of creating a wooden painting (creating a glue-clay medium) and an egg tempera. During regular classes, elective subjects, on cultural and technical days, in a fine arts afternoon class, etc., students should visit institutions in charge of conserving and protecting cultural heritage. They shall also become familiar with secondary and tertiary study programmes for professions engaged in the conservation and protection of cultural heritage.

Practical examples Arhitectural heritage concern

It was decided to devote eight school hours to the implementation of the presented architectural task. The activity focused on understanding different spaces (semi-enclosed, semi-open and closed), according to the curriculum concepts for visual art education and also in the discovery of issues concerning the preservation of the architectural heritage. In the introductory part of the lesson the teacher included in the teaching process the method of spreading and realizing (elaborating) artistic sensibility (Tacol, 2003). Within this method, the teacher organized a play-acting activity. The students performed improvisations and in the ensuing discussion repeated the familiar concepts of architecture and space.

Students repeated the already well-known visual art concepts of architecture and space. In the central part of the lesson, the teacher continued the activity by the method of spreading and realizing artistic sensibility. When directed in the discussion and explanation, the students performed various types of spaces with

their bodies, while also acquainting themselves with the special features of the closed, semi-enclosed and semi-open spaces. In order to confirm understanding, the teacher directed the students to list examples from their own surroundings. For greater clarity, the teacher presented different spaces with photographs. The teacher demonstrated the photographs of the architect Jože Plečnik's buildings and directed the students to identify the premises and their names (Tromostovje, Žale, National and University Library, Bežigrad stadium). With the help of painting material, the teacher also directed the students to in-depth thinking and explanation of their specificities: large and small columns, masonry walls, masonry stone walls, stone imitation with the help of other materials, etc.

Tromostovje.

Žale.

National and University Library.

BeĹžigrad stadium.

At the demonstration of photographs of JoĹže PleÄ?nik's architecture, the teacher first directed the students to describe the characteristics of these buildings, and then explained the concept of cultural heritage with a graphic presentation of the conceptual network. At the demonstration of the graphic presentation of the conceptual network, the teacher directed the students to identify the tangible and the intangible cultural heritage and the immovable and movable heritage. In the tangible and the intangible heritage, students described the differences; eg. for the tangible heritage, they listed terms such as buildings (architecture), statues, paintings, etc., and various customs and habits for the intangible heritage.

Graphic presentation of the conceptual network of cultural heritage.

The teacher also directed students to present and describe the concept of immovable heritage as a heritage that can not be moved, for example, buildings, and movable as an inheritance that can be moved, for example, sculptures, paintings, books, etc.

The teacher then presented the concept of preserving and protecting the cultural heritage and presented the concern for its maintenance and renovation. The teacher emphasized some of the laws that enable the care of the cultural heritage and presented the concept of a cultural monument as a cultural heritage, which has a special significance for the Republic of Slovenia and wrote the concept of a cultural monument of national importance on the board. After the presentation of the cultural monument, the teacher demonstrated a photograph of the PleÄ?nik BeĹžigrad stadium and directed the students to describe the situation - that the stadium does not serve its purpose and is degraded.

Bežigrad stadium.

The teacher directed the students to observe and find that the stadium needed renovations, as it must, as a public building, meet modern needs (eg access for disabled people, suitable toilets, covered seats, etc.), but it must remain in the way it was imagined by its creator - in the form, the facade colour, etc., while writing the concept of renovation on the board. In the discussion, the students explained that the cultural heritage is renovated by experts. The teacher presented the activity of conservators, representing experts from various professions who are trained to research and plan for the renovation of the cultural heritage. The teacher emphasized the conservatorarchitect is one who examines the state of the architectural heritage and designs a renovation plan. The conservator-restorer’s work is to study and plan the renovation of large and small pillars, and other decorative parts of the architectural heritage. Prior to the announcement of the fine art task, the teacher once again directed the students to demonstrate the photograph of the architect Jože Plečnik's works to restore the concepts: the half-open space is an uncovered space defined by the walls (one, two, three or four) or pillars, the closed space is surrounded by walls on all sides, and that the half-enclosed space is covered with a roof, but it has one, two or three walls.

During the announcement of the visual art task, the teacher explained to the students that this time they will be architects who will design a model, which will be made from various fine art materials - cardboard, paper, twine, wire, adhesive, double-sided adhesive tape and scissors and other materials, which will represent a building with different types of spaces, and the starting points for the design of the model will be based on some elements of the existing stadium.

Olympic stadium in Beijing, China, 2008 (photograph by: Wikipedia).

Nelson Mandela Bay stadium, South Africa, 2009 (photograph by: Wikipedia).

Olympic stadium in London, Great Britain, 2012 (photograph by: Wikipedia).

The model of the stadium (photograph by: Wikipedia). A discussion of materials and accessories for modeling followed. If necessary, the teacher also demonstrated the handling of materials, for example, cutting of paper, folding of wire and its intermingling, fixing on the base etc. At the end of the presentation of the use of fine art materials and accessories, the teacher also

presented the fine art motive of the stadium in the future, while getting the students to imagine that their presented stadium model will be the basis for the construction of a stadium in the future, which may become a protected immoveable cultural heritage and, as such, constitute a connection between different periods of architectural heritage. In the final part of the lesson, students presented the fine art products, created evaluation criteria and analyzed the models.

Cultural landscape heritage concern

A four-hour time period was decided for the execution of a graphic task. The activity focused on transforming the landscape through imagination, as well as in the detection of problems in the field of the preservation and protection of the cultural heritage. In the introductory part of the lesson, the teacher included in the teaching process a video clip showing a tour of the Slovenian cultural landscape. At the end of the presentation, the students listed all that was embedded in their memory: city, coast, salt pans, forests, churches, cemeteries, etc. In the central part of the lesson, the teacher continued the activity and demonstrated the photographs representing the city and village.

Shanghai, China (photo by: Mstyslav Chernov).

Kozarišče, Slovenia, (photo by: Alenka Veber). During the discussion, the teacher directed the students to describe the differences in the presented environments and their buildings (eg, the city's skyscraper, a family house with a garden, in the city little or no trees, in the countryside lots of greenery etc.). The teacher directed the students to the designation of buildings that can be found in the urban environment (towers, private buildings, stadiums, factories, warehouses, hospitals, etc.) and buildings that are typical of the countryside. In order to increase the visibility of the content, the teacher showed the students a photo of the village Štanjel and directed them to observe and describe its characteristics. In order to increase the visibility of the content, the teacher showed the students a photo of the village Štanjel and directed them to observe and describe its characteristics.

Štanjel, Slovenia (photo by: Johann Jaritz). The teacher directed students to think about building materials, methods of construction, uniform appearance of buildings, characteristics of greenery between buildings and surroundings, etc. The students found that the buildings were made of stone, they had bright facades, red roofs, the tallest building was a church belfry, buildings were old, many buildings were renovated, some needed renovation, and so on. For a more in-depth experience of the special features of the Štanjel village, the teacher played a video clip to students. After the video was finished, the teacher instructed the students that each environment had a characteristic building. In order to facilitate thinking and explaining in students minds, the teacher directed them to some questions: whether the buildings were high or low (compared to the buildings in the city), which building was the highest, what kind of materials were used in the buildings, what colours were the facades, what colours were the roofs. Were the buildings constructed in a conglomerated or diffused way, whether they were similar to each other, what were the surroundings of the village (built or surrounded by greenery), etc. The students found that there were no towers in the village of Štanjel, that the houses were set up in a very conglomerated manner, that they were on the hill (not scattered around the area) that between the houses were narrow streets, the buildings were about the same size and harmonious and the surroundings were very green. The teacher explained to students that Štanjel village is a cultural landscape, which is particularly unique in Slovenia, as it shows a traditional settlement of the

Karst region throughout history. In the discussion, the pupils concluded that the words cultural landscape describe everything that man created in nature, for example, towns, villages, parks, roads, power lines, etc. The teacher emphasized the words heritage cultural landscape and presented this to the students as an area that was made as a result of the creativity of a human and which we want to preserve because of the historical, cultural or civilization significance. In the continuation, the teacher also explained to the students that the cultural heritage of the village of Ĺ tanjel is a stationary cultural heritage and protected by laws. In continuing, the teacher, when demonstrating a graphic presentation of the conceptual network, aimed at recognizing concepts of immoveable and moveable cultural heritage and heritage cultural landscape.

Graphic presentation of the conceptual network of cultural heritage. The students explained that the cultural landscape is an immoveable cultural heritage; Ĺ tanjel is a protected cultural heritage landscape because it carries a great cultural value (its shape, size, materials, the facade colour, etc.) and we want to preserve and protect it so that its appearance remains as unchanged as possible.

In the central part of the lesson, the teacher continued the activity by the method of spreading awareness of the students own sensibilities (Tacol, 2003), when students were taught by explanation and clarification to explain how it would be appropriate to renovate or build a new building with respect to the cultural landscape, or how it is that it can be demolished with thoughtless and inappropriate interventions. The teacher directed the students to transfer the emotional-aesthetic message as cultivating the consciousness of the receiver of this message and the enrichment of its sensitivity (Tacol, 2003).

Ĺ mit house, Open Air Museum Rogatec, Slovenia.

In order to better understand the differences between the various renovations of the architectural heritage, the teacher first presented the photographs of the Ĺ mit house (Open Air Museum Rogatec) and directed them to describe the renovation of the architectural heritage as an activity when we want to return a building to its original appearance - without adapting to modern life. The teacher explained to students that the buildings that serve as a museum (eg the Open Air Museum Rogatec) are not adapted to the needs of modern man, since they do not have sanitary water, bathrooms, etc., but they represent a way of life for a certain period for the purpose of education and research (Sketelj, 2008).

Renovation of a residential building, Andraž nad Polzelo (photo by: Živa Deu).

Renovation of a residential building, Senožeče (photo by: Živa Deu). Continuing, the teacher directed the students to describe the concept of the renovation of the architectural heritage as an activity when we want to preserve the originality in the architectural design of the building, while at the same time

changing the interior to suit the needs of modern life (eg bathroom, heating and ventilation system) (Deu, 2008).

Kobariško, Slovenia (photo by: Živa Deu).

Contemporary buildings that follow the identity of a cultural landscape, Kobariško, Slovenia (photo by: Živa Deu).

Goriška brda, Italy (photo by: Živa Deu).

Contemporary buildings that follow the identity of a cultural landscape, Kobariško, Slovenia (photo by: Živa Deu).

The teacher showed the students photographs of contemporary buildings that follow the identity of a certain cultural landscape, while directing the students to explain that architecture always follows the new guidelines and criteria of the

beauty and the requirements of a modern way of life, but on the other hand it must take into account and act in harmony with the fact that any new interventions in the shaped cultural landscape are interventions on their own, which formed an identical image through the centuries (Deu, 2008). The students therefore realised that the new constructions must conform to the environment the landscape and the existing buildings - in such a way that it does not stand out in terms of size, shape, colour and appearance of the materials (texture). The teacher then directed the students to describe the unsuitably renovated residential buildings and new constructions and described the demolished the proportional openings (windows and doors in size and layout), the oversize of the building (the building is too large in relation to the already built buildings), the colour of the facade, the selection of materials and the inappropriate building features (windows, doors), which create a feeling for us that the building does not please us and, as such, destroys the appearance of the cultural landscape. The teacher directed the students to observe the displayed photographs of various residential buildings and to find inappropriate interventions - renovations and new constructions.

Unsuitably renovated residential buildings (photo by: Ĺ˝iva Deu).

During the discussion, the students explained that the renovation of the residential buildings is inappropriate because the openings (windows and doors)

are too big or have been changed to modern building features (larger windows, balcony doors) and as such, ruin the harmony of the old building.

Unsuitably renovated residential buildings (photo by: Boris Mravlje).

Unsuitably renovated residential buildings (photo by: Damjana PediÄ?ek). On viewing the photographs, the students explained that in the renovation of the house, the renovators did not take into account the existing houses, since

there is no connection between these buildings and the new building, which is seen as alien.

Inappropriate contemporary residential buildings.

In the four photographs shown, the students explained that the new building does not follow the identity of the cultural landscape, that the buildings are oversized (high, wide), that there are no harmoniously arranged openings on the buildings, and that different features on the buildings and the facade colours are also inappropriate.

Inappropriate contemporary residential building.

Inappropriate contemporary residential buildings (photo by: Ĺ˝ive Deu).

The students also explained in the discussion that the displayed building does not belong, because its overall design is alien to our environment. During the discussion, the teacher explained to the students that the typical heritage site of Ĺ tanjel would be destroyed by the construction of large (high or broad) buildings that would take over other buildings, as well as with the screaming facade and various forms of buildings and materials that do not originate from the Karst region. The teacher also presented to the students the activities of conservation specialists who try to direct spatial development by preserving those essential characteristics that define a landscape as an inheritance. The teacher said that in the renovation of the cultural landscape, cooperation between the conservatorarchitect, who examines the existing buildings and designs the renovation plan and the conservator-landscape architect, who studies the consequences of the renovation and new buildings in the cultural landscape, and is looks for the most suitable solutions for its development and preservation. During the announcement of the fine art task, the teacher explained to the students that this time they will become the landscape architects and will use computers to produce graphics to discover how improper interventions on buildings (in terms of size, colour and shape) and in the environment in general will change the appearance of the cultural heritage of Ĺ tanjel.

A discussion on the GIMP computer program followed, where the teacher presented the specifics of using the programming language. The students were divided into pairs and given a selection of photographs of Ĺ tanjel. The students were to transform the landscape by introducing various buildings and colours of facades and to identify the consequences that the changes made in the cultural heritage of Ĺ tanjel. Before beginning the practical work of the fine art task, the teacher delivered the criteria of the task; the originality of conceptual solutions (landscape transformation) and critical approach (warnings / messages - ideas, opinions, thoughts, etc.). In the final part of the lesson, the students presented the created graphics, the evaluation criteria and analyzed the artwork.

Visual art heritage concern

A four-hour time period was determined for the realization of the fine art task of painting design. The activity was oriented towards becoming acquainted with plant, animal, geometric and free decorations (ornaments), making a sketch for stained glass, and the paintings and sculptural heritage of their own surroundings. The teacher told the students that they would go on an excursion to the local church and warned them to be on their best behaviour on the way and in the church.

Photo of leaves of plants.

Drawing of simplified leaves.

After the students were in the church, the teacher showed photo of leaves of plants and a drawing of simplified leaves. The teacher directed the students to observe the differences between the presented leaves and to explain that the leaves of the plants were simplified - without detail. The teacher told the students that the shapes were simplified for a specific purpose, and when we sorted the same shapes in some order, we created an ornament. The teacher explained to students that the word ornament is of Latin origin and means â&#x20AC;&#x153;to be adornedâ&#x20AC;?. The teacher directed the students to observe the paintings and sculptures, as well as the space - the walls, the ceiling, and the floor with the purpose of observing closely the various decorations; and to describe where they are located

(decorations on frames of paintings, walls, windows, clothes of depicted characters, floors, etc.).

Geometric ornament.

Animal ornament.

Free ornament.

Human ornament.

Plant ornament. While showing a poster with various ornaments, the teacher directed students to observe and describe the differences. The students, with the help of the teacher, recognized the animal, geometric, free, human and plant ornaments. The teacher then directed the students to observe the church and explained that they were located in the sacral building heritage, which includes paintings and sculptures, which are classified as movable painting and sculptural heritage. The teacher also explained that the pictures on plaster or paintings painted on fresh plaster (frescoes) are classified as immovable painting heritage. The teacher also presented the activity of conservators-restorers, since the sculptures and paintings need to be restored in order to preserve their materiality and that they can continue to carry their message. During the discussion, the students explained when and where they had already might meet heritage experts.

Wall painting before damage, the damaged wall painting and the consequences of improper reconstruction, ElĂas GarcĂa MartĂnez, Santuario de Misericordia Church, 1930, Borja (photograph by: Wikipedia).

The teacher also reminded the students that the conservators-restorers are the only qualified experts who can restore the sculptural and painting heritage. For greater clarity, the teacher showed a poster with an example of an improperly restored wall painting and directed students to describe and recognize the wall painting before damage, the damaged wall painting and the consequences of improper reconstruction. The teacher then turned the students' attention to the stained glass. While discussing, with the help of a photograph, the stained glass from the cathedral in Chartres, the teacher explained that the window image is called a vitrage and presented its special features - that the metal edges formed between the coloured pieces form a depicted shape through which light penetrates. Students also found that coloured windows are often decorated with ornaments.

Vitrage, Cathedral of Our Lady of Chartres, France, between 1205 and 1240 (photograph by: Wikipedia). During the announcement of the fine art task, the teacher explained to the students that this time they, as painters, will be in groups of four, sketching various decorations that they see in the church with pencils on paper. After returning to school, they will, in the groups, draw ornaments for the stained glass of the same church with the help of their sketches, and the resulting drawings will then be painted with the colours, which will be made by themselves. The teacher directed the students to draw sketches, templates for stained glass by creating an ornament. They formed plant, animal, geometric or ornaments of free shapes. After returning to the school, the teacher demonstrated to the students the production of a dairy tempera with the aim of self-perception and the introduction of a new fine art technique through their own experience (Tacol, 2003). The teacher mixed 0.5 litres of fresh cow's milk and 1 egg, and explained that in this way a binder was formed, which is a means of binding the colour pigment. The teacher also explained that the word pigment stands for chemical compounds of hard material of natural or artificial origin, which we recognize as a coloured powder insoluble in water, binders and solvents. The fine particles of the

pigment are dispersed in the binder. With the help of the pigment and binder, we create a colour (in our case a tempera colour) which is a material for expression. Mixing the binder (milk + egg) and the colour pigment yields a milk tempera (Hudoklin, 1958). The teacher clearly showed the mixing of the binder and the pigment: soak the brush in the binder, then touch the selected pigment with the tip of the brush, and mix everything on the pallet. A binder can be added to achieve a less intense and more fluid colour. The colours are stirred promptly when needed. When necessary the brush is washed. The teacher also explained to students that the colour pigment binder can also be made from animal proteins; then gelatine tempera is formed. When the binder is made from plant starch, then starch tempera, wax - wax tempera, egg yolk egg tempera, etc. Before the realisation of fine art task, the teacher directed the evaluation criteria: the design of the ornamentation by the observation of the paintings, sculptures and other ornaments found in church, the imaginative use of the ornament for the template of the stained glass (group work), the skillfulness of the preparation in the use of the dairy tempera and critical approach concerning the cutural heritage preservation. In the final part of the lesson, students presented the created paintings, the evaluation criteria and analyzed the artworks.

Results of the research on students' awareness of cultural heritage concern in fine arts activities in primary school In study (Potočnik, 2017) we asked ourselves a research question: how does teaching about the preservation of heritage influence the students’ ability of critical evaluation and the awareness of the importance of cultural heritage conservation and protection after the completion of fine art tasks? We used qualitative action research that was based on the assumption that a student’s ability to incorporate contents about cultural heritage conservation and protection into the learning process can be studied step by step (Kemmis, McTaggart, 1991). We agreed with the teachers that changes would be included in fine art pedagogical practice in such a way that when planning fine art contents, we would derive from the current curriculum; however, at certain stages we would also include contents related to cultural heritage conservation and protection. When conducting tasks from different fine art fields, the students will learn about the special features of heritage care using diverse methods and forms of work, teaching media, fine art materials and different ways of fine art expression. Methods of work in Slovenia include verified ways of efficient communication between teachers and students in the process of transferring and developing knowledge, skills, abilities and encouraging all other potentials of personality development (Karlavaris, Berce-Golob 1991, Tacol 2007, Šupšáková, 2009). Our research included very basic pedagogical methods (conversation, showing photographs) and more complex ones (watching videos, working with computers). At the end of our research the students made their own fine art material, which was a very special experience for them. Methods and forms of work, fine art materials and ways of fine art expression, which we used or monitored, made it easier for the teachers to introduce special features of cultural heritage care and consequently enabled the students to accept these special features more easily (when getting to know concepts related to cultural heritage care and when forming critical opinions about the presented problems in general and within the environment they live in). The research included 61 sixth-grade pupils from three primary schools from different regions of Slovenia and their fine art teachers (three fine art pedagogues). The schools were deliberately chosen based on the teachers’ and the management’s willingness to cooperate and consequently improve their

knowledge of the problems mentioned. The research lasted six months in the 2014 school year. The teachers and the researcher cooperated intensively and formed research steps together. The researcher was present in the class all the time, but did not interfere in the teaching process. The action research was carried out using qualitative techniques: direct observation in class and on-the-spot surveying of students, recording how frequently the topic and ideas about heritage care came up with students (Cohen et al. 2007:282), distribution of questionnaires on critical evaluation and assessment of the importance of cultural heritage conservation and protection (the questionnaires included photographs of open and closed type and they were distributed among students after every action round – the students’ answers were analysed with cluster analysis (Cohen et al. 2007:283). The teachers analysed the children’s fine art products based on their findings and observations – by analysing the inclusion of the discussed fine art problems from the curriculum and the recognized special features of cultural heritage care (Tacol, 2007, Šupšáková, 2017). First action step In view of the results of the preliminary research (Potočnik, 2015) the students were asked to carry out a fine art task from the field of architectural design. While doing the assignment they learnt about the contents from the curriculum (design of different spaces) and about special features of architectural heritage preservation and they created a model of a modern stadium.

First action step – designing a model of ‘a futuristic stadium’ based on special features of architectural heritage preservation. By using various teaching methods (conversation, showing photographs of endangered cultural heritage), the students were acquainted with all the special features related to the preservation of a specific architectural heritage – the Bežigrad Stadium, which was proclaimed as a cultural heritage of national importance (National Register of Cultural Heritage, 2016) and is in need of renovation. By observing photos of the stadium’s current condition the students learned about the special aspects of its renovation and about the conservator – architect profession (Centre for Urban & Regional Development Studies, 2011). When the students presented their own products and when the teachers evaluated these products, it became clear that the students used the possibilities of different materials (carton, cardboard, paper, strings/wires, etc.) and successfully considered the observed fine art problems from the surroundings (design of various spaces). The students’ fine art products reflected fresh ideas that had been used when designing the motif – ‘futuristic stadium’; in addition, the students were also very reasonable in the use of fine art materials and they developed unique procedures of using fine art techniques. They also showed their own findings and observations when choosing fine art materials and their expressive possibilities. Furthermore the students developed their own strategies when carrying out the fine art techniques: assembling, intertwining, threading, binding, tying, etc. The teachers also thought that the ideas concerning the form of the stadium stood out since they were innovative and unusual and they were based on the students’ observations of the photos of architectural heritage that we had demonstrated along with the imagination that these photos inspired. When establishing whether the students are able to critically evaluate and assess the

importance of conservation and protection of cultural heritage we showed the students different interventions made in architectural heritage in a certain environment (Deu, 2008) and the analysis of their answers showed that the incorrect interventions in architectural heritage did not disturb them or the students were simply not familiar with them. The students had not yet given enough thought to the unsuitable measures that are often taken when renovating buildings in the countryside and the consequences that an inappropriate intervention can have on a cultivated landscape (Kalčič, 2003, Simič, 2014). Therefore it was agreed with the teachers to carry out a second action round. Second action step Having agreed with the teachers, that fine art assignments in the second round needed to present architectural heritage and the problems of its conservation and protection in a wider context, the cultural landscape, the task was therefore to reform the landscape around Štanjel according to the students’ ideas and imagination. When conducting the tasks in the second action round, the method of work was changed–the students were precisely acquainted with suitable and unsuitable interventions in architectural heritage and cultural landscape, a new media was even added – a video demonstration of the landscape mentioned – and we changed the fine art technique (computer graphics) with an aim to increase the students’ motivation and to offer them a different way of artistic expression, communication and perception (Wood, 2004). The students made interventions in the protected heritage of the cultural landscape around Štanjel (National Register of Cultural Heritage, 2016) within an imaginary transformation. With this task we wanted the students to become more aware of the responsibility of the consequences of improper renovation of architecture or contemporary architectural constructions that do not consider the countryside’s identity (Carrozzino et al., 2011).

Second action step â&#x20AC;&#x201C; reforming the landscape with computer graphics with the purpose of raising awareness about the problems that improper interventions can cause in cultural landscape. With different methods of work (conversation, precise explanation and demonstration of differences between suitable and unsuitable architectural interventions in a certain landscape), a video demonstration of the landscape mentioned and with a fine art task involving modern media (computer graphics), a positive effect was achieved on the studentsâ&#x20AC;&#x2122; motivation to realize the fine art task and to learn more about the problems of cultural heritage care, which became evident when they presented their fine art products and when we assessed the task and analysed the answers in the questionnaire. All the teachers agreed that the students managed to experience the presented landscape, they used their imagination when reforming it and they successfully used the software. The fine art products evidenced fresh ideas that the students applied when reforming the buildings in a unique whole. In their designs they used their own findings and observations from the environment; they included smoke, clouds, airplanes and other details. We noticed that the students showed greater awareness of their abilities to critically evaluate and assess the conservation and protection of cultural heritage.

The analysis of questionnaires revealed that in the photos the students recognized unsuitable constructions that did not belong to the rural environment on account of their shape, dimensions or facade colour. The students also recognized a suitable contemporary residential house that follows the identity of the countryside and graded it as most interesting and thereby confirmed that they had recognized its conformity with the surroundings. However, their answers revealed a lack of understanding when it came to originality or uniqueness of material cultural heritage and authenticity â&#x20AC;&#x201C; in the material and in the ideal and communicative sense (Stanley-Price, King, 2009).

Third action step After analysing the second action round it was agreed with the teachers to continue the research with a third action round. In this round, the focus was on the problems involving the authenticity of material cultural heritage and the environment in which it is placed. Learning about the local cultural heritage was upgraded by an excursion to a church near their school, where the students observed the painting and sculptural heritage and created works of art in groups. In the third action round we chose to design an ornament composition according to the studentsâ&#x20AC;&#x2122; own imagination. With the help of direct observation the students had to make a draft of a stained glass window in situ (Sketelj, 2008). In order for them to become aware of the importance of authentic materials, they had to make the painting material by themselves, namely, milk tempera (Hudoklin, 1958), and with this direct experience they learned how important authentic and unique (original) materials are for preservation of cultural heritage. When creating their own fine art material in an authentic environment and while experiencing local painting and sculptural products as parts of their own cultural heritage (Aslan, Ardemagni, 2006), the students were supposed to further develop their awareness of cultural heritage conservation and their ability to critically evaluate the importance of heritage preservation.

Third action step – designing a work of art in a group (a template of a stained glass window for a well-known local church) and learning about the special features of authenticity, uniqueness of material and cultural heritage by making one’s own paint. After the third action round and after the demonstration of the students’ own fine art products and the teachers’ assessment of the latter it was obvious that most students had shown many fresh ideas and sensitivity to fine art elements and materials when incorporating familiar concepts into their artistic expression. When presenting their fine art products the students also displayed a very positive attitude towards cultural heritage – the building (church), its interior paintings (paintings, frescos, stained glass windows with various ornaments and motifs) and sculptures. All this proves that the students experienced the presented fine art and other concepts and the contents about the protection of cultural heritage and that they managed to comprehend it all. When composing various fine art elements the students mostly displayed organization skills and unity, but when selecting materials they showed susceptibility to different kinds of materials and to the possibilities that they offer. The students’ answers in the questionnaire after the third action round led us to the conclusion that the students condemn vandalism and understand that by

raising awareness, we can make people act more responsibly towards cultural heritage. In their opinion cultural monuments should be restored in such a way that they fulfil the needs of contemporary society, but at the same time preserve their original form. The results of the questionnaire analysis show a high level of care and a responsible attitude towards the problems of cultural heritage conservation and protection since the students have displayed greater awareness – by recognizing the problems in the environment and by searching for suitable solutions. Conclusion

Teachers could derive from the contents of the current curriculum and when carrying out fine art tasks they could also meaningfully include the contents on conservation and protection of cultural heritage. With systematic promotion of critical thinking, continuous raising of awareness in pupils at all stages of educational process and by planning and implementing fine art tasks with such contents, teachers can influence the pupils’ positive attitude towards cultural heritage and its conservation and protection. Discussing the contents of cultural heritage, its conservation and protection can result in the formation of social harmonies, creation of innovations, incentives to political cooperation and development, exchange of ideas and experience (Alkateb, 2013). By dealing with the contents of heritage preservation in fine art classes and by raising awareness of its meaning the students can develop into critical citizens who will – as future owners of cultural heritage and co-creators of society – know how to value and evaluate different influences on cultural heritage. The present research also opens questions that could be the subject of further research, namely, what are the possibilities of dealing with these contents at the primary and the secondary level of education. Further research should also include the opinions of heritage experts and introduce their experience and ideas on cooperation with preschool, primary and secondary school populations.

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Subject index

A Activities 5, 14, 15, 19, 22, 23, 26, 33, 36, 38, 40, 41, 44, 46, 47, 48, 49, 50, 52, 58 Architectural heritage 14, 15, 26, 29, 30, 31, 32, 36, 41, 43, 45, 54, 56, 57, 64, 72 73, 88, 89, 90 Attitude 9, 10, 11, 12, 19, 27, 39, 41, 43, 44, 45, 52, 54, 93, 94 Authenticity 19, 35, 38, 91, 92, 93

C Classes 40, 46, 47, 57, 94 Concern 5, 13, 24, 26, 27, 29, 36, 39, 40, 41, 42, 43, 55, 58, 62, 68, 81, 86, 87, 89 Conservation 5, 11, 13, 14, 15, 16, 17, 19, 20, 21, 22, 23, 26, 28, 30, 31, 32, 33, 34, 35, 37, 38, 39, 40, 41, 43, 44, 45, 46, 52, 53, 54, 56, 57, 79, 87, 88, 89, 90, 91, 92, 93, 94 Cultural heritage 5, 6, 7, 8, 9, 11, 12, 13, 14, 15, 16, 17, 19, 20, 21, 22, 23, 24, 25, 26, 28, 30, 33, 34, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 52, 53, 54, 55, 56, 57, 61, 62, 64, 67, 71, 79, 80, 87, 80, 89, 91, 92, 93, 94 Curriculum 43, 45, 52, 53, 58, 87, 88, 94

D Documentation 18, 23, 26, 31, 32, 37, 38

E Educational period 53, 55, 56

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F Fine art activities 5, 41

I Identity 5, 6, 8, 12, 14, 45, 56, 57, 74, 78, 90, 91 Immoveable heritage 7, 19, 21, 22, 26, 32, 33, 36, 37, 42, 53, 55, 57, 71 Intangible heritage 7, 21, 23, 45, 53, 61

L Landscape 13, 14, 20, 21, 23, 26, 29, 33, 34, 35, 36, 41, 42, 43, 44, 45, 52, 53, 56, 57, 68, 70, 71, 72, 74, 75, 78, 79, 80, 90, 91

M Monument 7, 10, 13, 14, 17, 18, 21, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 34, 39, 44, 45, 57, 62, 93 Moveable heritage 7, 19, 21, 22, 23, 36, 37, 53, 55, 57

O Ornament 81, 82, 83, 84, 85, 86, 92, 93

P Painting heritage 11, 13, 18, 26, 27, 36, 37, 40, 45, 48, 53, 54, 55, 56, 57, 84, 92 Practical examples 58 Preservation 5, 11, 13, 14, 31, 37, 39, 40, 41, 43, 45, 52, 58, 68, 87, 88, 89, 92, 94 Protection 6, 11, 13, 14, 15, 16, 19, 20, 21, 22, 23, 24, 25, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 39, 40, 41, 42, 43, 44, 45, 46, 53, 56, 57, 68, 87, 88, 90, 91, 93, 94

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R Reconstruction 10, 19, 22, 30, 31, 32, 84 Registered heritage 13, 22, 26, 45 Renovation 31, 62, 64, 70, 72, 73, 75, 76, 79, 89, 90 Restoration 5, 11, 14, 15, 16, 17, 18, 20, 21, 23, 26, 27, 28, 30, 31, 32, 33, 35, 37, 38, 39, 40, 41, 44, 45, 53, 56, 57

S Sculpture heritage 11, 13, 16, 20, 26, 37, 40, 42, 43, 45, 53, 54, 55, 56 Stained glass 37, 81, 84, 85, 86, 92, 93

T Tangible heritage 6, 7, 15, 21, 39, 40, 41, 53, 61 Tradition 6, 7, 9, 11, 12, 33, 34, 35, 36, 37, 40, 54, 55, 56, 57, 70

V Vandalism 42, 53, 93 Visual art 19, 22, 27, 29, 35, 36, 37, 38, 40, 52, 53, 54, 56, 57, 58, 65, 81

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Heritage Preservation Education in primary school fine art activities

Written by: Reviewed by: Translated by: Published by: Issue first, 2018 Number of pages: URL access:

dr. Robert Potočnik dr. Tonka Tacol, Prof. Dr. Božena Šupšáková, PhD. Dora Debeljak Digit, s.r.o., Publishing House, Bratislavská 18, 900 21 Svätý Jur, Slovakia 110 http://www.arteducation.sk

CIP Data created by the Slovak National Library. On-line ISBN: 978-80-968441-4-2

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