Field guide to tactical heritage urbanism by James Noh

A Field Guide to Tactical Heritage Urbanism

ICOMOS

CANADA

canada.icomos.org/field-guide

A Field Guide to Tactical Heritage Urbanism

ICOMOS

CANADA

Contents

WHY THIS FIELD GUIDE?

WHY IS THIS CONVERSATION IMPORTANT NOW?

THE WORKSHOP Workshop Discussion Questions Posed Jane’s Walks

29 34 36 43

THE PRECEDENTS Case Study: “small” Cultural Economies Food Festivals Adaptive Reuse Public Art Landscapes

56 62 70 82 94 106

WHAT NOW?

116

TORONTO 2016 SYMPOSIUM PARTNERS

119

What is Tactical Heritage Urbanism?

A collection of generally low-cost, temporary initiatives by citizens intended to reveal, acknowledge, and celebrate the multiplicities of experiences and stories in our community past and present.

Why This Field Guide?

The Canadian National Committee of the International Council of Monuments and Sites (icomos Canada) is seeking to broaden our collective understanding of “heritage” in order to develop stronger models of citizen participation in the decision-making and management processes of our cultural environment. When multiple perspectives are shared and respected, heritage can act as a source of social cohesion and facilitate mutual understanding. In conjunction with ERA Architects and a multitude of partner organizations, icomos Canada organized a one-day event to examine contemporary approaches to heritage from the model of Jane’s Walk to the European Union’s Framework Convention on the Value of Cultural Heritage for Society (Faro Convention). This booklet is a record of the discussions initiated at this event, and should be used as a resource for us to continue the conversation.

What is icomos

Canada?

icomos is the only global non-governmental organization dedicated to the conservation of the worldâ&#x20AC;&#x2122;s cultural heritage places. Through over 100 national committees and 28 international scientific committees, it brings together professionals from such disciplines as architecture, archaeology, planning, engineering, anthropology, art history, and geography to develop and discuss the theory and application of best practices to the conservation of buildings, landscapes, and sites. One of its important mandates is to advise unesco on cultural heritage matters especially in the context of the World Heritage Convention.

icomos Canada is the Canadian national committee of icomos. Since 1975, icomos Canada has been at the forefront of the heritage conservation movement in Canada and abroad, actively contributing to the development of the theory and practice of cultural heritage conservation. Today, the organization and its members continue to play a leading role in influencing national and international policies through innovative thinking and holistic approaches to continuously improve the conservation of cultural heritage for communities.

Why Is This Conversation Important NOW? The future of cohesive communities relies on our ability to have meaningful discussions about our collective identity, ones which respect the inherent tension that arises from living in a culturally diverse society. Our expression of culture, whether consciously or subconsciously, guides our policy decisions on everything from the environment to immigration to the economy. This premise is the impetus behind ICOMOS Canadaâ&#x20AC;&#x2122;s renewed emphasis on influencing national and international policy on cultural heritage. We believe that including cultural heritage in public policy supports cultural diversity. It brings great benefits, including the ability to publicly express our identity as individuals, recognize shared values, and better articulate our aspirations for a collective future. The key to sustainability and cultural heritage is to embrace change. Change frequently puts pressure on communitiesâ&#x20AC;&#x2122; identity and aspirations. Creating positive ways to navigate change can be achieved through the lens of sustainability. This means that democratic discussions about cultural heritage need to empower communities by including other needs, such as the environment, diversity, and quality of life. Join ICOMOS Canada to be part of these conversations and take up the challenge! Christophe Rivet President / PrĂŠsident ICOMOS Canada

What is the Faro Convention?

The importance of the Faro Convention is that it focuses on the value of cultural heritage in creating cohesive societies; the need for more democratic participation in preserving cultural heritage; and the need to leverage cultural heritage in improving the living environment and overall quality of life of people. It promotes the shift towards a more holistic approach that recognizes the intangible aspects of heritage.

The Framework Convention on the Value of Cultural Heritage for Society (the Faro Convention) recognizes that cultural heritage is the very foundation of the shared values of society and plays an essential role in the fostering of open, inclusive and democratic societies. It states that cultural heritage cannot be viewed in isolation; rather, cultural heritage is the common thread that ties society together. The Faro Convention seeks to foster identity, support dialogue, and promote the transference of knowledge while engendering a greater sense of social responsibility and stewardship. It was drafted in 2003-2005, adopted in 2005, and came into force June 1, 2011. Since then it has been ratified by 16 European Member States.

Council of Europe Framework Convention on the Value of Cultural Heritage for Society * Faro, 27.X.2005 Preamble The member States of the Council of Europe, Signatories hereto, Considering that one of the aims of the Council of Europe is to achieve greater unity between its members for the purpose of safeguarding and fostering the ideals and principles, founded upon respect for human rights, democracy and the rule of law, which are their common heritage; Recognising the need to put people and human values at the centre of an enlarged and cross-disciplinary concept of cultural heritage; Emphasising the value and potential of cultural heritage wisely used as a resource for sustainable development and quality of life in a constantly evolving society; Recognising that every person has a right to engage with the cultural heritage of their choice, while respecting the rights and freedoms of others, as an aspect of the right freely to participate in cultural life enshrined in the United Nations Universal Declaration of Human Rights (1948) and guaranteed by the International Covenant on Economic, Social and Cultural Rights (1966); Convinced of the need to involve everyone in society in the ongoing process of defining and managing cultural heritage; Convinced of the soundness of the principle of heritage policies and educational initiatives which treat all cultural heritages equitably and so promote dialogue among cultures and religions; Referring to the various instruments of the Council of Europe, in particular the European Cultural Convention (1954), the Convention for the Protection of the Architectural Heritage of Europe (1985), the European Convention on the Protection of the Archaeological Heritage (1992, revised) and the European Landscape Convention (2000); Convinced of the importance of creating a pan-European framework for co-operation in the dynamic process of putting these principles into effect; Have agreed as follows: * The Treaty of Lisbon amending the Treaty on European Union and the Treaty establishing the European Community entered into force on 1 December 2009. As a consequence, as from that date, any reference to the European Economic Community shall be read as the European Union. 17

Section I – Aims, definitions and principles Article 1 – Aims of the Convention The Parties to this Convention agree to: a recognise that rights relating to cultural heritage are inherent in the right to participate in cultural life, as defined in the Universal Declaration of Human Rights; b recognise individual and collective responsibility towards cultural heritage; c emphasise that the conservation of cultural heritage and its sustainable use have human development and quality of life as their goal; d take the necessary steps to apply the provisions of this Convention concerning: • the role of cultural heritage in the construction of a peaceful and democratic society, and in the processes of sustainable development and the promotion of cultural diversity; • greater synergy of competencies among all the public, institutional and private actors concerned. Article 2 – Definitions For the purposes of this Convention, a cultural heritage is a group of resources inherited from the past which people identify, independently of ownership, as a reflection and expression of their constantly evolving values, beliefs, knowledge and traditions. It includes all aspects of the environment resulting from the interaction between people and places through time; b a heritage community consists of people who value specific aspects of cultural heritage which they wish, within the framework of public action, to sustain and transmit to future generations. Article 3 – The common heritage of Europe The Parties agree to promote an understanding of the common heritage of Europe, which consists of: a all forms of cultural heritage in Europe which together constitute a shared source of remembrance, understanding, identity, cohesion and creativity, and b the ideals, principles and values, derived from the experience gained through progress and past conflicts, which foster the development of a peaceful and stable society, founded on respect for human rights, democracy and the rule of law.

Article 4 â&#x20AC;&#x201C; Rights and responsibilities relating to cultural heritage The Parties recognise that: a everyone, alone or collectively, has the right to benefit from the cultural heritage and to contribute towards its enrichment; b everyone, alone or collectively, has the responsibility to respect the cultural heritage of others as much as their own heritage, and consequently the common heritage of Europe; c exercise of the right to cultural heritage may be subject only to those restrictions which are necessary in a democratic society for the protection of the public interest and the rights and freedoms of others. Article 5 â&#x20AC;&#x201C; Cultural heritage law and policies The Parties undertake to: a recognise the public interest associated with elements of the cultural heritage in accordance with their importance to society; b enhance the value of the cultural heritage through its identification, study, interpretation, protection, conservation and presentation; c ensure, in the specific context of each Party, that legislative provisions exist for exercising the right to cultural heritage as defined in Article 4; d foster an economic and social climate which supports participation in cultural heritage activities; e promote cultural heritage protection as a central factor in the mutually supporting objectives of sustainable development, cultural diversity and contemporary creativity; f recognise the value of cultural heritage situated on territories under their jurisdiction, regardless of its origin; g formulate integrated strategies to facilitate the implementation of the provisions of this Convention. Article 6 â&#x20AC;&#x201C; Effects of the Convention No provision of this Convention shall be interpreted so as to: a limit or undermine the human rights and fundamental freedoms which may be safeguarded by international instruments, in particular, the Universal Declaration of Human Rights and the Convention for the Protection of Human Rights and Fundamental Freedoms; b affect more favourable provisions concerning cultural heritage and environment contained in other national or international legal instruments; c create enforceable rights.

Section II – Contribution of cultural heritage to society and human development Article 7 – Cultural heritage and dialogue The Parties undertake, through the public authorities and other competent bodies, to: a encourage reflection on the ethics and methods of presentation of the cultural heritage, as well as respect for diversity of interpretations; b establish processes for conciliation to deal equitably with situations where contradictory values are placed on the same cultural heritage by different communities; c develop knowledge of cultural heritage as a resource to facilitate peaceful co-existence by promoting trust and mutual understanding with a view to resolution and prevention of conflicts; d integrate these approaches into all aspects of lifelong education and training. Article 8 – Environment, heritage and quality of life The Parties undertake to utilise all heritage aspects of the cultural environment to: a enrich the processes of economic, political, social and cultural development and land-use planning, resorting to cultural heritage impact assessments and adopting mitigation strategies where necessary; b promote an integrated approach to policies concerning cultural, biological, geological and landscape diversity to achieve a balance between these elements; c reinforce social cohesion by fostering a sense of shared responsibility towards the places in which people live; d promote the objective of quality in contemporary additions to the environment without endangering its cultural values. Article 9 – Sustainable use of the cultural heritage To sustain the cultural heritage, the Parties undertake to: a promote respect for the integrity of the cultural heritage by ensuring that decisions about change include an understanding of the cultural values involved; b define and promote principles for sustainable management, and to encourage maintenance; c ensure that all general technical regulations take account of the specific conservation requirements of cultural heritage; d promote the use of materials, techniques and skills based on tradition,

and explore their potential for contemporary applications; promote high-quality work through systems of professional qualifications and accreditation for individuals, businesses and institutions. Article 10 – Cultural heritage and economic activity In order to make full use of the potential of the cultural heritage as a factor in sustainable economic development, the Parties undertake to: a raise awareness and utilise the economic potential of the cultural heritage; b take into account the specific character and interests of the cultural heritage when devising economic policies; and c ensure that these policies respect the integrity of the cultural heritage without compromising its inherent values. Section III – Shared responsibility for cultural heritage and public participation Article 11 – The organisation of public responsibilities for cultural heritage In the management of the cultural heritage, the Parties undertake to: a promote an integrated and well-informed approach by public authorities in all sectors and at all levels; b develop the legal, financial and professional frameworks which make possible joint action by public authorities, experts, owners, investors, businesses, non-governmental organisations and civil society; c develop innovative ways for public authorities to co-operate with other actors; d respect and encourage voluntary initiatives which complement the roles of public authorities; e encourage non-governmental organisations concerned with heritage conservation to act in the public interest. Article 12 – Access to cultural heritage and democratic participation The Parties undertake to: a encourage everyone to participate in: • the process of identification, study, interpretation, protection, conservation and presentation of the cultural heritage ; • public reflection and debate on the opportunities and challenges which the cultural heritage represents; b take into consideration the value attached by each heritage community to the cultural heritage with which it identifies; e

recognise the role of voluntary organisations both as partners in activities and as constructive critics of cultural heritage policies; d take steps to improve access to the heritage, especially among young people and the disadvantaged, in order to raise awareness about its value, the need to maintain and preserve it, and the benefits which may be derived from it. Article 13 – Cultural heritage and knowledge The Parties undertake to: a facilitate the inclusion of the cultural heritage dimension at all levels of education, not necessarily as a subject of study in its own right, but as a fertile source for studies in other subjects; b strengthen the link between cultural heritage education and vocational training; c encourage interdisciplinary research on cultural heritage, heritage communities, the environment and their inter-relationship; d encourage continuous professional training and the exchange of knowledge and skills, both within and outside the educational system. Article 14 – Cultural heritage and the information society The Parties undertake to develop the use of digital technology to enhance access to cultural heritage and the benefits which derive from it, by: a encouraging initiatives which promote the quality of contents and endeavour to secure diversity of languages and cultures in the information society; b supporting internationally compatible standards for the study, conservation, enhancement and security of cultural heritage, whilst combating illicit trafficking in cultural property; c seeking to resolve obstacles to access to information relating to cultural heritage, particularly for educational purposes, whilst protecting intellectual property rights; d recognising that the creation of digital contents related to the heritage should not prejudice the conservation of the existing heritage. Section IV – Monitoring and co-operation Article 15 – Undertakings of the Parties The Parties undertake to: a develop, through the Council of Europe, a monitoring function covering legislations, policies and practices concerning cultural heritage, consistent with the principles established by this Convention;

maintain, develop and contribute data to a shared information system, accessible to the public, which facilitates assessment of how each Party fulfils its commitments under this Convention. Article 16 – Monitoring mechanism a The Committee of Ministers, pursuant to Article 17 of the Statute of the Council of Europe, shall nominate an appropriate committee or specify an existing committee to monitor the application of the Convention, which will be authorised to make rules for the conduct of its business; b The nominated committee shall: • establish rules of procedure as necessary; • manage the shared information system referred to in Article 15, maintaining an overview of the means by which each commitment under this Convention is met; • at the request of one or more Parties, give an advisory opinion on any question relating to the interpretation of the Convention, taking into consideration all Council of Europe legal instruments; • on the initiative of one or more Parties, undertake an evaluation of any aspect of their implementation of the Convention; • foster the trans-sectoral application of this Convention by collaborating with other committees and participating in other initiatives of the Council of Europe; • report to the Committee of Ministers on its activities. The committee may involve experts and observers in its work. Article 17 – Co-operation in follow-up activities The Parties undertake to co-operate with each other and through the Council of Europe in pursuing the aims and principles of this Convention, and especially in promoting recognition of the common heritage of Europe, by: a putting in place collaborative strategies to address priorities identified through the monitoring process; b fostering multilateral and transfrontier activities, and developing networks for regional co-operation in order to implement these strategies; c exchanging, developing, codifying and assuring the dissemination of good practices; d informing the public about the aims and implementation of this Convention. Any Parties may, by mutual agreement, make financial arrangements to facilitate international co-operation. 23

Section V – Final clauses Article 18 – Signature and entry into force a This Convention shall be open for signature by the member States of the Council of Europe. b It shall be subject to ratification, acceptance or approval. Instruments of ratification, acceptance or approval shall be deposited with the Secretary General of the Council of Europe. c This Convention shall enter into force on the first day of the month following the expiration of a period of three months after the date on which ten member States of the Council of Europe have expressed their consent to be bound by the Convention in accordance with the provisions of the preceding paragraph. d In respect of any signatory State which subsequently expresses its consent to be bound by it, this Convention shall enter into force on the first day of the month following the expiration of a period of three months after the date of deposit of the instrument of ratification, acceptance or approval. Article 19 – Accession a After the entry into force of this Convention, the Committee of Ministers of the Council of Europe may invite any State not a member of the Council of Europe, and the European Community, to accede to the Convention by a decision taken by the majority provided for in Article 20.d of the Statute of the Council of Europe and by the unanimous vote of the representatives of the Contracting States entitled to sit on the Committee of Ministers. b In respect of any acceding State, or the European Community in the event of its accession, this Convention shall enter into force on the first day of the month following the expiration of a period of three months after the date of deposit of the instrument of accession with the Secretary General of the Council of Europe. Article 20 – Territorial application a Any State may, at the time of signature or when depositing its instrument of ratification, acceptance, approval or accession, specify the territory or territories to which this Convention shall apply. b Any State may, at any later date, by a declaration addressed to the Secretary General of the Council of Europe, extend the application of this Convention to any other territory specified in the declaration. In respect of such territory, the Convention shall enter into force on

the first day of the month following the expiration of a period of three months after the date of receipt of such declaration by the Secretary General. c Any declaration made under the two preceding paragraphs may, in respect of any territory specified in such declaration, be withdrawn by a notification addressed to the Secretary General. The withdrawal shall become effective on the first day of the month following the expiration of a period of six months after the date of receipt of such notification by the Secretary General. Article 21 – Denunciation a Any Party may, at any time, denounce this Convention by means of a notification addressed to the Secretary General of the Council of Europe. b Such denunciation shall become effective on the first day of the month following the expiration of a period of six months after the date of receipt of the notification by the Secretary General. Article 22 – Amendments a Any Party, and the committee mentioned in Article 16, may propose amendments to this Convention. b Any proposal for amendment shall be notified to the Secretary General of the Council of Europe, who shall communicate it to the member States of the Council of Europe, to the other Parties, and to any non-member State and the European Community invited to accede to this Convention in accordance with the provisions of Article 19. c The committee shall examine any amendment proposed and submit the text adopted by a majority of three-quarters of the Parties’ representatives to the Committee of Ministers for adoption. Following its adoption by the Committee of Ministers by the majority provided for in Article 20.d of the Statute of the Council of Europe, and by the unanimous vote of the States Parties entitled to hold seats in the Committee of Ministers, the text shall be forwarded to the Parties for acceptance. d Any amendment shall enter into force in respect of the Parties which have accepted it, on the first day of the month following the expiry of a period of three months after the date on which ten member States of the Council of Europe have informed the Secretary General of their acceptance. In respect of any Party which subsequently accepts it, such amendment shall enter into force on the first day of the month

following the expiry of a period of three months after the date on which the said Party has informed the Secretary General of its acceptance. Article 23 â&#x20AC;&#x201C; Notifications The Secretary General of the Council of Europe shall notify the member States of the Council of Europe, any State which has acceded or been invited to accede to this Convention, and the European Community having acceded or been invited to accede, of: a any signature; b the deposit of any instrument of ratification, acceptance, approval or accession; c any date of entry into force of this Convention in accordance with the provisions of Articles 18, 19 and 20; d any amendment proposed to this Convention in accordance with the provisions of Article 22, as well as its date of entry into force; e any other act, declaration, notification or communication relating to this Convention. In witness whereof the undersigned, being duly authorised thereto, have signed this Convention. Done at Faro, this 27th day of October 2005, in English and in French, both texts being equally authentic, in a single copy which shall be deposited in the archives of the Council of Europe. The Secretary General of the Council of Europe shall transmit certified copies to each member State of the Council of Europe and to any State or the European Community invited to accede to it. Source : Treaty Office on http://conventions.coe.int

Canada has been at the forefront in the creation of policies that support the preservation and promotion of cultural heritage including tangible and intangible resources. This is exemplified in policies promoting multiculturalism and the idea of Canadian society being a Cultural Mosaic. The Faro Convention identifies many concepts, including sustainability and knowledge transference, that could inform how Canada moves forward in the field. While inextricably linked, the policy areas of heritage and sustainability are separate in Canada. Sustainability is focused on the environmental lens rather than cultural. Canada, especially at the municipal level, requires policies that recognize and support cultural knowledge and its transference from generation to generation. With a greater emphasis on intangible heritage there is more value placed on vernacular knowledge. In developing future policies there is a need to incorporate professionals and non-professionals from a wide range of backgrounds in the discussions. The Faro Convention provides Canadians with a foundation to craft our own, more multidisciplinary approach to cultural heritage.

The Workshop

On Friday May 6, 2016 the Canadian committee of the International Council on Monuments and Sites (icomos Canada) presented a one-day workshop called “Heritage and Democracy: Bringing Heritage out of History and into the City”/« De l’histoire à la ville contemporaine: le patrimoine et démocratie ». In the morning, participants attended one of eight specially curated Jane’s Walks – a conversational walking tour model inspired by the ideals of the late urbanist Jane Jacobs – that examined the idea of cultural heritage from different, unexpected perspectives. The walks were a part of the annual Jane’s Walk festival, which resulted in members of the public joining the icomos walks and enriching the conversations. Participants regrouped at 105 Bond Street, Ryerson University’s School of Urban and Regional Planning, and debated whether or not their morning Jane’s Walk constituted a “heritage” walk. Presentations on icomos by icomos Canada president Christophe Rivet, on the Faro Convention by Michael McClelland, and the Culture of Outports and ‘small’ by Philip Evans followed. Participants discussed the meaning of cultural heritage as defined in the Faro Convention, whether or not it met their professional needs, and how they would explain it to someone unfamiliar with the concept. There was near universal agreement that the definition of cultural heritage in the Canadian context is too narrow and should be expanded similar to the Faro Convention.

What is Cultural Heritage?

Cultural heritage as defined by the Faro Convention: â&#x20AC;&#x153;Cultural heritage is a group of resources inherited from the past which people identify, independently of ownership, as a reflection and expression of their constantly evolving values, beliefs, knowledge and traditions. It includes all aspects of the environment resulting from the interaction between people and places through time.â&#x20AC;?

In summary, the Faro Convention’s definition of “Cultural Heritage” calls our attention to the interaction of people, places, and time. After a quick lunch catered by the Regent Park Women’s Collective, participants engaged in a workshop on tactical heritage urbanism. They identified precedent projects that strengthen cultural heritage and evaluated their applicability in the Canadian context. After discussing which projects they might champion, the participants went on a second Jane’s Walk to explore their new ideas about cultural heritage out in the streets of Toronto.

Right: Attendance at the workshops and walks

icomos members

Walk leaders Student ambassadors

General public General public joining morning and afternoon walks

200+

Workshop Discussion

The intent of the questions that were posed at the workshop was to introduce participants to the ideas laid out in The Framework Convention on the Value of Cultural Heritage for Society (‘The Faro Convention’— presented by the Council of Europe and adopted by ICOMOS in 2005) to determine if these principles make sense in the context of the heritage work that they are doing in their day to day practice.

The first question asked participants to consider the broad principles and themes of the Faro Conventionâ&#x20AC;&#x201D;expanding our understanding of cultural heritageâ&#x20AC;&#x201D;to determine if these ideas could (or should) be transferred to the Canadian context.

Workshop Responses

Q1 How does this definition meet (or miss) your needs in the work that you do? •

• • •

It is useful as a broad, flexible policy statement that leaves room for flexible interpretation and a more diverse allocation of funding and resources It accurately recognizes that heritage is not static, but constantly evolving. It should recognize ‘resources’ as both physical or environmental features and cultural traditions. It fails to effectively acknowledge power relationships and conflicting claims to heritage resources.

FURTHER QUESTIONS ARISING FROM DISCUSSION: • • •

Who decides what is given “cultural value”? When there is a conflict of cultural values, whose story gets told? What are the ways, the processes, in which intangible heritage can be conserved?

Secondly we asked them to work with a definition of ‘cultural heritage’ that is used in The Faro Convention to determine if it was useful to them. We also asked the group to develop a simpler definition – one that we could use to explain the idea of ‘cultural heritage’ to someone who was unfamiliar with the concept.

Finally to demonstrate that we are already doing work under this framework, we asked participants to generate a list of precedents that they think demonstrate the ideas we had talked about all day. The list that the room generated was extensive and produced a great catalogue of projects that could inspire us in our own work. You can find that list in our Precedents section starting on page 54.

Q2 How would you explain the concept of cultural heritage to someone who is unfamiliar with it? •

• •

Cultural heritage may be recognized through tangible and intangible elements: places, objects, ideas/beliefs, and practices/traditions. Cultural heritage is inherited from the past, maintained in and shaped by the present, and passed on into the future. Cultural heritage helps to define a group of people as a community with a unique identity.

Q3 If you were going to champion or implement one of

these ideas/ precedents – which precedent would it be and why? Participants chose precedents, which: • They felt were of cultural value • Appeared economically viable and had a strong financial case • Developed democratic spaces and cultural commons

Out of the Lecture Hall, Into the City.

Each symposium participant attended two of the fourteen Janeâ&#x20AC;&#x2122;s Walks organized for the conference (one in the morning and one in the afternoon). Open to anyone who wanted to join, each walk had a mix of conference participants and members of the public.

Jane’s Walks

Jane’s Walks are free, locally organized walking tours, in which people get together to explore, talk about and celebrate their neighbourhoods. Where more traditional tours are a bit like walking lectures, a Jane’s Walk is a walking conversation. Leaders share their knowledge, but also encourage discussion and participation among the walkers. The Jane’s Walk Festival happens annually on the first weekend of May in commemoration of the late urban thinker and author Jane Jacobs.

Take A Walk On The Wild Side: Homegrown National Park In A Bee City Gillian Leitch HOME GROWN NATIONAL PARK RANGER The Garrison Creek has long fed the imagination of Torontonians. In 2013, the David Suzuki Foundation’s Homegrown National Park Project began as an effort to grow a butterfly corridor through the city, initially along the buried Garrison Creek watershed. Since then, the project’s team of dozens of volunteer Homegrown Park Rangers, friends and partners continue to bring dozens of pollinator plantings, joyous community events and thousands of native wildflowers to the city.

Toronto’s Place Names: What They Reveal And What They Hide About Our Story Brian MacLean FIRST STORY Street names, the names of our parks, the presence of historical plaques and monuments in public places – they all reflect choices to honour people or events, or acknowledge a setting. This Jane’s Walk told the stories of street and park names in one Toronto neighbourhood and what those names reveal – or hide – about the Toronto story. It contrasted the Indigenous naming practices we know of with the names that dominate today’s landscape.

Missing Plaque Project: Raising Questions at Queen’s Park Tim Groves THE MISSING PLAQUE PROJECT The grounds of Ontario’s legislature are filled with monuments, statues, and plaques, but while some histories are commemorated, others are left out of official narratives or even left to fade from memory altogether. This Jane’s Walk used the area surrounding Queens Park as a lens look at how the history of our city is told in a very selective way and draw upon the work of the Missing Plaque Project, an initiative to make posters about elements of Toronto’s history that deserve their own plaque, and wheatpaste those posters up in the area where the history took place.

Under the Centre Ave. Parking Lot: Digging up The Ward John Lorinc EDITOR, ‘THE WARD’ This Jane’s Walk traced the evolution of Lot 11, a garden plot that was flipped and subdivided to become Ontario’s first court house and one of the earliest Toronto suburbs: MacAuleytown, a.k.a The Ward. It looked at why this area came to be a critical stage for Toronto’s second wave of black residents, most of whom came to Canada West via the Underground Railroad and eventually made their way to Toronto, where they settled on Elizabeth, Chestnut and Centre streets.

Complete Communities: City-Building In The 21st Century Randy Atkinson, Obaid Wahidi + Kevin Lee ALEXANDRA PARK COMMUNITY CENTRE We explored one Toronto’s most central neighbourhoods, Atkinson Co-op, the first social housing project in North America to convert into a Co-op and currently in the process of revitalization. The Jane’s Walk ended at Scadding Court Community Centre’s Market 707, a vibrant outdoor market which provides local entrepreneurs with low cost opportunities to run a successful business.

Kensington Market as Cultural Landscape Tatum Taylor, Angela Garvey + a cast of many voices NATIONAL CONVERSATION ON CULTURAL LANDSCAPES Kensington Market bustles with fishmongers and vintage fashion, cheese and churros, bongo buskers and street festivals. Joined by local residents and activists, we experienced the Market through multiple perspectives and talked about the neighbourhood’s roots and identity, recent threats to its dynamic character, and community initiatives that have contributed to its spirit.

Moss Park: A Case Study in Failed Neighbourhood Democracy Jay Pitter URBAN PLACEMAKER This walk sought to untangle ground-level competing interests, hierarchies of entitlement to space, and create more democratic and inclusive city-building conversations. This participatory walk retraced the steps of walk leader Jay Pitter took as a leader for the Health and Safety Task Force for Moss Park in order to collectively explore the neighbourhood narratives and complex issues, which continue to plague the community.

Walk the Line: Exploring Torontoâ&#x20AC;&#x2122;s Green Line Linear Park Jake Tobin Garrett MANAGER OF POLICY + RESEARCH - PARK PEOPLE The Green Line vision will transform the hydro corridor that runs five kilometres from Earlscourt Park to Spadina Road into a connected linear park and trail. The land along the Green Line represents a series of underused urban spaces that offer an opportunity to tackle both of these challenges at once: by creating a linear park and a continuous pedestrian and cycling link from Davenport Village to the Annex.

The Postman: Delivering History Through Theatre Dean Ifill + Annemarie Brissenden ACTOR + COMMUNITY JOURNALIST The Postman was a site-specific play preformed in July 2015 as part of PANAMANIA presented by CIBC, which told the story of Albert Jackson, Canada’s first black postman. The Jane’s Walk explored the journey of the story from page to porch: how a community’s lane-naming project not only uncovered an almost forgotten moment in Toronto’s history, but also inspired the creation of this unique production.

photo: Sebastien Beauregard

PNLT Securing Affordability + Diversity In A Rapidly Changing Neighbourhood Joshua Barndt PARKDALE NEIGHBOURHOOD LAND TRUST Parkdale is changing rapidly. This change is not inherently good or bad, but it raises important questions about affordability, diversity, and community assets in Parkdale. How can we ensure that everyone, particularly those with fewer resources and lower income, benefit from these changes? Parkdale Neighbourhood Land Trust (pnlt) was formed to build a community land trust to address that question. Through the community land trust model, pnlt will acquire land and use it to meet the needs of Parkdale by leasing it to non-profit partners who can provide affordable housing, furnish spaces for social enterprises and non-profit organizations, and offer urban agriculture and open space.

Block that Policy MP Adam Vaughan MP FOR SPADINA-FORT YORK This Jane’s Walk looked at how old buildings are being re-purposed and saved while others are re-thought. We examined what worked, what didn’t and what the city’s heritage policy blocked and unblocked… on the block!

Project: Under Gardiner - Toronto’s Missing Link And Hidden Public Terrain Lauren Abrahams PUBLIC WORK Project: Under Gardiner will create a continuous passageway from Strachan Avenue to Spadina Avenue, transforming a once forgotten space into vibrant common ground. This project is leveraging what was always there, by turning it into a vital artery that flows into every neighbourhood that it touches.

Finding Your Fruit Goggles: A Tour of Urban Edibles Past & Present Sue Arndt NOT FAR FROM THE TREE Even in our dense downtown core, the observant urban dweller can spot the rambling grapevines or clusters of serviceberry bushes in between buildings. This Jane’s Walk examined these delicious, beautiful, and hard-working urban trees, and discovered a storied past and the ongoing presence of urban agriculture in our city.

A Day in the Life of Marginalized Youth Hafsa Saeed + Kwaku Agyemang NATIONAL STUDENT COMMISSION OF CANADA This Jane’s Walk shared stories from youth about barriers young people face in our city and offered some ideas about how we can work to solve them. Active engagement, feeling safe and welcome, and empowerment were among the themes discussed.

The Precedents

The following events, projects, and interventions were generated by the participants and are meant to serve as a source of inspiration for the kind of work that is already taking place and has the potential to be replicated in the Canadian context.

Case Study: small Cultural Economic Assessments in Canada’s Rural Communities http://cultureofsmall.com/ Canada’s rural communities are in transition: communities that were developed around natural resource-based economic models now face challenges as the nature of the resource sector changes. These towns and villages are often faced with population decline, loss of jobs, and limited opportunities to viably create new growth in their communities. One avenue for revitalization within these rural regions is to leverage cultural values and assets to ensure their continued economic viability. small provides solutions to help reuse existing cultural heritage assets – buildings, skills, and natural features of these rural regions – to support new diversified economic models. By drawing on the distinct cultural heritage of each area, the program helps support livable communities by linking community engagement activities, proposals for development, and opportunities for economic diversification to existing local and regional priorities.

A cultural migration is happening in rural Canada This process usually follows a prototyping model: ideas and initiatives are developed, tested, applied and refined with community engagement and input along the way. The basis for development therefore becomes incremental, and is linked to encouraging cultural economic drivers: small businesses, craftspeople or community initiatives that build on local traditions, skills and opportunities which derive from the heritage of the area â&#x20AC;&#x201C; but interpret it in new, innovative ways.

Cultural Economic Drivers are place-makers This process usually unfolds over three stages, which form a Cultural Economic Assessment: 1. 2. 3.

Developing: Evaluate baseline impacts (cultural and economic) Testing: Engage to develop a vision for the community, and promote that vision in a tangible way through a Community Build Applying and Refining: Develop a cultural economic plan: identify the viability of the local cultural economy

In the first stage, small undertakes a research and cultural mapping exercise, which helps identify existing cultural heritage assets, including built structures, resources, traditional skills, informal networks, the people and places that express the identity of the community. Through this consultation process, residents articulate a vision of what their community can be, based on the values and cultural heritage that it has been built upon.

One of small’s key areas of focus is Newfoundland’s outport communities. These isolated fishing villages have struggled with population decline and job insecurity since the 1992 cod moratorium. On Bell Island, Newfoundland, we mapped the impact of the robust mining history – and mine closure – on the community. This mining history is celebrated at the Bell Island Mine Museum, where the small team constructed a new walkway and seating area using the iron ore tailings which still dominate the landscape of the island. As a first stage to a larger renovation project at the Museum, the new entryway to the site illustrates how much of the island’s infrastructure was literally built on the mine’s activities.

Recognize that evolving cultural practices are attributes of livable communities In the second stage, we test and express the vision articulated in the first stage by undertaking a Community Build: a small-scale installation or exhibit in a public space that helps communicate and draw attention to the possibilities for growth, revitalization, or development of new economic drivers. The Build essentially tests the theories identified in the first phase in a small-scale, controlled manner. By bringing residents together to create a lasting expression of what is of value in the community, we can galvanise collective energy to press forward with revitalization and renewal activities. In Burlington, Newfoundland, the annual Gathering festival served as inspiration to create a community gathering spot in a vacant waterside location, which now plays an integral part to this festival of regional food and music. In Brigus, Newfoundland, the spectacular landscape was highlighted by creating an installation along an underused footpath which runs along the rugged coast. The Lookout has now attracted thousands of viewers to this unique location.

Place-making unites people & practice In the third stage of our Cultural Economic Assessment, we provide planning tools to implement and sustain the opportunities for future growth. Much of this work revolves around Cultural Economic Drivers: identifying possible gaps and needs in the community and encouraging and supporting new businesses, new residents, or new markets. This process aims to protect the cultural foundation of the community, mitigate risk associated with change, and promote a diversified, growing cultural economy.

In Bear Creek, Yukon, we identified roles for new, small-scale industries to suit the use and cultural heritage of the former mining site. The existing large-scale industrial buildings could provide a historical backdrop – and supportive tourist attraction – to a new makerspace or local manufacturing hub for entrepreneurial businesses. While the Friends of the Klondike group, the nearby Dawson City community and site administrator Parks Canada are just beginning a feasibility study on re-opening the site, the exercise of exploring the future through the lens of these Cultural Economic Drivers helps articulate an incremental, sustainable way forward.

Put the ‘use’ back into adaptive reuse This holistic, incremental approach to tangible and intangible heritage, as well as the community-driven design process used to identify what is of value to residents, allows the small program to identify uniquely place-based cultural economic opportunities that combine local values with regional—and perhaps global—strategies.

Cultural Economies

The following are examples of policies/programs that promote cultural economies and allow for the conservation of tangible and intangible cultural heritage. They are tools to help places attract tourism, capitalizing on their local culture to further develop their economies.

photo: Emma Abramovicz

Resources Prince Edward County Cultural Strategic Plan: http://www.creativecity.ca/database/files/library/ prince_edward_county_strategicculturalplan.pdf Other Municipal Cultural Plans can be found at: whttp://www.creativecity.ca/research-hub/municipal-cultural-planning.php

Cultural Strategic Plans Prince Edward County, 2005

Location: Prince Edward County, Ontario Municipal cultural plans are created in order to identify cultural assets that might support the local economy, as well as strategies through which to develop and promote these assets. The Prince Edward County Strategic Cultural Plan has been recognized as a model for municipal cultural planning throughout Ontario: it develops a portrait of the community and presents stakeholder engagement results that describe the local cultural heritage as identified by residents. The plan maps tangible cultural resources and describes the areaâ&#x20AC;&#x2122;s intangible cultural values through key stories, symbols, and unique aspects of the areaâ&#x20AC;&#x2122;s landscape and quality of life. The plan provides a Cultural Planning Framework that then translates these values into strategic priorities and action items for managing growth, building local partnerships, marketing the area, and structuring future plans and policies.

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photo: Tourisme Charlevoix

Resources Website: http://www.economusees.com/en/ Facebook: https://www.facebook.com/Economusee/timeline https://www.facebook.com/ArtisansAtWorkEconomusee/timeline Twitter: @Economusee - Artisans at Work 66

The Économusées/Artisans at Work Program

Location: Québec The Économusée/Artisans at Work program allows local artisans to turn their businesses into small-scale working museums in order to showcase their traditional expertise. Founded in Québec in 1992, the Économusée® Network Society has grown to be an international not-for-profit organization, with branches across Canada, in Scandinavia and in the UK. The économusées are primarily used to showcase fine crafts and agri-food production, with the goal of preserving intangible cultural heritage through the use of traditional economic practices as part of a modern tourist economy. Some examples of économusées include the Cheese Economusée at the Laiterie Charlevoix in Québec, the Spruce Top Rug Hooking Studio in Mahone Bay, Nova Scotia, and the Aurlandskoen Économusée for shoemaking in Norway.

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photo: Edmonoton Attractions

Resources UNESCO Recommendation on the Historic Urban Landscape: http://www.historicurbanlandscape.com/themes/196/userfiles/download/2014/3/31/3ptdwdsom3eihfb.pdf UNESCO Brochure - The Historic Urban Landscape Approach Explained: http://www.historicurbanlandscape.com/themes/196/userfiles/download/2014/3/28/rymfqpmr54zyw5z. pdf Facebook: https://www.facebook.com/HistoricUrbanLandscapes/timeline

The Historic Urban Landscapes Program

Location: Edmonton, Alberta Historic Urban Landscapes are intended as a conservation alternative to legislated heritage conservation districts; instead of preserving a particular architectural period, they recognize that the city is not static, and they identify the layers and diversity of cultural value throughout all parts of the cityâ&#x20AC;&#x2122;s landscape. In 2015, Edmonton became the first North American city to sign a Historic Urban Landscape agreement. The program emerges from UNESCOâ&#x20AC;&#x2122;s 2001 Recommendation on the Historic Urban Landscape, and lays out a seven-step approach through which to conserve and promote diverse cultural assets. The process includes an identification of cultural, natural and human resources, extensive stakeholder engagement, identification of vulnerabilities to development and climate change, and the establishment of policies, plans and partnerships through which to conserve these resources.

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Food Festivals

Throughout the year, Torontonians gather to celebrate various festivals and immerse themselves in an ever-growing cultural landscape, and what better way to celebrate this than with food? Below are a list of upcoming summer festivals that you can treat yourself and your friends to, to eat your way around this multicultural city.

photo: Live Green Toronto

Resources http://www1.toronto.ca/wps/portal/contentonly?vgnextoid=f75b073fd17c1410VgnVCM10000071d60f89RCRD

Lovin’ Local Food Festival

Location: Toronto, Ontario A celebration of the local vendors, food and drink, and music scene of Toronto. Hosted by Live Green Toronto, it also aims to promote and support the ‘greening’ of our city to help us eat more sustainable foods. The best restaurants, entertainment and breweries, among others of the food industry, come together to celebrate Torontonian culture and spectacular food in the heart of downtown.

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photo: David Hou

Resources http://www1.toronto.ca/wps/portal/contentonly?vgnextoid=f75b073fd17c1410VgnVCM10000071d60f89RCRD

Indigenous Arts Festival

Location: Toronto, Ontario The â&#x20AC;&#x153;Indigenous Arts Festivalâ&#x20AC;? celebrates the traditional and contemporary culture of the Indigenous people of Canada. Music, dance and story-telling are some events that are held at the festival that are also reflective of their practices to orally and physically pass down their diverse history. Aboriginal communities also gather to provide authentic indigenous foods, and overall, the event is to remember their powerful and ancient traditions.

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photo: panamfoodfest.com

Resources http://www.panamfoodfest.com

Pan American Food Festival

Location: Toronto, Ontario The â&#x20AC;&#x153;Pan American Food Festivalâ&#x20AC;? aims to reveal more international flavours. Along with North America, food and culture from various regions and nations of Central and South America, and the Caribbean can be explored here. Over 40 countries and their cultures are also expressed through art and music, with a spotlight on one country each year, and is meant to enhance the food experience!

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photo: torontofoodtruckfestival.com

Resources http://torontofoodtruckfestival.com/

Toronto Food Truck Festival

Location: Toronto, Ontario The beauty in having pop-up vendors is that you can ‘move with the food’. Food trucks don’t necessarily target a specific culture, but they do target the Canadian culture in all its multicultural beauty. Whatever the food trucks may offer, there is a variety of drinks, music, and food provided so there will always be something for everyone. Interestingly enough, some food trucks are known for specializing in traditional foods such as the Pennsylvania Dutch apple fritters or Beavertails!

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photo: vegandrinkfest.com/toronto

Resources http://vegandrinkfest.com/toronto

Toronto Vegan Food and Drink Festival

Location: Toronto, Ontario This festival provides 100% vegan comfort food and drinks, and gives vegans the opportunity to enjoy themselves like at any other food festival. As most of their food options are limited, this particularly event is interesting in that it targets a growing subculture, and promotes the awareness of healthy, sustainable eating.

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Adaptive Reuse

The following precedents illustrate the potential for the conversion of historic buildings and structures for new uses. They foster the conservation of tangible built heritage as well as the intangible stories and practices associated with these places that can be recalled as they are preserved in the modern landscape.

photo: City of Toronto

Resources https://www.evergreen.ca/get-involved/evergreen-brick-works/visitor-info/

Don Valley Brickworks

Location: Toronto, Ontario In 1994, Don Valley Brickworks became part of Torontoâ&#x20AC;&#x2122;s park system after the factories and quarry were closed down. The adaptive reuse of the Brick Works and its wide landscape is the beginning of Evergreen, a non-profit organization working with the City of Toronto. Due to the deteriorated conditions of some of the original buildings, most of the buildings were reused in other construction projects. Today, the site is a community environmental centre that provides local foods and equips visitors to live a healthier and sustainable life.

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photo: commons.wikimedia.org, Jim Henderson

Resources http://www.nyc.gov/html/om/html/tweed_courthouse.html

Tweed Courthouse

Location: New York, NY The Old New York Courthouse, is architecturally one of New York’s greatest civic monuments. In 1861, a “New County Courthouse” was proposed to design a rusticated basement, monumental Corinthian portico, a neoclassical style interior, and a dome, which was never built. In 1999, a final restoration began to return to its original state. The front staircase was reconstructed, after it had been removed in 1940 to widen Chambers Street and paint was reapplied to the historic outlines of the building, which included brick painting and a gold leaf pattern. Today, the Tweed Courthouse is functioning as the Department of Education.

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photo: Taylor Hazell Architects

Resources http://www.taylorhazell.com/portfolio/humber-college-institute/

Humber College, Lakeshore Campus

Location: Toronto, Ontario The Humber College Campus was originally constructed in the late 19th century as an psychiatric hospital. Renovated into a contemporary campus for over 4000 students, the large scale institution has been a success in reusing the original structure, while retaining its historic significance. During the renovation process, restoration and reconstruction of eleven historic cottages were rebuilt and 200,000 square feet of building interiors were transformed into electronic lecture halls, libraries, offices and food service areas for the campus program users.

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photo: commons.wikimedia.org, Carschten

Resources http://en.landschaftspark.de/the-park

Duisburg Nord

Location: Duisburg, Germany With the park extending over an area of 180 hectares, the Duisburg Nord park is an excellent example of nature and industrial heritage combined to form a park-like landscape that purposely emphasis the history of the industrial past, rather than trying to reject it. Within the industrial park, many of the old facilities have been put into a wide variety of uses. The buildings of the former ironworks have been equipped to cater for cultural and corporate functions, Europeâ&#x20AC;&#x2122;s biggest man-made diving center has been created in the old gasometer, an alpine climbing gardens have been created in the ore storage bunkers and many other more. The landscape park is open throughout the year during any time and entries to the park is free.

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photo: http://dtah.com/project/artscapewychwoodbarns/

Resources http://www.artscapediy.org/Case-Studies/Artscape-Wychwood-Barns.aspx

Wychwood Barns

Location: Toronto, Ontario The Wychword barns is a diverse cultural community filled with dynamic mix of arts, culture, food, security, and many more exciting activities that builds upon the new life of an old former streetcar repair facility. The complex holds living and working space for artists, programing and administrative facilities for ten notfor-profit organizations, studio space, indoor and outdoor growing areas, a community-run gallery, and an 8,000 square foot street used for farmers, art markets, conferences and events. The barn opened in November 2008 and it has quickly become a popular social area in the neighbourhood.

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Public Art

Public art installations are rife with opportunity for the integration of cultural heritage stories, helping to communicate the events that shaped the site and area, and the histories of the people who live or have lived there. In each piece, such meaning may only be clear to the communities whose stories are represented. Public art works present a more subtle opportunity to share cultural heritage in the built environment.

photo: Ferruccio Sardella, artist

Resources http://www.ferrucciosardella.com/watershed-consciousness.html http://www.evergreen.ca/get-involved/evergreen-brick-works/whats-here/art-exhibits/

Evergreen Brick Works’ Permanent Art Installations and Exhibitions

Location: Toronto, Ontario Evergreen Brick Works is home to several installations and exhibitions reflecting on the ecological, industrial, and cultural heritage of both the Brick Works, the site of the former Don Valley Pressed Brick Works Company factory located on the Don River flood plain, and Toronto. From large scale portraits of former brick plant employees to a “living map” of the City made of steel, brick and a variety of plants, these art exhibits speak to the intersection between natural and urban environments as the foundation of communities and the city of Toronto.

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photo: Jillian Holt, artist

Resources http://www.jillanholt.ca/Marking

Marking by Jillian Holt at Fort Calgary

Location: Calgary, Alberta Where the walls of Fort Calgary once stood is Marking, and interpretive art exhibit by Jill Anholt as a reflection of both Calgaryâ&#x20AC;&#x2122;s past, present, and future. Vertical wood boards carved in the shape of 12 figures are placed where the wall once stood are symbolic of the people who have and will converge on this site. A place which once did not permit the entry of the aboriginal population is now open to all users. At night, red lights light up the wall representative of the red jackets worn by the North-West Mounted Police who first occupied the Fort.

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photo: Diego Rojas; artist: PHLEGM

Resources http://www.stepsinitiative.com/projects/worlds-tallest-mural/

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200 Wellesley St - Phoenix Mural (STEPS Initiative)

Location: Toronto, Ontario Part of STEPSâ&#x20AC;&#x2122; Emerging ARTivist Program, this youth-led art installation project depicts a soaring phoenix on the side of a 32-storey social housing building in St. Jamestown, Toronto. Both a beautification and a community building project, the mural is intended to counter the negative stereotypes associated with the St. Jamestown community, and incorporates themes including diversity, local culture, safety, and optimism. Now a local landmark and the worldâ&#x20AC;&#x2122;s tallest mural, this work of community art involved the engagement of hundreds in the community.

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photo: vancouverheritagefoundation.org

Resources http://www.vancouverheritagefoundation.org/special-projects/the-wall/

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The WALL

Location: Vancouver, British Columbia A collaboration between the Vancouver Heritage Foundation, CBC Radio-Canada, JJ Bean Coffee Roasters, and the City of Vancouver Public Art Program, the WALL is a rotating art exhibit on the redeveloped CBC building in downtown Vancouver. A platform for public engagement and animation of the site, this art wall exhibits pieces related to the theme of Vancouverâ&#x20AC;&#x2122;s built heritage. The current installation, down.town by Faith Moosang, uses 164 film frames to pose question regarding the buildings in downtown Vancouver between 1954 and 2004.

Precedent Notes for Your Context: Scalable? Executable? Obstacles?

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photo: http://www.surrey.ca/culture-recreation/18056.aspx

Resources http://www.surrey.ca/culture-recreation/18056.aspx

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Convergence by Connie Glover and Vallalee Hoffman

Location: Surrey, British Columbia Located in the Chuck Bailey Recreation Centre Youth Park in Whalley, British Columbia, Convergence is a celebration of Whalleyâ&#x20AC;&#x2122;s diverse community by artists Connie Glover and Vallalee Hoffman. With 50 mosaics creating a pathway through the park, this collection of public art reflects the parkâ&#x20AC;&#x2122;s purpose as a place of convergence of both cultures and pathways in Whalley. Created in collaboration with school groups, families, and organisations, these circular mosaics images pay tribute to local history and present community, as well as nature and family.

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Landscapes

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The following precedents demonstrate instances where cultural heritage may be read in landscapes, rather than in activities or in the built environment. While passing through outdoor spaces such as these, it becomes possible to understand their histories, and those the people who shaped them over time.

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photo: SimonP, commons.wikimedia.org

Resources http://guildpark.ca/

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GUILD PARK

Location: Toronto, Ontario Located in the East Side of Toronto, Guild Park features an interesting history of arts as it was formerly known as the “Guild of all Arts”. The Guild Inn (1795) that served as a family and community cabin back in its time has become today’s central building for community gathering and visitor attraction. Established by Spencer and Rosa Clark (1932), the real estate had been transformed into a space for artists, ranging from sculptors to painters resulting in many sculptures and gardens within the park where many of them still stand to this day. These tangible artifacts are a reflection of the park’s history helping identify the cultural landscape of the area through cultural values of community cohesion, therefore supporting the economic and environmental viability.

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photo: Roland Shainidze, ilovetoronto.com/toronto-photos/2013/04/allan-gardens-conservatory-photos

Resources http://www1.toronto.ca/wps/portal/contentonly?vgnextoid=b2a9dada600f0410VgnVCM10000071d60f89RCRD http://friendsofallangardens.ca

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ALLAN GARDENS CONSERVATORY

Location: Toronto, Ontario Established under the Ontario Heritage Act by George Allan, the Palm House (1910) shelters an extensive collection of botanical gardens becoming one of Torontoâ&#x20AC;&#x2122;s tourist attraction. Originally developed as a garden, frequent reconstruction of the conservatory continued on the historic roots of gathering people through horticulture and art. The conservatory includes over 16, 000 square feet of garden grounds supported by various activities and shows that strengthen cultural diversity and cohesion, while sharing the cultural landscape of the gardens. Through increased tourist attendance, the economic and environmental viability in downtown Toronto is maintained.

Precedent Notes for Your Context: Scalable? Executable? Obstacles?

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photo: http://www.thehighline.org/

Resources http://www.thehighline.org/

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The High Line

Location: New York, NY The High Line previously operated as an elevated industrial railroad for shipments into Manhattan (1934-1980s). When it was demanded for destruction in the 1980s, collaboration between Friends of the High Line and nearby residents lobbied for the preservation and reuse of the railroad by turning it into a public open space. After much discussion, a vision to turn the abandoned rail into an open trail network lined with plants and greenery was decided on. This idea became a concept of support for Manhattanâ&#x20AC;&#x2122;s economic and environmental viability of the space, as well captures the cultural value of collective attachment to the railway as part of the industrial neighbourhoodâ&#x20AC;&#x2122;s identity. No longer operating as a railway, the space now remains as a public space in support of cultural diversity and cohesion across the city. The Highline features many areas allowing visitors to engage and enjoy the unique space within the city.

Precedent Notes for Your Context: Scalable? Executable? Obstacles?

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photo: Frances Whitehead, http://www.saic.edu/150/trailblazer

Resources http://www.the606.org/about/history/ http://www.saic.edu/150/trailblazer

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The 606 (or the Bloomingdale Trail)

Location: Chicago, Illinois What used to be an elevated railroad in the early 1900’s, named the 606, to support Chicago’s industrial growth is now a space for informal public gathering supported by the aesthetics of its design. When the infrastructure found itself to be completely unused prior to its redevelopment, it became nothing but an abandoned railroad. It was nothing until nearby communities discovered the space and created their own nature trail that allowed for neighbourhood gatherings to occur. In 2003, the City’s planning department saw the potential in the economic and environmental success of creating a mandated public space and it was the residents who took charge of what was to be built. By bringing together the cultural values of nearby residents and the design and use of the railroad, the 606 has become a successful open space in the rights of the public.

Precedent Notes for Your Context: Scalable? Executable? Obstacles?

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What Now?

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You are part of the diversity of experiences and stories that constitute our collective heritage; You already have a stake in the conservation of our shared cultural heritage in all its forms!

HOW CAN YOU PLAY A PART? Take all the inspiration you need from thisfield guide, reach out to the organizations and individuals highlighted here for advice, and we can work together to promote and conserve both our tangible and intangible cultural heritage!

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Toronto 2016 Symposium Partners ERA Architects In practice since 1990, ERA Architects Inc. has over 65 staff members based in Toronto, Prince Edward County and Montréal. The founding principals of ERA are members of the Ontario Association of Architects, the Canadian Association of Heritage Professionals (cahp), and are Fellows of the Royal Architectural Institute of Canada. ERA Architects’ core interest is in connecting heritage conservation to wider considerations of urban design and city building, to a larger set of cultural values that influence our work at every scale. They produce projects with integrity through research, education and mentoring. ERA frequently works collaboratively with other firms to improve the built environment. They have a particular interest in regional and neighbourhood planning, in the regeneration of cultural landscapes and in facilitating community consultation of all stakeholders as the democratic basis of good planning.

School of Urban and Regional Planning, Ryerson University Located at 105 Bond Street, in a leed Gold rated adaptive reuse heritage building, Ryerson’s School of Urban and Regional Planning practices what they preach as city-builders in Toronto’s downtown core. 119

Student Ambassadors A team of nine students from Carleton University, Ryerson University, Willowbank School of Restoration Arts, and Université de Montréal worked together to facilitate group table discussions, take notes and photographs, and to produce this booklet. They include: Emma Abramowicz Patrick Brown Theresa Felicetti Marie-Aubrey Juarez Jerica Lo James Noh Jaeva Tomo Mallory Wilson Sonia Suet Yi Tam

Jane100 Jane100 is a is a year-long celebration of the life and legacy of Jane Jacobs, the inspiring urban theorist, author and citizen activist who made Toronto her home for nearly 40 years. The icomos Canada Workshop is one of one hundred events over the next year that examines her ideas and legacy in today’s context.

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icomos

Canada: Who Can Be A Member?

Whether youâ&#x20AC;&#x2122;re someone who is passionate about cultural heritage, a heritage practioner, or a student, there is a place for your knowledge and your ideas in the organisation. We develop and discuss the theory and application of best practices to the conservation of buildings, landscapes, and sites. For more information: http://canada.icomos.org/become-a-member/