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The process and policy model for undertaking cultural heritage, landscape study, 

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 is set out 

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in this model here. 

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This is the way most people look at it, 

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there can be changes. 

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Very often, this process is linked to that of preparing 

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what we call a conservation management plan, 

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whether it's for a design landscape such as a park or garden, 

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and everyday living rural landscape, 

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or an urban landscape, 

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or an associative landscape. 

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So the steps that we go through here, 

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and there what you called iterative, 

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they follow each other. 

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In some of them, 

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you might be doing this the same time as you do that. 

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You look at what you've been asked to do, 

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then who are the key players? 

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And then what documentation is available? 

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And then you go out on site and start looking at the site, 

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ready to do the assessment and say what the significance is, 

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and then the management assessment. 

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So it goes through. 

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And then you go through defining a policy 

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and choosing a management strategy. 

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How will management objectives we bring to practice? 

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For example, 

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in this you got

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 what are the main strategies 

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that is needed for this place. 

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What are the conservation strategies? 

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One of the visitor management strategies for tourists, 

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visitors, national and international, 

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and any other strategies. 

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Don't forget this isn't the end. 

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You then need to go on through time monitoring 

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and reassessing what's happened. 

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In order to prepare conservation management 

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and sustainable development plans, 

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a systematic approach to reading and understanding 

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of the landscape is needed, 

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in order to address these steps. 

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A bit more in key interest groups documenting history, 

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significance, assessment, and so on. 

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And methods used must give adequate consideration, too, 

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intangible values of landscape, 

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as well as the physical fabric. 

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So in undertaking study, 

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I find it's useful to ask these five questions. 

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What has occurred? 

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Where has it occurred? 

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When? 

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Who was involved? 

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And why? 

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And the first three objects, 

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anybody can do that. 

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It's tangible doctrine.

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Here you've got to start thinking, 

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you gotta start looking in the documentation. 

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You could start digging for information, 

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who's been involved in making this landscape through history? 

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Why have they made the landscape like they have? 

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And then how has it changed? 

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Because you'll virtually always find in most landscapes, 

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except perhaps some gardens, 

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evidence of early periods. 

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So the landscape is what we put a strange word, 

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it's what we call a palimpsest. 

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It reflects through time various cultures. 

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There are people who lived in the area. 

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So we see landscapes as having layers through time. 

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The documentation step is particularly important. 

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It's the outcome of specific research informing us 

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why the landscape takes the shape as it tells, 

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which distinguishes cultural landscape studies from 

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what we call visual assessment, 

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where you just say you watch, what you can see. 

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(It tell us what the landscape)

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Visual assessments tell us what the landscape looks like, 

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not why it looks like that. 

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And so research will be necessary, 

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and will be multidisciplinary involving 

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dependent on various parameters of the study very specialist, 

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such as the landscape history, 

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archaeologists, 

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architectural historians, 

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anthropologists, 

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landscape architect. 

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If tourism is involved, you need a tourism expert. 

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In fact, what's taking place is 

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we're aiming to improve methods 

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used in practice through research, 

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rather than just applying a set recipe. 

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One of the reasons why we take a multi-disciplinary approach 

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is to communicate and engage with others 

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in order to develop and employ methodologies 

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in an informed way to understand the heritage. 

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So it becomes possible through the documentation state 

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to describe the story of events, 

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people and places through time. 

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And the meaning of heritage will vary over time 

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and for different groups of people it serves, 

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both culturally and politically. 

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But the heritage during this process doesn't remain static unchanged. 

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It changes. 

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Now, in addressing the questions, 

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and I think this is important for the people involved in tourism. 

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Addressing the questions will also provide interpretive information 

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that will not simply or primely consist of instruction. 

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Number of years ago, 

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man, by the name of Tilden, wrote a book interpreting our heritage. 

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And it's still used. 

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He stated these 6 principles of interpretation. 

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And so we need to look at these, 

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when from the documentation material. 

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An interpretation that doesn't somehow relate to 

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what is being displayed or described 

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to something within the experience of the visitor will be sterile. 

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Think of who's coming to the side, 

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think what they want to be looking up, 

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think of the information that will interest them. 

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And then going on to a NO. 2, 

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interesting information is. 

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Information just saying this was built in 1654 

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and someone lived here, 

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someone left here, 

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someone died here. 

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That's not interpretation. 

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That's Information. 

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Interpretation is revelation to the background of the place 

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based on information. 

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Information and interpretation are different things. 

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But all interpretation includes information. 

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Thirdly, interpretation is an art. 

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It combines many arts, 

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whether the materials presented are scientific, 

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historical or architectural. 

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And the chief aim of interpretation is not instruction, 

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but what we call provocation, 

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provoking people looking at the thing. 

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Ah! That's interesting. 

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I could have been involved in making this landscape. 

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You get your people interested, 

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yeah, I can see how that's coming back. 

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And interpretation should aim to present a whole rather than a part,

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 and should address itself to the whole rather than any phase. 

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And lastly, 

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interpretation address the children 

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shouldn't be a dilution of presentation given to adults. 

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You need a different approach. 

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They'll be interested in different things. 

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And you need advice on how to do this.