Heritage and Culture through design

C.Rijo

Faculdade de Arquitectura de Lisboa, CIAUD, Lisbon, Portugal

ABSTRACT: According to UNESCO convention, heritage has changed the concept, where this term
no longer refers only to the built heritage and extended the concept to Common Heritage of mankind,
which refers to this as a legacy indispensable to the survival of all people in their relationship with the
world, where heritage emerges as one of the most important concepts in building a global citizenship. In
this paper we intend to reflect the importance of heritage preservation with essential factor in preserving
the memory of our culture and identity. Whether culture are one of the common heritage and should be
recognized and affirmed for the benefit of present and future generations. At a time when we rediscover
the value of heritage, as an element of cultural identity, it becomes crucial to your recovery, preservation
and dissemination. The designer, while professional design contributes to this element of cultural identity
to be understood and perceived by a lot of people in order to preserve it at intangible level .

INTRODUCTION
At a time when society is devoid of distinctive identity, in which increasingly appears that our
identity is mixed and diluted with so many others, and the boundary between what is ours and
the other is attenuated rises increasingly problematic identity, of what we are and what identifies
us as an integral member of a society.
This problem means that it is a growing concern for the preservation of our values, culture,
and heritage because these identified our local identity and distinguish of others.
In these context concepts such as culture, heritage and identity and interleave-disclosure occurs in the same global channels. The local identity is based, often in historic buildings and heritage landmarks.
This heritage gives us information about our history, our culture, our origin, thus contributing
to the identity of a group, locality, place or country where it has a key role in our connection
with the past and with our origins. These factors should mean the recovery of degraded historical centers, the revitalization of old industrial areas, consider a reuse and recovery of these for
cultural use, thus making them an asset, a differential factor.
To speak of heritage often joins material heritage (physical objects that inherit), but the heritage is more than, are memories, individual and collective experiences, our heritage, our heritage
immaterial.
As UNESCO recognizes, it is essential to preserve heritage because it reflects the sociocultural identity and a place, a people or community, since through it the society recognizes and
identify its own history.
For the above material or immaterial assets (whether built, architectural, archaeological, religious or artistic) is a key part in representing the cultural identity of a place.

CULTURE & IDENTITY: CONCEPTS THAT MERGE

"The national culture produces feelings about the nation, sentiments with
which we identify ourselves and pod, identity building this way."
(Hall, 1996)
Culture and identity are two terms that go hand in hand, i.e. often arise interconnected, where
often a term is used in order to define the other, so it is necessary to identify the signify cate of
each individually to better understand the concept of their union.
There are various definitions of culture, the author Rocher defines culture as a bound set of
ways of thinking, feeling and acting more or less formalized, being seized and shared by a plurality of persons, serve a both objective and symbolic way to organize these people in a particular and distinct community (Rocher, 1977).
Following the previous definition and pondering its anthropologic meaning Culture will be
able to define culture as a set of material and immaterial that identifies a particular community1 and can be interpreted according to different aspects: through the comport mental characteristics that are unique human beings, through the analysis that must be bro u h to generate behaviors, and through the ability of the human mind in create an infinite flexibility of reactions,
through its symbolic potential and linguistic (Santos, 2005).
According to the anthropological definition mentioned above, and n so we can differentiate
two distinct forms of culture: material and immaterial.
A significant amount of capital cultural movable and immovable any country is performed
in public institutions or semi-public as museums, galleries, archives, sanctuaries, historic buildings, historic sites, etc. In common, these institutions are also often repositories of cultural
capital intangible, such as local sheets, for example, the mind that are linked its history and the
rituals and customs with which they are associated. Such institutions contribute cultural production pressing form services, consumed by both No dwells local actors and visitors(UNCTAD, 2010).
Material culture is any product that results from human production, is the set of artifacts that
combine the raw material and technology, and is different of fixed structures because of their
mobility. Already immaterial culture and refers to knowledge that was not transmitted through
books or any other records or forms, but by cognitive that is transmitted through the generations
in practice. Models, values and symbols that make up the culture include the knowledge, ideas,
thought, cover all forms of expression of feelings, and the rules governing the observable actions objectively (Rocher, 1977).
For these reasons, the tradition and knowledge are factors impress fissile for the continuance
of intangible culture and the construction of identity of a community or people.
In order that we can say culture (...) encompasses both intangible aspects - beliefs, ideas,
values that constitute the content of culture - as the tangible aspects -. Objects, symbols or technology that represents the content(Giddens, 2009).
As previously mentioned when speaking of culture, inevitably we come across the term identity, this because there are many questions about contemporary culture that relate to issues of
identity. The culture can (...) There is no awareness of identity, whereas identity strategies can
manipulate, modify and even a culture that no longer have much in common with what it was
before. The culture is largely unconscious processes. The identity, in turn, refers to a standard
of belonging necessarily conscious, because based on symbolic opposition "(Cuche, 2003).
In the broadest sense, identity is essential and distinctive set of characteristics (physical and
psychology) someone from a social group or something.
For Castells the identity "is a source of meaning for the actors themselves, originated by
them, and constructed through a process of individuation. (...) The construction of identity
draws on the raw material provided by history, geography, biology, productive and representative instructions, memory c the teaching and personal fantasies, the apparatus of power and
revelations of a religious nature. But all these materials are processed by individuals, social
groups and societies, which organize their meaning in terms of social tendency"(Castells,
2006).
In this context the identity of a person, is the set of attributes that makes it special and unique.
Different people may have some characteristics in common to others, however what differenti-

ates them is precisely how these features are articulated in their training individual, "(...) Specifically construction that human is expressed through all those universal symbols and meanings
socially shared, allowing a company start "Be" all that was built as a people and on which
builds a referent speech of belonging and difference: Identity" (ARIAS, 2002).
Following the same reasoning will be possible to affirm that the identity of a place is the
summary of their intrinsic characteristics, which in turn, the values, signs, representations identify their cultural identity or human expressions that distinguish and identify.
Both culture and the identity of a place are a result of the crossing of its heritage with its history and evolution over time.
Culture is not a given or a biological heredity, it is a social construction in a located history, consequently it is a concrete historic product inserted in a history, more specifically in the
history of the interactions that diverse social groups establish with.(ARIAS, 2002)
Given a certain place the inhabitants attach a meaning that is closely linked with the identity
of the subject, i.e. the place affects the way people represent themselves to themselves. This
sense of belonging is developed by the various sensory experiences that the user experiences on
site, these experiences originate feelings and emotions that mark, causing a sense of belonging
through which to take roots Inhabitant, while humans only enhances, protects and preserves the
meeting, with this knowledge that leads to feeling (liking or not) and consequently the ownership of the website. In short, urban identity is characterized by the sum of the relationship between the inhabitants with the buildings, the streets, the squares, i.e., the spaces and the profile
of the city its identity.
In urban identity consider the forms and the physical elements that define its architectural typology, this configuration has a historical dimension, which promotes collective memory in its
inhabitants. Perception associated with the site identity is conditioned by prior knowledge of
cultural, artistic, architectural, geographical (among others) that the inhabitant / user has. Only
thus is it possible to compare with other urban spaces, and through this, to create an identity
based on the specific cultural features of the site.

CULTURAL HERITAGE AND IDENTITY: ISSUES OF GLOBALIZATION

"The heritage has this quality, both visible and opaque, to stand out,
be in its material and physical expression, whether in speech coding
that organizes and makes that always seems to be beyond us."
(Brito, 2005)
Both culture and cultural identity of a community resulting from the crossing of its heritage with
its history and evolution over time, which belong to a particular local identity means the meet us
and be different from global.
On the other hand the economic and cultural instability hinders the maintenance of identity
symbols, the constant mutation of the urban environment leads to a loss of identity by the inhabitant.
According to Hall, one of the aspects of globalization is the issue of strengthening local identities, or creating new identities, because the tradition that was characterized by stability is now
replaced by cultural tradition.
According to Stuart Hall, currently the national cultures are a union of the main sources of
cultural identity "national culture produces feelings about the nation, sentiments with which we
can identify, so building this identity"(Hall, 1996).
The National Culture is composed not only of cultural institutions, but also symbols and
representations that produce the feeling of belonging towards the site, sentiments with which we
identify, thereby constructing identities. These feelings are contained in the stories that are told
about the place, memories that relate the present to the past from which images are constructed
(Hall, 1996). In addressing this issue the author argues that one of the consequences of
globalization is the strengthening or creation of new national and local identities, ie
globalization produces a new interaction between the global and the local.

Local diversity plays an important role in this process of globalization because it discloses the
local culture on a global level, conveying to others their unique and distinctive characteristics,
leading to a collective recognition of the same. Thus it could be said that society is an isolated
identity of the other existing companies.
Currently we are rediscovering local as opposed to global, cultural events, traditions and
interpret the equity as an asset that is externalized identity and that the value of a culture.
According to Peralta, the heritage is closely linked to identity "(...) all asset building is a
symbolic representation of a given version of the identity, an identity" manufactured "by this
that idealizes. (...) The cultural heritage and comprise n so all those elements that underlie the
identity of a group and that differentiate it from others "(Peralta, 2000).
As already mentioned in this article in the UNESCO 2003 convention changed the concept of
heritage, which no longer refers only to the built heritage and extending the concept for "Common Heritage of Mankind". In this convention UNESCO, takes on this new concept as crucial to
the survival of all peoples in their relationship with the world, where heritage emerges as one of
the most important concepts in building a global citizenship legacy.
This document (approved in October 2003 by UNESCO) heritage is valued at an immaterial
dimension, from which local and / or cultural objects that target designation acquire a global
dimension, and the responsibility for its preservation becomes globally shared:
"The monuments: architectural works, sculpture or monumental painting, elements or structures of an archaeological nature, inscriptions, caves and groups of elements are of outstanding
universal value from the point of view of history, art or science; Clusters: Groups isolated or
assembled buildings which, because of its architecture, homogeneity or their place in the landscape, are of outstanding universal value from the point of view of history, art or science; Places of interest: works of man or the combined works of man and nature, and areas including archaeological sites with outstanding universal value from the historical, aesthetic, ethnological
or anthropological points of view."
Following the definition given by UNESCO, equity can be defined as a cultural asset, tangible or intangible, that arouses feelings of worth and identity while culture expresses itself. Cultural heritage is the link between the past and present at the same time it gives us to know the
tradition and culture.
According to Silva cultural heritage is represented, as is the identity, an incomplete process,
constantly changing and therefore subject to continuous review, and involves a set of experiences and feelings of one or more groups that seek to represent symbolically what distinguishes
them from the other, using for this the recognition of a common past (Silva, 2000).
For these reasons the property is an architectural representation that arouses the feeling of ide
n taken and belonging and became a form of protection of local identities, with an intensity that
is proportional to the consequent reinvented mischaracterization of globalization.
At a time when we rediscover the value of heritage as element and cultural identity, it becomes crucial to your recovery, preservation and dissemination. No. However this recovery
should be achieved without losing the identity of the place and you can assign it urban sustainability and globalization (Gospodini, 2004).
Thus, the preservation of material culture and not local material leads to its global identity
while contributing to the formation of the feeling of belonging in the community and perhaps
why we are witnessing today will generalize a set of initiatives that for the preservation of heritage in its various aspects, which seem to correspond to local the phenomenon of cultural globalization reactions, and homogenization of the spectrum of effects attached thereto (Silva, 2000).
For all this must be considered that when it comes to heritage preservation should be borne in
mind that identity is constantly changing and construction, will soon be important to leave open
the possibility that the property itself is modified, if transform, suits and values.
THE DESIGNER AS A TRANSMITTER OF COMMUNITY IDENTITY
"Design is a means, not an end in itself"
(Tibor Kalman)

The designer is an active agent in the cultural construction because the choices we make and the
messages they convey are a component of a public cultural reality.
The Office of the designer is crucial in communication, the symbolic relationships and the relationship of individuals to society.
According to Costa " (...) Identities are constructed in society through processes of social interaction, becoming a double series of mechanisms, symbolic and relational, which are decisive
in the catalog and classificatory assignments from third parties on the cross itself and this about
yourself compared to other. "(Costa, 1999).
The designer should have the ability to convey the feeling of belonging to citizens / clients
and highlight this added value communicating it to the outside.
Increasingly s cities are concerned to be represented visually s with the objective of economic
growth and attracting investment. For this and visually communicate through texts, symbols and
pictures convey their distinguishing characteristics. The local identity is therefore a representation constructed from the attempt to unify numerous identities presents it (Hall, 1999).
According to Kevin Lynch's neighborhood are middle regions of a city where the observer
mentally enters and recognizes that represent common characteristics. These features are identified internally (i.e. to its inhabitants), the designer should use these elements in the representation of local identity, and they are the benchmark that allows external recognition. The problem
of this kind of representation is that needs to be understood equally to all receivers, however the
same reality can be described or interpreted in different ways. Thus it is extremely important
that the designer can find a consensus so the greatest number of people will also understand
message.
However the city is a space that is constantly changing, whether urban, sociological or morphological level, is a living element. The cities awaken their inhabitants behaviors since they
produce stimuli, these stimuli often associated with the communication we have with the space.
One could say that the city has a defined by the association of its character features: urban, cultural, religious planning, combined with individuality of its inhabitants. Whenever we move
through the city we found ourselves with an undetermined number of stimuli that awakens in us
emotions, thoughts, sensations, reflecting the emotional and intellectual character of an area
(Ribeiro, 2004).
Locals can be interpreted as extremely complex brands, because they are constantly changing, and your variables are much harder to control than one of the variables that the corporate
domain, however the construction of identity is required to be waking up to the fact that it does
not communicate the same way as a corporate brand, this because the identity of the city is not
in the market.
In calculating the construction of identity representation, the designer cannot forget that this
should result in a "reassuring and representative picture of the collective and timeless values,
with which the community identifies and feel like his" (Fragoso, 1999). For this it is important to
consider their physical features (architecture, urbanism, transport, monuments, among others),
their geographic location as well as its cultural events, as these contribute decisively to their
identity and must be integrated into the core brand positioning of the site.

CASE STUDY: HERITAGE AND IDENTITY OF ALCNTARA

As already mentioned, the identity of a place or site is connected to the historical surroundings
(heritage) to their intrinsic values (culture), in short, to the point that define the associated vision
that users have about their identity.
Culture is the most relevant factors, it is one that allows us to understand how the site relates
to the citizens in the past present and future, since culture is not copies or imitates (Elizagarete,
2003). Thus, the historical and cultural heritage is, of all the elements, the one that most identifies a city; it is through him that the place is different from other.
By the above, to analyze the cultural heritage of a city or place a multidisciplinary approach
to the subject is needed.

Located in West Lisbon, Alcntara portrays the diversity of Lisbon, with the presence of
three distinct architectural components: initially religious and aristocratic, that after the industrial revolution took a worker character.
The most obvious and significant this location in March is the origin of its name, when in
mid-century was built a stone bridge in the river, after the Muslim occupation that began to be
called Al-Qantara name of Arab origin "Al-sung" which means "the bridge".
Over the centuries, Alcntara has undergone several transformations to reach the day with a
privileged opulent memory of events and experiences.
It was under the Filipino domain Alcntara suffered its first urban development resulting
from the emergence of convents and the Royal Palace. The convent of the Flemish, also known
as the Convent of Our Lady of Caring, was the first convent Alcntara birthplace; this front later
founded the Monastery of Mount Calvary by D Violante de Noronha in 1617. This century
were also founded the Convent of Deliverance in 1610 and Sacramento in 1612.
Many were the nobles who chose to come and live or have their summer homes in this locality, hence the century. XVII has been rich in building Palatial, should this respect, too, the existence of farms and many palaces in this area, including the Quinta dos Saldanhas and Caldas, in
Junqueira, the palace and fifth of Oaks (later called Fiza), the fifth Cabrinha writer D. Francisco Manuel de Melo, among others.
The Calvary Convent was built in 1617, the abilities of the Royal Palace of Alcntara and
Palace of the Counts of Bridge both the end of the century and the Royal Palace of Alcntara,
situated in the current off of Calvary.
With the 1755 earthquake Alcntara missed the Royal Palace, but apart from this, few other
buildings were damaged, leading to an increase of population, since many of the people who
lost their homes have made this city their new home.
Alcntara, who previously had about 600 inhabitants, saw due to weathering, its population
growing to 4769 inhabitants.
With the increase in population and the remodeling of the parishes in 1770 the parish of S. is
created Pedro Alcntara, formerly located in Alfama. The new parish of Alcntara in 1801 had
9830 inhabitants.
Not only grew the number of inhabitants, as well as the number of factories that they settled
here, you'd be cotton, furnaces for the manufacture of lime (in Alvito), the Dyeing of Real Silk
Factory, the Royal Gunpowder Factory, Company Spinning and Lisbonenses Fabrics, Wool
Factory and some plants outside the chemical industry, production of soap, candles between
others
This industrial growth was a key factor in population of this parish, to be registered as a not
so common Alcntara concentration of workers' villages.
This large manufacturing focus led to another great need: the industrial schools.
The social climate and labor requirement applied at that time in contrast to the level of very
precarious life fulfilled the conditions that led to the formation of a discontented and often nicknamed revolutionary community. This was accentuated after the implementation of the Republic, when between various strikes stand out the strike of the workers of CUF, the March 27,
1911. Even during the Salazar dictatorship this neighborhood remained faithful to him, participating in the opposition movements.
For the growth of this parish was determining the development of the public transport network. Notice that in 1864 there was a subsidiary of the Company Carriages Lisbonenses, in
1870 the 'American' pulled by mules emerged as the Companhia Carris de Ferro de Lisboa was
founded in 1876. Ten years later (1886) the cars that transported the Jacinto passengers in 1887
the first train journey, from 1895 to 1897 Estoril railway line in 1901 and was inaugurated arise
tramway.
However, the nineteenth century was defied by declining population, in 1950 Alcntara had
34,161 inhabitants. However, after this decade, the number of inhabitants decreased dramatically. This is due to three key factors: a new delimitation of the parish in 1959, where it is reduced
significantly, the works of the 25 de Abril bridge, which forced removal of residents and closure
of most factories.
Alcntara was many years without any urban investment, which led to an aging population
and a population loss, due largely to the plant have been decimated tissue, promoting the common population desertification to the center of Lisbon. However "Alcntara will resist the mis-

characterization, because it has a precious heritage of the old neighborhood and popular worker who can not miss" (Consiglieri, 1993).
The Lisbon Municipal Council together with private companies felt the need to change the
situation it was in this place and with some projects (some already made, some not) predict the
development of this locality by exploiting the real estate sector network transport among others,
taking advantage of the great location.
In 2002, the CML recognizes the extreme importance of existing patios and villas in Alcntara, the municipality signaled five courtyards and houses as an object of study for future rehabilitation, among which are: Vital Villa Teixeira; Patio Fiuza; Cabrinha Patio, Patio of the Flemish
and Vila Teixeira. All these interventions have undergone a major overhaul, except Vila Teixeira, which was demolished.
The level of urban renewal objectives of the Plan of Urbanization claim that this parish constitutes a new centrality in the city, featuring new areas of equipment, services, commerce and
technology-based activities. However, this is one of the projects despite already having been
approved yet to materialize fully.
Also innovative is the project LX Factory (pole connected to the creative sector businesses art, design, dance, fashion, architecture, advertising, music) open to the public since 2008, who
revitalized the old wiring and Fabrics Company Lisbonenses that before being subject to reclassification stood almost abandoned.
No less important is the presence of Pestana Palace Hotel located in a privileged area of
Alcntara. This hotel unit 5 stars is headquartered in the old palace Valflor. The Pestana Palace
is a member of "The Leading Hotels of the World" and since 1997 its gardens are classified as
"National Monument". Due to this hotel unit, are numerous celebrities when they come to Lisbon choose to stay on this site.
Note that there are innumerable properties of historical interest present in this locality, they
are catalog 67 buildings in architectural heritage and Alcntara currently has approximately 13
911 inhabitants.
We ran into this mode with two distinct situations: Alcntara as Historical Heritage is urgent
that promote / preserve and Alcntara as new residential area that seeks to be a new center of
Lisbon, for its supply of space available for housing construction (excellent location) as well as
the old housing estate with potential for redevelopment.
Inserted inside the capital city of Lisbon, Alcntara proves to be a surprise by presenting such
an ancient and diverse heritage. By understanding by Lisbon as a city, "she becomes a whole
set, a monument not only to understand how architectural allegory, but also means that the city
head of a universal or particular community is, as a collective monument" this monument regarded as "the work of art that spans the centuries preserving and transmitting their own ideological value" (Pereira, 1989).
HERITAGE STILL EXIST:
Religious heritage: It is still visible through the presence of churches and chapels

Figure 1. Chapel of Santo amaro, first picture as unknown date and secund is from 2013.

Aristocratic heritage: There are several palaces present in this parish

Figure 2. Burnay Palace, first picture date from end of the nineteenth century and secund one from 2013.

Industrial heritage: Major factories that were adapted to functions of a cultural nature

Figure 3. Napolitana Factory, first picture is from nineteen hundred and secund one from 2013.

CONCLUSION
The meaning of heritage and culture is closely linked with the definition of identity, which
brings us back to a sense of belonging towards something and that places us in a group or location. This is our identity represented symbolically by May's many tangible and intangible elements that belong to our culture or heritage which were being built at the crossroads of demographic, geographic, economic and social factors.
The architecture, art, history, landscape, climate, local culture is what defines its history,
where theyre identity trying to be the ultimate expression of the imaginary and the first element
of communication. This differentiation is a cultural as well as it promotes the site making it
more attractive for the development of new economic activities, encouraging self - esteem of the
inhabitants, as it leads to its recognition.
The loss of these referrals leads to a feeling of loss of identity, as we let the site know that we
belong.
The heritage and culture play a key role in identifying the individual at a locus is n Bone duty
as citizens to preserve and promote this our legacy for future generations, thereby preserving the
identity of the site which summarizes itself in its history with a code that evokes your personality.
Each city or location and design should communicate their gains through a strong visual representation that reflects your identity, easy to understand and interact with the public in order to

create an emotional relationship. These visual representations should contain the most representative features of the site articulated with contemporary and appealing graphics while summarizing the history of the site providing a new insight to citizens, tourists and investors. Visual construction of identity is crucial in recognizing the personality of place because only in this
way it may be designed and understood at a global level.
The designer is responsible for in your work, try to decode and transmit culture and our cultural diversity so that it is perceived and apprehended by the society in which it operates.

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