Stories of feelings and things: intangible heritage from within the built heritage paradigm in the UKThe changing nature of heritage over recent decades has stimulated a focus on intangible heritage -the understanding of which specifically from within the UK built heritage paradigm remains inconclusive. This is problematic when considering developments in policy and practice that demonstrate a steady dismantling of a material focus. To gain sector-specific insight into how the intangible heritage of buildings is conceptualised, a series of 16 semi-structured interviews were conducted with built heritage professionals. Data was collated into eight themes (stories; history; events; memory; use; discord; craft; emotion) and an explanatory model developed, revealing the understanding of intangible heritage as a collection of 'narratives' that contribute towards an overarching building 'story'. Both 'buildings' and 'people' were acknowledged as co-authors of this story; however, professionals did not acknowledge their own role within the storytelling process. This downplays their role as curator of heritage, as well as their personal experiences that inevitably shape the storytelling process. Findings suggest built heritage practice should be reconceptualised as a storytelling activity. This will offer greater opportunities for intangible heritage to be consolidated within the built heritage paradigm, by encouraging professionals to see themselves as translators of intangible heritage as well as custodians of physical heritage.

There is evidence of architectural learning being a product of both theoretical and practical knowledge, with traditional building craft being part of the original route to becoming an architect, or 'master builder'. With formalised schools of architecture emerging within the Beaux-Arts period, the educational pathway for architects distanced itself from practical 'onsite' experience, ultimately removing building craft from architectural pedagogy. This lack of experiential hands-on learning within architectural education could impact an architect's ability to deliver appropriate design solutions when working with built heritage, where the knowledge of traditional building is of great importance.The impact of experiential learning was investigated within the architectural design studio, using a pilot study comparison experiment with two groups of architecture students. One of the groups was exposed to a hands-on building craft exercise (the other group was not) and the impact of this exposure was tested using a design task. The differences between the two groups approach to the design task were analysed using a one-way ANOVA.The findings of the research suggest that the incorporation of experiential hands-on learning within the architectural design studio could enhance the students' ability to better understand the complexities of building materials, which in-turn could contribute towards more effective design solutions when working with built heritage. However, the process of implementing the pilot study revealed economic and logistical constraints which are perhaps reflective of the wider barriers that architectural institutions are confronted with when attempting to integrate this method of learning within the architectural design studio. This is the final post-peer-review version of 'Experiential learning with building craft in the architectural design studio: A pilot study exploring its implications for built heritage in the UK.'. It is published in: Elsevier

PurposeArchitects and craftspeople work together on complicated built heritage projects as part of a diverse multidisciplinary team. Effective interactions and collaborations between them can lead to a more successful project outcome; however, differing perceptions of each other can cause professional relationship tensions, communicative barriers and disharmony.Design/methodology/approachThrough the analysis of online surveys completed by architects and craftspeople, this study examines the contemporary relationship between the two groups, including the architect's perceptions of the function of traditional building craft within their day-to-day role.FindingsFindings suggest that whilst both groups agree that the craftsperson is an essential specialist on a built heritage scheme, there are contradictory perceptions with regard to the architect's role. Despite these differences, the results suggest that architects are open to accommodating more exposure to craftspeople and traditional building craft within their day-to-day role – believing they would learn more about building materials, make better practical decisions and understand craftspeople better. More importantly, this study proposes that a focus on craft would break down communicative and perceptual barriers, in turn improving relationships and project outcomes.Originality/valueThe study strongly suggests that traditional building craft can form an essential, tangible bond between architects and craftspeople by increasing focus on relationships and learning. The insights offered are relevant not only to those in the fields of architecture and traditional building craft but also to those involved in heritage management, as well as other professional roles, who may benefit from the use of craft as a method to repair professional relationships, as well as historic buildings.

Immaterial manifestations of culture have received increasing attention over the past two decades. This is of particular relevance to the contemporary built heritage professional who must not only consider intangible heritage within assessments but attempt to understand its relationship with the physical building fabric. Underpinned by a ‘Practice Theory’ ontology, this research explores how social network analysis (SNA) can reveal entanglements between tangible and intangible heritage by focussing on practices and relationships. Using the Grade II* Long Street Methodist Church and Sunday School, Greater Manchester, UK, the study demonstrates how the basic use of SNA for built heritage assessment can offer a deeper insight into the significance of a listed building. The study demonstrates how SNA can support: an equality of visibility across heritage domains, a better understanding of tangible–intangible relationships and the illumination of underlying practices that sustains these relationships. Perhaps most importantly, it emphasizes the dynamic and unpredictable nature of heritage by de-emphasizing the centrality of the building within heritage assessment processes and reconceptualizing it as an inherent part of social phenomena. In doing so, it suggests one must accept the notion that socio-material practices should be considered for conservation and safeguarding, alongside the physical building itself.

is a registered architect (RIBA) and accredited conservation professional (IHBC). He is currently undertaking an AHRC funded PhD in Architectural Heritage at the Manchester School of Architecture, where he also teaches as an Associate Lecturer in Architecture. His broad research interests include the conservation of built heritage, critical heritage theory and intangible heritage -with a specific research focus on the more-thanphysical qualities of historic and listed buildings. Historic Building Conservation (IHBC) North West Branch for insightful comments received on an earlier presentation of this paper. I am also extremely grateful to the journal editor and reviewers for their experienced feedback and critique which uplifted the overall scope and quality of this paper.