Page 95 - Hrobat Virloget, Katja, et al., eds. (2015). Stone narratives: heritage, mobility, performance. University of Primorska Press, Koper.
P. 95
public presentation of stone monuments
A fifth theme, the Living Wall (Figure 4), was developed around the concept of reso-
nances with the modern world and in particular the perspectives of people today, for whom
the experience of frontiers is part of their daily life and worldview.
The decision to include this theme was inspired by two main considerations. The
first was the application of sound interpretation principles; that good interpretation
should stimulate and challenge visitors to think, and that one way of doing this is to re-
late what is being presented to the wider life experience of the visitor – not just the prac-
ticalities and emotions of daily life, but moral and ethical issues that affect us all. The
second was the status of Hadrian’s Wall as part of the Frontiers of the Roman Empire
World Heritage Site and in particular UNESCO’s wider mission in promoting the con-
cept of World Heritage, that of promoting peaceful co-existence and partnership be-
tween the nations of the world through respect, understanding, toleration and cooper-
ation. The theme is displayed through a concrete Wall, reminiscent of modern frontier
walls, inset with images and audio-visual presentations of modern frontiers. A semi-en-
closed space at one end of the Living Wall is dedicated to the work of UNESCO in fron-
tier zones across the world. The approach to presenting this theme reflects the fact that
frontiers may be viewed differently by those inside and outside. It does not take sides, but
encourages reflection. The exhibit includes a board on which visitors can post thoughts
inspired by their experience.
The Roman Frontier Gallery opened in 2011. It’s success is best illustrated by the posi-
tive reviews it has received from professionals and visitors and by the evident thoughtful en-
gagement of visitors with the information, ideas and challenges it communicates:
»This gallery …..is brilliantly conceived and beautifully executed. I was struck by the
obvious deep concentration of visitors. They lingered, pondered and considered. Museolog-
ical provocation is a tricky art form. It is easy to excite folk sensually with artefacts, much
harder to make them think« (Lewis, 2011, p. 49).
»This gallery is one, if not the most, innovative pieces of interpretation at any World
Heritage Site (worldwide)« (Stone, 2013).
The Living Wall exhibit has been especially effective in challenging visitors to think
about the impact of constructing the Wall on the native population and in stimulating re-
flection about modern frontiers:
»One visitor commented: ‘I have visited Hadrian’s Wall numerous times…this is the
first time I have seriously considered the social and personal consequences of the Wall«
(Lewis, 2011, 49).
Reflections left by visitors and noted by the author in August 2013 include the following:
»Unfortunately mankind is too intelligent not to manipulate the world around us –
and too stupid to let go of the notion of ‘us’ and ‘them’«
»As John Lennon said, walls are built to keep people apart, bridges are built to bring
people together. Lets build more bridges!«
»We think we have advanced so much in 2,000 years. Looking at Hadrian’s Wall and
on modern day ones shows we haven’t advanced at all!«
»Walls, like cathedrals are about power and control. Both are demonstrations of the
hypocrisy of the builders.«
»Walls are needed to hold up the roof. The roof keeps us dry! (Profound!)«
93
A fifth theme, the Living Wall (Figure 4), was developed around the concept of reso-
nances with the modern world and in particular the perspectives of people today, for whom
the experience of frontiers is part of their daily life and worldview.
The decision to include this theme was inspired by two main considerations. The
first was the application of sound interpretation principles; that good interpretation
should stimulate and challenge visitors to think, and that one way of doing this is to re-
late what is being presented to the wider life experience of the visitor – not just the prac-
ticalities and emotions of daily life, but moral and ethical issues that affect us all. The
second was the status of Hadrian’s Wall as part of the Frontiers of the Roman Empire
World Heritage Site and in particular UNESCO’s wider mission in promoting the con-
cept of World Heritage, that of promoting peaceful co-existence and partnership be-
tween the nations of the world through respect, understanding, toleration and cooper-
ation. The theme is displayed through a concrete Wall, reminiscent of modern frontier
walls, inset with images and audio-visual presentations of modern frontiers. A semi-en-
closed space at one end of the Living Wall is dedicated to the work of UNESCO in fron-
tier zones across the world. The approach to presenting this theme reflects the fact that
frontiers may be viewed differently by those inside and outside. It does not take sides, but
encourages reflection. The exhibit includes a board on which visitors can post thoughts
inspired by their experience.
The Roman Frontier Gallery opened in 2011. It’s success is best illustrated by the posi-
tive reviews it has received from professionals and visitors and by the evident thoughtful en-
gagement of visitors with the information, ideas and challenges it communicates:
»This gallery …..is brilliantly conceived and beautifully executed. I was struck by the
obvious deep concentration of visitors. They lingered, pondered and considered. Museolog-
ical provocation is a tricky art form. It is easy to excite folk sensually with artefacts, much
harder to make them think« (Lewis, 2011, p. 49).
»This gallery is one, if not the most, innovative pieces of interpretation at any World
Heritage Site (worldwide)« (Stone, 2013).
The Living Wall exhibit has been especially effective in challenging visitors to think
about the impact of constructing the Wall on the native population and in stimulating re-
flection about modern frontiers:
»One visitor commented: ‘I have visited Hadrian’s Wall numerous times…this is the
first time I have seriously considered the social and personal consequences of the Wall«
(Lewis, 2011, 49).
Reflections left by visitors and noted by the author in August 2013 include the following:
»Unfortunately mankind is too intelligent not to manipulate the world around us –
and too stupid to let go of the notion of ‘us’ and ‘them’«
»As John Lennon said, walls are built to keep people apart, bridges are built to bring
people together. Lets build more bridges!«
»We think we have advanced so much in 2,000 years. Looking at Hadrian’s Wall and
on modern day ones shows we haven’t advanced at all!«
»Walls, like cathedrals are about power and control. Both are demonstrations of the
hypocrisy of the builders.«
»Walls are needed to hold up the roof. The roof keeps us dry! (Profound!)«
93
