Cultural Landscapes have been defined by the World Heritage Committee as distinct geographical areas or properties uniquely "..represent[ing] the combined work of nature and of man.." . This concept has been adapted and developed within international heritage arenas (UNESCO) as part of an international effort to reconcile "..one of the most pervasive dualisms in Western thought - that of nature and culture"
The World Heritage Committee has identified and adopted three categories of cultural landscape, ranging from (i) those landscapes most deliberately 'shaped' by people, through (ii) full range of 'combined' works, to (iii) those least evidently 'shaped' by people (yet highly valued). The three categories extracted from the Committee's Operational Guidelines, are as follows:
(i) "a landscape designed and created intentionally by man";
(ii) an "organically evolved landscape" which may be a "relict (or fossil) landscape" or a "continuing landscape";
(iii) an "associative cultural landscape" which may be valued because of the "religious, artistic or cultural associations of the natural element"
The concept of 'cultural landscapes' finds its origins in the European tradition of landscape painting. From the 1500s onwards, many European artists painted landscapes in favour of people, diminishing the people in their paintings to figures subsumed within broader, regionally specific landscapes.
The word "landscape" itself combines 'land' with a verb of Germanic origin, "scapjan/ schaffen" to mean, literally, 'shaped lands'. Lands were then regarded to have been shaped by natural forces, and the unique details of such landshaffen (shaped lands) became themselves the subject of 'landscape' paintings.
The geographer Otto Schluter is credited with having first formally used “cultural landscape” as an academic term in the early twentieth century . In 1908, Schluter argued that by defining geography as a Landschaftskunde (landscape science) this would give geography a logical subject matter shared by no other discipline . He defined two forms of landscape: the Urlandschaft(tran. natural landscape) or landscape that existed before major human induced changes and the Kulturlandschaft (trans. 'cultural landscape') a landscape created by human culture. The major task of geography was to trace the changes in these two landscapes.''
It was Carl O. Sauer, a human geographer, who was probably the most influential in promoting and developing the idea of cultural landscapes . Sauer was determined to stress the agency of culture as a force in shaping the visible features of the Earth’s surface in delimited areas. Within his definition, the physical environment retains a central significance, as the medium with and through which human cultures act.. His classic definition of a 'cultural landscape' reads as follows:
“The cultural landscape is fashioned from a natural landscape by a cultural group. Culture is the agent, the natural are the medium, the cultural landscape is the result"
Since Schulter's first formal use of the term, and Sauer's effective promotion of the idea, the concept of 'cultural landscapes has been variously used, applied, debated, developed and refined within academia, when, in 1992, the World Heritage Committee elected to convene a meeting of the 'specialists' to advise and assist redraft the Committee's Operational Guidelines to include 'cultural landscapes' as an option for heritage listing properties that were neither purely natural nor purely cultural in form (ie 'mixed' heritage).
The World Heritage Committee's adoption and use of the concept of 'cultural landscapes' has seen multiple specialists around the world, and many nations identifying 'cultural landscapes', assessing 'cultural landscapes', heritage listing 'cultural landscapes', managing 'cultural landscapes', and effectively making 'cultural landscapes' known and visible to the world, with very practical ramifications and challenges.
A 2006 academic review of the combined efforts of the World Heritage Committee, multiple specialists around the world, and nations to apply the concept of 'cultural landscapes', observed and concluded that:
"Although the concept of landscape has been unhooked for some time from its original art associations .. there is still a dominant view of landscapes as an inscribed surface, akin to a map or a text, from which cultural meaning and social forms can simply be read."
Within academia, any system of interaction between human activity and natural habitat is regarded as a cultural landscape. In a sense this understanding is broader than the definition applied within UNESCO, including, as it does, almost the whole of the world's occupied surface, plus almost all the uses, ecologies, interactions, practices, beliefs, concepts, and traditions of people living within cultural landscapes..
Some Universities now offer specialist degrees in the study of cultural landscapes, including, for instance, the Universities of Naples, St.-Étienne, and Stuttgart who offer a Master of Cultural Landscapes diploma
"In 1993 Tongariro became the first property to be inscribed on the World Heritage List under the revised criteria describing cultural landscapes. The mountains at the heart of the park have cultural and religious significance for the Maori people and symbolize the spiritual links between this community and its environment. The park has active and extinct volcanoes, a diverse range of ecosystems and some spectacular landscapes."
"This park, formerly called Uluru (Ayers Rock – Mount Olga) National Park, features spectacular geological formations that dominate the vast red sandy plain of central Australia. Uluru, an immense monolith, and Kata Tjuta, the rock domes located west of Uluru, form part of the traditional belief system of one of the oldest human societies in the world. The traditional owners of Uluru-Kata Tjuta are the Anangu Aboriginal people.".
"For 2,000 years, the high rice fields of the Ifugao have followed the contours of the mountains. The fruit of knowledge handed down from one generation to the next, and the expression of sacred traditions and a delicate social balance, they have helped to create a landscape of great beauty that expresses the harmony between humankind and the environment."
"In the 19th century Sintra became the first centre of European Romantic architecture. Ferdinand II turned a ruined monastery into a castle where this new sensitivity was displayed in the use of Gothic, Egyptian, Moorish and Renaissance elements and in the creation of a park blending local and exotic species of trees. Other fine dwellings, built along the same lines in the surrounding serra, created a unique combination of parks and gardens which influenced the development of landscape architecture throughout Europe".
"The Ligurian coast between Cinque Terre and Portovenere is a cultural landscape of great scenic and cultural value. The layout and disposition of the small towns and the shaping of the surrounding landscape, overcoming the disadvantages of a steep, uneven terrain, encapsulate the continuous history of human settlement in this region over the past millennium."
"The 18th- and 19th-century cultural landscape of Dresden Elbe Valley .. features low meadows, and is crowned by the Pillnitz Palace and the centre of Dresden with its numerous monuments and parks from the 16th to 20th centuries. The landscape also features 19th- and 20th-century suburban villas and gardens and valuable natural features. Some terraced slopes along the river are still used for viticulture and some old villages have retained their historic structure and elements from the industrial revolution, notably the 147-m Blue Wonder steel bridge (1891–93), the single-rail suspension cable railway (1898–1901), and the funicular (1894–95). The passenger steamships (the oldest from 1879) and shipyard (c. 1900) are still in use."
Measuring Globalization's Influence on the Cultural Landscape: Spatial Succession in the Plaza of Ponce, Puerto Rico
Dec 22, 2009; Geographers often view the plaza and its surrounding architecture as one of the most traditional and conservative aspects of the...