On 21 November 2018, the EDP team and workshop attendees came together in the former Benedictine Priory of St James*, the oldest building in Bristol, for our second Design Studio looking at how film can be used as a tool in the design process and for community engagement. The Norman grandeur of the Roman Catholic church built in 1129 was an inspiring backdrop for us to learn about community filmmaking in the design process from Tot Foster, an experienced filmmaker and media producer. The design studio brought together people that lead community projects to improve their buildings, and those who support with such groups, to explore how film can be used in the engagement process.​ ​

In practical terms, the day long workshop was a mixture of learning about community filmmaking through several case studies, using scenarios to understand more about storytelling, interviewing, and experimenting with shooting film with our own mobile phones. We also spent some time talking strategies and  the basics of filmmaking to understand what might be involved in creating a film project. Tot was keen for people to leave the workshop with the sense that ‘making a film was doable, what are good strategic approaches, how to collect community voices into engagement activities and feel inspired to give it a try’. ​

The day really highlighted why film is a great tool in the design process. Everybody has a different perspective and ideas regarding the issues surrounding a building design project. Our relationship with building is experiential, activating  our emotions and senses. Whilst a report is often just one voice from one angle, film can offer an inclusive way to help many people's voice to be heard and can capture unmediated viewpoints. Documenting several perspectives not only makes for a more powerful film that can show the ‘story’ surrounding a project. This can offer  vital information and evidence on the complexity of a project and the need for support, which is what funders look for in grant applications. ​

Simple zoom edits can change the entire impression 

​​We learnt that the mainstay of storytelling is interviewing, and that this should be approached as you would a conversation. Listening, not just talking, is key and it is essential to plan what you want to capture from a discussion with someone beforehand. Tot's advice was to start small with one person and one question and film and edit the footage before moving on to more ambitious projects.

The main message of the workshop was that film doesn't have to be difficult or expensive. Tot stressed that most of us have the video camera we need in our mobile phones and that free editing software is available online, and we should not be afraid to experiment.In the end, the key is to identify the right idea for the right space, chose the mode of filmmaking that suits you, get the right people involved and work to the budget you have available.Tot explained that whether you choose to make a film yourself or commission one, it's important to know what you want and to have a plan. One third of filmmaking should be planning, one third is filming and the last third is editing. The main stumbling block people come across is a lack of confidence or the feeling they might not be creative enough to engage with filmmaking. But everybody is creative – just go for it! Grab your mobile and give it a try.

* St James Priory is Grade I Listed and is of historic and architectural interest. In 2004 the buildings were in a very bad condition and were on the at Risk Register by English Heritage Buildings. In 2008, The Heritage Lottery Fund awarded The St James Priory Project a £3.2m grant to conserve and develop the buildings, with the work done by Ferguson Mann architects. The £4.4m church reordering included new meeting rooms, café and visitor facilities, interpretation areas, and access improvements. Most of the new spaces were arranged around the periphery of the main church, in mostly existing spaces within the building, with the church restored and maintained as a spiritual sanctuary for the people of Bristol. The surrounding site and buildings of the Priory are now home to The St James Priory Project, a Charitable Trust that offers support for people recovering from addictions. ​

by Vera Hale and Ann Chesworth

Before the summer we held a design engagement workshop at the Cemetery Road Baptist Church in Sheffield. The workshop was organised in collaboration with the Yorkshire Baptist Association (YBA). The workshop was aimed at people looking after historic places of worship and focused on creating an interactive space for exploring how good design can unlock the potential of their place of worship, for their congregation and for the benefit of the wider community. The Empowering Design Practices (EDP) team shared stories from groups who have already transformed their buildings, both small and large scale design projects, and introduced tools to help develop a clear vision for the future, and how to lead an inclusive design process that engages local people and unlocks local skills, assets and partnerships.   

It was a great day with lots of sharing of ideas, experiences and knowledge. An impromptu tour of Cemetery Road Baptist Church unlocked conversations about the challenges and opportunities for places of worship wanting to open up their buildings for use by the wider community. Holding the workshop at a place of worship that is currently working to do just that served as  a good backdrop for unlocking ideas and sharing stories. 

By Myra Stuart

Examples of how local communities are the experts abounded at our latest Design Training workshop, while a Buddha in a belfry showed us the importance of considering the multiple levels of what community can be and the ways in which communication can be paramount.
 
New to The Glass-House, I was part of the Empowering Design Practices team helping four groups explore the possibilities for developing their very different churches over two days in Sheffield. Our Design Training for people who run community buildings aims to give them design tools and confidence to lead refurbishment and reordering projects. We offer a space to explore their ideas and the ways they might involve their wider communities.
 
This time we welcomed four hard working and inspired groups from:

Blackley Baptist Church and the Blackley Centre

Trinity Rawdon

Rotherham Minster

St Michael’s, Byker 

Challenges for the groups ranged from how to protect sacred spaces whilst enabling multi use, to how to rework a building that is in many ways an empty shell when the budget is tight.

The completed projects we visited during the course helped our participating groups explore questions of both design and community involvement, balancing keeping space for worship with providing much needed community spaces, creating income streams, and using the building through the week rather than letting it stand empty. One space we visited, The Sheffield Buddhist Centre, is the focus of one of our Design Stories. We also visited St Mary’s Church, that is a thriving conference centre, and at The Victoria Centre, debated the pros and cons of entering a church through a café.

Returning on day two, the groups were introduced to spatial drawing and modelling skills, and were encouraged to use these as the experts of their own spaces. Having been trained in architectural techniques when returning to education at 30, I was struck by how useful picking up these basics can be in being able to visualise different possibilities for a space. Also the truth, that with a bit of support, it’s something we can all learn. We discussed community engagement, returning to the idea that communities are multifaceted and there will usually be a number of different layers and groups to engage in any project.

As the models rose from the cardboard bases, we were struck with the very different buildings the church groups were working with and their challenges and opportunities, some unique and some common across the sector. From laughing about the shared experiences of lack of storage and complex heating requirements, the models showed the churches’ different histories, architectural styles and qualities. Some with the more traditional long leaded glass windows, another an enormous mill-like structure capable of accommodating 600.
 
Groups visibly encountered their spaces in a new way through constructing the models. They explored through their churches, outbuildings and halls, the spaces where interventions might make a difference. One group considered the possibility of glass doors across the back of their building, to open up to spaces where local young people congregate and to welcome them in. This connected their social outlook and mission to ways they might develop the building’s architecture. It reminded me once again that communities are the experts of their situations, and of the many facets of community that need to be considered when engaging the community in the design of their built environment.  ​

by Grace Crannis

Unlocking community gems in the heart of London. 

The latest Study Tour event organised by the Empowering Design Practices (EDP) research project on the 22nd August, was an inspirational opportunity to explore the potential for community-led design to enhance and reimagine historic places of worship. Through site visits to three unique places in Bow, East London, the focus was on how these buildings can become more vibrant, open and sustainable community resources that respect and enhance their existing heritage.
 
As a new team member at The Glass-House, the prospect of joining as a participant was a great opportunity for me to meet my future colleagues and experience the project from ‘the other side’. Entering almost entirely unaware of the modern position of churches in East London, I left the tour with a real sense of the vital role they can define for themselves, continuing to be relevant and well used spaces by local people within increasingly non-Christian communities. 

Reinventing a church as a multi-faith or secular enterprise that generates much needed income, without alienating the churchgoing population, is by no means a simple process. The day provided a fantastic opportunity for the attendees to hear about the rewards, and most importantly learn from the challenges faced by such an undertaking, before embarking on their own modernisation projects.
 
Kicking off the day at Bromley-by-Bow Centre, the participants and EDP team all met each other, and were given an overview and a guided tour by our wonderful hosts Rachel and Sara. The site itself reads like a book of architectural styles, with a post-war church space and a subsequent series of extensions, the first of which, the Healthy Living Centre, opening in 1997 and was the first of its kind in the UK.

It was fantastic to see such a lively and engaging centre that is clearly well loved and used by local people, artists, social enterprises, local businesses, and park goers. The routes through the site had been considered to great effect, and deliberate lack of signage to encourage interaction with staff members was a unique and effective idea. One participant bought up the issue of vandalism and anti-social behaviour, but we learned that incidents are very rare, and it is more important that visitors feel relaxed and welcome, with open spaces that are central to the centre’s ethos. 
 
Moving on after lunch, the challenges faced by St Paul’s Bow Common, as explained to us by Vicar Mother Bernadette Hegarty, were entirely different. A beautiful, reverential space completed in 1960, the practicalities of inhabiting the brutalist landmark are immediately apparent. The lack of insulation and expensive running costs mean the church is noisy and cold, and subsequent vicars have had to adapt and improvise over the years to make the building useable for the congregation but also the people who maintain the building. With services hidden seamlessly in within the walls, they are now very difficult to upgrade. It was useful to contrast the other stops on the tour with a church like St Paul’s: a poignant reminder of the challenges of modernising buildings that were once considered cutting edge, but are no longer fit for today’s needs.
 
The last stop on our tour of Bow, St Paul’s Old Ford was a really beautiful example of a site that had been made to work through the sheer determination and dedication of all involved. The sensitively integrated, suspended ‘pod’ spaces are a testament to the architects Matthew Lloyd, and help generate much needed income by providing rentable spaces and accessible community facilities. Our host and guide, venue manager Karen Diss, was keen to share her invaluable insight into the process, and impress upon us not only the financial and logistical difficulties encountered with projects like this, but also the great joy when they succeed.  

by Dr Katerina Alexiou

One of the instruments the EDP project had anticipated using to explore certain research questions and generate ideas for future steps was that of the design studio. A design studio is typically a space for collaborative enquiry where participants go through a learning journey together by engaging in creative design activities.
 
In May we held our first design studio to explore Live Projects. Live Projects are educational initiatives in which university students work on real practical projects for a designated period of time as part of their study. By the time of our design studio, the EDP project had already supported five different Live Projects with historic places of worship in collaboration with the University of Sheffield School of Architecture and University College London (UCL) and so this was a good stage to pause for reflection. We also wanted to open up the conversation with other initiatives from other universities and provide a creative space to share and discuss Live Project experiences from various perspectives (academics, community members, students and practitioners), and take stock of the future of this type of activity.
 
There is already a lot of literature around the value of Live Projects for students, establishing, for example, how they help them gain practical experience and build important skills in project management, communication and team working. Live projects also have a social value and as our project’s emphasis is on community-led design, we were also interested to focus on the collaborative working process and particularly to explore the impact Live Projects have on participating communities.
 
The design studio took place at St Luke’s Community Centre in London and brought together some leading Live Project initiatives in architecture across the UK, from the University of Sheffield, the University of West of England, Cardiff University, University of Nottingham, London Metropolitan University and UCL. We also had community representatives from Bow Church in London, Cemetery Road Baptist Church in Sheffield, Brandon Trust in Bristol, and Grange Pavilion in Cardiff, as well as students who worked with them, and other communities not present in the room, such as ISRAAC Somali Community Association in Sheffield, St Peter’s Church in Chester, St Peter’s Church Congleton and a built project in South Africa.
 
In the first part of the day, each live project group was paired with another to share their experiences and discuss key features of their projects, but also key challenges they encountered and things that were important to their success. The task of each grouping was to use various crafts materials provided to create a shared representation of those key aspects. 

The discussions and the activity helped unearth the different contexts and commonalities and variations between projects, in terms of people involved, skills and resources mobilised, and processes and materials used. For example there were notable variations in terms of size, duration and intensity of projects, with some lasting over a few weeks, others spread over a year or a number of years. The type of projects varied as well, from single student projects, to group projects ranging from 4 to 30 students. There were also different ways in which universities and students engaged with community groups, some to define project briefs or to deliver activities on the ground, with different accompanying mechanisms of support and roles played by different actors in the process.
 
The session concluded with a plenary discussion on the benefits of live projects for communities, which brought out some important points about the significance and value of live projects. Here are some key points:

• The energy and enthusiasm of students is an asset. Live projects bring in inspiration and can help communities/clients consider a wider spectrum of opportunities and ideas for a place.
• Live projects provide a space for enquiry and reflection and can help articulate the needs and specialness of a particular context.
  
• The live project activity can help build momentum, and be a catalyst for change.
• The value of live projects rests more in the process rather than the product (the outcomes). They promote mutual learning and help build infrastructures and a community's capacity and confidence to deliver projects.

 
The second part of the day focused on future opportunities. This time participants reflected from their unique position as students, community representatives or academics, to identify ideas for activities or resources that can promote or improve live projects in the future. These ranged from good practice guidelines on how to develop collaborative briefs for live projects, to ideas for the development of new tools and resources (such as an app for aiding communication), to more strategic objectives such as setting up a live projects network and promoting further collaboration across institutions and sectors.
 
The EDP project has set an objective to further explore the mechanisms and potential of live projects as vehicles of empowerment, so we hope to follow up some of these actions within the realm of EDP. In the short term, we are supporting two more Live Projects this year in collaboration with our partners at the Sheffield School of Architecture. For now, I will close the blog with a huge thanks to everyone who took part in the design studio for being so generous with their time and knowledge. 

By Vera Hale

On 24th May the Empowering Design Practices Research project was delighted to host a drop-in workshop at Tate Exchange in the Tate Modern London. Led by EDP's core delivery team (the Open University's Design Group and The Glass-House Community Led Design) the participatory workshop on ‘Places for Connection’ formed part of a week-long residency by the Who are we? Project, a three year collaborative project at Tate Exchange between the Open University and Counterpoint Arts, in association with Stance Podcast and University of York.

The Who are we? project is a cross platform event that explores migration, belonging and citizenship. The programme at Tate Exchange was based on co-creation and exchange between artists, cultural organisations, academics, activists and audiences, and the second instalment of their three year presence at Tate Exchange explored the production of people and place, through a wide range of connected sub-themes: housing, displacement, hostile environments, memory, language, data, food, and environmental and racial justice.

For our workshop we reflected on the notion of hostile environments from the perspective of Empowering Design Practices. Over the last four years we have interacted with over fifty places of worship, and found many political, historical, social and cultural conditions that may negatively affect people’s perceptions of those places and their function as welcoming places. Despite these factors however, the reality remains that many places of worship today act as significant anchors in communities, not least by housing a wide variety of services and activities, from foodbanks, night shelters and health centres, to crèches, libraries and theatres. Drawing on this experience for our participatory workshop at the Tate Exchange, we wanted to invite people to reflect more broadly on the places that make them feel part of a community. 

Artist Matthew Le Breton conceived and made an amazing set of connection pieces that formed the creative canvas of the workshop. The pieces that he created helped participants to share their stories and visualise their places of connection, using drawing, modelling and a variety of other craft materials. The individual connection pieces slotted together to form an installation that represented a collective body of Places for Connection.

The workshop was a joyous occasion. Many of the participants stayed for the duration of the two and a half hour workshop, making and talking to one another, building new connections of their own. The installation grew steadily over the afternoon and became a colourful embodiment of the afternoon’s event. Matthew’s connection tiles were a real success in getting people to Share, Make and Connect the places where they feel a sense of welcome and belonging. 

Natural environments, parks and open spaces were  places that featured quite prominently in people’s creations, as well as community centres. Many of the spaces people described as places of connection were focused around socialising and interactive activities, such as  dancing, coffee shops, festivals, food, swimming, music and singing.

The main feedback from participants was that it was “fun” and  “a great experience” to share their stories and "how they engage with places and people around you". The activity helped people engage constructively with the Who are We? themes of memory and identity. One of the participants reflected that it was an interesting space to have the chance to reflect on what truly makes them connect, and that even though she had a great life in London with children, work and friends, the only true place for connection for her was her family holiday spot in her native country. Another participant who was involved in one of the other activities on the Tate Exchange floor, related how his work helps empower people through opera singing. His own place of connection, however, was not a physical space, but an intangible shared space, the space of performance.

Tate Exchange is an annual programme of public engagement by the Tate Modern. It is a space that brings international artists together with other organisations to collaborate, explore and present new perspectives on current affairs through art, and creates a platform for people from different backgrounds to come together to showcase, view, debate and participate in activities that are artist led. For our project it was an opportunity to use the museum as a connector to people who would otherwise not have known about our research project and explore with members of the public, the spaces they value in their communities.

We look forward to exhibiting and expanding our Places for Connection installation at future events.

Vera Hale is the Research Associate on the Empowering Design Practices project.

With thanks to Jonny Bosworth for the photographs.

By Colin McNeish

On 9 March in Glasgow I had the pleasure of taking part in the excellent workshop arranged in partnership with Empowering Design Practices and the Church Buildings Renewal Trust (CBRT) - joining communities in the renewal of church buildings by engaging early in the design process.
 
Delegates came from groups engaged in Community Buy Outs and Church groups exploring projects to extend the use and flexibility of their respective properties, spaces that play a key role within their communities and contribute significantly to the local architectural townscape.  Without either there would be a cultural gap in our towns and villages. There were also a number of professionals from the CBRT network in attendance.

After some inspiring stories from EDP team members Sophia and Vera about successful case studies, including a summary of the unique history of our venue at Adelaide Place Baptist Church, we were introduced to approaches of engaging people in design and demystifying the process.  The workshop which followed in the afternoon proved of great value to the groups as they explored in their own contexts the implications of putting into practice the principles outlined in the morning session.

One of these activities engaged delegates in memory mapping the details of their buildings, identifying the qualities of the positive and negative aspects that need to be addressed to improve the spaces and their use.  They used practical tools of drawing and explored the effects of changing the ambience of spaces with light and colour and creating intimate spaces for personal reflection in contrast to the environment required for corporate worship.  This included the use of focal points, artwork and music and user participation. Even small differences in how participants approached the activities were interesting. The engineer in the group would use a brown pen to draw the building as literally as he could, whereas the artist in the group used colour and sketching to express what might enhance the space.

The differences between the groups representing a place of worship and the professional ‘buddies’ allocated to their respective tables was interesting. The groups focused on the liturgy, the various uses of the space and the interplay of different generations being involved together, whereas the professionals focused on the physical aspects of creating exciting and sympathetic spaces and the fabric required to promote a better experience. Common themes emerged, including flexibility and the extended use of the building throughout the weekly programme, which can help preserve the long-term sustainability of the buildings and ultimately the communities that they serve. The groups representing a place of worship also shared some discussion points that had emerged within their congregations to explore further. For example, when exploring opinions regarding the removal of pews from the sanctuary in favour of loose seating, the adults at one church recognised the advantages of flexibility, while their children surprised them by saying they liked the pews because they felt the security of being together as a family in their own pew!

The feedback from delegates was very positive as people were engaging together from different viewpoints and using new tools that made them more aware of their environment from a new perspective to inform the design of their immediate projects. The workshop proved of value to us at CBRT because it provided new tools that we can use in our annual conference as we interact with many other church and community groups seeking to extend the use of their places of worship for the future. Finding new ways of under-writing the capital and revenue costs of running successful community facilities that serve congregations and the wider community can also be explored if people are inspired about the possibilities. It promotes the involvement of local and national agencies in supporting local communities when many central funding sources are being withdrawn or made accessible in different ways.  For example, many churches are now being used to provide health, fitness, and even post office services, as well as partnering with nurseries and schools providing different but suitable venues for performance, music and art functions. 
 
This is the core vision of the Church Building Renewal Trust as we try to bring together precedented successful projects with struggling non-empowered communities to inspire them to the full potential of their assets in the form of their buildings and properties. New ways of funding can then be explored and as a committee we found the day encouraged us to think about using the tools and methods being developed in the research programme of the Empowering Design Practices project. We greatly appreciated the input and collaboration with the project and hope it proves to be an ongoing partnership that can be of mutual benefit in practical ways as we all move forward together.
 
Colin McNeish FRIAS is Chairman of the Church Buildings Renewal Trust

By Lizzy Levy

The ‘Mission Impossible’ was: to get away to London for a design training course, to leave three teenagers about to go back to school, sixth form and art foundation, plus one dog and a husband. Technically, this should have been doable. But this was no easy task, and in the office work was piling in as I’d just come back from a much needed annual break. All our groups were coming back into Church and there were requests coming thick and fast with Heritage Day too. I boarded a train to London on Monday 11th September rather frazzled and stressed!

The trip was immensely enlightening and I feel truly blessed to have been offered this opportunity. Not only did the course open our eyes to the amazing architectural possibilities, it enabled us to broaden our perspective on ‘looking outwards’, considering the greater needs of ‘community’. Two of the churches we visited were servicing the needs of the wider community and their approach was radically different. These places were ‘open’ churches, where the public could access the spaces at almost any time. 

Bromley by Bow warmly welcomed us showing us their centre that had no CCTV and encouraged the public to enjoy their spaces, whether to visit the health centre, church, gardens, cafe or workshops etc. The quote from their website banner (www.bbbc.org.uk) states:
​
“I urge you to take your colleagues down to the Bromley by Bow Centre and let them see what has emerged from nothing. It is one of the most impressive displays of social entrepreneurship anywhere in Europe.”
- Lord Brian Mawhinney

St Paul’s Old Ford (www.stpauloldford.com) was also really radical in the fact that they had a pod type space constructed within the church sanctuary called “The Ark”. This serviced the needs of the community including a gym on the top floor designed for those with disabilities. Their motto states: “Seeking to serve God by transforming lives and helping community flourish”.

The course was run by the Empowering Design Practices project and the facilitators were really helpful and encouraging. Their approach made everyone feel valued and no question or opinion was dismissed. I think this approach mirrored the ethos of the churches we had encountered on our study visit, who had listened to the needs of their congregations and wider community when (re)designing their buildings. 

Most importantly, our church community, in all its wonderful diversity, will be encouraged to get involved via expressing their own ideas for our future. We look forward to sharing our experiences and the work we did on the course including mind mapping and a scale model of Cemetery Road Baptist Church. We encourage our community to look out for further details coming soon explaining how they can help!

Mark 4: 30-32
Again he said, “What shall we say the kingdom of God is like, or what parable shall we use to describe it? It is like a mustard seed, which is the smallest seed you plant in the ground. Yet when planted, it grows and becomes the largest of all garden plants, with such big branches that the birds of the air can perch in its shade.”

Lizzy Levy is Church Administrator at Cemetery Road Baptist Church, an ethnically diverse and vibrant place of worship in the Sharrow area of Sheffield. The church is a Grade II listed building with a distinctive two-spire facade and forms part of a large complex of faith and community spaces owned and run by the church. Five members of Cemetery Road Baptist Church attended the Design Training course held by the Empowering Design Practices project in London from 12-13 September 2017 to help build their design skills, knowledge and confidence and explore ideas for improving their building. 

A version of this post was originally shared in their Church newsletter.

By Sara Crofts and Liz Ellis

Walking slowly along the River Lea, gazing at abstract paintings by Mark Rothko, admiring the craftsmanship of the lofty stone vaults at Hexham Abbey... Just a few of the experiences of some of the heritage assets and sites providing reflection and peace every day across the United Kingdom. Heritage leaders often focus on the story-telling potential of a historic building or the particular landscape or the specific objects displayed. What is less often discussed is how significant heritage and cultural engagement is for us all in supporting - and extending - our experiences of ourselves and each other.

Faith leaders are familiar with individuals and families seeking out the church, temple, mosque or synagogue to celebrate new life and love - and also to grieve and mourn. Faith sites offer spaces for non-believers to be made welcome, to be curious and to rest as well as to pray. Gallery and museum staff  are perhaps currently less well recognised as providers of  opportunities to explore complex, and potentially difficult, feelings and experiences through events and activities.

Whether exploring the legacy of conflict and imperialism through artefacts at Tate Britain or inviting discussion of faith and equality at Cartwright Hall, gallery and museum staff and volunteers actively use collections to support connections between ourselves and the contemporary world around us. Similarly, visitors of all ages to RSPB Minsmere in Suffolk have shared with Heritage Lottery Fund how important this beautiful site is in providing a sense of calm or maybe contentment or even happiness during difficult periods of ill health and supporting life changes through disability, unemployment or other challenging experiences.

Recognising the differences in all of these sites of course is important, but we suggest it is also vital to recognise the value of human relationships and connections which all these places enable and have in common. Welcoming people to a nature reserve or a faith site requires skills and resources and acknowledges that how we greet each other and how we make the ‘stranger’ feel at ease is core to our experience of being human.

Most of us have had experiences of entering a building or a social context where we don’t know anybody; what happens next often then decides how long we stay and how we feel when we leave. Increasingly, those who look after faith sites are seizing opportunities to extend the welcome to new visitors curious to learn about the abbey, mosque, temple etc. We think that there is much that can be learned from those who have a similar role in secular spaces.

So we’re suggesting that now is the time to share resources and community capabilities. We propose that that the sacred space of buildings associated with faith and the contemplative, reflective opportunities of many other heritage sites offer fruitful connections in the years ahead. The current focus on the importance of wellbeing and the role that heritage can play here, provides contemporary relevance for all of us involved in the next steps in community building, whether starting within faith or cultural contexts.

These shared opportunities bring benefits to a wider range of people and can bring communities together who have been previously distanced, whilst keeping the sites vivid, relevant and informed by contemporary needs and human experience.

Sara Crofts is Head of Historic Environment at Heritage Lottery Fund and Liz Ellis is Policy Advisor Communities and Diversity. Heritage Lottery Fund is a partner in the Empowering Design Practices project.