Heritage
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Hallstatt-Dachstein / Salzkammergut Cultural Landscape
Outstanding Universal Value
Brief synthesis
The Hallstatt-Dachstein alpine landscape, part of the Salzkammergut,
and thus of the Eastern Alps, is one of visual drama with huge mountains
rising abruptly form narrow valleys. Its prosperity since mediaeval
times has been based on salt mining, focused on the town of Hallstatt, a
name meaning salt settlement that testifies to its primary function.
Systematic salt production was being carried out in the region as
early as the Middle Bronze Age, (the late 2nd millennium BC), when
natural brine was captured in vessels and evaporated. Underground mining
for salt began at the end of the late Bronze Age and resumed in the 8th
century BC when archaeological evidence shows a flourishing, stratified
and highly organised Iron Age society with wide trade links across
Europe and now known as the Hallstatt Culture. Salt mining continued in
Roman times and was then revived in the 14th century. The large amounts
of timber needed for the mines and for evaporating the salt where
extracted from the extensive upland forests, which since the 16th
century were controlled and managed directly by the Austrian Crown. The
Town of Hallstatt was re-built in late Baroque style after a fire in
1750 destroyed the timber buildings.
The beauty of the alpine landscape, with its higher pastures used for
the summer grazing of sheep and cattle since prehistoric times as part
of the process of transhumance, which still today gives the valley
communities rights of access to specific grazing areas, was 'discovered'
in the early 19th century by writers, such as Adalbert Stifler,
novelist, and the dramatic poet Franz Grillparzer, and most of the
leading paintings of the Biedermeier school. They were in turn followed
by tourists and this led to the development of hotels and brine baths
for visitors.
The landscape is exceptional as a complex of great scientific
interest and immense natural power that has played a vital role in human
history reflected in the impact of farmer-miners over millennia, in the
way mining has transformed the interior of the mountain and through the
artists and writers that conveyed its harmony and beauty.
Criterion (iii): Humankind has inhabited the valleys
between huge mountains for over three millennia. It is the mining and
processing of salt, a natural resource essential to human and animal
life, which has given this area its prosperity and individuality as a
result of a profound association between intensive human activity in the
midst of a largely untamed landscape.
Criterion (iv): The
Hallstatt-Dachstein/Salzkammergut alpine region is an outstanding
example of a natural landscape of great beauty and scientific interest
which also contains evidence of fundamental human economic activity. The
cultural landscape of the region boasts a continuing evolution covering
2500 years. Its history from the very beginning is linked primarily
with the economic history of salt extraction. Salt mining has always
determined all aspects of life as well as the architectural and artistic
material evidence. Salt production on a major scale can be traced back
in Hallstatt to the Middle Bronze Age.
Integrity
The property appropriately retains all the elements linked to
evidence of salt mining and processing, associated timber production,
transhumance and dairy farming, and still retains the harmony that
attracted the 19th century artists and writers.
It has not, and does not, suffer from the adverse effects of modern development.
Authenticity
Because of its special historical evolution, this cultural landscape
has retained a degree of authenticity in nature and society that is
outstanding in the alpine region. Resulting from a harmonious
interaction between man and environment it has preserved its spatial and
material structure to an exceptionally high degree. This quality and
context has been further endorsed by a large number of visiting artists
whose many canvases and representations are additional fitting testimony
to its value.
Protection and management requirements
Due to different needs, both Federal and Provincial levels of
protection are in force. Combined, these cover monuments and ensembles,
newly erected buildings, woods, water and ground water, and general
aspects of nature, including specific items, larger areas, caves and
cultivated areas. There are also provisions regarding regional planning.
In recent times there has been an increasing collective awareness
concerning the heritage value of the urban fabric. The Communes and the
owners carry out day-to-day management. This approach is based on
direction provided by experts of the Provinces and the Federal Office
for Protection of Monuments. Funds are made available from the Federal
State of Austria, the Federal Provinces Salzburg and Styria and,
especially, from the Province of Upper Austria.
Long Description
The Hallstatt-Dachstein/Salzkammergut Alpine region is an
outstanding example of a natural landscape of great beauty. It also has
great scientific interest because it contains evidence of a fundamental
human economic activity, the production of salt.
Human activity in the magnificent natural landscape of the
Salzkammergut began in prehistoric times, with the salt deposits being
exploited as early as the 2nd millennium BC. The name of the medieval
town, derived from the West German hal (salt) and the Old High German stat
(settlement), first recorded in a deed of 1305, testifies to its
primary function. This resource formed the basis of the area's
prosperity until the mid-20th century, a prosperity that is reflected in
the fine architecture of the town of Hallstatt.
The town grew up along the narrow strip between the steep
mountainside of the Salzberg and the lake, and on the Mühlbach, an
artificial promontory out into the lake resulting from the dumping of
mining debris over the centuries. Here in the inner market town the
houses, largely late Gothic, are ranged round a triangular market
square. The typical Hallstatt house is tall and narrow, making maximum
use of the restricted space and the steep topography. The lower storeys
are constructed in stone with barrel vaulting supporting timber-framed
upper storeys, as is customary in the Alpine region. Only a few preserve
the original flat saddleback roofs covered with wooden planks or
shingles. The southern part of the town, known as In der Lahn, located
at the mouth of the Echterntal, is largely of 18th-century date, much of
it built after the 1750 fire.
Among the more notable buildings are the St Mary's Roman Catholic
Parish Church built in the late 15th century to replace an earlier
Romanesque structure, parts of which survive. Having suffered only
slight damage during the 1750 fire its only Baroque features are the
roof and the multi-tiered spire. It contains a number of outstanding
works of art, including a late Gothic altarpiece from the Astl workshop.
The small St Michael Chapel and Charnel House is a Gothic structure
in the tiny graveyard immediately north of the parish church. Its
basement, viewable at ground level, contains a neatly arranged
assemblage of human skulls and long bones, the skulIs being marked with
names and other details of the deceased.
The property also includes the Dachstein Mountains, rising to some
3,000 m, which form the highest of the karst massifs in the northern
limestone Alps. They are notable for the large number of caves they
contain, the longest being the Hillatzhöhle (81 km). Each cave is
speleologically different, but the fact that they enjoy single
management allows a range of information and experience to be made
available in a coherent programme of conservation, accessibility and
interpretation. The Dachstein-Rieseneishöhle is the most impressive ice
cave in Austria. Some parts of the mine are now accessible to visitors,
including areas made safe for displays arising from the continuing
programme of archaeological investigation.
The Dachstein massif is exceptional among Alpine karstic areas for
retaining its glaciation. Its landscape takes eight distinct forms: each
of these zones has its own distinct climate and hence a characteristic
flora and fauna.
Source: UNESCO/CLT/WHC
Historical Description
Recent research deep within the Salzberg has demonstrated that
systematic salt production was being carried out in the region as early
as the Middle Bronze Age (later 2nd millennium BC). Natural brine was
captured in deep basins and evaporated in special ceramic vessels. Of
great interest in itself in the history of salt extraction, this
development is of considerable significance in illuminating the origins
of the Iron Age Hallstatt Culture and in emphasizing the importance of
the area as a "scientific reservoir" for further research and increased
understanding.
Underground mining for salt began at the end of the Late Bronze Age, using a shaft technique adopted from copper mining. This production was halted for a relatively short time, possibly because political events caused an interruption in trade. It resumed in the 8th century BC, this time using a system of drift mining with horizontal galleries. Evidence of both techniques has been found in the Salzbergtal.
The prehistoric cemetery associated with these industrial operations, discovered in the 1840s, is the type-site for the first phase of the Early Iron Age in Europe, known to archaeologists as the Hallstatt Culture. It was in use in two periods: the 8th and 7th centuries BC and again in the 6th century BC. The rich grave goods, both local products and imported luxury materials, testify to a stratified and highly organized society, trading widely into central Europe, the Baltic, and the Adriatic.
Salt extraction continued in the region well into the Roman period, and a Roman industrial settlement has been identified in the Echterntal. Thereafter there is no evidence of the salt being exploited until the early 14th century. However, the name of the medieval town, derived from the West German hal (salt) and the Old High German stat (settlement), first recorded in a deed of 1305, testifies to its primary function. Title to the salt mines passed from the Trauenkirchen monastery to the Austrian Crown, and the town received the right to hold markets. A unique status was accorded to certain citizens of Hallstatt, known as Salzfertiger, who were responsible for drying, packing, and selling cart-loads of salt, which were assigned to them. Their high status is demonstrated by the quality and special nature of their houses, the Salzfertigerhiiuser, to be found in Hallstatt and Bad Ischl.
Salt production required large quantities of timber, for shoring the mines and fuel for evaporation, and so forestry operations were also regulated by the Crown officials. Until the early 16th century salt-mining licences were generally leased to independent burghers, but these were systematically eliminated and in 1524 mining and forestry operations came under direct Crown management. This resulted in the construction of a number of important engineering features, such as the wooden brine pipeline begun in 1595.
During the Reformation, Protestantism acquired many adherents among the min ers and foresters of the Hallstatt region, but they were not permitted to exercise their faith publicly until the Edict of Toleration of 1781.
A disastrous tire in 1750 destroyed most of the medieval core of Hallstatt. This was followed by massive rebuilding in Late Baroque style, which distinguished the town centre up to the present day. There was a boom in salt production at the beginning of the 19th century, to finance the war against France, but the return of peace saw an abrupt slump. Despite technical innovations, such as the introduction of electric power and the construction of a rail link, which permitted the import of coal (1877), the salterns finally closed down in 1965. Salt production, however, remains as high as ever, though the brine is now piped down the valley to a modern treatment plant at Ebersee; only sorne sixty men are now employed in a very efficient mining operation which has become highly mechanized and computerized. Sorne parts of the mine are now accessible to visitors, including areas made safe for displays arising from the continuing programme of archaeological investigation.
However, the decline of this industrial base coincided with the rise of a new factor, the recognition of the aesthetic, culturaL and natural qualities of the region by writers such as Adalbert Stifter, novelist and fust Conservator for Upper Austria, and the dramatic poet Franz Grillparzer, and most of the leading painters of the Biedermeier school. The first hotel to serve the growing number of tourists was built in 1855, followed by the first public brine baths in the 1860s. Since that time the region has steadily increased its popularity as a major tourist resort.
Source: Advisory Body Evaluation
Palace and Gardens of Schönbrunn
Outstanding Universal Value
Brief synthesis
The site of the Palace and Gardens of Schönbrunn is outstanding as
one of the most impressive and well preserved Baroque ensembles of its
kind in Europe. Additionally, it is a potent material symbol of the
power and influence of the House of Habsburg over a long period of
European history, from the end of the 17th to the early 20th century.
It is impossible to separate the gardens from the palace, of which
they form an organic extension: this is an excellent example of the
concept of Gesamtkunstwerk, a masterly fusion of many art forms.
A small hunting lodge and later summer residence of the Habsburg
family was rebuilt after total destruction during the last Turkish
attack in 1683. During construction work the project was expanded into
an Imperial summer residence of the court. As such it represents the
ascent and the splendour of the Habsburg Empire. At the peak of Habsburg
power at the beginning of the 18th century, when imperial Vienna
following the Turkish reflected its regained significance in spectacular
examples of newly developing Baroque art, Schönbrunn was one of the
most important building projects of the capital and residency.
The ample Baroque gardens with their buildings (Gloriette, Roman
ruins etc.) and statuary testify to the palace's imperial dimensions and
functions. The original intention, when they were laid out in the 18th
century, was to combine the glorification of the House of Habsburg with a
homage to nature. The Orangery on the east side of the main palace
building is, at 186 m, the longest in the world. The Great Palm House is
an impressive iron-framed structure, 114 m long and divided into three
Sections, erected in 1880 using technology developed in England.
Criterion (i): The Palace and Gardens of Schönbrunn
are an especially well preserved example of the Baroque Princely
residential ensemble, which constitute an outstanding example of
Gesamtkunstwerk, a masterly fusion of many art forms.
Criterion (iv): The Palace and Gardens of Schönbrunn
are exceptional by virtue of the evidence that they preserve of
modifications over several centuries that vividly illustrate the tastes,
interests, and aspirations of successive Habsburg monarchs.
Integrity
With the exception of some minor alterations dating from the 19th
century, the property includes all elements of the Palace and Gardens of
Schönbrunn. The property is of such a size it offers a complete
representation of Imperial Palace features. None of the attributes
within the property are under threat. However the visual integrity of
the property is vulnerable to high-rise developments in Vienna.
Authenticity
The original building has been expanded and modified considerably
since it was built, to suit the tastes and requirements of successive
imperial rulers. No significant changes have been made to the structures
themselves since the work on the facades commissioned by Franz I at the
beginning of the 19th century. The furnishings and decoration of the
Imperial apartments, the theatre, the Chapel, and other important
components are wholly authentic. The structure of the Baroque park
layout is also virtually untouched, and traditional 18th century
techniques are still used for trimming its trees and bushes. Schönbrunn
became, as it were, frozen in time in 1918 when it became the property
of the Republic of Austria. Since that time, the form that it possessed
in 1918 has been faithfully retained, both in the original fabric and
decoration and in the restoration following wartime damage. The complex
of the Palace and park may be considered to be an outstanding example of
Gesamtkunstwerk because of the way in which it has preserved intact the
originality of its architecture, the design and furnishings of the
Palace, and the spatial and visual relationship of the buildings to the
park.
Protection and management requirements
The buildings and the gardens are owned by the Republic of Austria.
Since 1st October 1992 the property has been managed by the Schloss
Schönbrunn Kultur- und Betriebsgesellschaft mbH (Ltd). This company
entirely belongs to the State. Maintenance of the gardens is carried out
by the Federal Gardens Service (Bundesgärten).
The property is protected at Federal and Provincial level. Areas
adjacent to the property have been designated as protection zones, and
these also delineate the buffer zone. The City of Vienna controls these
surroundings by zoning and building regulations. There remains an
on-going need to ensure that the skyline of the property and views out
are not compromised by tall buildings in its setting.
The day-to-day professional management of the property is carried out
on the basis of agreed budget, staff and investment plans. Following
the requirements of the Federal Office for Protection of Monuments and
the City of Vienna, these plans are elaborated on and pursued by experts
employed by the Federal State. The "Schönbrunn Akademie" (Schönbrunn
Academy) also provides training programmes on heritage management and
specific technical issues.
The operational budgets are financed through earnings achieved by the
managements' operating company, assisted by the Federal State. In the
buffer zone, funds are made available from the City of Vienna.
Long Description
Schönbrunn is of outstanding universal value as a particularly
well-preserved example of the Baroque princely residential ensemble.
Furthermore, the palace and gardens are exceptional by virtue of the
evidence that they preserve of modifications over several centuries that
vividly illustrate the tastes, interests and aspirations of successive
Habsburg monarchs.
From the 16th century onwards, Schönbrunn was the site of a hunting
lodge and summer residence of the Habsburg family. After total
destruction during the last Turkish attack in 1683 the palace was
rebuilt in 1695. The emperor, Leopold I, originally commissioned a château de plaisance
for Grand-Duke Joseph, the heir to the throne, but dynastic
developments during the course of construction required its function to
become that of an imperial summer residence, and hence for its size to
be increased. It continued in that role until the end of the
Austro-Hungarian Empire.
Apart from some minor 19th-century additions, the palace and its
gardens received their appearance in the 18th century. The architectural
ensemble contains precious 18th-century interiors. The former
apartments of Emperor Franz Joseph in the west wing were adapted in the
19th century with furniture that is also of historical importance.
Schönbrunn was designed by the architects Johann Bernhard Fischer von
Erlach and Nicolaus Pacassi and is full of outstanding examples of
decorative art. Together with its gardens, the site of the world's first
zoo in 1752, it is a remarkable Baroque ensemble and a perfect example
of Gesamtkunstwerk .
The main part of the palace in its present form is largely the work
of Pacassi, although preserving Fischer von Erlach's overall structure.
Access to the piano nobile from the courtyard is via a
monumental staircase leading to the impressive Great Gallery, which is
ornately decorated with stucco ornamentation and ceiling frescoes
symbolizing the Habsburg Empire.
Behind it lies the Small Gallery, which is flanked by two small
rooms, the Chinese Round Room and the Chinese Oval Room, both decorated
with black and golden painted lacquer panels and furnished with Japanese
ceramics and furniture. The Carrousel Room leading off the Great
Gallery is the anteroom to the Ceremonial Hall, notable for its series
of monumental paintings depicting events in the long reign of Maria
Theresa.
Among the most impressive of the rooms in the east wing is the
sumptuous Vieux-Laque Room, with its priceless oriental lacquer panels
set in walnut panelling surrounded by gilded plasterwork and extremely
ornate furniture; the Napoleon Room is decorated with enormous Brussels
tapestries; the Porcelain Room is a small chamber in which the ornately
carved wainscoting is painted in blue and white, and decorated with 213
sketches by Franz Stephan and his children. The rooms in the West Wing
are Iess elaborately decorated and were used for domestic purposes by
members of the imperial family.
The vast Baroque gardens and their buildings testify to the imperial
dimensions and functions of the palace; the courtyard provides access to
the Palace Chapel and the Palace Theatre. The orangery on the east side
of the main palace building is the longest in the world. Built in the
mid-18th century, it was used not only for Maria Theresa's passion, that
of cultivating exotic plants, but also for festive events and
performances. The Great Palm House is an impressive iron-framed
structure and divided into three sections, erected in 1880 using the
technology developed in England. The Schönbrunn zoological garden,
founded by Franz Stephan of Lorraine, husband of Empress Maria Theresa,
in 1752 and hence the oldest in the world, is in the grounds.
Source: UNESCO/CLT/WHC
Historical Description
The Katterburg estate, the site of the present Schonbrunn
palace, was sold in the mid-16th century by the Klosterneuburg monastery
to Emperor Maximilian II, who developed it as a hunting lodge and
installed a menagerie. The buildings were badly damaged when Vienna was
sacked by the Hungarians in 1605; it was not until 1622 that they were
restored by Emperor Ferdinand II. After his death in 1637 the Katterburg
became the dowager estate of his widow, Eleanora of Gonzaga. The name
was changed to Sch6nbrunn (Beautiful Spring) in 1642, when a new
three-storey château de plaisance was erected alongside the older
building.
In 1683 Vienna was besieged by the Turks, who were finally crushed, but not before they had wrought great destruction in the surroundings of the city, including Sch6nbrunn. During the great rebuilding that followed the siege, Emperor Leopold I commissioned the Italian-trained architect Johann Bernard Fischer von Erlach to design a new building there as a residence for his heir, Grand-Duke Joseph. His first design is now thought to have been prepared simply to demonstrate his capabilities. In this he was highly successful: his design was greatly admired and was to secure him many other commissions.
The marriage of Leopold in 1699 caused the second design to be modified, so as to raise its status. Construction began in 1696 and Fischervon Erlach personally oversaw the work. The central section was complete and habitable by 1700, but further work was brought to an end by the outbreak of the war of the Spanish Succession in 1701, and then by the sudden death Of Emperor Joseph I in 1711. The uncompleted building became the residence of the Dowager Empress Amalia Wilhelmine.
When she acceded to the Imperial throne in 1740, Maria Theresia chose Schonbrunn as her permanent residence, and a new phase began in the life of the palace. Urgent repairs were carried out on the dilapidated buildings in 1742-43, followed by major structural changes, which were carried out in three phases: 1743-49, 1753- 63, and 1764-80. Most of the work in the first two phases was carried out to the designs and under the supervision of the architect Nicolaus Pacassi, who was to become, like Fischer von Erlach, the Imperial and Royal Court Architect. The major project of the third phase was the embellishment of the gardens (the Gloriette, the Neptune Fountain, the "Roman Ruins", the Obelisk>, largely the work of Johann Ferdinand Hetzendorf von Hohenberg.
Maria Theresia's immediate successors uoseph II and Leopold II) Showed little interest in Schonbrunn, but it was to become the summer residence of Franz I (1792-1835), and Franz Joseph (1848-1916) spent much of his life there. The latter was responsible for the restoration of the old ROCOCO decor and certain other modifications. The palace's architectural history came to an end in 1870 and there have been no significant changes since that time.
Source: Advisory Body Evaluation
Historic Centre of the City of Salzburg
Outstanding Universal Value
Brief synthesis
Salzburg is an outstanding example of an ecclesiastical city-state,
peculiar to the Holy Roman Empire, from Prussia to Italy. Most
disappeared as political and administrative units in the early 19th
century and adopted alternative trajectories of development. No other
example of this type of political organism has survived so completely,
preserving its urban fabric and individual buildings to such a
remarkable degree as Salzburg.
Salzburg is the point where the Italian and German cultures met and
which played a crucial role in the exchanges between these two cultures.
The result is a Baroque town that has emerged intact from history, and
exceptional material testimony of a particular culture and period. The
centre of Salzburg owes much of its Baroque appearance to the Italian
architects Vincenzo Scamozzi and Santino Solari.
The Salzburg skyline, against a backdrop of mountains, is
characterized by its profusion of spires and domes, dominated by the
fortress of HohenSalzburg. It contains a number of buildings, both
secular and ecclesiastical, of very high quality from periods ranging
from the late Middle Ages to the 20th Century. There is a clear
separation, visible on the ground and on the map, between the lands of
the Prince-Archbishops and those of the burghers. The former is
characterized by its monumental buildings - the Cathedral, the
Residence, the Franciscan Abbey, the Abbey of St Peter - and its open
spaces, the Domplatz in particular. The burghers' houses, by contrast,
are on small plots and front onto narrow streets, with the only open
spaces provided by the three historic markets. Salzburg is rich in
buildings from the Gothic period onwards, which combine to create a
townscape and urban fabric of great individuality and beauty.
Salzburg is also intimately associated with many important artists and musicians, preeminent among them Wolfgang Amadeus Mozart.
Criterion (ii): Salzburg played a crucial role in
the interchange between Italian and German cultures, resulting in a
flowering of the two cultures and a long-lasting exchange between them.
Criterion (iv): Salzburg is an exceptionally
important example of a European ecclesiastical city-state, with a
remarkable number of high-quality buildings, both secular and
ecclesiastical, from periods ranging from the late Middle Ages to the
20th century.
Criterion (vi): Salzburg is noteworthy for its
associations with the arts, and in particular with music, in the person
of its famous son, Wolfgang Amadeus Mozart.
Integrity
The historic centre of Salzburg contains all the key elements that
define the ecclesiastical city-state. The overall coherence is
vulnerable to the adverse impact of new developments in the buffer zone
and setting.
Authenticity
The centre of Salzburg has retained its historic townscape and street
pattern to a high degree. Against the background of the surrounding
hills, its architectural monuments, such as the Cathedral and the
Nonnberg Convent, have retained their dominating roles on the skyline.
The town has generally managed to preserve its historic substance and
fabric, although it is vulnerable to new constructions which are not
entirely sympathetic to the coherence of its Baroque form.
Protection and management requirements
Management occurs at national, regional and local level. The property
is protected at both Federal and Provincial level. A number of other
specific laws regarding particular matters (such as water management)
also apply. In addition, consensual management is practiced, where
property owners and relevant cultural societies can also bring about
individual actions.
A management plan was elaborated in the year 2008 and finished by the
end of January 2009 and sent to all authorities. This addresses the way
new structures are integrated into the city's fabric and planning and
how the impact of new urban development projects can be monitored and
assessed to ensure the coherence and integrity are not compromised.
Over the last 40 years there has been an increasing collective
awareness regarding the heritage value of the urban fabric. The Commune,
and individual owners, take responsibility for the day-to-day
management processes. This is based on advice and direction provided by
the City's expert staff, in addition to guidance offered by the Federal
Office for Protection of Monuments. Funds are available from the Federal
State of Austria and through the Historic Centre Maintenance Fund
(which is financed by the City and the Province).
Long Description
Salzburg is of outstanding universal value as an important
example of a European ecclesiastical city-state which preserves to a
remarkable degree its dramatic townscape, its historically significant
urban fabric, and a large number of outstanding ecclesiastical and
secular buildings from several centuries. It has preserved an
extraordinarily rich urban fabric, developed from the Middle Ages to the
19th century when it was a city-state ruled by a prince-archbishop. Its
flamboyant Gothic art attracted many craftsmen and artists before the
city became even better known through the work of the Italian architects
Vincenzo Scamozzi and Santini Solari, to whom the centre of Salzburg
owes much of its Baroque appearance.
The city skyline, against a backdrop of mountains, is characterized
by its profusion of spires and domes, dominated by the fortress of
Hohensalzburg. There is a clear separation, visible on the ground and on
the map, between the lands of the Prince-Archbishops and those of the
burghers - the former characterized by monumental buildings and open
spaces, the latter on small plots fronting on narrow streets, with the
only open spaces provided by the three historic markets.
Salzburg is rich in buildings from the Gothic period onwards, which
combine to create a townscape and urban fabric of great individuality
and beauty. The cathedral (St Rupert and St Virgil) is the pre-eminent
ecclesiastical building and the spiritual city centre. Archaeological
excavations during the reconstruction following severe bomb damage in
the Second World War have revealed much about the predecessors of the
present building, back to its foundation in the 8th century as a
three-aisled basilica. The second cathedral, in the same form but much
enlarged, was built in 1181, but this was virtually destroyed by fire in
1598, to be replaced by the present structure. The original plan was
the work of Vincenzo Scamozzi, a pupil of Andrea Palladio; the present
building, the work of Santini Solari, the court master-builder,
preserves many of Scamozzi's features.
The Benedictine Abbey of St Peter, founded in the closing years of
the 7th century, contains in its church the only High Romanesque
structure in Salzburg, mostly dating from the early 12th century. The
main body of the church has undergone many modifications since the 12th
century. Of special significance are the cemetery and catacombs of the
abbey. The Nonnberg Benedictine Nunnery is the oldest convent north of
the Alps, founded around the same time as the Abbey of St Peter. The
present massive complex, on the eastern peak of the Mönchberg, is a
striking feature of the townscape, with its dominating church roof and
Baroque dome.
The Hohensalzburg Fortress, a Roman structure on this steep rock fan
overlooking the city, was replaced in the Middle Ages by a wooden fort.
The first stone building dates from the early 12th century and this was
enlarged with towers, bastions and outer wards in the 15th century.
Massive reconstruction and extension works were initiated at the
beginning of the 16th century and continued to the late 17th century.
The creation of the Archbishop's Residence, begun in the early 12th
century, lies in the heart of the old town. The present layout dates to
the major rebuilding carried out by Archbishop Wolf Dietrich von
Raitenau in the early years of the 17th century. The buildings are
grouped round two courtyards.
In addition to its architectural heritage Salzburg is especially
noteworthy for its associations with the arts, and in particular with
music in the person of its famous son, Wolfgang Amadeus Mozart.
Source: UNESCO/CLT/WHC
Historical Description
No doubt because of its location at the narrowest point of the
Salzach valley and sheltering between mountain ridges, Salzburg was the
site of a substantial prehistoric settlement, and it became the natural
choice for a Roman Settlement, Municipium Claudium Juvavum , at
the intersection of three major Roman roads. What remained after the
barbarian incursions from the 5th century onwards was granted in 696 by
the Bavarian Duke Theodo to the Frankish missionary bishop Hrodbett, at
the same time endowing the Abbey of St Peter at the foot Of the
Monchsberg and the Nonnberg nunnery that he had founded with large
tracts of land. The abbot Of St Peter’s alS0 served as bishop. As a
secular counterweight a ducaI palace was built between the
ecclesiastical district and the river. The early medieval development of
the town was in the area between the palace and the river. Churches
proliferated and scholars were attracted to the town.
Two significant events took place at the end of the 10th century. The
abbacy and archbishopric were separated in 987, and in 996 the burgher
town was awarded the right to levy tolls and hold markets. In 1077
Archbishop Gebhard built the fortress of Hohensalzburg, as a symbol of
his power. The town continued to grow, spreading along a north-west
street parallel with the river. Massive stone walls were built in the
1120s, to replace the earlier wooden Palisades.
The growing town was ravaged by fire in 1167 and a major rebuilding
of the cathedral took Place. Later medieval fires led the burghers to
replace their wooden houses with substantial stone buildings of the
Inn-Salzach burgher type. With the advent of the Gothic period around
1300 ecclesiastical and lay Proprietors vied in embellishing their town.
The Late Gothic art of Salzburg acquired a renown that went far beyond
the town itself, and many famous artists lived and worked there in the
15th and 16th centuries.
Wolf Dietrich von Raitenau, who was appointed Archbishop in 1587,
remodeled the entire City, directing his attentions in particular to the
residence and the cathedral, with their associated structures. Salzburg
escaped the ravages of the Thirty Years’ war in the first half of the
century, partly because of the new defences added by Archbishop Paris
Lodron and partly because Of the Archbishop’s Clever policy Of
neutrality. He was responsible for the foundation of the university in
1622. During this period of prosperity the burghers copied the Style of
the Princely buildings in the drastically remodeling of their houses.
The townscape was enhanced in the closing years of the 17th century
with the advent of the Baroque Style, used for a number of notable
buildings and a series of monumental fountains that grace the squares Of
Salzburg. This period also saw a flowering of the town as a cultural
centre of the Enlightenment. Wolfgang Amadeus Mozart was born in
Salzburg in 1756 and lived there until driven away by the Archbishop of
the time, Hieronvmus Count Colloredo.
Ecclesiastical rule ended with the Napoleonic Wars in 1803, and it
became an Electorate, Covering Berchtesgaden, Passau, and Eichstatt as
well; its first ruler was Ferdinand Ill of Tuscany, who had been driven
out of his own Grand Duchy. The war was catastrophic for the economy of
Salzburg, which took Several decades to recover. It was not until the
railway was built between Salzburg and Linz, extending to Munich, that
it began to improve, with the advent of investors from Bavaria as well
as elsewhere in Austria. There was a renewed surge of building activity
that continued into the Present Century, culminating in the buildings of
the Festspielhaus.
Salzburg suffered from aerial bombardment in World War II. Post-war
reconstruction Went hand-in-hand with expansion, and a number of
distinguished works of contemporary architecture were added to the
town’s rich stock from many periods.
Source: Advisory Body Evaluation
Australian Convict Sites
Outstanding Universal Value
Brief synthesis
The property consists of eleven complementary sites. It constitutes
an outstanding and large-scale example of the forced migration of
convicts, who were condemned to transportation to distant colonies of
the British Empire; the same method was also used by other colonial
states.
The sites illustrate the different types of convict settlement
organized to serve the colonial development project by means of
buildings, ports, infrastructure, the extraction of resources, etc. They
illustrate the living conditions of the convicts, who were condemned to
transportation far from their homes, deprived of freedom, and subjected
to forced labour.
This transportation and associated forced labour was implemented on a
large scale, both for criminals and for people convicted for relatively
minor offences, as well as for expressing certain opinions or being
political opponents. The penalty of transportation to Australia also
applied to women and children from the age of nine. The convict stations
are testimony to a legal form of punishment that dominated in the 18th
and 19th centuries in the large European colonial states, at the same
time as and after the abolition of slavery.
The property shows the various forms that the convict settlements
took, closely reflecting the discussions and beliefs about the
punishment of crime in 18th and 19th century Europe, both in terms of
its exemplarity and the harshness of the punishment used as a deterrent,
and of the aim of social rehabilitation through labour and discipline.
They influenced the emergence of a penal model in Europe and America.
Within the colonial system established in Australia, the convict
settlements simultaneously led to the Aboriginal population being forced
back into the less fertile hinterland, and to the creation of a
significant source of population of European origin.
Criterion (iv): The Australian convict sites
constitute an outstanding example of the way in which conventional
forced labour and national prison systems were transformed, in major
European nations in the 18th and 19th centuries, into a system of
deportation and forced labour forming part of the British Empire’s vast
colonial project. They illustrate the variety of the creation of penal
colonies to serve the many material needs created by the development of a
new territory. They bear witness to a penitentiary system which had
many objectives, ranging from severe punishment used as a deterrent to
forced labour for men, women and children, and the rehabilitation of the
convicts through labour and discipline.
Criterion (vi): The transportation of criminals,
delinquents, and political prisoners to colonial lands by the great
nation states between the 18th and 20th centuries is an important aspect
of human history, especially with regard to its penal, political and
colonial dimensions. The Australian convict settlements provide a
particularly complete example of this history and the associated
symbolic values derived from discussions in modern and contemporary
European society. They illustrate an active phase in the occupation of
colonial lands to the detriment of the Aboriginal peoples, and the
process of creating a colonial population of European origin through the
dialectic of punishment and transportation followed by forced labour
and social rehabilitation to the eventual social integration of convicts
as settlers.
Integrity and authenticity
The structural and landscape integrity of the property varies
depending on the site, and on the type of evidence considered. It has
been affected by local history, at times marked by reuse or lengthy
periods of abandonment. The integrity varies between well preserved
groups and others where it might be described as fragmentary. Apart from
certain visual perspectives in urban settings, the level of the
property’s integrity is well controlled by the site management plans.
Despite the inevitable complexity of a nomination made up of a series
of eleven separate sites with more than 200 elements that convey the
value of the property, the authenticity of the vast majority of them is
good.
Protection and management requirements
All the sites forming the property are inscribed on the National
Heritage List. They are also protected by the Environment Protection and
Biodiversity Conservation Act 1999.
There is no direct major threat to the sites forming the serial property.
The general protection and management of the property are
satisfactory. Conservation is articulated around a positive dynamic
driven by the application of the conservation plans at each of the
sites. The Brickendon and Woolmers Estate domains are an exception, and
require ongoing assistance, both in terms of protection and
conservation.
The management systems of the sites forming the property are
appropriate, and they are adequately coordinated by the Strategic
Management Framework for the property and its Steering Committee. For
the sites involving the participation of private stakeholders for
visitor reception, improved interpretation is however necessary; that
includes the common objectives outlined in the Strategic Management
Framework. It is also important to consider visitor reception facilities
and their development in a way which respects the landscape
conservation of the sites.
Historical Description
The transportation of people for forced labour is a system
shared by many human societies, at various periods of history and in
many civilizations. Most often, it involved slavery or the deportation
of people following war. However, in the modern and contemporary eras,
convict colonies were used as a place for prisoners to serve their
sentences in a distant land, where they were generally used for forced
labour.
Penal colonies were initially for the imprisonment of criminals,
coupled with forced labour. In Europe they were concentrated in military
ports, for example, to provide labour to work on galleys or for hard
labour in arsenals, building infrastructure, etc. In times of war,
forced-labour prison camps are similar in terms of their organization
and objectives.
A new form of penitentiary combined with a colonial project appeared
in the early 17th century in European countries, involving the permanent
transportation of prisoners to new territories. Under the
Transportation Act of 1718, England organized just such a system for its
criminals in its North American colonies. France did the same after
closing its galleys in 1748. Being condemned to a convict colony is in
theory a severe prison sentence, for a serious crime. In reality,
however, because of the colonies’ need for labour, all sorts of crimes,
often relatively minor, led to transportation for more or less lengthy
terms. The expression of certain opinions or membership of a banned
political group were also punishable in this way.
In 1775 England stopped transporting its criminals to America,
because of the upheaval that eventually led to these colonies gaining
their independence. Australia became the replacement destination
starting in 1778 with the gradual organization of many convict colonies.
Port Jackson (Sydney Harbour) was the first place where convicts were
landed.
Transportation to Australia reached its maximum between 1787 and
1868, with 166,000 prisoners sent to its many convict stations.
Australia was at the time a vast area, inhabited only by Aboriginal
peoples, who were rapidly forced away from the most sheltered and most
fertile coastal areas. From the point of view of the colonists,
everything had to be built, starting with ports, houses, roads, colonial
farms, etc. The convicts were often from the lower classes; women
accounted for 16% of the total, and there were also quite a few
children, who could be punished with transportation from the age of
nine.
The Australian convict system took different forms in order to meet
its many objectives. It evolved out of a great debate in Europe at the
turn of the 19th century about how to punish crime and the social role
to be given to the transportation of prisoners. The discussion included
on the one hand the notion of punishment and on the other the desire to
discourage crime through the idea of rehabilitation of personal
behaviour by means of work and discipline. Transportation of a labour
force to serve colonial development, especially in the more distant
lands, was seen as a useful and effective response to these various
social issues in England, as well in other European countries such as
France and Russia.
In the Australian case, the convict system was in practice also
designed to make the prisoners fully fledged colonists once they had
served out their sentences. The considerable distance between Europe and
Australia meant that that the convicts almost always remained after
their release.
The Australian convict system included a variety of prison systems,
ranging from outdoor to indoor work, from probationary transportation to
simple imprisonment; it included convict stations for women or children
(Cascades Female Factory and Point Puer). In some convict stations, the
prisoners lived alongside free settlers (Brickendon and Woolmers
Estates). Living conditions were naturally very strict, but they were
variable in terms of their harshness, depending on the site and
function.
Overseeing and transporting the convicts also required the presence
of a sizeable prison administration, the organization of a specialized
fleet, the presence of numerous guards, etc.
The most harsh stations, for those prisoners considered to be the
most dangerous, included a prison, hard and often dangerous labour,
corporal punishment, such as lashes or deprivation, and solitary
confinement. Most sites had a prison and a solitary confinement area;
but others were punishment stations, such as Norfolk Island, Port
Arthur, and the Tasman Peninsula Coal Mines. These stations were
renowned throughout the entire British Empire for their harshness, in
order to maintain the fear of transportation among the population and so
reduce crime in Great Britain and its colonies.
The convict gang system was used for public works, especially for
roads and port facilities. They were generally very strict and the work
was hard. Examples include Old Great North Road, Hyde Park Barracks,
Port Arthur, Coal Mines, Kingston and Arthur’s Vale Historic Area, and
Fremantle Prison.
There were also labour convict stations for those prisoners
considered to pose less of a threat, where the convicts were made
available for private projects, often farming. The entrepreneurs used
them at their own risk. Examples include Brickendon and Woolmers Estates
and Old Government House. Female labour was more of a manufacturing
nature, such as Cascades Female Factory, a textile mill. These were, of
course, still prisons with a system of punishment and rewards. Some
convict stations used women as servants - for example, on farms and Old
Government House.
Those convicts who behaved themselves could earn a lighter sentence,
gradually leading to their early release. In the very vivid minds of the
social reformists of prisoners, the aim was to establish a probationary
path that would gradually lead to social rehabilitation through labour
and, finally, to the status of fully fledged colonial settler.
The creation of convict stations in Australia, at the heart of the
programme of creating colonies, had particularly negative effects on the
Aboriginal peoples. This led to social unrest, forced migration, and
the loss of fertile land, as well as devastating epidemics because of
their lack of immunity. Conflict and resistance were frequent
occurrences as settlers and convicts arrived, often resulting in death.
The penal settlements continued for quite a long time after the
transportation system was abolished, up until the eve of World War II,
driven by their own dynamic of prisoner management and similar
practices, though applied on a far lesser scale, such as exile.
The last of the sites to remain in active use was Fremantle Prison, which closed in the early 1990s.
Today, most of these sites are entirely or in part places of remembrance, museums, or parks.
Source: Advisory Body Evaluation
Sydney Opera House
Outstanding Universal Value
The Sydney Opera House constitutes a masterpiece of
20th century architecture. Its significance is based on its
unparalleled design and construction; its exceptional engineering
achievements and technological innovation and its position as a
world-famous icon of architecture. It is a daring and visionary
experiment that has had an enduring influence on the emergent
architecture of the late 20th century. Utzon's original design concept
and his unique approach to building gave impetus to a collective
creativity of architects, engineers and builders. Ove Arup's engineering
achievements helped make Utzon's vision a reality. The design
represents an extraordinary interpretation and response to the setting
in Sydney Harbour. The Sydney Opera House is also of outstanding
universal value for its achievements in structural engineering and
building technology. The building is a great artistic monument and an
icon, accessible to society at large.
Criterion (i): The Sydney Opera House is a great
architectural work of the 20th century. It represents multiple strands
of creativity, both in architectural form and structural design, a great
urban sculpture carefully set in a remarkable waterscape and a world
famous iconic building.
All elements necessary to express the values of the
Sydney Opera House are included within the boundaries of the nominated
area and buffer zone. This ensures the complete representation of its
significance as an architectural object of great beauty in its
waterscape setting. The Sydney Opera House continues to perform its
function as a world-class performing arts centre. The Conservation Plan
specifies the need to balance the roles of the building as an
architectural monument and as a state of the art performing centre, thus
retaining its authenticity of use and function. Attention given to
retaining the building's authenticity culminated with the Conservation
Plan and the Utzon Design Principles.
The Sydney Opera House was included in the National
Heritage List in 2005 under the Environment Protection and Biodiversity
Conservation Act 1999 and on the State Heritage Register of New South
Wales in 2003 under the Heritage Act 1977. Listing in the National
Heritage List implies that any proposed action to be taken inside or
outside the boundaries of a National Heritage place or a World Heritage
property that may have a significant impact on the heritage values is
prohibited without the approval of the Minister for the Environment and
Heritage. A buffer zone has been established.
The present state of conservation is very good. The
property is maintained and preserved through regular and rigorous repair
and conservation programmes. The management system of the Sydney Opera
House takes into account a wide range of measures provided under
planning and heritage legislation and policies of both the Australian
Government and the New South Wales Government. The Management Plan for
the Sydney Opera House, the Conservation Plan and the Utzon Design
Principles together provide the policy framework for the conservation
and management of the Sydney Opera House.
Historical Description
A major cultural centre for Sydney and its siting at Bennelong
Point had been discussed since the 1940s. In 1956 the New South Wales
Government called an open-ended international design competition and
appointed an independent jury, rather than commissioning a local firm.
The competition brief provided broad specifications to attract the best
design talent in the world; it did not specify design parameters or set a
cost limit. The main requirement of the competition brief was a design
for a dual function building with two performance halls.
The competition generated enormous interest in Australia and
overseas. The New South Wales Government’s decision to commission Jørn
Utzon as the sole architect was unexpected, bold and visionary. There
was scepticism as to whether the structure could be built given Utzon’s
limited experience, the rudimentary and unique design concept and the
absence of any engineering advice. The competition drawings were largely
diagrammatic, the design had not been fully costed and neither Utzon
nor the jury had consulted a structural engineer. Utzon’s design concept
included unprecedented architectural forms and demanded solutions that
required new technologies and materials. The New South Wales Government
also faced public pressure to select an Australian architect.
The Sydney Opera House is often thought of as being constructed in
three stages and this is useful in understanding the history of the
three key elements of its architectural composition: the podium (stage
1: 1958–1961), the vaulted shells (stage 2: 1962–1967) and the glass
walls and interiors (stage 3: 1967–1973). Architect Jørn Utzon conceived
the overall design and supervised the construction of the podium and
the vaulted shells. The glass walls and interiors were designed and
their construction supervised by architect Peter Hall supported by
Lionel Todd and David Littlemore in conjunction with the then New South
Wales Government Architect, Ted Farmer. Peter Hall was in conversation
with Utzon on various aspects of the design for at least eighteen months
following his departure. Ove Arup & Partners provided the
engineering expertise for all three stages of construction.
Design and construction were closely intertwined. Utzon’s unique
design together with his radical approach to the construction of the
building fostered an exceptional collaborative and innovative
environment. His collaborative model marked a break from conventional
architectural practice at the time. The design solution and construction
of the shell structure took eight years to complete and the development
of the special ceramic tiles for the shells took over three years. The
Sydney Opera House became a testing laboratory and a vast, open-air
pre-casting factory.
The Sydney Opera House took sixteen years to build; this was six
years longer than scheduled and ten times more than its original
estimated cost. On 20 October 1973 the Sydney Opera House was officially
opened by Queen Elizabeth II. After inauguration, new works were
undertaken over time. Between 1986 and 1988 the land approach and
forecourt were reconstructed and the lower concourse developed under the
supervision of the then New South Wales Government Architect, Andrew
Andersons, with contributions by Peter Hall.
Between 1998 and 1999 the recording and rehearsal room was converted
into two areas: an assembly area for the orchestra and the Studio, a
revitalised performance space for the presentation of innovative music
and performing arts. In 1998, in accordance with the celebration of the
25th anniversary of inauguration, the Sydney Opera House Trust appointed
Sydney architect Richard Johnson to advise on future development of the
site and to establish planning principles. Through Johnson, the Sydney
Opera House Trust began negotiations to reconcile with Utzon and to
re-engage him with the building in an advisory capacity. In 1999 Utzon
formally accepted Premier Carr’s invitation to re-engage with the
project by setting down design principles that outline his vision for
the building and explain the principles behind his design. Over three
years he worked with his architect son and business partner, Jan Utzon,
and Richard Johnson to draw up his design principles for the Sydney
Opera House, including the refurbishment of the reception hall,
construction of the western loggia, exploration of options for improving
the Concert Hall acoustics, improving services to the forecourt to
support performances, modification of the orchestra pit and interior of
the Opera Theatre. In 2002 The Sydney Opera House Trust released the
Utzon Design Principles. In 2004 refurbishment of the Utzon Room
(formerly known as the reception hall) was completed.
Source: Advisory Body Evaluation
Royal Exhibition Building and Carlton Gardens
Long Description
The Royal Exhibition Building and the surrounding Carlton
Gardens, as the main extant survivors of a Palace of Industry and its
setting, together reflect the global influence of the international
exhibition movement of the 19th and early 20th centuries. The movement
showcased technological innovation and change, which helped promote a
rapid increase in industrialization and international trade through the
exchange of knowledge and ideas.
The complex was designed for the great international exhibitions of
1880 and 1888 in Melbourne. The building, designed by Joseph Reed, is
constructed of brick and timber, steel and slate; it combines elements
from the Byzantine, Romanesque, Lombardic and Italian Renaissance
styles. The property is typical of the international exhibition movement
which saw over 50 expositions staged between 1851 and 1915 in venues
including Paris, New York, Vienna, Calcutta, Kingston (Jamaica) and
Santiago (Chile). All shared a common theme and aims: to chart material
and moral progress through displays of industry from all nations.
The scale and grandeur of the building reflects the values and
aspirations attached to industrialization and its international face.
The Building boasts many of the important features that made the
expositions so dramatic and effective, including a dome, a great hall,
giant entry portals, versatile display areas, axial planning, and
complementary gardens and viewing areas. Unlike many international
exhibitions, the Building was conceived as a permanent structure that
would have a future role in the cultural activities of the growing city
of Melbourne.
Despite the great impact of the international exhibition movement
worldwide and the impressive nature of the many buildings designed and
built to hold these displays, few remain. Even fewer retain their
authenticity in terms of original location and condition. The Royal
Exhibition Building, in its original setting of the Carlton Gardens, is
one of the rare survivors. It has added rarity as the only substantially
intact example in the world of a Great Hall from a major international
exhibition.
Carlton Gardens are in two parts: an axial garden layout in the
southern part of the site and a northern garden that was landscaped
after the close of the two great 19th century exhibitions. Bounded by
Victoria, Rathdowne, Carlton and Nicholson Streets at the edge of
Melbourne's city centre, the entire block remains intact as originally
designated by the Victorian Parliament in 1878. During the 1880 and 1888
international exhibitions the southern portion of the garden became a
pleasure garden, with many attractions. The South Carlton Gardens, as
it is now known, continues to be used for parkland and exhibition
purposes. The southern entrance to the building, on the city side, is
the apex of the design. A level promenade was created along the front of
the building, and a semi-circular space has as its centrepiece an
ornate fountain. A ceremonial approach is provided by a 24 m wide
avenue, and two other paths form a radiating axis from the fountain. In
1888 another fountain, the Westgarth Fountain, was added.
The aesthetic significance of the Carlton Gardens lies in its
representation of the 19th-century Gardenesque style. This includes
parterre garden beds, significant avenues including the southern
carriage drive and Grande Allée, the path system, specimens and clusters
of trees, two small lakes and three fountains. The formal ornamental
palace garden, which was the context for the Great Hall of the Palace
of Industry, is substantially intact.
Source: UNESCO/CLT/WHC
Historical Description
The history of the buildings and gardens is closely linked to
the history and development of the international exhibition movement – a
phenomena that spread across all continents. Although the first great
exhibition took place in 1851, in the Crystal Palace in London, the idea
of celebrating manufactured goods had been in being for almost a
century, with national exhibitions in England then France and elsewhere
in Europe.
The difference between these small celebrations and promotions and
the great exhibitions that followed was of scale and classification. The
great exhibition movement, as it came to be known, espoused the 19th
century passion for discovery and creation, but above all for
classification. Classification – as exemplified in museums and botanical
collections – demonstrated man’s control over his surroundings. Great
exhibitions were a way of both celebrating the industry that emerged
from the Industrial Revolution, and showing man’s domination over it in
an international context.
Over 50 exhibitions were held between 1851 and 1915, each different
yet sharing common theme and aims – to chart material and moral progress
within a world context, through displaying the industry of all nations.
Venues included Paris, New York, Vienna, Calcutta, Kingston, Jamaica
and Santiago, Chile. Most had display ‘palaces’ specially constructed,
often from manufactured iron components stretching technology to the
limit.
By the 1870s a form for the overall layout had come to be established
which consisted of clusters of history-domes, national pavilions and
viewing platforms surrounding a ‘Palace of Industry’ all set within
landscape grounds. And a network of contacts has been set up with
‘commissioners’ observing and suggesting improvements for the next
event.
By around 1900 the slowing of national economies, combined with
peoples’ realisation that manufacturing did not always improve the
quality of life, led, outside the United States, to exhibitions begun to
lose their appeal.
The Royal Exhibition Building in Melbourne is thus an example from
the mid-point of the movement. It did not appear out of nowhere: a first
small exhibition building had been built in 1854, and others followed
larger in scale, usually precursors to international exhibitions
elsewhere. The two international exhibitions of 1880 and 1888 took place
at a time when Melbourne was booming.
Unlike many other exhibition buildings, Melbourne’s has survived
still on its original plot and surrounded by gardens. However there have
been significant changes to the extended complex of buildings and
gardens. The east and west annexes of the exhibition building were
removed in the 1960s and 1970s (one of the halls being reconstructed
off-site as a tram museum). The major recent change has been the
building of the new Melbourne Museum in the north garden.
The uses of the building have been diverse since it was built. Until
1901 it was used for exhibitions. It then became part of the parliament
until 1919 when it was used a fever hospital during the First World War.
Between then and 1975 it served as stores and offices, and as troop
accommodation and as a ballroom. The new direction for the building
started in 1975 when was officially listed on the Register of the
National Estate.
The adjective Royal was added to the building in 1980.
Source: Advisory Body Evaluation
Kakadu National Park
Long Description
This unique archaeological and ethnological reserve has been
inhabited continuously for more than 40,000 years. The cave paintings,
rock carvings and archaeological sites record the skills and way of life
of the region's inhabitants, from the hunter-gatherers of prehistoric
times to the Aboriginal people still living there. It is a unique
example of a complex of ecosystems, including tidal flats, floodplains,
lowlands and plateaux, and provides a habitat for a wide range of rare
or endemic plant and animal species.
The park comprises four major landforms: Arnhem land plateau and
escarpment complex; southern hills and basins; Koolpinyah surface; and
coastal riverine plains. The western rim of the Arnhem land plateau
comprises escarpments ranging in height from about 30-330 m over a
distance of some 500 km. In addition to the four major landforms, almost
500 km2 of intertidal and estuarine areas and two islands
lie within the park. The tropical monsoonal climate, with its marked wet
and dry seasons, is the major factor determining the surface water
hydrology, vegetation and, over time, the landforms of the park region.
The vegetation can be classified into 13 broad categories, seven of which are dominated by a distinct species of Eucalyptus
. Other categories comprise mangrove; samphire; lowland rainforest;
paper bark swamp; seasonal flood plain and sandstone rainforest.
Floristically it is the most diverse and most natural area of northern
Australia with 46 species of plant considered rare or threatened, and
nine restricted to the park.
Because of its diversity of land systems from marine and coastal
habitats (which support substantial turtle and dugong populations)
through to the arid sandstone escarpment, Kakadu is one of the world's
richest wildlife parks. One-third of Australia's bird species and one
quarter of its freshwater and estuarine fish species species are found
in Kakadu. Huge concentrations of waterbirds (2.5 million) make seasonal
use of the floodplains of the park and there are a diversity of
invertebrates including 55 species of termite and 200 species of ant
(10% of the total world number) as well as a wide diversity of small
mammals. It also contains the most important breeding habitat in the
world for the saltwater crocodile and the pig-nosed turtle - both
threatened reptiles.
All the major landforms are incorporated in the park, which therefore
provides an outstanding example of both ancient and recent geological
changes to the continent. The park also contains many examples of relict
species and species that represent the various periods of the
biological evolution of the Australian fauna. The coastal rivers and
flood plains illustrate the ecological effects of sea-level change in
this part of Australia, as such; the park provides a special opportunity
to investigate large-scale evolutionary processes in an intact
landscape.
The region has been little affected by European settlement, in
comparison with the remainder of the continent, hence the natural
vegetation remains extensive in area and relatively unmodified, and its
faunal composition is largely intact. Approximately 300 Aboriginal
people reside in the park, including traditional owners and Aboriginals
with recognized social and traditional attachments to the area. The park
contains many Aboriginal archaeological, sacred and art sites.
Source: UNESCO/CLT/WHC
Historical Description
The Kakadu National Park is of the highest interest as an
extensive archaeological and ethnological reservation. The first remains
of human occupation in Australia, dating from nearly 40.000 years ago,
have been identified there. On various sites, excavations have brought
to light groups of stone tools, which, because of the axes of polished
stone they include, are counted among the oldest in the world; further,
in conjunction with the sites of rock paintings, workshops for preparing
pigments have been studied which date back at least 18,000 years.
It is, of course, the aboriginal rock paintings of Kakadu which
constituted the decisive argument for the inscription of this cultural
property on the World Heritage List in 1981. based on cultural Criteria
I, iii, and iv.
These paintings, executed in the open on rock walls, cover a long
chronological span, since the oldest date back nearly 20,000 years and
the most recent are from contemporary times.
For the historian, they constitute a fund of documentary evidence of
primordial importance and a source which is unique. In fact, they serve
as a source of information on the primal resources, the hunting and
fishing activities, the social structure, and the ritual ceremonies of
the aboriginal population which have succeeded one another on the site
of Kakadu. They bear witness to vanished species. such as the Tasmanian
wolf, and allow one to follow, in the details of equipment and of
costume, the modifications brought to bear on traditional life by the
contacts which were established with Macanese fishermen from the 16th
century, and then with Europeans.
For the art historian, the ensemble of paintings and pictograms of
Kakadu is unique to the extent that it combines multiple figurative and
nonfigurative styles, which vary in their apparent chronology with those
ensembles, recently inventoried, in southern Africa and in the Sahara.
An aesthetic, peculiar to representations of animals and humans in
Arnhem Land, may have, moreover, had an influence on graphic forms which
appeared after 1930.
For the ethnologist, Kakadu offers a privileged field of exploration
and observation, as the Aborigines who continue to inhabit this site
contribute to the maintenance of the balance of the ecosystem and.
through traditional techniques, ensure the necessary preservation of the
most recent rock paintings. The social - if not the ritual - function
of these is preserved to a certain extent.
Source: Advisory Body Evaluation
Great Barrier Reef
Brief synthesis
As the world’s most extensive coral reef
ecosystem, the Great Barrier Reef is a globally outstanding and
significant entity. Practically the entire ecosystem was inscribed as
World Heritage in 1981, covering an area of 348,000 square kilometres
and extending across a contiguous latitudinal range of 14o (10oS to 24oS).
The Great Barrier Reef (hereafter referred to as GBR) includes
extensive cross-shelf diversity, stretching from the low water mark
along the mainland coast up to 250 kilometres offshore. This wide depth
range includes vast shallow inshore areas, mid-shelf and outer reefs,
and beyond the continental shelf to oceanic waters over 2,000 metres
deep.
Within the GBR there are some 2,500
individual reefs of varying sizes and shapes, and over 900 islands,
ranging from small sandy cays and larger vegetated cays, to large rugged
continental islands rising, in one instance, over 1,100 metres above
sea level. Collectively these landscapes and seascapes provide some of
the most spectacular maritime scenery in the world.
The latitudinal and cross-shelf
diversity, combined with diversity through the depths of the water
column, encompasses a globally unique array of ecological communities,
habitats and species. This diversity of species and habitats, and their
interconnectivity, make the GBR one of the richest and most complex
natural ecosystems on earth. There are over 1,500 species of fish, about
400 species of coral, 4,000 species of mollusk, and some 240 species of
birds, plus a great diversity of sponges, anemones, marine worms,
crustaceans, and other species. No other World Heritage property
contains such biodiversity. This diversity, especially the endemic
species, means the GBR is of enormous scientific and intrinsic
importance, and it also contains a significant number of threatened
species. Attime of inscription, the IUCN evaluation stated "… if only
one coral reef site in the world were to be chosen for the World
Heritage List, the Great Barrier Reef is the site to be chosen".
Criterion (vii): The
GBR is of superlative natural beauty above and below the water, and
provides some of the most spectacular scenery on earth. It is one of a
few living structures visible from space, appearing as a complex string
of reefal structures along Australia's northeast coast.
From the air, the vast mosaic patterns
of reefs, islands and coral cays produce an unparalleled aerial panorama
of seascapes comprising diverse shapes and sizes. The Whitsunday
Islands provide a magnificent vista of green vegetated islands and
spectacular sandy beaches spread over azure waters. This contrasts with
the vast mangrove forests in Hinchinbrook Channel, and the rugged
vegetated mountains and lush rainforest gullies that are periodically
cloud-covered on Hinchinbrook Island.
On many of the cays there are
spectacular and globally important breeding colonies of seabirds and
marine turtles, and Raine Island is the world’s largest green turtle
breeding area. On some continental islands, large aggregations of
over-wintering butterflies periodically occur.
Beneath the ocean surface, there is an
abundance and diversity of shapes, sizes and colours; for example,
spectacular coral assemblages of hard and soft corals, and thousands of
species of reef fish provide a myriad of brilliant colours, shapes and
sizes. The internationally renowned Cod Hole near Lizard Island is one
of many significant tourist attractions. Other superlative natural
phenomena include the annual coral spawning, migrating whales, nesting
turtles, and significant spawning aggregations of many fish species.
Criterion (viii): The
GBR, extending 2,000 kilometres along Queensland's coast, is a globally
outstanding example of an ecosystem that has evolved over millennia.
The area has been exposed and flooded by at least four glacial and
interglacial cycles, and over the past 15,000 years reefs have grown on
the continental shelf.
During glacial periods, sea levels
dropped, exposing the reefs as flat-topped hills of eroded limestone.
Large rivers meandered between these hills and the coastline extended
further east. During interglacial periods, rising sea levels caused the
formation of continental islands, coral cays and new phases of coral
growth. This environmental history can be seen in cores of old massive
corals.
Today the GBR forms the world’s largest
coral reef ecosystem, ranging from inshore fringing reefs to mid-shelf
reefs, and exposed outer reefs, including examples of all stages of reef
development. The processes of geological and geomorphological evolution
are well represented, linking continental islands, coral cays and
reefs. The varied seascapes and landscapes that occur today have been
moulded by changing climates and sea levels, and the erosive power of
wind and water, over long time periods.
One-third of the GBR lies beyond the
seaward edge of the shallower reefs; this area comprises continental
slope and deep oceanic waters and abyssal plains.
Criterion (ix): The
globally significant diversity of reef and island morphologies reflects
ongoing geomorphic, oceanographic and environmental processes. The
complex cross-shelf, longshore and vertical connectivity is influenced
by dynamic oceanic currents and ongoing ecological processes such as
upwellings, larval dispersal and migration.
Ongoing erosion and accretion of coral
reefs, sand banks and coral cays combine with similar processes along
the coast and around continental islands. Extensive beds of Halimeda algae represent active calcification and accretion over thousands of years.
Biologically the unique diversity of the
GBR reflects the maturity of an ecosystem that has evolved over
millennia; evidence exists for the evolution of hard corals and other
fauna. Globally significant marine faunal groups include over 4,000
species of molluscs, over 1,500 species of fish, plus a great diversity
of sponges, anemones, marine worms, crustaceans, and many others. The
establishment of vegetation on the cays and continental islands
exemplifies the important role of birds, such as the Pied Imperial
Pigeon, in processes such as seed dispersal and plant colonisation.
Human interaction with the natural
environment is illustrated by strong ongoing links between Aboriginal
and Torres Strait Islanders and their sea-country, and includes numerous
shell deposits (middens) and fish traps, plus the application of story
places and marine totems.
Criterion (x): The
enormous size and diversity of the GBR means it is one of the richest
and most complex natural ecosystems on earth, and one of the most
significant for biodiversity conservation. The amazing diversity
supports tens of thousands of marine and terrestrial species, many of
which are of global conservation significance.
As the world's most complex expanse of
coral reefs, the reefs contain some 400 species of corals in 60 genera.
There are also large ecologically important inter-reefal areas. The
shallower marine areas support half the world's diversity of mangroves
and many seagrass species. The waters also provide major feeding grounds
for one of the world's largest populations of the threatened dugong. At
least 30 species of whales and dolphins occur here, and it is a
significant area for humpback whale calving.
Six of the world’s seven species of
marine turtle occur in the GBR. As well as the world’s largest green
turtle breeding site at Raine Island, the GBR also includes many
regionally important marine turtle rookeries.
Some 242 species of birds have been
recorded in the GBR. Twenty-two seabird species breed on cays and some
continental islands, and some of these breeding sites are globally
significant; other seabird species also utilize the area. The
continental islands support thousands of plant species, while the coral
cays also have their own distinct flora and fauna.
Integrity
The ecological integrity of the GBR is
enhanced by the unparalleled size and current good state of conservation
across the property. At the time of inscription it was felt that to
include virtually the entire Great Barrier Reef within the property was
the only way to ensure the integrity of the coral reef ecosystems in all
their diversity.
A number of natural pressures occur,
including cyclones, crown-of-thorns starfish outbreaks, and sudden large
influxes of freshwater from extreme weather events. As well there is a
range of human uses such as tourism, shipping and coastal developments
including ports. There are also some disturbances facing the GBR that
are legacies of past actions prior to the inscription of the property on
the World Heritage list.
At the scale of the GBR ecosystem, most
habitats or species groups have the capacity to recover from disturbance
or withstand ongoing pressures. The property is largely intact and
includes the fullest possible representation of marine ecological,
physical and chemical processes from the coast to the deep abyssal
waters enabling the key interdependent elements to exist in their
natural relationships.
Some of the key ecological, physical and
chemical processes that are essential for the long-term conservation of
the marine and island ecosystems and their associated biodiversity
occur outside the boundaries of the property and thus effective
conservation programs are essential across the adjoining catchments,
marine and coastal zones.
Protection and management requirements
The GBR covers approximately 348,000
square kilometres. Most of the property lies within the GBR Marine
Park: at 344,400 square kilometres, this Federal Marine Park comprises
approximately 99% of the property. The GBR Marine Park's legal
jurisdiction ends at low water mark along the mainland (with the
exception of port areas) and around islands (with the exception of 70
Commonwealth managed islands which are part of the Marine Park). In
addition the GBR also includes over 900 islands within the jurisdiction
of Queensland, about half of which are declared as 'national parks', and
the internal waters of Queensland that occur within the World Heritage
boundary (including a number of long-established port areas).
The World Heritage property is and has
always been managed as a multiple-use area. Uses include a range of
commercial and recreational activities. The management of such a large
and iconic world heritage property is made more complex due to the
overlapping State and Federal jurisdictions. The Great Barrier Reef
Marine Park Authority, an independent Australian Government agency, is
responsible for protection and management of the GBR Marine Park. The Great Barrier Reef Marine Park Act 1975
was amended in 2007 and 2008, and now provides for “the long term
protection and conservation ... of the Great Barrier Reef Region” with
specific mention of meeting "... Australia's responsibilities under the
World Heritage Convention".
Queensland is responsible for management of the Great Barrier Reef Coast Marine Park, established under the Marine Parks Act 2004
(Qld). This is contiguous with the GBR Marine Park and covers the area
between low and high water marks and many of the waters within the
jurisdictional limits of Queensland. Queensland is also responsible for
management of most of the islands.
The overlapping jurisdictional
arrangements mean that the importance of complementary legislation and
complementary management of islands and the surrounding waters is well
recognised by both governments. Strong cooperative partnerships and
formal agreements exist between the Australian Government and the
Queensland Government. In addition, strong relationships have been built
between governments and commercial and recreational industries,
research institutions and universities. Collectively this provides a
comprehensive management influence over a much wider context than just
the marine areas and islands.
Development and land use activities in
coastal and water catchments adjacent to the property also have a
fundamental and critical influence on the values within the property.
The Queensland Government is responsible for natural resource management
and land use planning for the islands, coast and hinterland adjacent to
the GBR. Other Queensland and Federal legislation also protects the
property’s Outstanding Universal Value addressing such matters as water
quality, shipping management, sea dumping, fisheries management and
environmental protection.
The Federal Environment Protection and Biodiversity Conservation Act 1999
(EPBC Act) provides an overarching mechanism for protecting the World
Heritage values from inappropriate development, including actions taken
inside or outside which could impact on its heritage values. This
requires any development proposals to undergo rigorous environmental
impact assessment processes, often including public consultation, after
which the Federal Minister may decide, to approve, reject or approve
under conditions designed to mitigate any significant impacts. A recent
amendment to the EPBC Act makes the GBR Marine Park an additional
'trigger' for a matter of National Environmental Significance which
provides additional protection for the values within the GBR.
The GBR Marine Park and the adjoining
GBR Coast Marine Park are zoned to allow for a wide range of reasonable
uses while ensuring overall protection, with conservation being the
primary aim. The zoning spectrum provides for increasing levels of
protection for the 'core conservation areas' which comprise the 115,000
square kilometres of ‘no-take’ and ‘no-entry’ zones within the GBR.
While the Zoning Plan is the
'cornerstone' of management and provides a spatial basis for determining
where many activities can occur, zoning is only one of many spatial
management tools and policies applied to collectively protect the GBR.
Some activities are better managed using other spatial and temporal
management tools like Plans of Management, Special Management Areas,
Agreements with Traditional Owners and permits (often tied to specific
zones or smaller areas within zones, but providing a detailed level of
management not possible by zoning alone). These statutory instruments
also protect the Outstanding Universal Value of the property.
Many Aboriginal and Torres Strait Island
peoples undertake traditional use of marine resource activities to
provide traditional food, practice their living maritime culture, and to
educate younger generations about traditional and cultural rules and
protocols. In the GBR these activities are managed under both Federal
and Queensland legislation and policies including Traditional Use of
Marine Resource Agreements (TUMRAs) and Indigenous Land Use Agreements
(ILUAs). These currently cover some 30 per cent of the GBR inshore
area, and support Traditional Owners to maintain cultural connections
with their sea country.
Similarly non-statutory tools like site
management and Industry Codes of Practice contribute to the protection
of World Heritage values. Some spatial management tools are not
permanently in place nor appear as part of the zoning, yet achieve
effective protection for elements of biodiversity (e.g. the temporal
closures that are legislated across the GBR prohibit all reef fishing
during specific moon phases when reef fish are spawning).
Other key initiatives providing increased protection for the GBR include thecomprehensive Great Barrier Reef Outlook Report (and its resulting 5-yearly reporting process); the Reef Water Quality Protection Plan; the GBR Climate Change Action Plan; and the Reef Guardians Stewardship Programs
which involve building relationships and working closely with those who
use and rely on the GBR or its catchment for their recreation or their
business.
The 2009 Outlook Report identified the
long-term challenges facing the GBR; these are dominated by climate
change over the next few decades. The extent and persistence of damage
to the GBR ecosystem will depend to a large degree on the amount of
change in the world’s climate and on the resilience of the GBR ecosystem
to such change. This report also identified continued declining water
quality from land-based sources, loss of coastal habitats from coastal
development, and some impacts from fishing, illegal fishing and poaching
as the other priority issues requiring management attention for the
long-term protection of the GBR.
Emerging issues since the 2009 Outlook
Report include proposed port expansions, increases in shipping activity,
coastal development and intensification and changes in land use within
the GBR catchment; population growth; the impacts from marine debris;
illegal activities; and extreme weather events including floods and
cyclones.
Further building the resilience of the
GBR by improving water quality, reducing the loss of coastal habitats
and increasing knowledge about fishing and its effects and encouraging
modified practices, will give the GBR its best chance of adapting to and
recovering from the threats ahead, including the impacts of a changing
climate.
Long Description
The Great Barrier Reef is a site of remarkable variety and
beauty on the north-east coast of Australia. It the world's most
extensive stretch of coral reef and is probably the richest area in
terms of faunal diversity in the world. Its great diversity reflects the
maturity of an ecosystem which has evolved over millions of years on
the north-east continental shelf of Australia. The site contains a huge
diversity of species including over 1,500 species of fish, about 360
species of hard coral, 5,000 species of mollusc, and more than 175
species of bird, plus a great diversity of sponges, anemones, marine
worms and crustaceans, among others.
The reef system, extending to Papua New Guinea, the reef comprises
some 2900 individual reefs of all sizes and shapes covering more than
20,000 km2, including 760 fringing reefs, which range in size
from under 1ha to over 10,000 ha and vary in shape to provide the most
spectacular marine scenery on Earth. There are approximately 600
continental islands including many with towering forests and freshwater
streams, and some 300 coral cays and unvegetated sand cays. A rich
variety of landscapes and seascapes, including rugged mountains with
dense and diverse vegetation and adjacent fringing reefs, provide
spectacular scenery.
The form and structure of the individual reefs show great variety.
Two main classes may be defined: platform or patch reefs, resulting from
radial growth; and wall reefs, resulting from elongated growth, often
in areas of strong water currents. There are also many fringing reefs
where the reef growth is established on subtidal rock of the mainland
coast or continental islands.
The site includes major feeding grounds for the endangered dugong and
nesting grounds of world significance for two endangered species of
marine turtle, the green and the loggerhead, as well as habitat for four
other species of marine turtle; given the severe pressures being placed
on these species elsewhere, the Great Barrier Reef may be their last
secure stronghold. It is also an important breeding area for humpback
and other whale species.
A wide range of fleshy algae occurs, many of which are small and
inconspicuous but which are highly productive and are heavily grazed by
turtles, fish, molluscs and sea urchins. In addition, algae are an
important component of reef building processes. 15 species of seagrass
grow throughout the reef area forming over 3,000 km2 of seagrass meadows and providing an important food source for grazing animals, such as dugongs.
The Great Barrier Reef, and in particular the northern sector, is
important in the historic and contemporary culture of the Aboriginal and
Torres Strait Islander groups of the coastal areas of north-east
Australia. This contemporary use of and association with the Marine Park
plays an important role in the maintenance of their cultures and there
is a strong spiritual connection with the ocean and its inhabitants.
Source: UNESCO/CLT/WHC
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