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Architects and craftspeople work together on complicated built heritage projects as part of a diverse multidisciplinary team. Effective interactions and collaborations between them can lead to a more successful project outcome; however, differing perceptions of each other can cause professional relationship tensions, communicative barriers and disharmony.

Through the analysis of online surveys completed by architects and craftspeople, this study examines the contemporary relationship between the two groups, including the architect's perceptions of the function of traditional building craft within their day-to-day role.

Findings suggest that whilst both groups agree that the craftsperson is an essential specialist on a built heritage scheme, there are contradictory perceptions with regard to the architect's role. Despite these differences, the results suggest that architects are open to accommodating more exposure to craftspeople and traditional building craft within their day-to-day role – believing they would learn more about building materials, make better practical decisions and understand craftspeople better. More importantly, this study proposes that a focus on craft would break down communicative and perceptual barriers, in turn improving relationships and project outcomes.

The study strongly suggests that traditional building craft can form an essential, tangible bond between architects and craftspeople by increasing focus on relationships and learning. The insights offered are relevant not only to those in the fields of architecture and traditional building craft but also to those involved in heritage management, as well as other professional roles, who may benefit from the use of craft as a method to repair professional relationships, as well as historic buildings.

This chapter is interested in exploring whether philosophical understandings of authenticity are applicable to Western conceptualisation of heritage, from physical sites (tangible) to social practices (intangible). In viewing heritage as a dynamic process, the author argues that the concept of genius loci (or spirit of place) is the most logical theoretical framework to accommodate these shifting understandings of authenticity and heritage. Moreover, by moving beyond anthropomorphised and material-centred themes and focussing instead on participation, locus and action, building conservation can explore the dynamics between materials and meanings in order to work towards a more performative interpretation of historic building authenticity

This paper considers the exhibition: UnDoing. This research-through-curation project examined interactions within existing spaces and situations. This established links between the selected exhibits, the gallery, the city and with the continuum of the previous exhibition.

Carefully selected architects, designers and artists were invited to contribute—those who pursued a contextual approach; whose practice explored the way buildings, places and artefacts are reused, reinterpreted and remembered.

Through the act of curation, this research uncovered a series of different approaches to constructed sites and existing buildings, from layered juxtaposition, the refusal to undo, to interventions of new elements within architectural works.

Curation offered the opportunity to consider works of architecture and of art through the same lens, for direct comparisons to be made and the influence of one upon the other to be comprehended.

The examination processes the architect employs is similar to that of the artist; the development of an understanding of place, and from this synthesis, creative interpretation. However, despite the similarities in the starting position, the elucidation developed by the artist can be vastly different to that of the architect.

The juxtaposition and new classifications created by the exhibition encouraged visitors to look at art, architecture and the city in a different way; to grasp the direct link between the different subjects; and the possibilities created.

The two driving factors for UnDoing were places of previous occupation and the city of Manchester. The qualities of surrounding constructed environment combined were combined with attitudes towards existing structures and places.