1. What do we mean by ‘setting’?
‘the mounting in which a jewel is set’
‘the surroundings or environment of a thing’
‘the locale or period in which the action of a play, film or novel takes place’ 1

2. What do we mean by ‘setting’?
‘the surroundings in which an asset is experienced’ 2

3. What do we mean by ‘setting’?3

4. What do we mean by ‘setting’?4

5. What do we mean by ‘setting’?5

6. What do we mean by ‘setting’?
‘the surroundings in which an asset is experienced’ 6

7. NPPF policy on setting Para. 128
‘In determining applications, local planning authorities should require an applicant to describe the significance of any heritage assets affected, including any contribution made by their setting.’
Policy HE9 relates to designated assets and accords greater weight than for undesignated assets.
It confirms that the significance of a designated heritage asset can be harmed or lost through development within its setting and that this can sometimes equate to “substantial harm”.
It then sets out the basis on which local planning authorities should weigh the public benefit of a proposal against the harm to an asset’s significance, including through development within its setting.

8. NPPF policy on setting
Para. 137 ‘Proposals that preserve those elements of the setting that make a positive contribution to or better reveal the significance of the asset should be treated favourably.’
• Policy HE 10 obliges local planning authorities to identify opportunities for positive changes in the setting of heritage assets and to treat such applications favourably. A significant step forward.
It also rehearses then need to weigh the harm and benefit arising from development within setting.
Has been debate at PI about the relationship of Policies HE 9 and 10 with regard to setting.
In response to query from Bolsover District Council, in August CLG confirmed that HE 9 fully applies and is not subsidiary to HE 10, as had been suggested by some commentators (and which would have meant a weaker test applies). 8

9. The question of boundaries
And this example explains why setting, in our view, is not a concept that lends itself to definitive mapping.
Where this has been attempted, such as at Hardwick Hall by the National Trust it can be something of a hostage to fortune.
In this case a recent wind farm proposal lies outside the area mapped as the setting of the property but is still considered to have a negative impact on setting.
So let me be clear about this. While it may well be helpful to map key views and zones of visual influence in order to better understand the setting of a heritage asset: it is not advisable to draw a simplistic red line on the map as the boundary to setting.
The Trust incidentally are now referring to the mapped setting of Hardwick Hall as its “core setting”....

10. The question of boundaries
I should point out for those of you who have not visited Corfe Castle for some time, that this is a faked picture….at the moment.
And EH is not really convinced that such an approach is really possible.
Most people would, for example, agree that such a development would unacceptably harm the significance of Corfe Castle… 10

11. The question of boundaries
And most (or many) would agree that this would not harm significance… 11

12. The question of boundaries
But how about this….. 12

13. The question of boundaries
Or this?
Can a mechanistic formula really help to sort this out?
Interestingly, in our discussion of setting with PINS, Inspectors told us that supposedly “objective” and “quantified” methodologies often served to obscure, rather than illuminate, arguments.
They want a well argued narrative and this is the approach EH advocates, while acknowledging that methodologies can have a role to play. But only as tools – not “magic bullets”. 13

14. Setting and design
Principle of development Overall design concept Location of development Detailed design Scale of development Detailing
In many respects setting and design can be viewed as two ends of a seamless spectrum.
Some setting cases hinge on the principle of development - they have little to do with issues of “design” (e.g. Somerset House ).
Others are mainly concerned with the location or scale of that development, rather than its “design” . (e.g. wind farms)
At the other end of the spectrum, the principle of development is not at issue and location will be a given, but the overall design concept (radical and innovative or traditional and conservative) will have a major bearing on the setting of a heritage asset.
Or even the details of design, such as materials, detailing, lighting etc.
The difficult question for us in thinking about guidance is which aspects belong to setting guidance and which to design guidance.
When Geoff Noble takes us through his case studies, he will, in effect, progress across this spectrum of possibilities. 14

15. Don’t forget … Setting embraces more than just views
The next principle is that while views are clearly important, the consideration of setting needs to embrace far more than just views.
It should, for example, address other forms of environmental impact such as noise, dust , vibration, light pollution and so on.
Those of you who know the National Trust’s property at Speke Hall, for example, will know that visually it is quite enclosed and that the dominant influence on its setting is actually noise from the adjacent Liverpool airport.
And if you know Bredon on the Hill you will realise that – although not visible – there is still a major quarrying operation between this viewpoint and the church, which generates noise, dust and vibration.
Speke Hall, Merseyside Breedon on the Hill, Leicestershire

16. Don’t forget …
Practice Guide: … need to consider impacts on setting even where past changes in setting have compromised its contribution to the asset’s significance
Finally, the Practice Guide points to the importance of considering cumulative impacts in relation to setting and the implications that change within the setting of a heritage asset can have on its future economic and social viability.
I should point out for those of you who have not visited Corfe Castle for some years, that this is still a fake picture – at least for the present!

17. The assessment process
Important to start with the asset itself
Then consider:
The asset’s physical surroundings (including other heritage assets)
The way people can (or may be able to) experience the asset
The asset’s associations

18. The assessment process

19. The assessment process
Consider the attributes of the development that may affect the contribution the setting makes to significance, including its:
Location and siting  
Form and appearance
Other effects (e.g. Noise)
Permanence
Longer term or consequential effects

20. The assessment process20

21. Questions?

22. Think about how the surroundings of your example adds to its significance
Is there a related building nearby?
Do the colours harmonise?
Is there a pleasing uniformity of scale?