Conservation of Historical Port Architecture: Knowledge as a Means to Aid Conservation

Cultural resource management is the name given to the broad specialty in the National Park Service that embraces the preservation of historic and prehistoric sites and structures and their management and interpretation. These activities employ historians in a variety of ways, principally for research and administration. On the one hand, historians are assigned to research the history of sites and structures. Usually if the information is needed for legislative purposes, to assess quickly the significance of a site or structure, the researcher will only go to secondary sources. If the information is needed to acquire background data for the preparation of a master plan that will describe how a site will be developed, then extensive research into courthouse records, manuscript collections, government documents, or surviving participants is necessary. Park Service historians do detailed research on subjects as complex as exact troop movements on a battlefield, or as prosaic as the daily life of a nineteenth-century farmer. For example, the historian may be called upon to do research for a diorama so that a scene may be accurately depicted. In the preservation of historic structures, the historian usually provides documentary research that relates how and when a structure was erected and what ma-

Review: <i>John McAndrew's Modernist Vision: From the Vassar College Art Library to the Museum of Modern Art in New York</i>, by Mardges Bacon, and <i>Architecture and Design at the Museum of Modern Art: The Arthur Drexler Years</i>, 1951–1986, by Thomas S. Hines

May 01 2023 The Color of Air Nate Imai, Nate Imai Nate Imai is an Assistant Professor at Texas Tech's College of Architecture. His research focuses on the intersection of architecture and urban design and leverages computational design and digital fabrication to activate public space within the built environment. Nate received his B. A. in Architectural Studies from UCLA's Department of Architecture and Urban Design and holds an M. Arch from Harvard University's Graduate School of Design. His previous teaching experience includes the University of Tennessee, Woodbury University, and Harvard University. Search for other works by this author on: This Site Google Scholar Matt Convay, Matt Convay Matt Convay is a Computational Design Leader and faculty at UCLA Architecture and Urban Design and USC School of Architecture. His research work focuses on programming literacy and exploring architectural design through contemporary digital methods such as scripting, animation, and game engines. He received a Master of Architecture from Harvard University Graduate School of Design. Search for other works by this author on: This Site Google Scholar Rachel Lee Rachel Lee Rachel Lee is a registered architect and associate at CO Architects and a LEED Green Associate. Her current projects include a 600,000-s.f. medical complex and 352,000-s.f. outpatient clinic in which her passion for healthcare design and Universal Design is reflected. She previously worked on award-winning exhibition design, single-family residential, commercial, and civic projects. Rachel received her B. A. in Architectural Studies and Master of Architecture from UCLA's Department of Architecture and Urban Design. Search for other works by this author on: This Site Google Scholar Author and Article Information Nate Imai Nate Imai is an Assistant Professor at Texas Tech's College of Architecture. His research focuses on the intersection of architecture and urban design and leverages computational design and digital fabrication to activate public space within the built environment. Nate received his B. A. in Architectural Studies from UCLA's Department of Architecture and Urban Design and holds an M. Arch from Harvard University's Graduate School of Design. His previous teaching experience includes the University of Tennessee, Woodbury University, and Harvard University. Matt Convay Matt Convay is a Computational Design Leader and faculty at UCLA Architecture and Urban Design and USC School of Architecture. His research work focuses on programming literacy and exploring architectural design through contemporary digital methods such as scripting, animation, and game engines. He received a Master of Architecture from Harvard University Graduate School of Design. Rachel Lee Rachel Lee is a registered architect and associate at CO Architects and a LEED Green Associate. Her current projects include a 600,000-s.f. medical complex and 352,000-s.f. outpatient clinic in which her passion for healthcare design and Universal Design is reflected. She previously worked on award-winning exhibition design, single-family residential, commercial, and civic projects. Rachel received her B. A. in Architectural Studies and Master of Architecture from UCLA's Department of Architecture and Urban Design. Online ISSN: 2572-7338 Print ISSN: 1091-711X © 2023 Nate Imai, Matt Convay, and Rachel Lee2023Nate Imai, Matt Convay, and Rachel Lee Thresholds (2023) (51): 52–57. https://doi.org/10.1162/thld_a_00788 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Nate Imai, Matt Convay, Rachel Lee; The Color of Air. Thresholds 2023; (51): 52–57. doi: https://doi.org/10.1162/thld_a_00788 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsThresholds Search Advanced Search This content is only available as a PDF. © 2023 Nate Imai, Matt Convay, and Rachel Lee2023Nate Imai, Matt Convay, and Rachel Lee Article PDF first page preview Close Modal You do not currently have access to this content.

In the expansive realm of contemporary Artificial Intelligence (AI) technologies, designers and architects are challenged to collaborate synergistically with these powerful tools. While the potential of AI is considerable, it also gives rise to significant questions regarding the intellectual property of generated works and the nature of interaction between humans and technology. Furthermore, this technologies challenge the definition of creativity, prompting the question of how to distinguish the role of a human from that of a machine. This prompts the question of how the transition from human ingenuity to automation can be achieved in a way that doesn’t compromise the uniqueness of human contributions in fields such as creativity and the arts. It is therefore necessary to assess how far tasks can be delegated to AI without compromising the value of the inputs that humans are able to provide.Responses to these questions can be identified through a comprehensive examination of recent technological developments that promote informed and conscious use. These reflections inspired the organisation of the Alter Ego Symposium and Workshop, which took place in April and May 2024 at the Department of Architecture and Design at the University of Genoa. The symposium aimed to encourage Italian PhD students and researchers to consider the potential benefits of integrating AI into academic research. The workshop instead, addressed at department students, focused on exploring image generation technologies and their ability to translate verbal prompts into detailed visual representations. The workshop consisted of two phases. The first phase featured presentations by academic experts who introduced fundamental concepts of AI and analyzed existing generative image tools. This provided students with a comprehensive overview of various AI types, their applications, and their limitations. In the second phase, participants focused on the practical application of the knowledge acquired. Based on a contribution presented at the Alter Ego Symposium, students were required to create two works representing its content. The first work was created using traditional tools like paper and pencil, while the second employed generative AI technologies. The students employed the OpenAI Copilot system to generate an image that was as similar as possible to the original hand-drawn one. Through a process of iterative modification of prompts, the students came to understand the importance of precision in language and word choice for achieving satisfactory visual results.The final comparison of outcomes, which will be explored in detail in the full paper, highlighted the significant role that AI tools can play in supporting design and concept development processes. However, it also emphasised the necessity for designers to communicate effectively and accurately with these systems in order to achieve results that meet user expectations. Currently, while AI is capable of processing natural language, it still encounters difficulties in autonomously interpreting the full range of semantic nuances present in the provided prompt, particularly when imprecise terms are used. Despite the rapid advancements in AI through self-learning algorithms, the point at which humans can be entirely replaced in design and creative content generation remains distant.

Preservation of historical structures that have survived from the past to the present and their sustainability; It is possible with education, knowledge and ongoing care. Historical buildings have been damaged over time due to natural and artificial reasons. However, thanks to the craftsmanship of the period in which they were built, they have managed to reach the present day. It is very important to examine the current conditions of these structures, to determine the damage, to choose the most appropriate technique for repair and strengthening, and to make the necessary intervention in a timely manner. In this study, the Historical İplikçi Mosque in Konya was modeled with the finite element model in the SAP 2000 program. On the model, earthquake resistant design rules and calculation methods were compared according to the Regulation on Buildings to be Constructed in Earthquake Zones (06/03/2007) and Turkey Building Earthquake Regulation (18/03/2018). As a result of the study, it was seen that the calculation methods used with TBDY 2018 and the rules to be followed have changed and new building types were added. As a result of the analyzes obtained from the examined structure, it was seen that the structure did not meet the DBYBHY 2007 principles, but the TBDY 2018 principles.

The field of architectural history enjoys a diverse and broad audience in Japan. Group tours to major architectural monuments are a ubiquitous component of middle school and high school education. While these tours are often rushed and superficial, they do introduce students to their architectural heritage. A less regimented and, perhaps, more meaningful reflection of the interest in the subject is the widespread consumption of high-quality books on architecture for general readers. There are, of course, the easily digestible coffee-table volumes with sumptuous color photographs. However, more challenging publications are also extremely popular. Several series offer well-illustrated texts in accessible language that explain ancient tools and building methods, urban planning, the use of architecture in religious ritual, and other topics. Technical terms are defined and provided withfurigana (syllables that spell out the correct pronunciation) for less-experienced readers.' Open-air architectural museums, such as the Nihon Minka-en (Japan Farmhouse Garden) in the western suburbs of Tokyo, or the Meiji-mura (Meiji Village) outside Nagoya, are extremely successful at attracting visitors. Television producers also seem to recognize a market for the subject. The airwaves are filled with documentaries that present significant information about the history of architecture. Some are little more than travelogues, but others, such as Suzuki Hiroyuki's series on the history of modern architecture or the recent special on the architect and teacher Josiah Conder, demand more of their viewers. Undoubtedly, a variety of motives fuels this consumptionfascination with the history of technology, a craving for tangible evidence of a coherent cultural identity, the desire for vicarious travel (or the need to prepare for the real thing), or anxiety about preparation for college entrance exams. Yet the widespread public exposure to architectural history is of tremendous significance for the field of architecture, for it helps to sustain an attentive audience for major new construction projects, and may also contribute to the growing support for the architectural preservation movement in Japan. Professional training in the history of architecture is confined to a relatively narrow range of institutions. The subject is taught almost exclusively within departments of architecture. The related fields of architectural history, archaeology, art history, landscape design, and urban studies are usually organized into separate departments within a university. Even departments of art history, which in the United States often include faculty working extensively on architecture, usually do not regularly teach the subject in Japan (although, of course, some art historians share an interest and have acquired some expertise in the subject). At the University of Tokyo, for example, architectural history is taught in the Department of Architecture within the School of Engineering, art history is taught within the humanities, and landscape design is studied in the School of Agriculture. Architectural historians often collaborate on research and restoration projects with archaeologists, conservators, historians, and other professionals, but their host institution is usually an architecture program and the majority of their students are future architects and building professionals. These teaching obligations have undoubtedly shaped the priorities of the field. The close relationship between architectural history and architectural practice dates to the early days of the development of the architectural profession. The new government that was formed after the fall of the Tokugawa military government in 1868 recognized that rapid modernization was Japan's only hope for staving off the threat of American and European expansion. The new leadership embraced Western architecture both as a system of advanced technology and as a compelling symbol of cultural modernity. As early as 1873, the government established the Imperial College of Engineering. By 1877, the college had secured the services of a young English architect, Josiah Conder (1852-1920), to organize a program in architecture (the heir to that program at the University of Tokyo is still one of the premiere training grounds for architects in Japan). Conder's first students absorbed knowledge of Western architecture through studio projects in which they were expected to master the Gothic, Neoclassical, and other historical styles. Conder also placed those modes into historical context through survey courses in architectural history. For his instruction in architectural history, Conder

This paper intends to propose some reflections on an ongoing research-starting some years ago- at the Architecture and Design Department at the University of Genoa, by some professors of representation. The focus is identifiable in the concept of overriding the meaning of writing and representation: to interpret writing as a visual sign, and thus as an image, and, on the contrary, the image as a narration, without the help of words. The opportunity arose when the Graphics lab of the ‘degree in Design’ has been the subject of sharing for students of the Master of Science in Information and Publishing; this has led to the development of activities aimed at the training of those who mainly deal with texts, to direct and involve them in the acquisition of critical reading skill tools, without losing sight of the primary purpose of the original course.

April 01 2013 Design Thinking Support: Information Systems Versus Reasoning Pieter Pauwels, Pieter Pauwels Pieter Pauwels graduated from Ghent University as an engineer-architect in 2008 with a theoretical research on the ICT conception of an integrated architectural design environment. He is currently preparing a PhD dissertation at Ghent University, focusing on how information may be deployed within ICT applications to generate useful support for architectural designers in their design tasks. Search for other works by this author on: This Site Google Scholar Ronald De Meyer, Ronald De Meyer Ronald De Meyer graduated from the Hoger Architectuurinstituut van het Rijk, Antwerp, in 1978 and received his PhD with a dissertation on the development of the 19th century Antwerp town district Het Zuid from Catholic University Leuven in 1993. He is currently a Senior Lecturer in the Department of Architecture and Urban Planning of Ghent University and a Lecturer in the Department of Architecture and Design at the Provinciale Hogeschool Limburg. His research involves 19th and 20th century construction history, more specifically, the role of concrete and iron structures in Belgium, and the intelligent deployment of ICT technology for architectural design thinking support. Search for other works by this author on: This Site Google Scholar Jan Van Campenhout Jan Van Campenhout Jan Van Campenhout received his degree in electromechanical engineering from the University of Ghent in 1972 and a MSEE and PhD from Stanford University in 1975 and 1978, respectively. He is Head of the Department of the Electronics and Information Systems Department (ELIS) of the Faculty of Engineering at Ghent University, where he teaches courses in digital design. His research interests are the development of information systems for architectural design thinking support and innovative techniques in information processing systems. Search for other works by this author on: This Site Google Scholar Author and Article Information Pieter Pauwels Pieter Pauwels graduated from Ghent University as an engineer-architect in 2008 with a theoretical research on the ICT conception of an integrated architectural design environment. He is currently preparing a PhD dissertation at Ghent University, focusing on how information may be deployed within ICT applications to generate useful support for architectural designers in their design tasks. Ronald De Meyer Ronald De Meyer graduated from the Hoger Architectuurinstituut van het Rijk, Antwerp, in 1978 and received his PhD with a dissertation on the development of the 19th century Antwerp town district Het Zuid from Catholic University Leuven in 1993. He is currently a Senior Lecturer in the Department of Architecture and Urban Planning of Ghent University and a Lecturer in the Department of Architecture and Design at the Provinciale Hogeschool Limburg. His research involves 19th and 20th century construction history, more specifically, the role of concrete and iron structures in Belgium, and the intelligent deployment of ICT technology for architectural design thinking support. Jan Van Campenhout Jan Van Campenhout received his degree in electromechanical engineering from the University of Ghent in 1972 and a MSEE and PhD from Stanford University in 1975 and 1978, respectively. He is Head of the Department of the Electronics and Information Systems Department (ELIS) of the Faculty of Engineering at Ghent University, where he teaches courses in digital design. His research interests are the development of information systems for architectural design thinking support and innovative techniques in information processing systems. Online Issn: 1531-4790 Print Issn: 0747-9360 © 2013 Massachusetts Institute of Technology2013 Design Issues (2013) 29 (2): 42–59. https://doi.org/10.1162/DESI_a_00209 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Pieter Pauwels, Ronald De Meyer, Jan Van Campenhout; Design Thinking Support: Information Systems Versus Reasoning. Design Issues 2013; 29 (2): 42–59. doi: https://doi.org/10.1162/DESI_a_00209 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsDesign Issues Search Advanced Search This content is only available as a PDF. © 2013 Massachusetts Institute of Technology2013 Article PDF first page preview Close Modal You do not currently have access to this content.

The Department of Architecture at Frederick University Cyprus offers a five-year program which leads to the professional degree of an Architect Engineer. The aim is to educate future architects, providing them with knowledge and sensitivity on the built environment of the European and Mediterranean region and to become an outstanding academic center for studies in the wider European context. There are 4 compulsory courses that directly deal with architectural history and cultural heritage and another 13 that put cultural heritage as a base for their learning outcomes. In addition, research and diploma project courses give also the option to students, to deal with the analysis of historical buildings and constructional systems, history of architecture, urban restoration projects, integration of contemporary architecture into a heritage environment and intervention proposals. Many courses bring students in direct contact with selected historical buildings and urban complexes. Two compulsory courses include investigation on site, constructional analysis and intervention proposals on selected monuments. The Department offers a Master’s Degree in “Conservation and Restoration of Historical Structures and Monuments”. The aim of the program is to instruct students, not only in the methodology concerning the protection and restoration of historical buildings, but also in the practices, which are nowadays internationally applied in restoration projects. The course accepts students with degrees in architecture, civil engineering, archaeology, history etc. Finally, the Department’s strategic goal is the dissemination of research on heritage conservation to the local society through public lectures, high school student events, cooperation with local authorities and publications.

How do architecture students experience the contradictions between the individual and the group at the Department of Architecture and Design of Aalborg University? The Problem-Based Learning model has been extensively applied to the department’s degree programs in coherence with the Integrated Design Process, but is a group-based architecture and design education better than which is individually based? How does PBL affect space, form, and creative processes? Hans Kiib, professor and one of the founders of the Department of Architecture and Design in Aalborg, describes his intentions for the education as being intuition, reflection, artistic progression and critical interpretation (Kiib 2004). “As the reflection and critical interpretation are well integrated within the education, mostly parts of the exam evaluation, it seems like the artistic progression and intuition are somewhat drowning within the group work, as it is closer related to the actual PBL process”. Is the Integrated Design Process (Knudstrup 2004) and is Colb (1975) still current and valid? Can we still use these methodologies when we must create “learning for an unknown future,” as Ronald Barnett (2004) claims we are passing from a complex world into one based on super complexity? Could Gaston Bachelard (1958), who writes in his book The Poetic of Space that poets and artists are born phenomenologists, help architecture and design students in their journey to find his/her own professional expression? This paper investigates the creative processes of the collective and the individual and clarifies some of the hidden realities behind the PBL-based creative processes, both through an inquiry with the students and a more methodological and theoretical approach. The paper also explores how to integrate artistic progression and intuition within group work by investigating a group of concrete project cases from the Department of Architecture and Design based upon the following points: 1) How can a PBL group-based learning environment based on a dialogical consensus ensure everyone is working towards the same goal? 2) Does consensus architecture secure a necessary analysis and interpretation of the context, or does it create a grey consensus architecture based on compromises? 3) Does the PBL-method evoke a certain expression in space, form and materiality, but perhaps exclude other (possibly better) solutions? 4) Every group’s work depends on the interplay between the personalities of the individuals and the group. How does this interplay affect the creative process? This paper seeks answers to the initial question “Is consensus design an impossible clash of interest between the individual and the collective, and is architecture its first victim?” and suggests new possible methodological tools for the architectural design process secure the level of quality in design education.

Digital technologies can transform the ways in which we can represent time and change in historical monuments as well as in cities. This chapter describes a collaborative, international, and multi-faceted initiative, Visualizing Venice, that was begun in 2010 as a joint venture between three universities: the department of Art, Art History and Visual Studies at Duke University, the department of architectural history at IUAV, Venice, and the department of architecture and engineering at the University of Padua. From the outset, our initiative has had three equally important components: representing growth and change in buildings and cities through three-dimensional modeling, mapping, and visualization, creating public-facing websites, installations and exhibitions, and training of students at all levels and recent post-docs with the capacities of new media for the exploration of fundamental questions that concern urban spaces and their monuments. As a consortium of individuals, institutions and disciplines that range from architectural design to new media and to urban and architectural history, Visualizing Venice explores the transformative potential of digital technologies for research on and analyses of cities, utilizing the rich archival documentation of the city of Venice as a point of departure for specific case studies. In particular, this chapter focuses on the capacities of digital technologies to model and represent process and time in the creation of historic spaces and the role of Visualizing Venice as a pioneer in collaborative work in these areas.

The preservation of historic structures is of primary importance due to their significant cultural value. However, destructive tests as well as invasive interventions should be as much limited as possible. In this contest, Finite Element model updating can be applied as a non-destructive method to indirectly estimate selected unknown parameters through numerical model calibration. To this aim, an inverse problem has to be solved by minimizing the gap between corresponding experimental and numerical estimates of modal parameters. However, the application of Finite Element model updating is usually associated with large computational efforts. These can be reduced through the choice of a suitable surrogate model. Douglas-Reid method and Response Surface method are frequently applied to this aim due to their relatively simple quadratic formulations. In spite of the similarity of the mathematical formulation of the surrogate models in the two cases, the methods show some peculiarities affecting their application and, in some cases, their performance. The present paper illustrates an application of Douglas-Reid method and Response Surface method to a historical building, reporting a comparative assessment of the two approaches in terms of computational time and model updating results.

Purpose Historic architecture is one of the most prevalent human-made attractions and image attributes that the tourism industry substantially benefits from. Moreover, this attraction creates a critical value in augmenting destination competitiveness. Therefore, the purpose of this paper is to discuss historic architecture in relation to guest experience and to find out if historic buildings used as hotels are, physically, elements of attraction. The findings reveal that historic buildings used as hotels have a specific potential in attracting guests, and these buildings are mainly considered positive by guests. Hotel guests are satisfied by the physical – i.e., architectural and atmospheric – features of hotels serving in historic buildings. This paper will help readers rethink how historic architecture plays a key role in tourism consumption. The paper uniquely seeks to delve into the potential of historic hotel buildings as elements of attraction by examining over 9.8 thousand comments of hotel guests.

The Project of Independence: Architectures of Decolonization in South Asia, 1947–1985

Italian-born architect, artist, teacher, and theorist Lauretta Vinciarelli (1943–2011) occupies a historic place in architectural history. She was the first woman to have drawings acquired by the Department of Architecture and Design at the Museum of Modern Art (1974), she was among the first women to teach architecture studio courses at Columbia University (starting in 1978), and she was the first and only woman granted a solo exhibition at Peter Eisenman’s Institute for Architecture and Urban Studies in New York (1978). She also collaborated on architectural projects with minimalist artist Donald Judd from the late 1970s to the late 1980s and influenced his furniture design and printmaking as well. This chapter presents some key examples of Vinciarelli’s architectural and artistic output, including her work with Judd in Marfa, Texas; competitions for San Leucio and Palmanova in Italy; and her later watercolor paintings, disparate works that are united by an emphasis on history and memory. Vinciarelli’s work illuminates a plethora of issues that are central today, from the ideological and social dimensions of architecture to transatlantic connections, feminism, artistic collaboration, pedagogy, and practice.