Saint Paul’s Cathedral is a contradiction. Beautiful and majestic, it combines an almost Catholic shape with a Protestant soul. It is one of the most powerful symbols of England, and a reason for pride for any Londoner. This paper wants to explore the architectural variations of Saint Paul’s, especially before and after the Great Fire in 1666, to unveil the peculiar relationship between the cathedral and the people of London. Although St Paul’s has been a constant for the Londoners, its role in their lives has not always been the same. The progressive change in people’s attitude towards the cathedral went at the same pace as the alteration of the architecture of the building, which mirrored the social, political, and religious changes of the country. From being a central point of commerce and medieval social life during its Norman period and its Gothic style, the cathedral evolved into the highest symbol of religion and power and reached its peak with the design provided by Wren. Looking at the different models of Saint Paul’s, from its first consecration in 604 until today, it is evident that the building has been an active player in English history, adapting itself to necessity. It witnessed the Norman Conquest, the Dissolution of the Monasteries under Henry VIII, and the Great Fire, and it was the symbol of the English strength and resistance in World War II. Therefore, the study of the architectural changes of Saint Paul’s is the study of the city of London, its people, and some of the most significant historical events that shaped England.

The Taj Mahal is basically related to the idea of Islamic architecture; although the influence of Islamic architecture on the Taj Mahal is clearly visible, traces of the influence of Iranian, Hindu, British, and Akbari architecture are evident in its structure. Taj Mahal is often known as a monument of love, but you can see it as a combination of architectural traditions and a monument of Iranian and Indian multiculturalism.According to the beginning of the arrival of Muslims in the Indus Valley, in the 8th century AD, except for the ruins of a small mosque, there is no other trace left from this period. But in the twelfth century AD, the arrival of Muslims started again with the creation of valuable works. After various periods and in the era known as the Mongols (Indian Gorkan), the architecture of the subcontinent achieved great prosperity with a significant influence of Iranian art. In historical sources, the names of Iranian personalities who played a key role in the construction of the Taj Mahal, such as Essa Shirazi (designer), Amanat Khan Shirazi (calligrapher) and Mohammad Hanif Kandahari, can be seen. Iranian art is one of the most essential identifiers of Islamic architecture, and the Taj Mahal is one of the most obvious examples of the presence of Iranian artists. The result of the research shows that due to the relations that Iran and India have had throughout history, especially during the Safavid and Gurkanian periods, the architectural culture and the construction of gardens and garden-mazars in India have been influenced by Iranian culture, literature, art and architecture. And for this reason, the Taj Mahal can be considered as the manifestation of the art of Islamic and Iranian architectural design in the Indian subcontinent, and what is called Mongolian architecture is essentially "Indian-Iranian Islamic architecture".

This paper delves into the cultural, architectural, and aesthetic transformations in traditional Palestinian dwellings during the transition from the 19th to the 20th century. The chosen timeframe holds immense significance as it witnessed a profound shift in Palestinian systems, legislation, and housing patterns, including alterations in housing infrastructure. The study identifies pivotal turning points in Palestine attributed to European Western missions and Zionist migration, resulting in the introduction of concrete housing and its discernible influence on traditional Palestinian building structures. In particular, the focus is placed on the Palestine Hotel, situated in Hebron's historic Old City and constructed in the early 1900s. This hotel serves as a compelling example of the coexistence and mutual influence of modernity and traditional architecture. The hybrid design of the hotel reflects the intricate relationship between Western-style modernity and traditional Palestinian architectural elements. Employing an analytical and documentary methodology, this paper recommends several measures, including the preservation of cultural assets due to their profound impact on future generations and the safeguarding of our civilizational and cultural heritage.

This paper examines the components and elements of traditional Palestinian dwellings, focusing on those found in the historic district of Hebron. This area is renowned for its agricultural construction and peasant architecture. The study elucidates the formation of these dwellings and their structural, architectural, and constructional elements, as well as the materials employed in their construction. Moreover, this research delves into the history of Hebron, which serves as a vital resource for the study of the cultural history of Palestine, particularly within the context of Islamic civilization. It scrutinizes the urban development of the Arab city and draws parallels with various other Islamic cities, notably in terms of their primarily vernacular architecture, with formal architecture playing a limited role. The research adopts a descriptive, analytical, and documentary methodology to document these components through images and diagrams. It endeavors to address inquiries regarding the current condition and the pivotal elements that have contributed to the construction of traditional dwellings. The study underscores the substantial responsibility entrusted to society, institutions, and engineers for preserving these components during restoration or conservation endeavors. This can be achieved through a comprehensive examination of the authentic foundations of traditional vernacular construction in the city of Hebron.

The Old City area, which is a part of Jakarta City has become the symbol of Batavia's historical greatness. Batavia is also known as the Queen of The East due to its beauty (Brill, 1993). From its long historical record and the abundant number of historical heritages, Old City area revitalization efforts have become a priority in DKI Jakarta Governor’s work programs. Based on Law Number 26 Year 2007 regarding Landscapes, Jakarta should own 30% of green open spaces in its administrative area. However, Jakarta only provides 10% of green open (Hariyawan et al., n.d.). The small amount can also be seen in the Old City area with a small portion of green open space or public area. The Old City area of Jakarta is now filled with illegal dwellings and abandoned buildings which are often used by migrant communities as their residences. This situation creates irregularity and discomfort for the people. Old City area is a cultural heritage area, which is often utilized as a gathering area for artists with routine activities such as photographers, mural artists, and theatrical actors. However, these communities often face difficulties due to limited facilities in the area. Based on the policy analysis of historical cultural heritage preservation of the Old City area in Jakarta, we can conclude that revitalization efforts aim to provide public open spaces by optimizing their functions, and comforts, while also bringing back the historical heritage atmosphere. The goal of this design is to shape interaction space patterns that are in accordance with the local art communities so that they can have their own working spaces. The method utilized in this research was a qualitative descriptive and case study methods, which were implemented in the Old City area. The revitalization of the Old City area in Jakarta has the potential to improve it as urban tourism and art education, which is also integrated with green open space that functions as social space. The involvement of communities in the area is also important in assisting the organizing, driving, and supervising efforts of public areas.

Tourism in Antarctica has been dynamically developed in recent decades, although it is located in a small geographical part of continent. The main reason that visitors plan a trip to the destination, when the opportunity is given, is the natural landscape and wildlife. In addition, overheating of the planet that causes ice to melt has enhanced the feeling of fear as there is severe environmental concern for the coming years. Space and seasonal exclusions make it even more special and the tourist product which is offered by this continent is expensive and requires a lot of preparation. Tourism activity in such a fragile environment has sparked several reactions in the past, mainly from the scientific community, as it is the main recipient of the negative effects of tourism. Furthermore, organized efforts have been made so that the offered product will promote more environmentally friendly trips that will affect the ecosystem as little as possible.
 The main objective of this research is to analyze this kind of tourism because of the need for new forms. The positive and negative impacts that tourism can have on the environment and the statistics on arrivals and countries of origin of tourists in recent years are analyzed. Moreover, the tourist packages that seem to be in the greatest demand of visitors are presented. The main research question of this paper is whether this destination can host intense tourism activity. Following an extensive bibliographic review, the research makes it clear that the study area cannot support strong tourism activity even though future tourism forecasts report an additional increase in arrivals.

Wars, in the classical sense of term, have negative effects on the landscape and leave various traces above or below the ground surface or in the bottom of the sea. Today, many of the postwar landscapes are the result of natural ecological succession, while others, after an appropriate landscape design, present touristic and educational interest. Tourism in the postwar landscapes can be considered as cultural tourism, appealing mainly to tourists-pilgrims. Thessaloniki, during its long history, has been a field of military operations. Some of them, especially the most recent ones, have left their remnants on the surrounding forest landscape. During the First World War, the allied powers (Entente) for example, built various infrastructures such as trenches, concrete fortifications etc. Many of these installations, despite their deterioration over time, can still be seen today. The postwar landscape in the periurban forest of Thessaloniki has partially recovered. However, heavy constructions remain in their original place and can be a pole of attraction for visitors. This paper recommends two paths, 2,500 m and 2,200 m long respectively, connecting visible elements from the First World War, which are located in the northeastern part of the periurban forest of Thessaloniki. These paths can connect a military cemetery, with four cylindrical concrete fortifications (pill boxes) of this war, scattered in the forest. In this cemetery soldiers of the Commonwealth Nations have been buried, during the War. This postwar landscape could contribute to the development of battlefield tourism or tourism related to the postwar landscapes and it can also be used in the implementation of relevant environmental education programs. Postwar landscapes require very careful planning and proper management in order to be functional and effective.

With the rapid development of the construction of beautiful villages in China, traditional settlements of natural growth have been replaced by neatly planned new villages, which seem to improve the living quality of residents but destroy the original village texture. Most of them take advantage of the common cultural tourism development means in China, which leads to other ancient villages scrambling to follow suit and the emergence of thousands of villages and other problems that need to be solved urgently.
 This paper first reviews the development history and operational practice of spatial narrative design, extracts the relevance and transformability between narratology and architecture through theoretical research and analysis, and summarizes the methods of rational use of narrative space organization and arrangement according to different narrative themes. This paper tries to innovate the narrative elements according to the village unit scale, explore a new way of village reconstruction and renewal of narrative architecture, break the situation that the strategy is mostly used for the design of a single building, then by means of an update practice of Jingxing County Lvjia village, summarize the traditional village renewal path under the perspective of narrative architecture.

The COVID-19 pandemic has made all aspects of human life assisted by technology and big data. It starts from the education sector, economy, communication, health, and manufacturing to fashion. As we all know fast fashion has become one of the most significant contributors of waste. During the flow of developing a collection, for example; the production and distribution process can cause ethical issues and contradict sustainability matters. Several studies from 2010 to date have initiated AI (Artificial Intelligent) technology, a computer vision that alleviates the use of carbon footprints in the fashion industry. AI presents robust evidence to the audience, since it is visual and statically calculated, furthermore it is less costly and energy saving. AI abstracts the similarities or differences across all clothing and collections from the dataset. Its implementation can be used in many fashion careers with different purposes. By reviewing across the computer vision journals complemented with fashion management literatures, this article eventually provides insights of the implementation of AI for analysis and prediction from fashion photos or dataset.

This paper discusses the repercussions, challenges, and conditions imposed by the living occupancy in traditionaldwellings with the signature spatial organization in the old cities in general and in the Old City of Hebron/Palestinein particular. moreover, this paper examines the interior design of these dwellings in terms of floors, woodenfurniture fixed or movable, facilities such as bathrooms and kitchens, the distribution of furniture and its shape anddesign, furthermore, illustrate the problem that is caused by living in traditional dwellings built in ancient time,containing patterns of spatial designs that were of use in the past but no longer suit the current needs of theinhabitants and modernity. many building foundations in this paper go back to the Mamluk period, However, therest of them goes back to the Ottoman period. This paper aims to study the possibility of adapting the characteristicsand components of traditional dwellings and formulate new models and solutions that enable the inhabitants of thesedwellings to live in them while providing comfort and well-being without having to resort to the destruction andtotal removal of the internal components or replacing them with the modern style, which may not suit the aestheticsand structural feature. in addition, maintain its heritage value, by applying several measures that ensure the bestresults, within an objective analytical methodology including identifying a few selected models of traditionaldwellings, conducting a study, and inheriting it, to reach results advancing the preservation of the cultural heritageand achieving sustainability.