Architectural Conservation

Changing of use in building occurs naturally at all time especially when there was a decline in utilisation as well as urban function. With the form of alteration, historic building is therefore shifted in meaning and perception in both physicality and quality. Although the definition of " Adaptation " , " Adaptive reuse " or " reuse " has been developed since the mid-20 th century, it has still been criticism among conservationists up until the theory incorporated with building conservation at the end of the 20 th century. In the western countries the development of the method has focused on the process of historic building transformation for further utilizations in order to resist with the constraint of urban sprawl whereas the others may be involved with regeneration and revitalisation of historic urban area. With various approach of the application, adaptive use of historic building is differently based on socio-cultural and economic pattern when it is applied to such a specific locality. The paper is to defining adaptive use in relevant to conservation according to the Thai circumstance. The study was derived by chronical study and the data was summarized by categorization of conservation and building adaptation method. The study can be concluded that adaptation of Thai historic building function has evolutionally associated to pattern of living within belief of enhancement to the place and alteration is much concern on useful purpose on individual economic enhancement.

This paper will contribute to our understanding of a number of ancient monuments, Roman theatres and amphitheatres, in the complex context of reusing cultural and environmental resources in Italy. This also involves an interpretation of the Syracuse Charter for the conservation, use and manage¬ment of ancient theatrical buildings.
Through the study of selected examples, we have attempted to identify analytical, methodological and operational instruments that can enhance these monuments and find new tourism-cum-cultural mechanisms. The paper goes on to list restoration and conservation actions that have become urgent due to the neglect and deterioration that often characterises such monuments or, on the contrary, the over-use caused by open-air performances, the fitting of stand equipment and the holding of stage productions that are thrown together and incompatible with this historic heritage. Ancient buildings and archaeological remains require planned actions and constant maintenance.
These structures must be included in the urban landscape through the creation of urban archaeo¬logical parks, and their original uses should be recovered with the use of ‘light’ renovations and the application of compatible and reversible scenery and partial and temporary mobile roofing systems, designed and fitted by experts.
What is therefore required is a limited use of these complex ancient structures that involves respect, strict monitoring and the setting of audience quotas at performances, with the insertion of temporary, easily reversible fittings that can protect these sites as well as allow access to them.
Il contributo intende contribuire alla conoscenza di alcune strutture antiche per lo spettacolo nell’ambito del complesso quadro dell’utilizzazione delle risorse culturali e ambientali di un territorio, anche attraverso una rilettura della Carta di Siracusa per la conservazione, la fruizione e la gestione delle architetture teatrali antiche (2004). S’intende, quindi, attraverso lo studio di alcuni casi esemplificativi – gli Anfiteatri di Albano, di Lucus Feroniae, di Monteleone Sabino, il Teatro di Privernum, di Ostia Antica oltre ad alcuni esempi tunisini – individuare strumenti analitici, metodologici e operativi per il recupero e la valorizzazione di tali complessi monumentali e individuare nuove dinamiche turistiche-culturali. Gli spazi all’aperto che più si prestano a una proficua riutilizzazione, con forte richiamo turistico, sono proprio le strutture per le rappresentazioni antiche, greche e romane. Oltre un migliaio sono gli edifici presenti in tutto il baci¬no del Mediterraneo e numerosi anche sul territorio della Penisola italiana. Si tratta di attivare azione di restauro e conservazione, sempre più necessarie vista l’incuria e il degrado che spesso caratterizzano tali grande strutture o, al contrario, il sovra-utilizzo determinato dagli spettacoli all’aperto, con allestimenti e grandi produzioni sceniche spesso improvvisati e non compatibili con i manufatti storici. Tali antichi edifici, quali reperti archeologici, richiedono interventi di programmate e costanti manutenzioni, spesso di reinserimento nel tessuto urbano delle città d’antico impianto o di valorizzazione paesaggistica, la creazione di parchi archeologici urbani, oltre che di riacquisizione della funzione originaria attraverso operazioni ‘delicate’ e l’inserimento di strutture sceniche compatibili, reversibili, di sistemi mobili per coperture parziali e temporanee, progettati e messi in atto da tecnici e operai specializzati. Un uso, pertanto, limitato di tali complesse strutture che possono essere rese fruibili con rispetto, attraverso rigidi controlli e spettacoli contingentati, l’inserimento di opere temporanee, facilmente rimovibili, in grado di proteggere i luoghi e consentire, contestualmente, la visita dei siti in cui sono inseriti. Uno dei parametri fondamentali per la valorizzazione è quello della fruizione, legata a una capienza sostenibile e ad adeguati limiti per la diffusione acustica, in modo tale da non produrre danni sia alla struttura sia ai luoghi. Tali apparati per lo spettacolo devono essere parzialmente o talmente rimovibili, realizzati con materiali compatibili e di facile manutenzione. I criteri da rispettare dovrebbero essere: adeguatezza tecnologica, minima invasività, controllo delle strutture da parte di tecnici e promotori di eventi, imprenditori e direttori artistici. Appare, inoltre, importante agire con cautela anche nell’organizzazione delle tematiche di rappresentazione, favorendo spettacoli congrui e adeguati (testi dell’antichità e del teatro, danza, musica, cinema). Il tema dell’utilizzo solleva, inoltre, la questione dell’accessibilità, per cui si richiede qualità architettonica e fruizione agevolata per progetti di praticabilità, seppur ‘temporanei’, caratterizzati da strutture reversibili e minime, messe in opera in occasione delle stagioni teatrali. Si tratta di strutture antiche che richiedono un approccio progettuale consapevole e multidisciplinare tra architetti e archeologi, oltre che con il supporto di tecnici specializzati, direttori artistici e responsabili delle istituzioni. Figure professionali capaci di attivare operazioni congrue, finalizzate alla fruibilità di tali organismi attraverso interventi meditati e rispettosi. Progetto di ri-uso e valorizzazione che viene, inevitabilmente, a delinearsi attraverso limiti e potenzialità, riconoscimento dei ‘valori’ e punti di debolezza; si tratta di azioni rivolte sia alla conservazione della struttura sia alla fruizione del sito, comprese tra operazioni di tutela e valorizzazione caratterizzate da un unico obiettivo: combattere l’abbandono e l’inevitabile deterioramento materico.

Las estructuras del patrimonio arquitectónico, tanto por su naturaleza como por su historia (en lo que se refiere al material y a su ensamblaje), están sometidas a una serie de dificultades de diagnóstico y restauración, que limitan la aplicación de las disposiciones normativas y las pautas vigentes en el ámbito de la construcción. Ello hace tan deseable como necesario formular unas recomendaciones que garanticen la aplicación de unos métodos racionales de análisis y restauración, adecuados a cada contexto cultural.

The use of earthen and adobe as an affordable material, low-cost and easy-to-use facility in warm and dry areas has long been used to build a building. Considering Iran is earthquake prone and the importance of considering the potential vulnerability of all local buildings, attempts to identify the potential weakness points of rural adobe buildings against this event are important in order to preserve the lives of humans. On the other hand, the traditions of the buildings as well as the related patterns of rural adobe buildings have become an important part of the history of Iranian architecture in the use of local materials that require protection. One of the complexes of adobe buildings damaged during the earthquake of 1357 SH and suffered various destruction is the village of Isfahak located in Tabas, which is also listed on the national monuments list of Iran. Interesting points in this village after the earthquake occurred is a different rate of seismic damage in this buildings. So that some have suffered serious damage, but others are less damaged or completely healthy. The probable differences in architectural pattern and construction practices as a possible effective factor in the difference in damages rates and better performance of some buildings during an earthquake can be considered that this research has been studied. This research is descriptive-analytic and the required information is obtained through library and field studies. The results of the research indicate that the passage of the subterranean canal from below of some houses has exacerbated their damage, as well as the pattern of different construction of the village buildings (troglictic, chineh and adobe brick), have a direct impact on their seismic performance. The low quality of the execution and the lack of proper constructional arrangements with the aim of increasing the seismic resistance of these buildings by the builders are other reasons for the occurrence of seismic damage in these buildings.
Key words: Historical rural fabric, Village of Isfahak, Adobe building, Earthquake, Elemental pathology.

Fase cruciale nella storia del restauro italiana è quella coincidente con i decenni compresi tra la fine dell'Ottocento e gli inizi del Novecento, segnati dall'evoluzione, non priva di equivoci, da una prassi diffusamente improntata alla ricerca dello 'stile' verso un rapporto più consapevole con il significato storico dell'architettura. Il territorio cui si rivolge l'attenzione è quello delle 'provincie meridionali' che, disposte tra il Molise e l'estremo sud della Calabria, sono accomunate dalla gestione delle Belle Arti e del restauro negli anni fin de siècle. La messa a fuoco di piccoli e grandi cantieri, talvolta più noti alla critica e più spesso misconosciuti, conferisce risalto a figure-chiave di architetti e ingegneri restauratori e tra queste, primariamente, a quella di Adolfo Avena. Sebbene più noto come progettista di numerose nuove architetture, questi ha in larga parte diretto le scelte per la conservazione del patrimonio architettonico del Meridione d'Italia in modo pregnante a partire dall'ultimo decennio dell'Ottocento, attraverso studi, pubblicazioni e progetti. Guardando alle relazioni tra storiografia coeva e restauro, tra interpretazione di momenti della Storia e giudizi di valore, tra acquisizioni tecniche e scelte operative, emergono stimolanti interrogativi connessi al significato 'identitario' dei monumenti con lo sfondo di una prospettiva nazionale della questione.

"The author analyzes the role of the American Arts and Monuments Section, established in the summer of 1945 within the Supreme Commander for the Allied Powers (Scap) in order to protect, preserve and restore “recognized works of cultural, historical or artistic significance”.
As part of the complex program for the protection of cultural heritage in war zones developed by the Allied governments during the Second World War (Monuments, Fine Arts and Archive Program), the activities of the Arts and Monuments Section in Japan can be considered the only Asian case that can be compared to the work done in Europe by the Allied Monuments, Fine Arts and Archives Subcommission"

Abdel Tawab, Ayman G. (2012): “Area-based conservation: The strengths and weaknesses of the Egyptian emerging experience in area-based conservation”, Alexandria Engineering Journal, Vol. 51, No. 2, pp. 137–152.

Abstract

The interest in securing and sustaining the townscape and urban values of the historic environment has escalated as a response to the writings of intellectuals, such as Kevin Lynch and Gordon Cullen. Such interest has been construed by the governments' introduction of statutory tools allowing them the right to designate urban areas within the boundaries of which the historic environment can be provided a statutory protection. The earliest European attempt to introduce such tools has been the Dutch establishment of the model of conservation areas known as “Protected Town and Village Views” in 1961. In 1962, the renowned Malraux Act has officially established the French similar model of protected areas known as “Secteurs Sauvegardés”. The introduction of such tools has marked the emergence of what has been later called area-based conservation. In Egypt, the enactment of the Act No. 119, in 2008, and the establishment of the model of protected areas known as “Areas Enjoying a Distinctive Value”, seem to have marked the emergence of the Egyptian official experience in area-based conservation. The main aim of this study was to preview the key features of the Egyptian emerging experience in area-based conservation and to unveil its strengths and weaknesses. The study approached the issue by means of a comparative analysis conducted among a group of adopted case studies. The adopted case studies included the British, the Dutch, the Egyptian, the French, the Irish and the Maltese experiences in area-based conservation, in addition to the international institutions' experiences. The findings indicated that adopting the centralized approach to designate the Egyptian “Areas Enjoying a Distinctive Value” seems to be the major weakness of the Egyptian experience. The findings suggest the further boosting of the role of the Egyptian local authorities in the management of such designated areas.

A presentation of the Czech translation of a seminal book on architectural theory by Nikos A. Salingaros and others, with a conversation between the author and the Czech editor, and two chapters (in Czech). Published in Kontexty [Contexts, Brno] IX, 2017, No. 1, pp. 49–66.

Monel is an enigma. Poorly understood and grossly under-researched, the alloy has largely been ignored despite its importance in the first half of the twentieth century in the history of metallurgy and the moderne style. In exterior environments Monel’s weathered appearance is commonly misidentified as Bronze, while in interior contexts, it is regularly assumed as nickel silver. The break-up of the International Nickel Company has scattered historical and technical data, leading to an information vacuum that sees historic Monel painted, waxed, or lacquered, with no grasp of the potential impact on it. The first part of this published work covers the production and processes of the International Nickel Company, the dominance of the Creighton mine, the methods for ore separation and smelting in Ontario, Canada, and the subsequent refining in West Virginia, United States. Covering the impact of both world wars, demand and discoloration, it explains the background on this rare and underappreciated architectural “white metal.”

Ceramic material is certainly a key element in the cultural heritage, particularly in historical buildings. This material involves specific problems when addressing preservation, as well as conservation and restoration interventions.
This course is coordinated by International Association YOUTH IN CONSERVATION OF CULTURAL HERITAGE-YOCOCU Spain, co-organized by Geosciences Institute IGEO (CSIC, UCM), Spanish Society of Ceramics and Glass (SECV) and the Ceramic and Glass Institute (ICV-CSIC) and sponsored by ECerS, the JECS Trust and SECV.
The main goal of the course is to offer a training program of short duration focused on the ceramic material used in architectural heritage, including structural and decorative elements. Raw materials and technologies used for manufacturing, alteration and decay processes, characterization techniques for study and analysis, as well as new trends in conservation treatments will be addressed.

In the field of structural building engineering there is a market shift taking place as a result of the growing number of buildings that are listed as cultural heritage, secularization, the economic situation and the increasing office vacancy rate in Europe and the US. More and more structural engineering firms that were designing and constructing new buildings now move to maintenance and adaptive reuse of existing building structures. But how does this shift influence the way in which engineering firms work? What is the influence of adaptive reuse of existing building structures on the structural design process? Unlike fields like architecture and especially industrial design that have a strong design tradition, in structural engineering until now engineering design has been regarded more as a craft that has to be learned in practice than as science. As a result of this, arguments to answer those questions are hard to find in literature (with a few notable but little cited exceptions such as the paper How designs develop by S.J. Macpherson c.s.). To fill this gap an analysis has been made of the way in which the design process of adaptive reuse projects is supposed to work according to literature and professional associations, and of the way it really works in practice. Grounded theory method is used to generate concepts to explain the way structural designers work in such projects. Preliminary results show that standard descriptions of the engineering design process (generally from abstract to detail as for instance suggested in The Architect’s Handbook by J.A. Demkin c.s.) do not correctly describe the way in which this design process really works. Not only did the redesign process of existing building structures not work as expected by both clients and practitioners; even the structural design process of new building projects can be seen in a different light. It is expected that the results of this research eventually might lead to different contracts between clients and engineering firms in the future.

bab journal of FSMVU Faculty of Architecture and Design, which has been published by Fatih Sultan Mehmet Vakıf University Faculty of Architecture and Design since January 2020, has published Volume 2, Issue 2 (July 2021). You can access the articles from the journal's web page below. https://dergipark.org.tr/en/pub/babdergisi bāb Journal of Architecture and Design is an internationally refereed, scientific journal published by Fatih Sultan Mehmet Vakif University, Faculty of Architecture and Design. The journal aims to publish original scientific studies in the fields of architecture, design and planning. bāb Journal of FSMVU Faculty of Architecture and Design works with double-blind, peer-review system. The journal accepts manuscripts in both Turkish and English languages. The journal is published twice a year – January and July. Within the scope of the journal, research articles are published on architectural design, urban design, interior design, building technologies and building physics, architectural history and theory, architectural conservation, etc., and also discussion articles, review articles, criticism articles, and opinion articles are also published in the fields of architecture, design and planning. bāb Journal of Architecture and Design is indexed in Asos Index, Index Copernicus International (ICI) World of Journals and Eurasian Scientific Journal Index. In bāb Journal of Architecture and Design, no fee is charged at any of stages of submission, evaluation and publication and authors are not paid. The journal is open for submissions throughout the year. Prepared manuscripts should be sent to babdergi@fsm.edu.tr.

The Indian Miniature Painting has always been a form of narrative that uses visuals, colours, lines and objects composed in pictorial space with inclusive vitality and feeling to evoke moods that are reflective of the season, time or event. The subjects were often about the rulers, gods and goddesses or such unordinary content. Here we use the miniature to represent the visuals generated as a part of the architectural project, a universally important day like the World Heritage Day or the before and after images of a conservation project. The aesthetic parallel is of-course the 'Raagamala' painting which uses motifs, colors, music and poetry to express the mood. We would be happy if any musician or poet is inspired to compose based on the cues offered by the presentations.

Full text version:
http://www.archeo.ru/izdaniya-1/seriinye-izdaniya/byulleten-instituta-istorii-materialnoi-kultury-ran.-ohrannaya-arheologiya/BUL072017.pdf

This catalogue comprises over 1000 types of stamps on bricks produced in Saint Petersburg province in the mid-19th – early 20th century. Their types were recorded by the present authors in 1996–2016. These stamps are represented here at the scale of 1:100. The authors have attributed the stamps to the owners of brickworks. Of the latter, over 600 names have been revealed by studies of archive sources and reference books. The catalogue is supplemented by several appendices: lists of brick stamps found in buildings of Saint Petersburg, bricks imported from other provinces of the Russian Empire and from European countries.
The catalogue is preceded by an essay on the history of the Saint Petersburg brick-production industry of the 18th–19th century. The 18th century was characteristic of providing the construction works in the new capital through production of a few large government brick factories. In the early 19th century, the government factories were replaced by dozens works belonging to merchants or well-to-do peasants. These factories were constructed beyond the limits of the city’s territory on the banks of the rivers Neva, Slavyanka, Izhora and Tosna where deposits of clay were found. The large-scale extraction of this clay induced an essential change of the landscapes of these localities. In 1847, special regulations were issued according to directions of the emperor Nickolas I for the improvement of the quality of bricks delivered to Saint Petersburg and these directions were approved as the law. These were titled ‘Regulations on the measures for uniform and firm manufacturing of brick’ (Pravila o merakh dlya edinoobraznoy i prochnoy vydelki kirpicha) and they regulated strictly the technology of the production. In addition, a careful control was introduced over private factory owners within the surroundings of Saint Petersburg. On the evidence of documentary sources, the metropolitan brick-producing industry was raised to a qualitatively new level during ten years. Notwithstanding this fact, manufacture of bricks remained predominantly a manual procedure while the machine-made production of bricks was still unprofitable despite tens of experiments carried out to this purpose. Brick production traditionally was of a seasonable character continuing for three summer months. During that time, the major personnel of the workers was attracted from peasants of neighbouring provinces. The number of workers occupied in brickworks by the late 19th century was one of the largest among other branches of industry as compared with that in the iron foundries, mechanic, cotton-spinning and tobacco producing manufactures.
Analysis of the sources and collection of stamps suggests that stamping of bricks was started in Saint Petersburg only due to the introduction of the ‘Regulations…’ of 1847. Initially, stamping of bricks seemed unwonted and onerous procedure to the factory owners. However, in the conditions of the primary strict control, it became a norm. Further on, the recognition of the advantages of stamp as a trademark during free competition between the capitalists provided continuous use of stamps until the revolution of 1917 and even afterwards in the 1920s. Analysis of the stamps allows us to clear out the technological, stylistic and semantic peculiarities characteristic of different periods. Except for very rare cases, stamps in Saint Petersburg province were imprinted on the broad side of the bricks. During a short period from the late 1840s to the beginning of the 1850s, printed stamps struck with small metal punches without consideration of the borders of the brick were employed. In the 1850s, stamping matrices composed of large letters fixed separately on the bottom of the moulding box were employed. From the 1860s, almost all the stamps were imprinted using completely metal matrices attached to the bottom of the mould. Firstly, the contents of the stamps were limited to the two initial letters of the name of the factory owner; later three initial letters and the full family name became popular. In the 1870–1880s, the inscription of the family name in the genitive was typical, later it was marked in the nominative case. In a number of stamps, employment of standard printing types is found but, since the 1890s, letters sans serif came into use. Stamps either with an embossed text or with symbolic signs are very rare. For the inner quality control, many stamps were provided with the numbers of particular workers responsible for the moulding at the factory. Most of the stamps have been narrowly dated by the authors. It is supposed that this catalogue will significantly help the dating and repairs during restoration and archaeological investigations of historical buildings in Saint Petersburg. The comprehensiveness of this catalogue makes it a valuable source for different studies of the history of industry and advertising in pre-revolutionary Russia.

Culture has been generally understood as the characteristics and knowledge of a
particular group of people in the areas encompassing language, religion, cuisine,
social habits, music and arts. Margaret Mead, an American cultural anthropologist
defined Culture as “the whole complex of traditional behaviour which has been
developed by the human race and is successively learned by each generation”. Such
shared patterns on behaviour are largely influenced by the nature of spaces. Since
architecture is the physical manifestation of culture, any change in the same has the
power to gradually bring about a change in culture. Societies which have been closely
knit have grown to be non-concerned of each other with changing design patterns.
External influences on architecture and planning from different sources has been
modulating the culture of places. And so, a conscious action towards conservation of
culture can be strengthened by conservation of local architectural heritage. This
important fact has been established in this paper through the study of urban planning
and designs case studies through history of the city of Patna, Bihar, India. With the
assumption that architecture is a complete symbol of human culture it tries to study
the role of architectural conservation in promoting cultural identity.

The Archaeological Survey of India's role in the protection of the 16th century Basilica of Bom Jesus monument in old Goa has come under attack. The rector of the basilica, in an open letter recently, has accused the ASI of “utter apathy” in restoring the structure. This has prompted the Goan government to swing into action by appointing a committee to overlook the restoration of the monument. What is of importance in this case is that the monument is still used as a church by the local community. Religious heritage buildings that are still in use by the community call for a different kind of restoration measures. The ASI needs to take the local stakeholders into confidence, and allow their participation in the protection of monuments.

Il recente ‘caso’ sollevato dalla proposta di demolizione dello Stadio di Firenze, dedicato ad “Artemio Franchi”, e il cosiddetto emendamento ‘sbloccastadi’ indirizzato ad accelerare gli interventi di adeguamento degli impianti sportivi, ha riportato alla memoria vicende già vissute, nel corso degli ultimi decenni, da alcune strutture realiz-zate in occasione dei Mondiali di calcio svoltisi in Italia nell’estate del 1990, peraltro proprio su candidatura del dirigente sportivo fiorentino. Il contributo analizza, infatti, le vicende di una mostra organizzata nell’ambito del Congresso dell’Unione Internazionale degli Architetti svoltosi a Montréal (Ca¬nada) nel maggio 1990 (Mostra degli stadi 1991); l’articolo analizza le numerose debolez¬ze degli stadi costruiti in quell’occasione, mettendo in evidenza l’‘invecchiamento’ precoce che ha colpito tali edifici specialistici.

William N. Morgan (1930-2016) was a Florida architect who specialized in modern architecture, particularly that adapted to the geography and climate of Florida. Morgan had studied under Walter Gropius and Jose Luis Sert at Harvard (MArch '58) after serving in the US Navy in the 1950s.  He was an avid student of the prehistoric architecture of the Americas and the Pacific and wrote several books on the subject.  He died on January 18, 2016.

This paper is the summary that I prepared of an interview with Morgan that my colleague, Jeffrey Jensen, and I conducted on behalf of the US General Services Administration's Public Building Service in 2011 on the topic of his design for the United States Courthouse in Fort Lauderdale in 1976 and which was completed in 1979.

Resumo:  O objectivo da salvaguarda dos bens patrimoniais é a consolidação de traços identitários dos nossos antepassados. O homem necessita de memória histórica, ou seja, de interiorização do passado; como ser cultural, ele não poderá evoluir sem o sentimento das tradições. A evocação e a invocação da História, de necessidade vital para o futuro do homem como essência histórica, não podem extinguir-se. É um facto social incontestado que os cidadãos têm consciência do valor histórico e da riqueza etnográfica da sua herança colectiva, espelho e vector da sua identidade, mobilizando-se com determinação assumida nas tarefas urgentes da sua defesa. Com estes combates e manifestações de vigoroso dinamismo intenta-se preservar, para as gerações vindouras, a precariedade dos vestígios materiais de milénios de história humana e de entidade cultural. O conceito alargado de memória cultural relaciona-se com todas as áreas da moderna percepção de defesa do património, desde a clássica área da conservação e restauro do património arqueológico à conservação de um monumento técnico. Ele encerra a força e o valor da tradição com o testemunho dos valores estéticos e éticos inerentes. Preservar e documentar o passado e a identidade histórica significa declarar-se também partidário da coexistência qualificada do novo na História, mercê de um diálogo articulado e mutuamente benéfico com a actualidade, com a 'nova vida' e exigências socioculturais e com as consequentes transformações da arquitectura, perante as oportunidades e capacidades do desenvolvimento da ciência e das inovações tecnológicas. A salvaguarda do património arquitectónico é considerada como um modo de defesa global do ambiente que não se preocupa só com a protecção do espaço vital natural, mas também com a do espaço vital colectivo desenhado pelo homem no decurso da sua existência. Não faltam, por isso, normas e directivas internacionais apelando todas para a necessidade de salvaguarda integrada da herança comunitária.
Abstract: The goal of safeguarding historical heritage is to consolidate the identity traits of our ancestors. Man needs historical memory, that is, of interiorization of the past; as a cultural being, it can not evolve without the feeling of traditions. The evocation of history, of vital necessity for the future of man as a historical essence, can not be extinguished. It is an uncontested social fact that citizens are aware of the historical value and ethnographic richness of their collective heritage, mirror of their identity, mobilizing with determination in the urgent tasks of their defense. With these manifestations of vigorous dynamism we try to preserve for the generations to come the precariousness of the material vestiges of millennia of human history and of cultural entity. The broad concept of cultural memory is related to all areas of the modern perception of heritage defense, from the area of conservation and restoration of the archaeological heritage to the conservation of a technical monument. It closes the strength and value of tradition with the witness of inherent aesthetic and ethical values. Preserving the past and the historical identity means to declare itself also a partisan of the qualified coexistence of the new in history, through an articulated dialogue with the present, with the 'new life' and sociocultural requirements and with the consequent transformations of architecture, given the opportunities and capacities of the development of science and technological innovations. The safeguarding of the architectural heritage is considered as a global defense of the environment which is not only concerned with the protection of the natural living space but also with the collective life space designed by man in the course of his life. That is why international norms are not lacking, all appealing to the need for an integrated safeguard of the community heritage.

The World Heritage property, Historical Monuments at Makli, is a unique place, an ancient Necropolis full of life. This extensive site situated along six kilometers of bluffs above an old course of the Indus River covers over 1,000 acres with sixty-four significant mausoleums and large tombs, canopies, between 500,000 to 1 million graves, and forty-three extant domes. It contains the remains of local and prominent families, spiritual leaders, and dynasty rulers spanning from the 14th to 18th century. Makli is visited daily by the thousands. Surrounding communities pray at the nearly twenty active shrines contained within its boundaries, visit family tombs, and gather together to escape the city. This interaction makes the site a dynamic living place of veneration, assembly, and recreation. Continued access to the site must be encouraged yet carefully managed as to minimize the impact on the fragile site.

Mughal buildings are constructed within the imperial tradition of Delhi and Agra but are more subdued than contemporary architecture elsewhere in the subcontinent. The only indispensable evolved architectural feature of a mosque is the mihrab, the niche in the qibla wall (western in South Asia) that directed the worshiper towards the Kaba in Mecca; the orientation assigned for ritual prayer. The Friday (jame) mosque became very important as a formal building because the khutba (sermon delivered before the mandatory collective prayer) gave official recognition to the ruler and also worked as a declaration of sovereignty.
In Bangladesh, the Mughal mosques consist of only a prayer hall, which is single-aisled with three or five bays. The exterior surfaces are plastered and panelled, the cornices are straight, and the buildings have higher domes. Local geo-climate forced some adaptations and transformations.

In this article, the classification of epoxy polymeric materials was reviewed from the point of view of the prospects of their application in restoration works. In addition, various methods for curing polymer compositions with cross-linking agents were studied, which allows to vary the technical-operational and physico-chemical properties of polymers in accordance to the needs of a certain restoration work.

This is an overview about the cooperation my university had with the ministry of Heritage and culture about the documentation of four vernacular settlements in Oman. This is an award-winning  research that involved a large number of students. A more detailed publication will follow.

Until 1993 there were conducted first excavations in what promised to be the site of one of the most important buildings of Petra, the stunning capital of the Nabataean kingdom. Its construction, whose initiation century BC, several changes, reconstructions and landslides along its more than five hundred years of operation. But despite this still unknown for certain functions for which it was designed and that, regardless of the construction elements, materials have been located just still less inscriptions that shed some light on a mystery that will try here exhibit various theories that enable closer to resolution.

ABSTRACT: Nowadays we face the reality of living in mid-20th century buildings that are already part of architectural heritage. Eighty years ago, Serbian modernists accomplished new Machine Age simplicity in architecture without ornaments, finally absent of all historicisms. Following decade brought the Second World War. Its aftermath – population influx into city areas and the extensive rebuilding of the war-torn communities, was an inevitable milestone in the way we live. In the period 1950–1970 reforming minds of Nikolа Dobrović (1897–1967), Ratomir Bogojević (1912–1963), Milorad Macurа (1914–1989), Milicа Šterić (1914–1997), Aleksej Brkić (1922–1999), Mihajlо Mitrović (1922), Uglješа Bogunović (1922–1994), Ivan Antić (1923–2006), Branislav Jovin (1935), and other architects had been alive to the progressive technological development that became crucible for all state redesign of modern urban landscape. Reinforced concrete, curtain-wall cladding, strip window frame and free plan freed designers from the constraints of solid walls. At the same time, Serbian architecture became a polarizing force. Mid-century city transformation of mass housing structures with prefabricated elements and modular apartments were on one side, and striking architectural showcases on other. Today we all live with the legacy of post war architecture. The great majority of these buildings that are inevitably crumbling represent a catalogue of masterpieces that was neglected and under maintained. Technologies have moved on rapidly, acknowledging how life is changing for the people in 21st century. Buildings from after Second World War period are demanding major repairs and technological upgrading. Presented examples show that we had little sympathy for protection and preservation of this once innovative architecture that needs to be valorized and then preserved as heritage or resort to modernization. Nowadays, the attitude toward Serbian post-war architecture is shifting, and we have to ask how we live with “ageing” architectural design – confronting the possibility of destruction and/or inexpert adaptation for 21st century.

APSTRAKT: Danas živimo u građevinama nastalim sredinom 20. veka, koje već predstavljaju arhitektonsko nasleđe. Pre osamdeset godina, srpski modernisti dostigli su jednostavnost novog mašinskog doba u bezornamentalnoj arhitekturi lišenoj istoricizama. Sledeća decenija je donela Drugi svetski rat. Kao posledica razaranja i uvećanog priliva stanovništva u gradske sredine, sveobuhvatna posleratna obnova građevinskog fonda postala je neizbežna prekretnica u načinu života i funkcionisanja zajednice. U periodu 1950–1970 odlučujuća je bila reformatorska uloga Nikole Dobrovića (1897–1967), Ratomira Bogojevića (1912–1963), Milorada Macure (1914–1989), Milice Šterić (1914–1997), Alekseja Brkića (1922–1999), Mihajla Mitrovića (1922), Uglješe Bogunovića (1922– 1994), Ivana Antića (1923–2006), Branislava Jovina (1935) i drugih arhitekta koji su bili nosioci progresivnog tehnološkog razvoja, važnog aspekta u remodelaciji modernog urbanog pejzaža. Armirani beton, zid-zavesa, horizontalne prozorske trake i slobodan plan osnove oslobodili su graditelje ograničenja čvrste zidne mase. Istovremeno, srpska arhitektura postala je polarizirajuća sila. Transformacija gradova sredinom 20. veka sa jedne strane je dovela do stambenih naselja izgrađenih od prefabrikovanih elemenata i modularnih sistema, a sa druge do upečatljivih arhitektonskih autorskih dela. Danas, svi živimo sa nasleđem posleratne arhitekture. Veliki broj ovih objekata koji neumitno propadaju predstavlja vrhunska arhitektonska dostignuća koja se konstantno zanemaruju i nedovoljno održavaju. Ubrzani tehnološki napredak u 21. veku umnogome je izmenio svakodnevni život i potrebe ljudi. Građevine nastale nakon Drugog svetskog rata sada zahtevaju velike popravke i tehnološke nadogradnje. Prezentovani primeri pokazuju da smo do sada imali malo razumevanja za zaštitu i očuvanje ove, nekada inovativne arhitekture, koja se prvenstveno mora valorizovati, zatim i sačuvati kao graditeljsko nasleđe ili osavremeniti. Odnos prema srpskoj arhitekturi nastaloj nakon Drugog svetskog rata se menja, i došlo je vreme da se zapitamo na koji način želimo da živimo sa „ostarelim“ arhitektonskim delima – suočavajući se pritom sa mogućnošću uništenja i/ili nestručne adaptacije za potrebe 21. veka.

The paper aims at enlightening the positive effect that a shift from restoration as an event to conservation as a planned process.could have on regional economy and local development processes; the empowerment of actors is identified as the main factor. An analysis of the skills required by planned conservation provides an explanation of the way intellectual capital comes into play. The author argues therefore that the concept of preventive and planned conservation should be implemented in the design of regional development projects, which encompass investments on cultural heritage properties and sites.

Dumbarton Oaks Research Library and Collection, in Washington, DC, is an institute of Harvard University dedicated to supporting scholarship internationally in Byzantine, Pre-Columbian, and Garden and Landscape Studies through fellowships, meetings, exhibitions, and publications. Located in Georgetown and bequeathed by Robert Woods Bliss and Mildred Barnes Bliss, Dumbarton Oaks welcomes scholars to consult its books, images, and objects, and the public to visit its garden, museum, and historic house for lectures and concerts.

Proceedings of a conference held at the occasion of the tenth anniversary of the commencement of the study programme Architecture of Building Construction at the Faculty of Civil Engineering (FCE), Brno University of Technology (BUT), in the year 2005. As a guarantor of the programme it was established new Institute of Architecture, ARC FCE.  140 p., Brno: Vysoké učení technické v Brně 2016. ISBN 978-80-214-5337-1.

Martin Horáček is an editor of the book, and an author of the essay called History of Architecture as a Studio Discipline? This contribution highlights the limits of commonly accepted way of teaching the“history of architecture” for the architects as a prevailingly supplementary historiographic lecture on the styles which have been relegated from the mainstream; and it ponders several arguments why an adequate knowledge of traditional architectural patterns and forms should be (again) included in the lessons of designing and consequently into the active “language” competence of architects. Generally it is desirable to have a pluralism and flexibility in architect’s expression; a number of traditional design solutions are more efficient, economical and sustainable than fashionable innovations (indisputably in urban planning); architecture as a significant part of the environment of the planet requires rather evolutionary than revolutionary innovations and comprehensive approach whose training is failing if it is not able to functionally integrate the historic know-how into the creative process.