Heritage for Global Challenges

Total Page:16

File Type:pdf, Size:1020Kb

Heritage for Global Challenges February 2021i Heritage for Global Challenges A Research Report by PRAXIS: Arts and Humanities for Global Development PRAXIS focuses on Arts and Humanities research across the Global Challenges Research Fund (GCRF) and Newton Fund portfolio. Specifically, its aims are to consolidate learning across research projects funded by the Arts and Humanities Research Council (AHRC), to amplify their impact and policy relevance, and to champion the distinctive contribution that Arts and Humanities research can make to tackling urgent development challenges. With the patronage of the: With thanks to our funders: United Kingdom National Commission for UNESCO 2 United Nations Educational, Scientific and Cultural Organization © PRAXIS: Arts and Humanities for Global Development 2021 University of Leeds Foreword Leeds LS2 9JT United Kingdom In the past few years the Arts and Humanities Research Council (AHRC) Tel. +44 (0)113 343 1846 has recognised the value and importance of heritage research for global Email: [email protected], [email protected], [email protected] challenges and placed heritage at the forefront of its global research strategy. Heritage research is an exciting, innovative, and highly collaborative field #PRAXIS that crosses multiple disciplines. It draws on knowledge and expertise from @Changing_Story_ across the arts and humanities as well as connecting with developments in changingthestory.leeds.ac.uk/praxis science, technology, and practice, leading to significant wider impacts and benefits both within the heritage sector and beyond. This places heritage research in a vital role for Author: contributing to global development challenges, which is the focus of this timely report. Francesca Giliberto, Post-Doctoral Research Fellow on Heritage for Global Challenges at PRAXIS The report provides a deep dive into AHRC’s portfolio of nearly 100 heritage-based PRAXIS Research and Editorial Team: Global Challenges Research Fund (GCRF) and Newton Fund projects, providing analysis Stuart Taberner (Principal Investigator), Paul Cooke (Co-Investigator), Esther Dusabe-Richards of how heritage research has, through a range of approaches and through increasing (Post-Doctoral Research Fellow), Deena Dajani (Post-Doctoral Research Fellow), Lauren Wray collaboration between researchers across high and low income contexts, addressed (Project Officer) and Keya Khandaker (Research Assistant) complex development challenges in areas including, among others, poverty alleviation, disaster response and resilience, adaptation to climate change, gender equality, and Acknowledgements: balancing heritage conservation and development. We would like to thank all the academics, practitioners and organisations who have contributed to this report for their invaluable contributions and inputs. A special thanks to the AHRC for their The report reflects AHRC’s broad view of cultural heritage, incorporating, for example, support throughout. the tangible, intangible, digital, intellectual, artistic, and the connections between them. Using a case study approach, the report provides a series of snapshots that highlight Graphic Design and Infographics: not only the value and importance of heritage research for global challenges but also Buttercrumble Limited the wide range of methods, approaches, and innovations that projects have employed. Finally, the report highlights some important lessons as well as future challenges for the Funding: field of heritage and for AHRC’s strategic leadership in this area. While work remains This publication was supported by the UK Arts and Humanities Research Council. to be done, this report recognises the role of heritage research at the heart of global transformation and development and therefore as remaining integral to AHRC’s global Recommended citation: research agenda. Giliberto F. (2021). Heritage for Global Challenges. A Research Report by PRAXIS: Arts and Humanities for Global Development. Leeds: University of Leeds. — Professor Edward Harcourt, Director of Research, Strategy and Innovation, Arts and Humanities Research Council 1 2 The report Heritage for Global Challenges is essential reading for included in Heritage for Global Challenges provide an important repository of evidence researchers, policy makers, and practitioners to help understand the to strengthen the case for the role of cultural heritage in achieving progress towards ongoing contribution of heritage towards the achievement of the 17 these aims and the ‘Global Goals’. Sustainable Development Goals (SDGs) or ‘Global Goals’. — James Ömer Bridge, Secretary-General of the UK National Commission for UNESCO is the only United Nations agency with a mandate for culture UNESCO and was instrumental in ensuring that the vital role of culture in achieving sustainable development was formally recognised in the international development agenda. Notably, the Heritage for Global Challenges report and its recommendations significantly build on the point made in the UK National Commission for UNESCO report, Cultural Heritage Innovation – Opportunities for International Development; that the role of cultural heritage is not fully recognised in the SDGs and associated targets. The Heritage for Global Challenges report goes some way to addressing this gap by making connections between a wide range of cultural heritage research projects that seek to address multiple SDG targets. In 2021, we are within the ten-year Decade of Action to deliver the SDGs by 2030. Since the SDGs were agreed, change is accelerating, not only due to the impact of COVID-19, but also as a result of challenges such as national and regional conflicts and threats to democracy from growing populism and nationalism, disinformation and the growth of social media and surveillance via information technology and artificial intelligence. These multi-layered threats bring with them specific threats for cultural heritage including the destruction of heritage sites and increasing disconnection between local communities and their heritage. UN Secretary-General, António Guterres, reflecting on the causes and uneven impacts of the COVID-19 crisis in the most recent UN SDG report, emphasises how the pandemic reinforces the significance of agreements such as the 2030 Agenda, the Paris Agreement on Climate Change, and the Addis Ababa Action Agenda and strengthens the case for internationally coordinated responses guided by the SDGs. Understanding and valuing heritage is integral to achieving the aims of these agreements and to building more equal, inclusive, and sustainable economies and societies. The analysis and recommendations 3 4 Table of Contents Foreword 2 Chapter 2. Challenge-Led Research Case Studies 158 Acronyms and Abbreviations 12 Case Study 1. A Level Playing Field? The Practice and Representation of Women’s and Girls’ Football in South America (ref. 1) 161 Executive Summary 14 Case Study 2. After the Earth’s Violent Sway: The Tangible and Intangible Legacies of a Natural Disaster (ref. 3) 167 Introduction 18 Case Study 3. Building Resilience, Wellbeing, and Cohesion in Displaced Societies Using Digital Heritage: The BReaThe project (ref. 5) 173 Heritage, Global Challenges, and Sustainable Development 18 Case Study 4. ‘Disaster Passed’. Resilient Caribbean Futures Via PRAXIS: Arts and Humanities for Global Development 21 Shared Knowledge of Recent Disaster (ref. 24) 179 Research Design and Methodology 24 Case Study 5. Enduring Connections (ref. 28) 185 Case Study 6. Indigenous Food Systems, Biocultural Heritage, and Chapter 1. Heritage Research, Global Agricultural Resilience (ref. 45) 191 Challenges, and Sustainable Development: A Case Study 7. Learning from the Past: Nubian Traditional Knowledge Thematic Analysis 30 and Agricultural Resilience, Crop Choices, and Endangered Cultural Heritage (ref. 51) 195 Inclusive and Sustainable Cities 40 Case Study 8. Popular Performance for New Urban Audiences: Digitalisation, Innovation, and Technology 52 Reconnecting M50 Creative Cluster with Shanghai All-Female Yue Opera (ref. 61) 201 Poverty Alleviation and Sustainable Socio-Economic Development 64 Case Study 9. Rising from the Depths: Utilising Marine Cultural Food Security and Sustainable Agriculture 78 Heritage in East Africa to Help Develop Sustainable Social, Economic, Global Health and Well-Being 86 and Cultural Benefits (ref. 69) 205 Sustainable Management of Landscapes, Ecosystems, and Biodiversity 94 Case Study 10. Sustainable Solutions towards Heritage Preservation Adaptation to Climate and Environmental Change 102 in the Asyut region, Egypt (ref. 73) 213 Disaster Response and Resilience 112 Case Study 11. Widening Participation and Increasing Access to Human Rights, Inequality Reduction, and Minorities’ Inclusion 120 Cultural Heritage and Natural Science Activities in Georgia (ref. 86) 219 Gender Equality 130 Inclusive, Equitable, and Quality Education 138 Chapter 3. Successful Practices and Lessons Learnt 224 Balancing Heritage Conservation and Development 148 Heritage Research, Global Challenges, and the SDGs 154 Creative and Artistic Methods and Outputs 224 Interdisciplinary approaches 227 5 6 Cultural and Place Sensitivity 233 List of Spotlights Inclusive and Participatory Research 235 Dissemination and Raising Awareness 240 Focus 1. List of UN Sustainable Development Goals (SDGs) 20 Capacity Strengthening and Empowerment 242 Focus 2. Global Challenges Research Fund (GCRF) and Newton Fund 22 Collaboration, Networks, and Equitable Partnerships 246 Focus 3. The Historic City
Recommended publications
  • General Introduction to Odishan Temple Architecture
    Odisha Review May - 2012 General introduction to Odishan Temple Architecture Anjaliprava Sahoo INTRODUCTION Sastras recognize three main styles of temple architecture known as the Nagara, the Dravida Temple is a ‘Place of Worship’. It is also called 1 the ‘House of God’. Stella Kramrisch has defined and the Vesara. temple as ‘Monument of Manifestation’ in her NAGARA TEMPLE STYLE book ‘The Hindu Temple’. The temple is one of Nagara types of temples are the typical the prominent and enduring symbols of Indian Northern Indian temples with curvilinear sikhara- culture: it is the most graphic expression of religious spire topped by amlakasila.2 This style was fervour, metaphysical values and aesthetic developed during A.D. 5th century. The Nagara aspiration. style is characterized by a beehive-shaped and The idea of temple originated centuries multi-layered tower, called ‘Sikhara’. The layers ago in the universal ancient conception of God in of this tower are topped by a large round cushion- a human form, which required a habitation, a like element called ‘amlaka’. The plan is based shelter and this requirement resulted in a structural on a square but the walls are sometimes so shrine. India’s temple architecture is developed segmented, that the tower appears circular in from the Sthapati’s and Silpi’s creativity. A small shape. Advancement in the architecture is found Hindu temple consists of an inner sanctum, the in temples belonging to later periods, in which the Garbha Griha or womb chamber; a small square central shaft is surrounded by many smaller room with completely plain walls having a single narrow doorway in the front, inside which the image is housed and other chambers which are varied from region to region according to the needs of the rituals.
    [Show full text]
  • FOR B.ARCH - BACHELOR of ARCHITECTURE (FIVE YEAR - FULL TIME) REGULATION – 2016 -I (Applicable to the Students Admitted from the Academic Year 2015 -2016)
    DEPARTMENT OF ARCHITECTURE MINUTES of BOARD OF STUDIES CURRICULUM & SYLLABUS (I - X Semester) For B.Arch (Bachelor of Architecture) (Based on Outcome Based Education) REGULATION– 2016 R-I REGULATIONS – 2015 (Revision 1) TABLE OF CONTENTS S.No Contents P.No 1. Institute Vision and Mission 1 2. Department Vision and Mission 2 3. Members of Board of studies 3 4. Department Vision and Mission Definition Process 5 5. Programme Educational Objectives (PEO) 6 6. PEO Process Establishment 7 7. Mapping of Institute Mission to PEO 8 8. Mapping of Department Mission to PEO 9 9. Programme Outcome (PO) 10 10. PO Process Establishment 11 11 Correlation between the POs and the PEOs 12 12 Curriculum development process 13 13. Faculty allotted for course development 14 14 Pre-requisite Course Chart 18 15 B. Arch – Curriculum 19 16 B. Arch – Syllabus 27 17 Overall course mapping with POS 145 Ninth Board Of Studies ii Dated:07/04/2016 PERIYAR MANIAMMAI UNIVERSITY Our University is committed to the following Vision, Mission and core values, which guide us in carrying out our Architecture Department mission and realizing our vision: INSTITUTION VISION To be a University of global dynamism with excellence in knowledge and innovation ensuring social responsibility for creating an egalitarian society. INSTITUTION MISSION UM1 Offering well balanced programmes with scholarly faculty and state-of-art facilities to impart high level of knowledge. UM2 Providing student - centered education and foster their growth in critical thinking, creativity, entrepreneurship, problem solving and collaborative work. UM3 Involving progressive and meaningful research with concern for sustainable development.
    [Show full text]
  • Common Elements of Dravidian Temple Architecture–A Study
    IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347–4564; ISSN (E): 2321–8878 Vol. 7, Issue 2, Feb 2019, 583–588 © Impact Journals COMMON ELEMENTS OF DRAVIDIAN TEMPLE ARCHITECTURE–A STUDY D. Gandhimathi & K. Arul Mary Research Scholar, Department of History, PSGR Krishnammal College for Women, Coimbatore, Tamil Nadu, India Research Scholar, Department of History, PSGR Krishnammal College for Women, Coimbatore, Tamil Nadu, India Received: 17 Feb 2019 Accepted: 21 Feb2019 Published: 28 Feb 2019 ABSTRACT The South Indian temple architecture is known as Dravidian architecture. The South Indian temple has many architectural features. This article will explain the common elements of the Shivan temples in Tamilnadu. KEYWORDS: South Indian Temple, Dravidian Architecture, Architecture, Kongu Region INTRODUCTION Hindu temple architecture as the fundamental type of Hindu architecture has numerous assortments of style, however the fundamental idea of the Hindu sanctuary continues as before, with the basic element an internal sanctum, the garbha griha or belly chamber, where the essential Murti or the picture of a god is housed in a straightforward uncovered cell. On the outside, the garbhagriha is delegated by a pinnacle like shikhara, additionally called the vimana in the south. The place of worship assembling frequently incorporates a walking for parikrama (circumambulation), a mandapa gathering lobby, and at times an antarala waiting room and yard among garbhagriha and mandapa. There may promote mandapas or different structures, associated or disconnected, in enormous sanctuaries, together with other little sanctuaries in the compound. These terminologies are common across all temples built in Dravidian architecture and not specific to Shiva temples in Tamil Nadu.
    [Show full text]
  • Socio-Cultural Influence in Built Forms of Kerala
    International Journal for Social Studies Volume 01 Issue 01 Available at November 2015 http://edupediapublications.org/journals/index.php/IJSS Socio‐Cultural Influence in Built Forms of Kerala Akshay S Kumar Research Scholar, NIT Calicut, Kerala ABSTRACT kinds of influences, including Brahmanism, contributed to the cultural diffusion and Similarities in climate, it is natural that the architectural tradition. More homogeneous environmental characteristics of Kerala are artistic development may have rigorously more comparable with those of Southeast occurred around the 8th century as a result of Asia than with the rest of the Indian large-scale colonization by the Vedic subcontinent. Premodern architecture in (Sea Brahmans, which caused the decline of of Bengal) must have shared common Jainism and Buddhism. traditions with Southeast Asian architecture, which is wet tropical architecture. Because the Western Ghats isolated Kerala INTRODUCTION from the rest of the subcontinent, the infusion of Aryan culture into Kerala. It came only Kerala architecture is a kind of after Kerala had already developed an architectural style that is mostly found in independent culture, which can be as early as Indian state of Kerala and all the 1000 B.C. (Logan 1887). The Aryan architectural wonders of kerala stands out to immigration is believed to have started be ultimate testmonials for the ancient towards the end of the first millennium. vishwakarma sthapathis of kerala. Kerala's Christianity reached Kerala around 52 A.D. style of architecture is unique in India, in its through the apostle Thomas. The Jews in striking contrast to Dravidian architecture Kerala were once an affluent trading which is normally practiced in other parts of community on the Malabar.
    [Show full text]
  • 'Indian Architecture' and the Production of a Postcolonial
    ‘Indian Architecture’ and the Production of a Postcolonial Discourse: A Study of Architecture + Design (1984-1992) Shaji K. Panicker B. Arch (Baroda, India), M. Arch (Newcastle, Australia) A Thesis Submitted to the University of Adelaide in fulfilment of the Requirements for the Degree of Doctor of Philosophy School of Architecture, Landscape Architecture and Urban Design Centre for Asian and Middle Eastern Architecture 2008 Table of Contents Abstract ............................................................................................................................................................................................iv Declaration ............................................................................................................................................................................................vi Acknowledgements..........................................................................................................................................................................vii List of Figures ........................................................................................................................................................................................ ix 1 Introduction ........................................................................................... 1 1.1: Overview..................................................................................................................................................................1 1.2: Background...........................................................................................................................................................2
    [Show full text]
  • Assessing the Form of a Kerala Temple Gopuram Through Material and Construction
    Cities’ Identity Through Architecture and Arts – Catalani et al. (Eds) © 2018 Taylor & Francis Group, London, ISBN 978-1-138-05409-7 Entrance gateway of Kerala temples: Assessing the form of a Kerala temple gopuram through material and construction M. Yamuna Vijayan MARG Institute of Design and Architecture, Swarnabhoomi, Tamil Nadu, India ABSTRACT: Every style of building construction reflects a clearly distinctive principle that represents a particular culture and era. In India, the temple and its associated structures evolved with time and the most identifiable difference is in their structure. Specifically in Kerala, a southern state of India, temple architecture is different from that in neighbour- ing states due to the obvious reason of its geography and various other factors. Gopurams (entrance gateways) are the principal structure of any temple complex. This led to the inves- tigation of the difference in the form of a gopuram in terms of its material and construction. The topic demands a literature study of Dravidian and Kerala gopurams, followed by case studies of different types to support the investigation. In this research, the major reason behind the differences was found to lie in the geography of the state, which itself can be cat- egorised into three different regions within the state such as Malabar, Kochi and Travancore. In addition, an analysis is done on the proportions of the gopurams. This is done by taking into account the dimensions of the temple as well as the structural elements of the gopuram. The conclusion summarises the principles of planning, differences in form, and the scope for future studies.
    [Show full text]
  • A Review Study on Architecture of Hindu Temple ______Prathamesh Gurme1,Prof
    INTERNATIONAL JOURNAL FOR RESEARCH & DEVELOPMENT IN Volume-8,Issue-4,(Oct-17) TECHNOLOGY ISSN (O) :- 2349-3585 A REVIEW STUDY ON ARCHITECTURE OF HINDU TEMPLE __________________________________________________________________________________________ PRATHAMESH GURME1,PROF. UDAY PATIL2 1UG SCHOLAR,2HEAD OF DEPARTMENT, DEPARTMENT OF CIVIL ENGINEERINGBHARATI VIDHYAPEETH'S COLLEGE OF ENGINEERING , LAVALE , PUNE , INDIA ABSTRACT : Hinduism is the predominant religion of the and even the traditional arts make their appearances in Indian subcontinent. Dating back to the Iron Age , it is often many sculptures of Hindu origin. Sculpture is inextricably called the oldest living religion in the world. Hinduism has linked with architecture in Hindu temples, which are usually no single founder and is a conglomeration of diverse devoted to a number of different deities. The Hindu temple traditions and philosophies rather than a rigid set of beliefs. style reflects a synthesis of arts, the ideals of dharma , Most Hindus believe in a single supreme God who appears beliefs, values , and the way of life cherished under in many different manifestations as devas (celestial beings or Hinduism. Elaborately ornamented with sculpture deities), and they may worship specific devas as individual throughout, these temples are a network of art, pillars with facets of the same God. Hindu art reflects this plurality of carvings, and statues that display and celebrate the four beliefs, and Hindu temples, in which architecture and important and necessary principles of human life under sculpture are inextricably connected, are usually devoted to Hinduism—the pursuit of artha (prosperity, wealth), the different deities. Deities commonly worshiped include Shiva pursuit of kama (pleasure, sex), the pursuit of dharma the Destroyer; Vishnu in his incarnations as Rama and (virtues, ethical life), and the pursuit of moksha (release, Krishna; Ganesha, the elephant god of prosperity; and self-knowledge).
    [Show full text]
  • Review of Research Impact Factor : 5.2331 (Uif) Ugc Approved Journal No
    Review Of ReseaRch impact factOR : 5.2331 (Uif) UGc appROved JOURnal nO. 48514 issn: 2249-894X vOlUme - 7 | issUe - 7 | apRil - 2018 __________________________________________________________________________________________________________________________ RECENT PERSPECTIVE ON KARNATAKA ART HISTORY Nagappa P. Koti Asst. Professor , Dept of History , Shri Jagadamba First Grade Art’s And Science College Hittinahalli, LT.Vijayapura . ABSTRACT The southern state of Karnataka, in India, has a distinct art and culture. The diverse linguistic and religious ethnicity that are local to territory of Karnataka joined with their long chronicles have contributed massively to the differed social legacy of the state. Aside from Kannadigas, Karnataka is home to Tuluvas, Kodavas and Konkanis who likewise think about themselves as Kannadigas. Minor populaces of Tibetan Buddhists and Siddhi clans in addition to a couple of other ethnic gatherings additionally live in Karnataka. The customary society expressions cover the whole array of music, move, dramatization, narrating by vagrant troupes, and so forth. Yakshagana, an established society play, is one of the significant showy types of seaside Karnataka. Contemporary venue culture in Karnataka is a standout amongst the most energetic in India with associations like Ninasam, Ranga Shankara and Rangayana dynamic on establishments set around the Gubbi Veeranna Nataka Company. Veeragase, Kamsale and Dollu Kunitha are popular dance forms. Bharatanatya also enjoys wide patronage in Karnataka. KEY WORDS: distinct art and culture , Tibetan Buddhists and Siddhi clans. INTRODUCTION: The antiquity of Architecture of Karnataka (Kannada: ಕಾಟಕ ಾಸುಲ) can be traced to its southern Neolithic and early Iron Age, Having witnessed the architectural ideological and utilitarian transformation from shelter- ritual- religion. Here the nomenclature ‘Architecture’ is as old as c.2000 B.C.E.
    [Show full text]
  • B.Arch – Course Structure
    1 | P a g e B . A r c h – C o u r s e S t r u c t u r e BACHELOR OF ARCHITECTURE Course Structure & Syllabus (Effective from A.Y 2015-16) As approved by BOS Meeting held on 11.04.2015 4th Academic Council held on 25.04.2015 Special General Meeting held on 25.04.2015 And Amendments made in 5 th Academic Council held on 28.12.2015 2 | P a g e B . A r c h – C o u r s e S t r u c t u r e Amendments made in 5 th Academic Council held on 28.12.2015 : The mode of End Evaluation of the following subjects of Semester I & II are changed from written exam to Jury (from EE to EJ). 1. Model Making Workshop – I – 10110103 (Sem I) 2. Landforms Survey & Analysis – 10110104 (Sem I) 3. Model Making Workshop – II – 10110203 (Sem II) Hence the end examination of these subjects are to be considered as EJ where ever applicable in the Course Structure and Detailed Syllabus. 3 | Page B.Arch – Course Structure FIRST SEMESTER Distribution of Periods Sl. Subject Distribution of Marks Subject Title per week Credits No. Code IA EE EJ TM L S TP 1 10110101 Fundamental Architecture Studio - I 200 -- 200 400 3 6 9 6 2 10110102 Visual Representation 50 50* -- 100 2 3 5 4 3 10110103 Model Making Workshop - I 50 50 -- 100 -- 3 3 2 4 10110104 Landforms Survey & Analysis 50 50 -- 100 1 3 4 3 5 10110105 Applied Mathematics 50 50 -- 100 2 -- 2 2 6 10110106 Building Materials and Construction-I 50 50 -- 100 2 3 5 4 7 10110107 Environmental Sciences 50 50 -- 100 4 -- 4 4 8 10110108 Guided Study 100 -- -- 100 -- -- -- 3 9 10110109 Attendance 100 -- -- 100 -- -- -- 2 TOTAL 700 300 200 1200 14 18 32 30 * Viva-Voce IA Internal Assessment EE End Examination EJ External Jury TM Total Marks L Lecture Periods S Studio/Lab/Practicals/Workshop Periods T Tutorial Periods TP Total Periods School of Planning and Architecture : Vijayawada 4 | Page B.Arch – Course Structure SECOND SEMESTER Distribution of Periods Sl.
    [Show full text]
  • B. Arch. (Bachelor of Architecture)
    SCHOOL OF PLANNING, ARCHITECTURE AND DESIGN EXCELLENCE CURRICULUM AND SYLLABUS Under CBCS (Applicable for Students admitted from Academic Year 2018-19) B. Arch. (Bachelor of Architecture) SCHOOL OF PLANNING, ARCHITECTURE & DESIGN EXCELLENCE CURRICULUM AND SYLLABUS B.Arch – ARCHITECTURE Vision & Mission of the University Motto: To make every man a Success and no man a Failure. Vision: To be an International Institute of Excellence, providing a conducive environment for education with a strong emphasis on innovation, quality, research and strategic partnership blended with values and commitment to society. Mission: The Mission of the Institute is To create an ecosystem that promotes learning and world class research, to nurture creativity and innovation. To instill highest ethical standards and values. To pursue activities for the development of Society. To develop national and International collaborations with institutes and industries of eminence. To enable graduates to become future leaders and innovators. Vision and Mission of the School of Architecture Vision: To facilitate the creation of built environment by adopting holistic approaches to promote sustainable development in Architecture & Planning. Mission: . To qualify students to address concerns of the 21st century and making them globally competent. To empower students by imparting Architecture and Planning knowledge in diverse areas with social commitment. To enable them to handle the complexities of modern requirements and encouraging exploration, innovation and creative
    [Show full text]
  • Sharing Conservation Decisions: Current Issues and Future Strategies Edited by Alison Heritage & Jennifer Copithorne
    SHARING CONSERVATION DECISIONS 3 Sharing Conservation Decisions Current Issues and Future Strategies Edited by Alison Heritage & Jennifer Copithorne Published by the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM), Via di San Michele 13, 00153 Rome, Italy. © 2018 ICCROM ISBN 978-92-9077-271-2 This publication is available in Open Access under the Attribution Share Alike 3.0 IGO (CCBY-SA 3.0 IGO) license (http://creativecommons.org/licenses/by-sa/3.0/igo/). By using the content of this publication, the users accept to be bound by the terms of use of the future ICCROM Open Access Repository. The designations employed and the presentation of material throughout this publication do not imply the expression of any opinion whatsoever on the part of ICCROM concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. The ideas and opinions expressed in this publication are those of the authors; they are not necessarily those of ICCROM and do not commit the Organization. Sharing Conservation Decisions: Current Issues and Future Strategies Edited by Alison Heritage & Jennifer Copithorne Cover artwork: Karen Abend Typesetting: Datapage International Limited Coordination: Catherine Antomarchi, Jennifer Copithorne, Isabelle De Brisis, Alison Heritage & Isabelle Verger Table of Contents Foreword vii Preface ix Current Issues and Future Strategies in Sharing Conservation Decisions. Findings of the ICCROM Seminar held in Rome, 4–8 July 2011 1 Alison Heritage 1. Expanding Concepts of Cultural Heritage Conservation and Management of Archaeological Heritage Resources 15 Webber Ndoro Digital Culture: Here to Stay 27 Ann Seibert Asking Specific Questions in order to Share Appropriate Responses for the Conservation of Contemporary Art 35 Arianne Vanrell Vellosillo Living Heritage 43 Gamini Wijesuriya ‘Living Heritage’ as a part of Japanese Painting Conservation: the Role of ‘Selected Traditional Conservation Techniques’ 57 Yasuhiro Oka 2.
    [Show full text]
  • I Sem B.Arch. (Cbcs - 2015 Scheme) - Detailed Syllabus
    I SEM B.ARCH. (CBCS - 2015 SCHEME) - DETAILED SYLLABUS 15 ARC 1.1 – ARCHITECTURAL DESIGN -I CONTACT PERIODS : 8 (Studio) per week PROGRESSIVE MARKS : 100 TERM WORK MARKS : 200 OBJECTIVES: To develop the ability to translate abstract principles of design into architectural solutions for simple problems OUTLILNE: What architectural education entails? What being an architect involves? and Architecture’s connection with other forms of knowledge: Science, Mathematics, Philosophy, Religion, etc. Local stories on architecture. Listing of important local buildings and explain why they are important. Listing and Drawing silhouettes of favourite buildings or places. Observing the built environment around and experiencing enclosures (field trips) Learning basics of architectural representation. Measured drawing exercise of familiar objects & spaces- a table (object), a classroom and a staircase (static/transition spaces), pavilion, open/ enclosed spaces etc. Collection and documentation of all building materials within 5 km radius. Introduction to basic development of forms: additive form, deductive form, rhythm, contrast, balance and symmetry. Concepts of volume and scale, width to height ratio. Study models to explore the design principles. Multiple sectional drawings of study models Introduction to anthropometry; relationship of architecture with human body. Introduction to furniture; relationship of objects with human body. Portfolio of study and design through drawing/representation. Human functions and their implications for space requirements. Minimum and optimum areas for mono functions. User’s data, movement and circulation diagrams. Spatial interpretations – various activities and their relationship with spaces. Design of functional furniture layout, circulation, lighting and ventilation for spaces such as living/dining, bedrooms, Architect’s office, Doctor’s clinic etc,.
    [Show full text]