scholarly journals SFM PHOTOGRAMMETRY AS A TOOL FOR THE CONSERVATION OF THE CULTURAL HERITAGE OF BOGOTÁ (COLOMBIA), WITHIN THE FRAMEWORK OF THE ADOPT A MONUMENT PROGRAM

2019 ◽  
Vol XLII-2/W17 ◽  
pp. 363-370
Author(s):  
L. D. Tavera ◽  
A. Páez ◽  
L. A. Rocha ◽  
L. A. Dallos ◽  
J. D. Gonzales ◽  
...  
Keyword(s):  
Cultural Heritage ◽  
Public Space ◽  
Three Dimensional ◽  
Future Generations ◽  
Public Place ◽  
The Public ◽  
The Past ◽  
Initial Expectation ◽  
Dimensional Reconstruction ◽  
The City

Abstract. As stated by the UNESCO, cultural heritage is both a product and a process that provides societies with a wealth of resources that are inherited from the past, they are currently created present and transmitted to future generations for their benefit. According to its needs each country has regulated and taken actions aimed at preserving its heritage (UNESCO,2017). In the case of the city of Bogotá, different regulations have been enacted seeking to protect and preserve the cultural heritage. Recently, the Instituto Distrital de Patrimonio Cultural (IDPC) (District Institute of Cultural Heritage), with the Secretaria de Planeación Distrital and the Instituto de Desarrollo Urbano, began developing work of an inventory and valuation of the sculptures and monuments found in the public space of Bogotá. In this context, this project seeks to contribute, from the academy, in the virtualization of the cultural heritage of the city by using the Photogrammetry SfM. For this purpose, two emblematic monuments of the city have been selected in order to reconstruct them three-dimensionally and therefore contribute to their conservation as a heritage. The chosen monuments correspond to a replica of the sculpture of San Agustín No. 28 which represents the God of War of that culture and the Rebeca, first nude located in public place in Bogota. Several images were taken from each monument, using different device and software’s. The product obtained meets the initial expectation of three-dimensional reconstruction and establishes a workflow to be applied to other monuments in the city or anywhere.

scholarly journals El Patrimonio cultural inmaterial de la Plaza Baquedano en Santiago de Chile = The Intangible Cultural Heritage of Plaza Baquedano in Santiago de Chile

2018 ◽  
pp. 74
Author(s):  
Karina Orozco Salinas
Keyword(s):  
Cultural Heritage ◽  
Public Space ◽  
El Paso ◽  
Intangible Cultural Heritage ◽  
The Public ◽  
Secondary Sources ◽  
Santiago De Chile ◽  
Open Discussion ◽  
The City ◽  
Over Time

ResumenEsta investigación parte de la necesidad de poner el foco en los espacios públicos identitarios, en los cuales la constante congregación espontánea y masiva de la ciudadanía, ha construido un patrimonio cultural inmaterial en ellos, a la hora de celebrar colectivamente en la ciudad. Desde este enfoque, se aborda el caso de la Plaza Baquedano en Santiago de Chile, mediante una metodología propia que contrarresta fuentes secundarias, principalmente periodísticas, con fuentes empíricas. Por lo que seaplican encuestas y entrevistas, con el fin de comprender el fenómeno desde el contexto urbano, social, celebración y patrimonio del lugar. Asimismo, lograr la perspectiva interna y externa del estudio de caso.Los resultados obtenidos confirman la existencia del patrimonio inmaterial y el carácter de identidad, que se ha generado con el paso del tiempo en este espacio público y, tanto la visión interna como la externa, consideran que debería ser catalogado como patrimonio cultural del país. Sin  embargo, esta mención no ha sido otorgada por alguno de los  instrumentos vinculantes en Chile. Por lo cual es una discusión abierta,ya que en la opinión de expertos consultados la complejidad de otorgar una figura de protección inmovilizaría el dinamismo que ha constituido a este lugar como tal.AbstractThis research departs from the need to focus in the public identitary spaces, in which the constant congregation spontaneous and massive of citizenship, has built an intangible cultural heritage in them, when it comes to celebrating collectively in the city. From this approach, is addressed the case of Plaza Baquedano in Santiago de Chile, through our methodology that combine secondary sources, mainly journalistic, with empirical sources. So that, surveys and interviews are applied in order to understand thephenomenon from the urban, social, celebration and heritage context’s.In addition, to achieve internal and external perspective of the case. The results collated confirm the existence of heritage and the identity character, which has been generated over time in this public space and both vision internal and external, consider that it should be cataloged as country’s cultural heritage. However, this mention has not been granted by some of the binding instruments in Chile. Therefore it is an open discussion, since in the opinion of the experts consulted the complexity of granting a protection figure would immobilize the dynamism that has built this place as such.

Humanized Design on Public Space of Underground Urban Complex of the Cold Cites

2014 ◽  
Vol 584-586 ◽  
pp. 2384-2386 ◽  
Author(s):  
Hai Ou Wang ◽  
Xin Bo Yu
Keyword(s):  
Public Space ◽  
Urban Space ◽  
Open Space ◽  
Three Dimensional ◽  
Great Influence ◽  
Space Environment ◽  
The Public ◽  
Urban Complex ◽  
Space Order ◽  
The City

The underground urban complex is developing rapidly with the three-dimensional redevelopment process of the city. The public space of the underground urban complex has been making a great influence on the urban ecology, intensive construction and sustainable development, etc. This paper emphatically expatiate the conception of the public space in the urban underground complex of the cold cities and the necessity of humanized design of the public space. It also analyze how to make a systematic and people-oriented design from several different aspects, such as plane function layout, traffic streamline organization, open space integration, indoor environment., thus establishing a complete underground space order and optimizing the urban space environment as a whole.

scholarly journals Kültürel Mirasın İzlerini Kent Müzelerinde Sürmek: Trabzon Müzeleri / Following the Traces of Cultural Heritage Through City Museums: Trabzon Museums

2018 ◽  
Vol 7 (3) ◽  
pp. 668
Author(s):  
Funda Kurak Açıcı ◽  
Zeynep Nilsun Konakoğlu
Keyword(s):  
Cultural Heritage ◽  
Social Consciousness ◽  
Future Generations ◽  
Field Surveys ◽  
Cultural Elements ◽  
The Past ◽  
The Social ◽  
History Of ◽  
The Times ◽  
The City

<p><strong>Abstract</strong></p><p>Cities have existed throughout the history as a combination and conflict of various cultures. The values of citizens are shaped by cultural accumulation that is created from the past to our times. Cultural elements cover a wide scope of fields from science in life to art. The history of the city helps the recognition of the city’s architecture, music, tradition, habits and culture and creates the identity of the city. All of these elements that form a city constitute the cultural heritage of the city. The best witnesses of cultural heritage are city museums which present cities as they are. City museums are one of archive sources that contain all the information that may be gathered about a city. Museums are significant structures that transfer the past to the future, witness all the times experienced by cities and symbolize cities. This study was form around who the structure and culture of a city is reflected by museums, which are the strongest protectors of the cultural heritage of a city. This is why this study discusses the province of Trabzon which has hosted several civilizations from the past to the present and protected its cultural heritage, as well as its city museums. Information and documents were collected in relation to the city museums in the province of Trabzon, and city museums were discussed with the method of field surveys. The city of Trabzon has been covered in the scope of the study with the city’s museums where it preserves its cultural heritage. The museum contributes to the development and strengthening of the social consciousness as well as the transfer of the city’s values, and the values we make us with great care. The purpose of the study is to reveal the extent to which city museums protect the cultural heritage of the city and transfer it to future generations.</p><p><strong>Öz</strong></p><p>Tarih boyunca kentler pek çok kültürün birleşimi ve çatışmasıyla ile var olmuştur.  Kentlilerin sahip oldukları değerler geçmişten günümüze gelen kültürel birikimlerle şekillenir. Kültürel öğeler, yaşam içinde bilimden sanata pek çok alanı kapsamaktadır. Kentin tarihi, mimarisi, müziği, gelenek ve göreneği kenti ve kentin kültürünün tanınmasına yardımcı olur ve kentin kimliğini oluşturur. Kenti meydana getiren tüm bu öğeler, kentin kültürel mirasını temsil eder. Kültürel mirasın izlerinin en iyi tanıkları, onları olduğu gibi sunan kent müzeleridir. Kent müzeleri kente dair elde edilebilecek tüm bilgileri içinde barındıran kentin en önemli arşiv kaynaklarından biridir. Müzeler, kent için geçmişi geleceğe aktaran, kentin tüm zamanlarına tanıklık eden ve kenti simgeleyen önemli yapılardır. Bir kentin kültürel mirasının en güçlü koruyucuları olan müzelerin, kentin yapısını ve kültürünü nasıl yansıttığı bu çalışmanın ana kurgusunu oluşturmaktadır. Bu nedenle geçmişten günümüze birçok medeniyete ev sahipliği yapmış olan Trabzon kenti, kültürel mirasını koruduğu kent müzeleri ile çalışma kapsamında ele alınmıştır. Kent müzeleri şehrin değerlerinin gelecek kuşaklara aktarılmasının yanı sıra, toplum bilincinin gelişip güçlenmesine de katkıda bulunmaktadır. Trabzon kentindeki tüm müzeler bizi bir çatı altında toplayan; tarihimizi, kültürümüzü, gelenek ve göreneğimizi, kısacası bizi biz yapan değerleri büyük bir titizlikle korumaktadır. Çalışmada, literatür araştırması ile kentin müzeleri ile ilgili bilgiler ve belgeler toplanmış ve yerinde gözlem yoluyla da kent müzeleri irdelenmiştir.</p>

Conclusion

2018 ◽  
Author(s):  
Samuel Llano
Keyword(s):  
Public Health ◽  
Public Space ◽  
Social Conflict ◽  
Musical Performance ◽  
The Public ◽  
Political Interests ◽  
Musical Practices ◽  
The Media ◽  
The City

As is described in this conclusion, more than the media and culture, Madrid’s public space constituted the primary arena where reactions and attitudes toward social conflict and inequalities were negotiated. Social conflict in the public space found expression through musical performance, as well as through the rise of noise that came with the expansion and modernization of the city. Through their impact on public health and morality, noise and unwelcomed musical practices contributed to the refinement of Madrid’s city code and the modernization of society. The interference of vested political interests, however, made the refining of legislation in these areas particularly difficult. Analysis of three musical practices, namely, flamenco, organilleros, and workhouse bands, has shown how difficult it was to adopt consistent policies and approaches to tackling the forms of social conflict that were associated with musical performance.

Conquering the Public Space

2018 ◽  
Author(s):  
Samuel Llano
Keyword(s):  
Public Space ◽  
Social Services ◽  
Social Groups ◽  
Public Image ◽  
Working Classes ◽  
The Public ◽  
San Bernardino ◽  
The City

This chapter presents an account of the San Bernardino band as the public facade of that workhouse. The image of children who had been picked up from the streets, disciplined, and taught to play an instrument as they marched across the city in uniform helped broadcast the message that the municipal institutions of social aid were contributing to the regeneration of society. This image contrasted with the regime of discipline and punishment inside the workhouse and thus helped to legitimize the workhouse’s public image. The privatization of social aid from the 1850s meant that the San Bernardino band engaged with a growing range of institutions and social groups and carried out an equally broad range of social services. It was thus able to serve as the extension through which Madrid’s authorities could gain greater intimacy with certain population sectors, particularly with the working classes.

scholarly journals Does the Law Determine What Heritage to Remember?

2021 ◽  
Author(s):  
Marie-Sophie de Clippele
Keyword(s):  
Cultural Identity ◽  
Cultural Heritage ◽  
State Intervention ◽  
Historical Knowledge ◽  
Human Right ◽  
Political Will ◽  
The Public ◽  
The Past ◽  
The Law ◽  
Ideological Manipulation

AbstractCultural heritage can offer tangible and intangible traces of the past. A past that shapes cultural identity, but also a past from which one sometimes wishes to detach oneself and which nevertheless needs to be remembered, even commemorated. These themes of memory, history and oblivion are examined by the philosopher Paul Ricoeur in his work La mémoire, l’histoire, l’oubli (2000). Inspired by these ideas, this paper analyses how they are closely linked to cultural heritage. Heritage serves as a support for memory, even if it can be mishandled, which in turn can affect heritage policies. Memory and heritage can be abused as a result of wounds from the past or for reasons of ideological manipulation or because of a political will to force people to remember. Furthermore, heritage, as a vehicule of memory, contributes to historical knowledge, but can remain marked by a certain form of subjectivism during the heritage and conservation operation, for which heritage professionals (representatives of the public authority or other experts) are responsible. Yet, the responsibility for conserving cultural heritage also implies the need to avoid any loss of heritage, and to fight against oblivion. Nonetheless, this struggle cannot become totalitarian, nor can it deprive the community of a sometimes salutary oblivion to its own identity construction. These theoretical and philosophical concepts shall be examined in the light of legal discourse, and in particular in Belgian legislation regarding cultural heritage. It is clear that the shift from monument to heritage broadens the legal scope and consequently raises the question of who gets to decide what is considered heritage according to the law, and whether there is something such as a collective human right to cultural heritage. Nonetheless, this broadening of the legislation extends the State intervention into cultural heritage, which in turn entails certain risks, as will be analysed with Belgium’s colonial heritage.

scholarly journals Activating Data through Eco-Didactic Design in the Public Realm: Enabling Sustainable Development in Cities

2021 ◽  
Vol 13 (8) ◽  
pp. 4577
Author(s):  
Carmela Cucuzzella ◽  
Morteza Hazbei ◽  
Sherif Goubran
Keyword(s):  
Sustainable Development ◽  
Public Space ◽  
Knowledge Exchange ◽  
Public Spaces ◽  
Public Realm ◽  
Design Data ◽  
Art And Design ◽  
The Public ◽  
Community Based Design ◽  
The City

This paper explores how design in the public realm can integrate city data to help disseminate the information embedded within it and provide urban opportunities for knowledge exchange. The hypothesis is that such art and design practices in public spaces, as places of knowledge exchange, may enable more sustainable communities and cities through the visualization of data. To achieve this, we developed a methodology to compare various design approaches for integrating three main elements in public-space design projects: city data, specific issues of sustainability, and varying methods for activating the data. To test this methodology, we applied it to a pedogeological project where students were required to render city data visible. We analyze the proposals presented by the young designers to understand their approaches to design, data, and education. We study how they “educate” and “dialogue” with the community about sustainable issues. Specifically, the research attempts to answer the following questions: (1) How can we use data in the design of public spaces as a means for sustainability knowledge exchange in the city? (2) How can community-based design contribute to innovative data collection and dissemination for advancing sustainability in the city? (3) What are the overlaps between the projects’ intended impacts and the 17 United Nations Sustainable Development Goals (SDGs)? Our findings suggest that there is a need for such creative practices, as they make information available to the community, using unconventional methods. Furthermore, more research is needed to better understand the short- and long-term outcomes of these works in the public realm.

scholarly journals An “Animated Spatial Time Machine” in Co-Creation: Reconstructing History Using Gamification Integrated into 3D City Modelling, 4D Web and Transmedia Storytelling

2021 ◽  
Vol 10 (7) ◽  
pp. 460
Author(s):  
Mario Matthys ◽  
Laure De Cock ◽  
John Vermaut ◽  
Nico Van de Weghe ◽  
Philippe De Maeyer
Keyword(s):  
Public Space ◽  
Low Cost ◽  
Three Dimensional ◽  
Physical Situation ◽  
Time Machine ◽  
Transmedia Storytelling ◽  
Spatial Reconstruction ◽  
3D Software ◽  
The City ◽  
City Models

More and more digital 3D city models might evolve into spatiotemporal instruments with time as the 4th dimension. For digitizing the current situation, 3D scanning and photography are suitable tools. The spatial future could be integrated using 3D drawings by public space designers and architects. The digital spatial reconstruction of lost historical environments is more complex, expensive and rarely done. Three-dimensional co-creative digital drawing with citizens’ collaboration could be a solution. In 2016, the City of Ghent (Belgium) launched the “3D city game Ghent” project with time as one of the topics, focusing on the reconstruction of disappeared environments. Ghent inhabitants modelled in open-source 3D software and added animated 3D gamification and Transmedia Storytelling, resulting in a 4D web environment and VR/AR/XR applications. This study analyses this low-cost interdisciplinary 3D co-creative process and offers a framework to enable other cities and municipalities to realise a parallel virtual universe (an animated digital twin bringing the past to life). The result of this co-creation is the start of an “Animated Spatial Time Machine” (AniSTMa), a term that was, to the best of our knowledge, never used before. This research ultimately introduces a conceptual 4D space–time diagram with a relation between the current physical situation and a growing number of 3D animated models over time.

scholarly journals The Study of Three-Dimensional Fingerprint Recognition in Cultural Heritage

2021 ◽  
Vol 14 (4) ◽  
pp. 1-20
Author(s):  
Dzemila Sero ◽  
Isabelle Garachon ◽  
Erma Hermens ◽  
Robert Van Liere ◽  
Kees Joost Batenburg
Keyword(s):  
Image Processing ◽  
Cultural Heritage ◽  
Three Dimensional ◽  
Fingerprint Recognition ◽  
Person Identification ◽  
Imaging Technologies ◽  
The Past ◽  
Reconstruction Methods ◽  
Cultural Systems ◽  
Digital Fingerprint

Fingerprints play a central role in any field where person identification is required. In forensics and biometrics, three-dimensional fingerprint-based imaging technologies, and corresponding recognition methods, have been vastly investigated. In cultural heritage, preliminary studies provide evidence that the three-dimensional impressions left on objects from the past (ancient fingerprints) are of paramount relevance to understand the socio-cultural systems of former societies, to possibly identify a single producer of multiple potteries, and to authenticate the artist of a sculpture. These findings suggest that the study of ancient fingerprints can be further investigated and open new avenues of research. However, the potential for capturing and analyzing ancient fingerprints is still largely unexplored in the context of cultural heritage research. In fact, most of the existing studies have focused on plane fingerprint representations and commercial software for image processing. Our aim is to outline the opportunities and challenges of digital fingerprint recognition in answering a range of questions in cultural heritage research. Therefore, we summarize the fingerprint-based imaging technologies, reconstruction methods, and analyses used in biometrics that could be beneficial to the study of ancient fingerprints in cultural heritage. In addition, we analyze the works conducted on ancient fingerprints from potteries and ceramic/fired clay sculptures. We conclude with a discussion on the open challenges and future works that could initiate novel strategies for ancient fingerprint acquisition, digitization, and processing within the cultural heritage community.

Mocking Parades and the Place of Pagan Statuary in Late Antique Alexandria

2020 ◽  
Vol 24 (2) ◽  
pp. 270-288
Author(s):  
Jonathan Stutz
Keyword(s):  
Public Space ◽  
Urban Space ◽  
Religious Communities ◽  
Late Antique ◽  
Mob Violence ◽  
Visual Contact ◽  
The Public ◽  
Sacred Objects ◽  
The One ◽  
The City

AbstractWith the present paper I would like to discuss a particular form of procession which we may term mocking parades, a collective ritual aimed at ridiculing cultic objects from competing religious communities. The cases presented here are contextualized within incidents of pagan/Christian violence in Alexandria between the 4th and 5th centuries, entailing in one case the destruction of the Serapeum and in another the pillaging of the Isis shrine at Menouthis on the outskirts of Alexandria. As the literary accounts on these events suggest, such collective forms of mockery played an important role in the context of mob violence in general and of violence against sacred objects in particular. However, while historiographical and hagiographical sources from the period suggest that pagan statues underwent systematic destruction and mutilation, we can infer from the archaeological evidence a vast range of uses and re-adaptation of pagan statuary in the urban space, assuming among other functions that of decorating public spaces. I would like to build on the thesis that the parading of sacred images played a prominent role in the discourse on the value of pagan statuary in the public space. On the one hand, the statues carried through the streets became themselves objects of mockery and violence, involving the population of the city in a collective ritual of exorcism. On the other hand, the images paraded in the mocking parades could also become a means through which the urban space could become subject to new interpretations. Entering in visual contact with the still visible vestiges of the pagan past, with the temples and the statuary of the city, the “image of the city” became affected itself by the images paraded through the streets, as though to remind the inhabitants that the still-visible elements of Alexandria’s pagan topography now stood as defeated witnesses to Christianity’s victory.

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