Critical Architectural Heritage: Constructing heritage with(out) the Wanganui Native Land Court Building

<p>Critical heritage is a theory and practice where heritage is defined as the active engagement of the past in the present. In critical heritage, building, sites, and places are not objects of heritage in themselves but are cultural tools that facilitate the performance of heritage. If heritage, particularly architectural heritage, is not considered to be a tangible object or building, then the discipline is opened to a wide variety of differing groups and identities, some of whom are currently disadvantaged by conventional practices of heritage. This thesis examines how the arguments of architectural heritage were performed in a case study of New Zealand heritage practice: the 2013 Environment Court hearing regarding the Wanganui Native Land Court Building. A quantitative content analysis of the hearing revealed the heritage arguments to be composed in five main patterns which emphasised: the significance of identity, built fabric, context, a combination of identity and context, and a combination of the built fabric and context. The patterns show that the significance, and use, of the built form varied in different heritage arguments. If the performative context of the Environment Court is acknowledged via critical heritage, then the patterns show how arguments of heritage were composed, particularly in relation to the built form. Reference to the Wanganui Native Land Court building was not a significant quantitative component in many of these patterns and, as such, the use of the building was primarily conceptual, rather than material. The Court’s decision privileges the built form as a physical resource which is scarce and irreplaceable. The decision is, in some ways, at odds with the lack of reliance on built form in the patterns.</p>

Critical Architectural Heritage: Constructing heritage with(out) the Wanganui Native Land Court Building

<p>Critical heritage is a theory and practice where heritage is defined as the active engagement of the past in the present. In critical heritage, building, sites, and places are not objects of heritage in themselves but are cultural tools that facilitate the performance of heritage. If heritage, particularly architectural heritage, is not considered to be a tangible object or building, then the discipline is opened to a wide variety of differing groups and identities, some of whom are currently disadvantaged by conventional practices of heritage. This thesis examines how the arguments of architectural heritage were performed in a case study of New Zealand heritage practice: the 2013 Environment Court hearing regarding the Wanganui Native Land Court Building. A quantitative content analysis of the hearing revealed the heritage arguments to be composed in five main patterns which emphasised: the significance of identity, built fabric, context, a combination of identity and context, and a combination of the built fabric and context. The patterns show that the significance, and use, of the built form varied in different heritage arguments. If the performative context of the Environment Court is acknowledged via critical heritage, then the patterns show how arguments of heritage were composed, particularly in relation to the built form. Reference to the Wanganui Native Land Court building was not a significant quantitative component in many of these patterns and, as such, the use of the building was primarily conceptual, rather than material. The Court’s decision privileges the built form as a physical resource which is scarce and irreplaceable. The decision is, in some ways, at odds with the lack of reliance on built form in the patterns.</p>

Body | Sense Experience: An Architecture of Atmosphere and Light

<p>This thesis explores notions of the immaterial and metaphysical in architecture. It seeks to ‘elicit a sense of wonder’ in a participant of experiential space by promoting awareness of the metaphysical through atmosphere, affect and light. Architecture is more than purely a physical tangible object - it also crosses into the realms of the intangible, ephemeral and perceptive. The immaterial within architecture is just as important as the physical, if not more so, where a participant’s perception of space is informed more by the swirling climate of atmospheric ephemera than that of material form. It is through light that architecture is enlivened and imbued with character and meaning and it is the immaterial aspect of light that evokes a sense beauty and wonder within built form. The body/sense experience, looked at through the lens of the affect, evokes an intimately humanistic response to architectural space that is unbound by race, religion, culture or creed. This allows for architecture to become the catalyst for an awareness of the metaphysical, evoked through atmosphere, affect and light. Ultimately this thesis argues that the intangible, elusive and transitory moments within architecture are just as important as the physically present tangible object. It stresses the importance of architecture that is understood and experienced holistically, where created atmospheres, interaction of light and bodily cognition of space shape the way in which the built world is perceived.</p>

Body | Sense Experience: An Architecture of Atmosphere and Light

<p>This thesis explores notions of the immaterial and metaphysical in architecture. It seeks to ‘elicit a sense of wonder’ in a participant of experiential space by promoting awareness of the metaphysical through atmosphere, affect and light. Architecture is more than purely a physical tangible object - it also crosses into the realms of the intangible, ephemeral and perceptive. The immaterial within architecture is just as important as the physical, if not more so, where a participant’s perception of space is informed more by the swirling climate of atmospheric ephemera than that of material form. It is through light that architecture is enlivened and imbued with character and meaning and it is the immaterial aspect of light that evokes a sense beauty and wonder within built form. The body/sense experience, looked at through the lens of the affect, evokes an intimately humanistic response to architectural space that is unbound by race, religion, culture or creed. This allows for architecture to become the catalyst for an awareness of the metaphysical, evoked through atmosphere, affect and light. Ultimately this thesis argues that the intangible, elusive and transitory moments within architecture are just as important as the physically present tangible object. It stresses the importance of architecture that is understood and experienced holistically, where created atmospheres, interaction of light and bodily cognition of space shape the way in which the built world is perceived.</p>

Self-Monitoring to Support the Goals of Students With Autism on College Campuses

The purpose of this article is to present a step-by-step process for using self-monitoring to support college students with autism spectrum disorder (ASD) to achieve a variety of goals. Self-monitoring can be used with no technology (e.g., pencil and paper, tangible object placement) or technology-based applications (e.g., interval timers, mobile applications) in non-obtrusive and socially valid ways. College instructors, inclusive postsecondary education (IPSE) program staff, disability office support staff, and other service providers may use this article to guide in the design and implementation of a self-monitoring intervention for college students with ASD. As increasing numbers of transition-age youth with ASD are pursuing higher education, it is important to identify and disseminate a variety of interventions to enhance their college experiences, and self-monitoring is a viable intervention to consider.

TO THE QUESTION OF DEFINING THE CONCEPT OF FORGING ART WORKS

The article consistently discusses basic terminology related to the forgery of works of art. In particular, the phenomenon of attribution is explored, which means the definition of authenticity, authenticity of a work of art, its author, place and time of creation. The concept of the original, which is generally referred to as the basis for reproduction, copying and reprocessing, is explored. Attention is drawn to the fact that in Ukrainian, law this term (original) is not defined, but it can be identified with the phrase “material object in which the work is embodied”. It is determined that the legislator uses the term work, axiomatically considers that the material object in which this work is first embodied, and is the original. It is stated that the legislator does not define the term work, but interprets such concepts as a work of architecture; a work of fine art; a work of applied art. In summary, it is important in this context to understand the distribution of copyright and ownership of the tangible object in which the work (original) is embodied. Issues of the category of “original” in engraving are covered. Different levels of copy concept (doublet, replica, repetition) are considered. It is established that the concept of art is the variant most similar to the derivative work in law, which is a creative alteration of another existing work without harming its protection. At the same time, the situation in which the variants of the work are performed by the author of the original, and when it comes to imitation, endorsement and shepherds, in which reference is made to already existing works of other persons, is delimited. It has been found out that in addition to intentional fraud, there are many noncriminal reasons why a work of art may not be attributed to its original author. On the basis of the conducted research, the author’s definition of fake work of art, which is a material object in which the work is embodied, the author (producer) and/or the time and place of creation (manufacture) of which is untrue, but was presented as such, and this is refuted by evidence that is beyond doubt – a complex art and technology – technological expertise, taking into account relevant research on provenance and ownership history.

“Touching” services: tangible objects create an emotional connection to services even before their first use

Although research suggests that physical elements of the servicescape play an important role in the service process, there is little research on the impact of tangible objects that companies give to consumers such as membership cards, pens, mugs, or fashion articles. Drawing on research about embodied cognition, this paper investigates how and under which conditions the provision of tangible service objects affects consumers. Three experimental studies were conducted, in which participants received different objects they could either touch or just see. These studies indicate that touching a service object metaphorically translates into a perceived mental connection towards the service. More specifically, physically connecting to a service object leads to a stronger psychological connection to the corresponding service, which, in turn, increases behavioral intentions. The results also demonstrate that providing a tangible object only has an impact when the object is of high aesthetic appeal. These findings suggest that providing tangible service objects is an effective way for service providers to build an emotional connection with potential customers and to strengthen the emotional connections of existing customers.

Age as a criterion of value for tangible cultural heritage objects under Russian law

UNESCO’s activities are dedicated to the conservation of both intangible and tangible cultural heritage. One of the most difficult issues in constructing a system for the protection of tangible cultural heritage objects is the criteria for identifying objects as cultural heritage. Obviously, it takes time to assess the cultural or historical value and significance of a tangible object. In most cases, granting the status of a cultural heritage object is assigned much later than its creation. However, international acts also do not contain specific requirements for how old a particular object should be in order to qualify it as an object of cultural heritage. UNESCO’s practice is known for several cases of adding to the World Heritage List relatively young sites. The Russian Cultural Heritage Object Act (2002), along with the laws of some other countries, establishes a specific age (40 years) that any object must reach in order to become a cultural heritage object. An exception is made only for memorial apartments and buildings (they can be attributed as objects of cultural heritage immediately after the death of famous personalities) and for objects of archeology (they must be at least 100 years old). This rule of law is mandatory, which means that it does not make other exceptions to the rule of 40 years. Such a rule of law significantly distinguishes the Russian approach from foreign legislation. On the one hand, such regulation may negatively affect the possibility of protecting outstanding objects from the late Soviet and early new Russian period. On the other hand, the approach of granting the status of cultural heritage objects to many relatively new objects can negatively affect urban development. The author proposes to evaluate and review this provision of law in order to find the optimal balance of public and private interests.