Guidelines for the Presentation and Planning of Cultural Heritage in the Municipal Development Plan of Vushtrri (MDPV)

This capstone project addresses the lack of proper presentation of the current state of cultural heritage and the lack of proper planning of cultural heritage in the Municipal Development Plan of Vushtrri (MDPV).[1] The project involves a range of activities, such as meetings with the institution responsible for the design of MDPV and the company contracted to draw up the document, visits to cultural heritage sites, and Internet research. This project provides guidelines for amending parts of the MDPV that pertain to cultural heritage. This amendment consists of the comprehensive presentation and planning of the cultural heritage of the Municipality of Vushtrri

Optimization of survey procedures and application of integrated digital tools for seismic risk mitigation of cultural heritage: The Emilia-Romagna damaged theatres.

Starting from current procedures, standards and tools for seismic damage survey, the research presents an integrated workflow for seismic damage documentation and survey applied to historic theatres in the Emilia-Romagna region damaged by the 2012 earthquake. The 2012 earthquake highlighted the fragility of the cultural heritage and underscored the lack of proactive conservation and management of historic assets. The research starts by analysing Agenzia Regionale per la Ricostruzione della Regione Emilia-Romagna- ARRER’s requests, which had found criticalities in applying the current Mic (Ministero della Cultura) procedures for the damage survey of complex types: the A-DC form for churches and the B-DP form for buildings. Using the two types of forms highlighted the lack of ad hoc tools for complex architectural styles such as castles, cemeteries and theatres, resulting in the loss of quantitative and qualitative information necessary for knowledge, conservation and thus management of the reconstruction process. As a result of these considerations, national and international standards of integrated documentation, existing digital databases for cataloguing and classification of cultural property, and seismic risk management were studied to develop a workflow of integrated procedures for seismic damage survey on the specific assigned case study: Regional Historic Theaters affected by the 2012 earthquake. The research used the holistic and interdisciplinary approach of integrated documentation to develop the integrated procedural workflow to enhance and optimise seismic damage detection operations in the case study. In providing a workflow of integrated procedures for the prevention and mitigation of hazards related to potential states of emergency, both natural and anthropic, the research follows an “extensive” methodological approach to test the survey outside the Emilia crater. The methodological framework led to the critical-comparative analysis, divided into two levels: the first involved studying critical issues in the B-DP form, mainly used in the 2012 theatre survey. The second level covered the techniques - laser scanning, digital photogrammetry - and integrated survey methodologies applied during the in-depth investigations for repair and restoration work. The critical-comparative analysis and morpho-typological study led to the development of an integrated procedural flow to survey damage in historic theatres. It is aimed at systematising and optimising the stages of damage documentation. The workflow consists of three information levels: L1. Screening level for the visual survey; L2 survey level defines the 3D acquisition steps for the geometric-dimensional study by theatres. The BIM L3 Plus level guides implementing the level of knowledge of parametric HBIM models for documentation, management and monitoring of historic theatres

Shaking Heritage

Any moment the earth can shake, but we do not know when or where. If it happens, our Heritage might be in danger. Shaking Heritage addresses the topic of the seismic vulnerability of museum collections. It develops a way to assess the seismic risks for movable Heritage, proposing a synthetic method to rate the vulnerable settings. It discusses the necessity of integrating museography and anti-seismic solutions for museums and exhibitions, and studies exhibit solutions that would improve the seismic safety of collections and setups. It stresses the necessity of constructing shared guidelines and policies for the safety of the movable Heritage. Shaking Heritage is a step forward in acknowledging the importance of the anti-seismic culture among museum institutions and researchers

Recording, Documentation, and Information Management for the Conservation of Heritage Places: Guiding Principles

Provides guidance on integrating recording, documentation, and information management of territories, sites, groups of buildings, or monuments into the conservation process; evaluating proposals; consulting specialists; and controlling implementation

Cultural and religious heritage enhancement initiatives: A logic-operative method for the verification of the financial feasibility

The relevance to develop effective interventions for the enhancement and reuse of the disused religious heritage is increasing. In the present research, a logic-operative method for the verification of the finan- cial feasibility of a redevelopment project is proposed. The articulation of the developed methodological approach into six steps is explained. Moreover, the defined method is applied to a functional reconversion project related to a former church located in the city of Bologna (Italy) and to be carried out through the Public Private Partnership (PPP) operational tool. In particular, the new intended use to be introduce in the religious building is identified consistently with the current needs of the communities and by exam- ining the reference market demand and supply at different scales (urban, regional and national), in order to define adequate uses able to respect the historical identity and past memories of the asset, to enhance its monumental forms and to become a significant new landmark for the territory. The outputs obtained from the implementation of the proposed method attest the feasibility of the initiative from the private investor point of view. In this sense, the method can constitute a useful tool for Public Administrations to define transformation sustainable strategies on the deconsecrated heritage

Study on quality in 3D digitisation of tangible cultural heritage: mapping parameters, formats, standards, benchmarks, methodologies and guidelines: final study report.

This study was commissioned by the Commission to help advance 3D digitisation across Europe and thereby to support the objectives of the Recommendation on a common European data space for cultural heritage (C(2021) 7953 final), adopted on 10 November 2021. The Recommendation encourages Member States to set up digital strategies for cultural heritage, which sets clear digitisation and digital preservation goals aiming at higher quality through the use of advanced technologies, notably 3D. The aim of the study is to map the parameters, formats, standards, benchmarks, methodologies and guidelines relating to 3D digitisation of tangible cultural heritage. The overall objective is to further the quality of 3D digitisation projects by enabling cultural heritage professionals, institutions, content-developers, stakeholders and academics to define and produce high-quality digitisation standards for tangible cultural heritage. This unique study identifies key parameters of the digitisation process, estimates the relative complexity and how it is linked to technology, its impact on quality and its various factors. It also identifies standards and formats used for 3D digitisation, including data types, data formats and metadata schemas for 3D structures. Finally, the study forecasts the potential impacts of future technological advances on 3D digitisation

Ownership of South African street art and the protection of cultural heritage resources

The development of graffiti into an accepted art form, street art, is a cause of concern for South African property owners. The current position in South African property law regarding the original acquisition of ownership suggests that the creation of street art on movable property belonging to another could result in the transfer of ownership. Ownership of the movable may transfer via accessio to the street artist provided that the artwork changes the nature of the movable. This would occur even if the street artist does not act in good faith because bona fides is not a requirement for the original acquisition of ownership via accessio. This anomaly requires that the South African law on accession in the case of pictura be developed such that good faith be a requirement for the transfer of ownership in this format. With the development and growing popularity of the art form the likelihood of this legal anomaly is becoming a greater possibility. Indeed, the popularity of British street artist, Banksy, has provided numerous examples of contested ownership, albeit within English law. Banksy artworks are collectable and financially valuable. Consequently, not only are they desirable but many of his street artworks are considered to be examples of British cultural heritage and as such may be worthy of protection and preservation. These cases highlight the growing need in South Africa to clearly identify who South African street artworks belong to and, to identify any South African street art that warrants cultural heritage protection. The legislation regarding the protection of South African cultural heritage resources has not yet been extended to any street artworks. Yet there are examples of street art in South Africa that meet the requirements for cultural heritage status or which have the characteristics of cultural heritage resources. The extension of cultural heritage resource status to South African street artworks that are culturally significant could assist in the protection and preservation of these resources. However, the effectiveness of the cultural heritage legislation, in particular the National Heritage Resources Act 25 of 1999, is limited. There are several problematic aspects in this Act. This is of great concern as the issues effect all South Africa’s cultural heritage resources (not just street art which may qualify for such status). However, these issues could be responded to through amendments to the legislation. Significantly, the National Heritage Resources Act seeks to deprive private owners of their property as it seeks to regulate what owners can do with cultural heritage property which they own. However, as it stands there are far too many challengeable issues in this legislation to justifiably deprive this property in terms of s25 of the Constitution of the Republic of South Africa, 1996. This renders significant portions of the National Heritage Resources Act inoperable. Consequently, the amendment of this legislation is necessary to ensure the purpose of the legislation i.e. to ensure the protection and preservation of the South Africa’s cultural heritage resources through the deprivation of property rights or indeed, if necessary, through the expropriation of property.College of LawLL. D