A Calculus for Trust Management (talk)

Talk given at GC 2004: MyThS/MIKADO/DART Meeting, Venice 16.06.0

Material culture in Sixteenth Century Venice: a sample from probate inventories, 1510–1615

This paper presents a panel of data about material culture in early modern Venice. The data are taken from three samples of Venetian probate inventories drawn up voluntarily from Venetian widows in the years 1510–1615, at intervals of roughly fifty years. The entire period has been divided into two subgroups of three years each (1511–1513, 1560–1562), and one of six years (1610–1615). The selection of goods tries to reflect the variety of objects appearing in written lists of Venetian interiors (pieces of furniture, paintings, musical instruments, tableware, cloths), though it aims to present a view of domestic interiors in early modern Venice that pays special regard to less essential goods.Material culture, Venice, early-modern economic history, consumption, social orders, dowry legislation, probate inventories

Public Preferences for Land uses’ changes - valuing urban regeneration projects at the Venice Arsenale

This paper discusses the results of a conjoint analysis study developed to assess alternative land uses for an important part of the city of Venice: its Arsenal. Aim of the study is to illustrate the potential of stated preferences techniques for placing a value on redevelopment and reuse alternatives for an underutilized site with high historical, cultural and architectural significance. Very few studies have used conjoint choice to assess public preferences for alternative land uses in an ex-ante framework, i.e. masterplans. For our study, we wanted to concentrate on a “city of art,” where the relationship between cultural heritage resources management and city development is more critical. Venice was an obvious choice for the national and international relevance of its heritage. The Arsenale is one of the few places in Venice that has the potential for a real transformation of its uses, with important impacts on both residents and visitors. Moreover, the Arsenale plays a strong symbolic role: it was the place where the strength and power of the Serenissima was built. The City Council of Venice has recently deliberated that the Arsenale is an inalienable heritage of the city of Venice. In recent years, the importance of the Arsenale has resulted in a heated debate on its possible new uses. Many architectural proposals have been submitted through international competitions. These proposals—whether submitted in the past or currently under consideration—have shown that there may be a conflict between different possible land uses and the transformation allowed by the existing architectural structures. We surveyed individuals in Venice asking respondents to engage in conjoint choice tasks, gathering 168 usable observations. Members of the general public were intercepted at the Multimedia Library at Palazzo Querini Stampalia/FEEM and asked to indicate which choice they preferrd among hypothetical—but realistic—redevelopment projects of the Arsenale historic site. Each project was described by a vector of attributes, such as land use, use of basins and waterways, architectural features, access, employment implied by the reuse, and cost. The responses to these choice tasks was used to infer the rate at which respondents trade off land uses, aesthetic features, and costs, and hence to derive the value of marginal changes in the attributes, and the value of a proposed policy package. The Venice Arsenale is owned by the Italian government and is currently used by the Italian Navy. The Arsenale site accounts for about 15 percent of the area of the city of Venice (about 45 hectares), and is located in the Castello district. Tradition has it that doge Ordefalo Falier founded the Arsenale—a shipbuilding yard—in 1104. In 1340 the “Darsena Nuova” was created, which marked the birth of the Arsenal Nuovo and of the Corderie building. Further expansion started in 1473, covering an area of 26 hectares. This phase lasted more than 100 years, resulting in the construction of the New Corderie building, among others, in 1591. In its heyday, the Arsenale employed roughly 20,000 workers in an assembly-line fashion and produced one ship a day. The Arsenale, after the navy largely withdrew from the complex over 40 years ago, suffered from abandonment and under use. The Arsenale is, therefore, one of the few places in Venice that has the potential for a real transformation of its uses. In this paper we investigate how the development of the Arsenale site, involving alternative land uses, may influence the welfare of the residents of the historical city center of Venice. Starting from the evidence of our survey in Venice, the paper broaden its scope to discuss ways of improving the management of cultural heritage cities, focusing on new forms of involvement and public participation based on public preferences’ elicitation. We debate the issues related to city governance and the need for an appropriate level of democratic participation. An integrated approach, capable of bridging the practice of economic valuation, urban design, conservation of the built environment, and decision-making support systems is here analysed.

Neutrino masses and mixing: Leptons versus Quarks

Comparison of properties of quark and leptons as well as understanding their similarities and differences is one of the milestones on the way to underlying physics. Several observations, if not accidental, can strongly affect the implications: (i) nearly tri-bimaximal character of lepton mixing, (ii) special neutrino symmetries, (iii) the QLC-relations. We consider possible connections between quarks and leptons which include the quark-lepton symmetry and unification, approximate universality, and quark-lepton complementarity. Presence of new neutrino states and their mixing with the left or/and right handed neutrinos can be the origin of additional differences of quarks and leptons.Comment: Latex, pdproc.sty, 19 pages, 3 figures, Talk given at the III International Workshop on: NO-VE "Neutrinos in Venice", Fifty years after the Neutrino discovery, 7-10 Feb 2006, Venice, Ital

Modeling an offshore container terminal: the Venice case study

In order to reduce marine transportation times and related costs, as well as the environmental impacts, an alternative multimodal route to the current Suez-Gibraltar-North Sea corridor for the containers shipped from Far and Middle East was identified as potentially very effective. A key operational problem to achieve this result is the capacity and the effectiveness of the terminals within the concerned new logistic chain. In this framework, the Venice Port Authority is developing a project aimed to improve relevantly the potential of its container terminals to al-low loading/unloading of containers to and from the Central Europe. The project includes a new offshore terminal for mooring huge ships (up to 18.000 TEU) in the Adriatic Sea and a link operated by barges with an onshore terminal in Venice to overcome the constraints for the navigation of the containers ships in the Venetian lagoon. This innovative operational scheme requires a deep functional analysis to ensure the full capacity operation, assess the reachable performances and correspondingly dimensioning the required equipment (cranes, barges, quays, etc.). For this purpose, the authors developed a specific discrete-events simulation model. The paper includes the presentation of the model and the results of its application to Venice case study, by identifying the benefits achievable with this approach and the potential wider application fields

Critical Dialogues : Scotland + Venice 2012

Alberto Campo Baeza writing in the catalogue, Young Spanish Architecture, an Ark Monograph of 1985, talks about, ‘’a world riddled with noise and yet paradoxically mute, creatively speaking, a group of young Spanish architects are playing a very engaging song, their own song, the most beautiful song.’’ Twenty-seven years later that Spanish song has grown in quality and projection as subsequent architects took their lead from this earlier generation resulting in a Spanish architectural culture of great stature and depth. New voices are occasionally heard, often emanating from the architectural edge, such as Pascal Flammer and Raphael Zuber’s work in Switzerland and Alejandro Aravena’s Elemental Housing in Chile. Some of the most beautiful and poignant songs have emerged from China in Atelier Archmixing’s Twin Trees Pavilion and Amateur Architecture Studio’s early Ceramic House, projects that can be heard through the din of the architectural circus that travels the globe, a circus with an increasingly desperate and cynical appetite. For a song to become engaging and powerful, three components are critical: personality, passion and technique. Scotland’s presence in Venice 2012 is about the recognition of four voices that are on the verge of making themselves heard. Scotland lies on the periphery of Europe, nascent both politically and in contemporary terms architecturally. Yet once its architects stood shoulder to shoulder with the best in Europe and many claim that Charles Rennie Mackintosh’s sublime Glasgow School of Art 1899-1909 heralded modernism not just in the UK but also in Europe. In the post-Second World War period Gillespie Kidd and Coia in the West and Morris and Steedman in the East helped propel Scottish architecture in new directions, the former becoming part of a west coast figurative culture that explored a phenomenological sense of section and atmosphere, the latter by an east coast sense of abstraction, detachment and refinement. It seems to me there has always been this kind of architectural watershed that splits Scotland in two. The west possesses a character like its fractured romantic coastline that is passionate about layers, complexity and conversation, whilst the east with its more austere coastline nurtures a more ascetic, reflective, emotionless and silent quality in both its art and architecture. More recently the architectural scene seems to have lost this sense of split personality that came out of place. The new architecture has a tendency towards an image of rediscovered modernism albeit executed with a new graphic material suaveness that could equally be seen anywhere in the UK. The years from the 1970’s have seen a gradual dissolution in the architect’s role. It is a situation that has been greatly exacerbated by the current recession in which many architects have lost not just their voice, but their ability to make architecture altogether. The four architectural practices represented in Venice are all based in Glasgow; they all share a concern for people, the ordinary, and the street. They all have passion and an emerging personality even though their technique has had little opportunity to develop. The critical word that connects these architects is architectural practice. They explore the act of practicing as an architect in a marginal situation, politically, socially, professionally and culturally. Their approach is primarily concerned with conversation and engagement. Venice itself is a city on the edge. Once the edge of Europe and a portal to a far eastern imagination, a city barely founded on land or sea, a mirage. The Scottish contribution to the Venice Biennale itself is a marginal act, emerging, hopeful, outside the main event. Four Northern figures flit amongst southern shadows