Cultural Mappings

Covered By Concrete is a spatial mapping project located on Wareamah (Cockatoo Island) in Sydney Harbour. The work addresses the relationship between the Aboriginal experience of Country, place and urbanisation.

The project considers the latent history of Aboriginal occupation hidden under the strata of urban Australia. It questions whether the spirit of a place can still be perceived regardless of the colonising or ‘smoothing over’ of the natural landscape. The installation investigates whether a space can be reclaimed, and Aboriginal culture reflected on contemporary identities. Additionally, it explores whether engagement with signage of a site, in this instance, Cockatoo Island, might bring understanding of obscured stories in order that non-Indigenous people might come to a new comprehension of a place. The creation of a spatial map of the island gives the opportunity for viewers to reconsider pre-colonial usage, narratives and knowledges. The use of concrete impressed with local native flora and then burnt out referencing traditional Indigenous fire practices offers a paradox; and a relationship to the name of the work.

On completion of the Underbelly Arts Festival, where the work was originally exhibited, the Trustees of Cockatoo Island expressed interest in amending the signage to incorporate Indigenous content, with ongoing discussions regarding permanent installation of the work on the island.

This chapter will further investigate the themes which were explored through the work, including mapping, urban Country and the reclamation of identity – not only of people but also of place.

Cultural mapping can be a useful tool in the design of creative tourism. The CREATOUR Project - Creative Tourism Destination Development in Small Cities and Rural Areas - is working with a range of cultural/creative organizations in order to implement new creative tourism offers that can contribute to the social and economic development processes and sustainability of the places and regions where they take place. To improve such initiatives, CREATOUR held a series of Regional Idea Laboratories where cultural mapping was used as a tool for regional actors to discover what is "so special" about their places. A narrative was created linking places with the objects that tell their stories.

This chapter suggests that the recent enthusiasm for digital maps is linked to a shift in the interpretation of maps: from understanding as tools that reflect (or cannot reflect) reality to theorizing maps pragmatically, as useful tools that do not represent any territory outside the map but do enable us to move or to travel. Digital maps are gradually overcoming questions of representation and seem increasingly untethered from a reality ‘out there’.
The chapter then draws some consequences for the use of maps for furthering humanitarian purposes.

Digital heritage projects remain descriptive despite diverse objectives with the assumption that technology will deliver greater interpretation. The use of new and high technology may emphasise the experience and provide visual fidelity but only produce limited interpretation as technology is insufficient to provide the past from multiple perspectives. Those projects provide linear narratives developed through a top-down approach that assumes the end-users as an individual entity and limits heritage as a consumable product. This research will probe the circumstances of this emergent technology and practice, examining issues, challenges & new opportunities. It hopes to uncover for better experience of digital heritage architecture where interpretation is an evolving 'process' that is participatory and contributory that allows public participation, together with effective presentation, cultural learning and embodiment, to enhance the end-users' interpretation of digital heritage architecture. Additionally, this research seeks to establish an inventory in the form of a digital platform that adopts the Historic Urban Landscape (HUL) to better and deepen the understandings of the public towards architectural as well as cultural heritage through an intercultural and intergenerational dialogue. Through the dialogue, this research hopes that it will better shape conservation strategies and urban planning.

The earlybird registration deadline - February 18th - is fast approaching. There are still some places available for this exciting new Summer School! "Cultural Mapping and Connecting with Place" 21 to 25 March 2022, Caldas da Rainha, Portugal. For info and registration, visit: https://ces.uc.pt/summerwinterschools/?lang=1&id=28189

The Aboriginal community of the South East region of South Australia has recently developed a number of high profile cultural revival projects that have led to greater community awareness of their ancestral and ongoing connections to country. For almost 100 years the broader community
has incorrectly perceived that there is no longer any Boandik presence in the region. This paper explores how three cultural- survival projects led by the Aboriginal community of the region—a canoe building initiative, a cultural mapping project, and a Boandik language revival project— are helping to shape broader community understandings and beliefs of Aboriginal culture. This paper discusses the context and nature of these projects, the resulting positive partnerships with government, landholders, universities, and industry, and how the projects have led to the development of new economic pathways for the Aboriginal community such as filmmaking and curating. The three projects initiated by the Aboriginal community provide a model for other Aboriginal communities that may be seeking ways to positively and instantly connect with the broader community, and which provide new research and development opportunities for the advancement of Aboriginal self- determination.

Participatory cartographies allow people to show on a map different situations that form the territory where they live. This process is carried out wiyhout intermediaries. Concerning heritage, participatory cartographies are being used to reflect those highly valued buildings, spaces or events that contribute to create the identity of a community. Moreover, these processes are useful to give expression to the relations and conflicts related to local heritage. In this article, four experiences concerning heritage and participatory cartographies are exposed: the sound map of Malaga, the Mapeandonos initiative, the workshop called “What maps don’t show” and the Malagaturismo project. In all cases goals, methodology and conclusions are presented.

Reconhecer, inventariar e situar bens culturais é um instrumento poderoso para as comunidades. Através do mapeamento cultural é possível criar uma narrativa sobre a identidade de um lugar, agregando informações culturais intangíveis que são importantes para as comunidades-como as práticas sociais, as tradições, as histórias, o saber-fazer e os valores-e que situam as pessoas nos seus lugares, no mundo. Ao tornar o intangível visível, o mapeamento cultural é um poderoso mecanismo de governança, envolvendo as comunidades no processo de determinar o que melhor define a sua identidade e o que torna o seu lugar, com as suas idiossincrasias, tão especial. Este artigo fornece informações sobre esta metodologia, que é simultaneamente um processo, focando em especial a importância do mapeamento emocional e intangível e os possíveis benefícios do uso do mapeamento cultural para o desenvolvimento sustentável dos lugares: o património cultural imaterial, pertença das comunidades e continuidade geracional (UNESCO, 2013), é um recurso cultural que importa mobilizar para o bem-estar das regiões e das suas gentes. Palavras-chave: mapeamento cultural, mapeamento cultural emocional e intangível, património cultural imaterial, desenvolvimento sustentável, metodologia participativa.

Cities' growth shaped of our time. It goes from good to bad. This is why we must look beyond it growth and formation of public spaces is a ‘core incremental of city-making’. The future urban regeneration and community development in Malaysia is to finding an innovative way to help citizen lead and make people feel invested in the place-making process.

This is a report about the work on a new version of Sagnagrunnur, a database of Icelandic legends in print. The main project was a re-design of the database and geographical mapping of the place names that appear in the legends as well as homes of the storytellers. The product of the project can be found on-line at http://sagnagrunnur.com/

Maps were the coincidental locus of the Ottoman Sultan Mehmet II's most passionate interests: war and art. So far, the focus has been upon the famed conqueror (Fâtih) of Constantinople's interest in, and demand for, European maps without mention of his patronage of classical Islamic cartographic material. In this article, I expand the perspective on Mehmet's cartographical milieu by inserting into the historical picture consideration of a recension of cartographically illustrated manuscripts, those of al-Istakhri's Kitab al-Masalik wa-al-Mamalik [Book of Roads and Kingdoms], dating from 1474 onwards and made in post-conquest Ottoman Constantinople. I also set out the circumstances under which this ‘cluster’ of manuscripts may have been copied and, by focusing on the world maps in particular, suggest ways in which the maps can be interpreted as cultural artefacts. I conclude by indicating how this particular group of manuscripts provides insights into map audience, patronage and propaganda in fifteenth-century Anatolia.

This exploratory research aimed to introduce a unified cultural resources framework for capturing local perspectives on the cultural landscape. The main question asked in the study was in what ways does participatory map making contribute to better understanding of the cultural resources in local community? To address this inquiry, mixed methods approaches were used, including series of in-depth interviews, site visits, documents analysis, and mini focus group session. The research also analyzed data obtained from online survey to capture the community identity and sense of place. The outputs from the research resulted in the production of cultural inventory and a number of digital maps of perceived cultural assets. As part of a strategy for increasing the public participation in planning, a suggested framework for data partnership, and a concept design for developing web-based platform for participatory cultural mapping were also proposed.

Suburbs have long been associated with assumptions and imposed meanings that do not fit the everyday reality of city life. Very little research has looked at the ways in which suburbs are experienced, represented and imagined as ‘real’ places. This represents the core focus of this thesis. I am concerned with the extent to which the cultural consumption of the city has come to shape suburban residents’ relationship with the city. This question is addressed through the lens of suburban festivals. My aim is to reassess the role of suburban communities in shaping the cultural life of the city. In this light, this research seeks to (1) to assess the role of the suburbs as more central in defining the practice of everyday life than might be assumed, (2) show why culture matters for places where people live and co-exist day to day; and (3) to bring suburbs, in all of their cultural complexity, to the fore in discussions around improved connections to place and more so-called ‘sustainable’ urban futures and ways of life. The research draws on fieldwork carried out in suburban communities in Manchester, focusing on three suburban festivals as case studies. It is based on data collected through cultural mapping workshops and semi-structured interviews with festival organisers, festival participants and policymakers. The findings suggest that suburbia is a multi-dimensional concept. As such, the spatial experience of suburban place and the micro-geographies of the ‘intimate’ play a constitutive role in forming and shaping place identity. Accordingly, the thesis provides a more nuanced approach to the process of place-making in the suburbs. In doing so, it challenges the orthodoxy of a culturally inert suburbia on the fringes of the city, arguing that the suburbs provide a powerful conduit through which the contemporary urban condition can be better understood.

This paper attempts to evaluate the effectiveness of blended learning in Heritage Conservation course, at the Department of Architecture Universitas Islam Indonesia Yogyakarta using both a mini-workshop in a historic district (cultural mapping) and Google My-Maps Platform (digital collaborative) as learning tools to achieve the learning outcomes. The overall finding shows that cultural mapping, as the first-hand information gathering of a heritage district gives the student understanding which then allows the students not only to appreciate the importance of heritage but also having empathy that heritage is not only about artifacts or architecture (tangible assets) but more about people who live in it. Meanwhile, Google My-Maps Platform offers an opportunity for the students to work together in different places and gives the flexibility on the digital learning process both in the heritage district, in the class, and at home. The result from the cultural mapping arranged in the My-Ma...

This paper presents the first results of a project of observation and analysis of intangible cultural heritage (ICH) actors’ networks on the French Web. This project, fundrased by the French Ministry of Culture and Communication, aims at identifying the main actors related to ICH in France and at studying the links existing among them. It is based on the use of digital methods, notably the “web mapping” technique that consists in tracing the hyperlinks among the websites that correspond to a selected corpus of actors. The main hypothesis that supports this technique is the idea that hyperlinks among websites can be considered as proxy of social relations.
In undertaking this web mapping exploration, we have studied three types of phenomena. First, we observed the importance of institutions that play the role of authorities in the ICH network at national level. Second, we focused on the organisation of actors operating on the periphery of the network, by identifying thematic and geographic communities related to ICH. Finally, we investigated the behaviour of actors related to established or pending candidatures to the UNESCO lists of ICH.

To acknowledge, trace, and place cultural assets is a powerful instrument to communities. Through cultural mapping, it is possible to create a narrative about a place's identity, collecting significant intangible cultural information that is important to communities-social practices, traditions, stories, know-how, values, etc.-and that locate people in their places, in the world. Making the intangible visible, cultural mapping is a powerful governance mechanism, involving communities in a bottom-up process of actively determining the identity of a place and what makes a place, with its idiosyncrasies, so special. This article provides information on this methodology, which is both a process, focusing in particular on the importance of emotional and intangible mapping and the possible benefits of using cultural mapping towards the sustainable development of places: intangible cultural heritage, held and continued by the community (UNESCO, 2013), is a cultural resource that must be mobilized for the well-being of regions and their people.

New Open Call for PhD Proposals at Faculty of Architecture and the Built Environment TU Delft. The Department of Architecture has outlined four research topics, each constituting a potential contribution to its research portfolio. One of those topics is "Conflicts Mediations", promoted by Marc Schoonderbeek and myself.

"This PhD position is directed at proposals investigating the potential and agency of architectural and artistic representation, achieved through various media tools, to perform a systematic analysis and critique of the spatial conflicts. The position calls for research proposals that will embrace the media/mediation relation-scape and use it as a method to advance related theory and agency of architectural design, with the particular interest in exposing the dynamics of conflicts and related power hierarchies."

Deadline: 1 June 2021

""Dieser Band bietet direkte Einblicke in die Werkstätten der Konstruktion von Abgrenzungen, in die Redaktionen und in die Biografien der Redakteure, in die rhetorischen und narrativen Strategien literarischer, (pseudo-) wissenschaftlicher und publizistischer Texte, in die Buchhaltung der Überwachung von Migration, in die Vermögensverhältnisse von AkteurInnen, in die imagologische Praxis, in Theorie und Praxis der ethnografischen Forschung.

Räume und Grenzen werden in den Kulturwissenschaften als zentrale Begriffe wahrgenommen. Dabei werden besonders die Unterschiede zwischen den geografisch-territorialen, sozialen, symbolischen und diskursiven Raumbegriffen diskutiert. Der vorliegende Band will diese Diskussion für die späte Habsburger Monarchie nutzbar machen. Ausgangspunkt sind epochentypische Phänomene wie die massenhafte Anwesenheit von MigrantInnen in den Verwaltungszentren Wien und Budapest, das Aufbrechen sozialer Konflikte von Dalmatien bis Galizien, die Frauenbewegung, aber auch ethnisch-nationale Emanzipationsbestrebungen und in Folge dessen diskursive Auseinandersetzungen um neue Grenzziehungen.

Unter anderem werden die folgenden Fragestellungen diskutiert: In welchem Verhältnis stehen Ortsveränderungen zu sozialen und Gender-Positionen? Wie schlagen sich Erfahrungen der Migration, des Reisens und der transkulturellen Grenzüberschreitungen in literarischen und theoretischen Texten nieder und verändern die Selbstbilder? In welchem Zusammenhang stehen Machtverhältnisse und die Gestaltung von Räumen in Texten? Wie beeinflussen politisch-territoriale und soziale Umwälzungen die kulturellen Konstruktionen von Zeit? In wie weit werden universalistische Konzepte an den ›Rändern‹ und ›von unten‹ gebrochen?Wie verändert sich unser Bild der Vergangenheit, wenn die Perspektiven und biografischen Positionierungen von Personen, die nicht im Rampenlicht der Geschichte stehen, fokussiert werden? Wie lässt sich der trennende und verbindende Charakter von Grenzen nicht-dichotomisch beschreiben?""

This research has investigated the Organization culture Model of Charles Handy on PTCL, Pakistan Telecommunication Company Ltd, the single public sector Telecommunication giant. For this purpose Questionnaire from 40 Sales personal has been filled. Questionnaire was adapted from a phd thesis Tayyab (2012) having 138 statements but reduced till 40 statement for this particular study. Results highlighted that it is person culture which prevails in PTCL whereas results denied existence of Task and Power culture in PTCL. However results are silent about existence of Role culture in PTCL. As PTCL is a large organization, there must be some of the characteristics of Role culture but our study doesnot find Role culture in PTCL. This might be the reason that we have only included 42 responses for Analysis, so insufficient data might be the reason of inconclusive result of Role culture in PTCL.

"""""During Mussolini’s fascist regime, the Atlante internazionale del Touring Club Italiano – produced in Milan (1927-1938) and widely recognised far beyond the borders of Italy – included among its plates two maps of European ethnic groups. The makers of the TCI’s atlas passed on to us a specific approach to determine the kind of collective that ought to be considered an ethnic group.
The enigmatic second reprint of the fifth edition (1938) was inexplicably not accompanied by the symbolic features required by the fascist authorities, but, after World War II started, the new version of the “Europa etnografica” map – on a 1:12.000.000 scale – clearly showed the changes that occurred in the political context.
Link:
http://www.j-reading.org/index.php/geography/article/view/57/50"""""

This essay offers a minor history of colonial American counter-mappings that emerged within European archives in response to cartographic encounters with Indigenous mappings and the eighteenth-century cartographic reformation. Joining efforts to rethink the history of cartography in its cultural and representational diversity, the essay finds that imperial maps showing North America included features of resistance that today are more associated with the mappings by Indigenous peoples than with commercial maps printed for European audiences. Drawing on an archive of over fifty maps produced between the 1700s and 1750s, the mapworks by the French geographer, Philippe Buache, and the American surveyor, Lewis Evans, show how mapmakers not only borrowed from Indigenous mapmakers but tapped residual Western modes of mapping. Long overlooked counter-mappings like these help revise dominant notions of imperial cartography and provide historians with a catalyst for reimagining critical approaches to eighteenth-century maps, map designs, and methods of map reading.

Searchin’ his eyes, lookin’ for traces: Piri Reis’ World Map of 1513 & its Islamic Iconographic Connections (A Reading through Baghdat 334 and Proust) Abstract ␣ The remnant of the 1513 world map of the Ottoman corsair (and later admiral) Muhiddin Piri, a.k.a. Piri Reis, with its focus on the Atlantic and the New World can be ranked as one of the most famous and controversial maps in the annals of the history of cartography. Following its discovery at Topkapı Palace in 1929, this early modern Ottoman map has raised baffling questions regarding its fons et origo. Some scholars posited ancient sea kings or aliens from outer space as the original creators; while the influence of Columbus’ own map and early Renaissance cartographers tantalized others. One question that remains unanswered is how Islamic cartography influenced Piri Reis’ work. This paper presents hitherto unnoticed iconographical connections between the classical Islamic map- ping tradition and the Piri Reis map. Keywords: Piri Reis, World Map of 1513, Ottoman Cartography, Islamic Cartogra- phy, Islamic Wondrous Tradition, Islamic Manuscript Illumination.

A coalition of stakeholders – which enables the
combination of a top-down approach and bottomup
community engagement – is necessary for
effective urban conservation. A recommended
instrument is Historic Urban Landscape (HUL),
which is a platform for state parties, corporate
groups, and community members to have a
conversation about comprehensive mapping. The
creation of such a platform requires pedagogical
change among those involved in its creation,
such as architects, urban planners, and heritage
managers. This article explains the reasons for
the need to implement HUL, the requirements for
pedagogical change, and how these objectives can
be achieved through joint studio programmes.

Over the nearly twenty years since UNESCO’s 2003 Convention on the Urgent Safeguarding of Intangible Cultural Heritage, ethnomusicological research on music sustainability and safeguarding has extensively engaged with matters of theory, policy, and the circumstances of specific music genres and communities. It has placed rather less attention on more generalizing research examining the global dynamics of music sustainability and safeguarding, and it remains difficult to substantiate claims about worldwide trends in music endangerment or vitality. In this chapter, I weave together discussion of three existing theoretical and practical tools in the area of music sustainability to examine whether their combined usage could lead to greater scholarly understanding of the global circumstances and trends in music endangerment and vitality, and/or improved decision-making about the local, national, and/or international allocation of funds and resources for music safeguarding. The three tools are: (1) the Music Vitality and Endangerment Framework (MVEF), a tool to gauge, monitor and evaluate changes in the vitality of music genres; (2) the map Music Endangerment and Vitality, a key outcome of a project that used a survey methodology based on the MVEF to map 101 music genres across the world; and (3) the Assets, Threats, Solvability (ATS) Model, a triage system for determining how best to allocate support and resources to support specific genres that may be in need of support. I begin the chapter by providing brief context around comparative approaches to ethnomusicological research, focusing particularly on mapping. I then briefly present the MVEF and map tools, before exploring some challenges, risks and limitations of using them to evaluate and represent music genres. I close the chapter by critically considering some implications of this comparative approach to understanding music endangerment and vitality, including how employing the ATS Model in conjunction with the MVEF and map could strengthen the usefulness and outcomes of all three tools.

The research tries to establish the foundations for a comprehensive mapping of the 'Neighbourhood'. This paper addresses the way a top-down creative initiative (namely LABattoir) should operate by recognizing locals' needs and desires. Alongside, acknowledges the bottom-up dynamics, by creating channels of neighbourhood participation in a City that seemingly is not taking into consideration the plurality of its neighbourhoods whilst reflecting towards it as a totality. Hence, the aim is to shed light on the growing potential of neighbourhood mapping to support the bottom-up participation of citizens in decision-making and problem solving activities. For this reason, the research is highlighting the diversity and dynamic nature of urban neighbourhoods, whilst emphasizing partnerships and collaborations among cultural and community organizations. Finally, it shows how academic knowledge can be applied towards social goals. The findings indicate the importance of 'small-scale' observation and place-making. In this light, LABattoir can offer alternatives within the context of financial crisis by functioning as a reference point for community-building whilst considering the 'Neighbourhood' as the staging ground for an ongoing action-research project.

What can people express about their places through the objects that they valorise and link to their territory? Can objects create narratives about a place's identity and collect significant cultural information that locate people in their places? Can such cultural mapping be a useful tool in the design of creative tourist offers? The Project CREATOUR held a series of Idea Laboratories with several entities that provide creative tourism experiences, approaching cultural mapping through objects as a tool for regional actors to discover what is 'so special' about their places, a way to link tourism offers with the community where they take place. These exercise lead participants to remark on the importance and idiosyncrasy of their regions and evidenced the importance of cultural mapping to a more sustainable offer and the overall marketing of destinations. Mapping intangibilities through tangible objects helped to capture what gives meaning to particular places. Resumo O que exprimem as comunidades sobre os lugares que habitam, através dos objetos que valorizam e associam ao território? Podem os objetos criar narrativas em torno da identidade de um lugar, situando as pessoas nos lugares em que vivem? Pode esta forma de mapeamento cultural ser uma ferramenta útil no desenho de ofertas de turismo criativo? O Projeto CREATOUR realizou uma série de Laboratórios de Ideias com várias entidades que oferecem experiências de turismo criativo, nas quais utilizou a técnica do mapeamento cultural através de objetos, enquanto ferramenta para os atores regionais descobrirem o que torna os seus lugares 'tão especiais', vinculando as ofertas de turismo à comunidade onde elas ocorrem. Este exercício levou os participantes a refletirem sobre o valor e as idiossincrasias das suas regiões e evidenciou a importância do mapeamento cultural para uma oferta mais sustentável e para a comercialização de destinos criativos. Mapear intangibilidades através de objetos tangíveis permitiu apreender os significados de cada lugar. Palavras-chave: Mapeamento cultural, mapeamento cultural emocional e intangível, objetos, turismo criativo, Projeto CREATOUR.

The UNESCO World Heritage listing is often misunderstood by the government and the community in Asia, including Indonesia, as tourism promotion or branding. This tendency has led to unwanted consequences, such as gentrification, the commodification of heritage, loss of physical integrity, etc. Small and medium cities in the Asia Pacific region have been facing rapid social and physical transformations due to decentralization and expansion of economy and infrastructures from the metropolitan areas into hinterlands. These developments have threatened the historic urban core due to the weak planning and lack of conservation policy.
This paper aims to formulate a more coherent and comprehensive heritage management instrument for a medium city (e.g., provincial and regional capitals, or smaller towns), based on the Historic Urban Landscape (HUL) recommendation by UNESCO. Cases in two cities will be used in this study: Semarang, and Surakarta, in Central Java, Indonesia. The study will focus on three components: (1) Comprehensive mapping of tangible and intangible cultural heritage assets to find the “DNA” of the community and place; (2) Capacity building and empowerment of the local community to protect its heritage and to develop the economics of heritage; and (3) Protection and continuation of the authenticity of local living heritage (the “DNA” of the community identity and place personality). It is expected that the outcomes of this research will contribute to (1) the formulation of comprehensive local HUL mapping of tangible and intangible heritage as the basis for a more scientific and democratic process in managing conservation and urban development; (2) the provision of Heritage Management Recommendations for Local Community and Local Government; and (3) the production of new knowledge and contribution to the literature on the topic of urban planning and heritage conservation.

Research project report "Formulating “Local HUL” Instrument for Community Based Cultural Heritage Management in the Historic Urban Core of a Medium City – with Semarang and Solo in Indonesia as Case Study" - KNUCH UNESCO Chairs' Grant 2020-2021

One of the most significant cultural establishments in Germany, the Klassik Stiftung Weimar, comprises a unique cluster of Weimar’s cultural assets, including museums, historic houses, palaces, parks, and collections. The city of Weimar Classicism is a popular excursion destination for a lot of school classes. Today school trips to Weimar still seem to be a ‘pilgrimage’ to the memorials of the poets – a principle that was developed and practised in the nineteenth century. But how can excursions to Weimar be adapted to comply with contemporary education theory and methodology, which tends to be student-centred and oriented on activity and production as well as learning through direct observation and self-directed learning? The interdisciplinary education project Weimarpedia was developed to allow students to interact with this cultural heritage on their own terms. During their visit, students can independently explore historic sites, and receive additional topic-specific information via tablets or smartphones. Based on their research, students develop their own projects such as audio plays, films, photo stories or encyclopaedia articles. These are presented on the web page www.weimarpedia.de. The articles are linked to a map on the website. With the help of this map, students and other guests are able to explore Weimar’s past via the living city and by encountering historic objects on site. Following on from other students’ interest, they can then form their own individual images of Weimar. The unique cultural topography of the city is made visible and understandable: This map-based compendium will spread like a net over all of Weimar.

"""Africa. Un'enorme massa di terra, il secondo continente per estensione e per popolazione, dove sono parlate più di 2000 tra lingue ufficiali e dialetti, dalla cultura millenaria e misteriosa, ma che noi fatichiamo a riconoscere. Gli investimenti nel "continente
nero" provenienti dai paesi esteri sono sempre crescenti, parte di una nuova campagna di colonizzazione resa possibile dal mercato libero, ma nonostante ciò, riprendendo le parole del geografo George Kimble, l'unica cosa nera dell'Africa è la nostra ignoranza su di essa.
Come cambierà il paesaggio e cosa resterà dell'immagine consolidata che abbiamo nella nostra mente quando parliamo di Africa?
L'obiettivo è interrogare lo spazio, in cerca non di qualcosa di predestinato, ma lasciandosi trasportare dalla scoperta ludico-esplorativa dell'ambiente geografico; una tecnica rabdomantica che investiga ed esplora le componenti del paesaggio determinando flussi energetici che ricadono sulla comprensione del territorio, che può essere mappato per rappresentare gli spostamenti stratificati nello spazio/tempo dell'esplorazione.
Il viaggio si eleva come momento essenziale nel processo esplorativo dei nuovi soggetti nomadi contemporanei; vivere da nomade non implica necessariamente un problema di geografia, un effettivo spostamento, ma al contrario definisce i modi di distribuzione e di esistenza di ethos, the manner of our being in space.
Le relazioni tra spazio, memoria e rappresentazione nell'era digitale hanno subito un severo incremento, dovuto al processo di
rappresentazione che si ritrova nell'esperienza culturale quotidiana; per questo la topografia d'esplorazione necessita della messa a punto di metodi, sperimentazioni e soprattutto di strumenti per la ricodificazione del territorio, che non si avvalgano solo delle ultime tecnologie ma che siano in grado di riportare in essere il rapporto che insiste tra il soggetto itinerante/nomade e la geografia del luogo.
Il CARTOGRAFARE DESIDERANTE, è la rottura nella codifi cazione dei luoghi ottenuta attraverso un'alterazione psico-cognitiva dello spazio decostruito.
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Africa is the second continent in size and population; it’s a huge mass of land where more than 2000 official languages and dialects are spoken. Africa is known for its mysterious and ancient culture, that people find hard to recognize. Foreign investments in the “dark continent” are constantly growing up and they are part of a new scramble for Africa, made possible by free market neo-liberalisation. However, as geographer George Kimble said, the darkest thing about Africa has always been our ignorance of it.
How will the landscape change? What will be left of the classic image of Africa that is stuck in our mind when we talk about it?
The aim of my research is to inquire the space. This enquiry must be led by the discovery of the geographical environment; a dowsing technique that investigates and explores the components of the landscape determining energy flows which fall on the understanding of the territory. This way it can be mapped to represent the layered space time movements of exploration.
The journey becames a fundamental time in the exploratory process of new contemporary nomads; living as a nomad doesn’t
necessarily involve a problem of geography, an effective displacement, but it sets the distribution methods and the existence of ethos, the manner of our being in space.
The relationship between space, memory and representation in digital age have increased, thanks to the process of representation, which can be found in everyday cultural experience. This is why surveying exploration needs its methods to be improved and new experiments and tools to recode the territory; techniques that don’t only the latest technologies but that are able to bring together the relationships between the itinerant or nomadic subject and the geography of space.
CARTOGRAFARE DESIDERANTE is the breaking point of codification of places, that is obtained through a psycho-cognitive alteration of deconstructed space."""

Research has shown that children are the greatest users of natural areas and that childhood experiences strongly shape adults’ environmental values. This project was designed to ascertain children’s environmental uses and perceptions in two rural villages in the Eastern Cape, South Africa, utilising children’s use of the environment for play and their sense of place as key focus areas. Several factors influenced children’s environmental use, including safety fears, increased consumption of western media and environmental restrictions imposed by the state, revealing how South Africa’s high level of violence against women and children contributes to gendered environmental use and knowledge, and bringing about concern for children’s cultural identity in an increasingly westernised world.

This technical report provides a concise overview of the extensive process implemented by the DICRC team for the mapping of several traditional and vernacular buildings of India. The Building Mapping is an approach towards identifying, understanding and developing a detailed inventory for different types of Traditional and Vernacular Buildings, their Elements (Interior Architecture elements, Furniture, Objects and Accessories) as well as the Space Making Crafts (SMC) and Surface Narrative Crafts (SNC) integrated within it; spread across India. The Building Mapping is an inclusive system of recording through photographic survey, form based inventory and interviews. It is the first of its kind visual-based mapping technique in India conducted using interactive mobile tablet survey. A specific mobile application has been developed by the researchers at DICRC to conduct this survey. The data generated out of this mapping process is categorized and it is taken further in preparing an in-depth Traditional Building Portfolio (TBP), Traditional Building Elements Catalogue (TBEC) and Interactive Online Map; all being disseminated through various online platforms.

In this presentation I will present the research developed lately in ISTAR-IUL regarding the use of digital technologies, namely Augmented Reality (AR), Virtual Reality (VR) and Spatial Augmented Reality (SAR) to explore architecture contents, namely the ones focusing cultural tourism, through several perspectives.
The goal of this research is to combine knowledge from several disciplines, including History of Architecture and the City, Architecture in the broadest sense, Information and Communication Technologies (with an emphasis on Computer Graphics) and Tourism studies. These fields have been integrated in the development of a common base of information on the architecture of cities. In general, the main goals of our research are: i) to create an information system that allows access to digital information useful for the understanding of the built and urban areas; ii) to increase the knowledge about the built environment through the use of more informational media; iii) to collaborate with IT researchers in the development of real VR and AR implementations for the city; iv) to enhance collaboration between education architecture and multimedia students through the use and development of new technologies and processes.
In the book Theorizing Digital Cultural Heritage, Fiona Cameron and Sarah Kenderdine (2007), present a compilation of papers that discuss the mutual transformation that emerging digital technologies and heritage organizations cause on each others due the current trend of combining both. In this line of thinking the research we have been doing contributes to the discussion on the combination between the digital technologies and the elements and places they refer to. Both AR and VR tools have been developed by our team to enhance a better understanding of architecture, namely the cultural heritage, to students and the broad public. All these technologies have been presented in exhibitions on cultural heritage such as the “Escola de Chicago: arranha-céus digitais” exhibition in 2014 at ISCTE-IUL where digital technologies allowed visitors to observe the story of such period in an innovative way. In this exhibition several digital tools developed were presented. Semi-immersive Virtual Reality enabled participants to explore the downtown
city of Chicago by navigating in a 3D model (Coroado, Pedro, D’Alpuim, Eloy, & Dias, 2015). Individual buildings representative of the period, as the Old Colony, were presented with an AR app (ARch) that enables
users to navigate into these buildings using several functionalities as hide/show parts of the building (Mendonça, 2014). Spatial Augmented Reality was used to augment physical models at the scale 1:10 that
were positioned in the exhibition as a complement to the ones digitally presented by AR (Velhinho, 2014).
The mobility and ease of use enabled by the augmented reality apps lead us to continuing using this technology for creating solutions of visualization of cultural information targeting tourists. In this scope we
developed an app to be used for the augmented visualization of paper maps (ARch4maps) (Gaspar et al., 2016). In this case the Lisbon map of the Prémios Valmor was used and the awarded buildings were mapped
by AR in the physical map. SeeARch is a recent AR app developed to be use outside while e.g. a tourist is walking through the city and aims to acquire information on buildings and places. All the developed apps were tested (satisfaction and usability tests) and they use of digital visualization tools proved to be of outmost interest for linking city knowledge and visitors and therefore heritage and cultural tourism.