Although, as we know, mother nature is not always pleasant to human beings; the inn reminds us our relative human In this sense, materials build and represent our comfort zone. We can only freely sightsee the landscape the mountain slope at the end, inside the room; until that moment, starting from the main entrance to the dining room, we get into some sort of learning process.
Regarding two spaces, the patio and the dining room, we can say that the former brings up the landscape through evocation; the fact that we are not able to see, allows us to be more awareness of sounds, scents and flavours metaphorically, the intertwined rips of wood partake of our re-union aim, in order to get the two universes intertwined, as Juhani Pallasmaa says.
Now considering the late, we can say that the schist columns, interposed between the dining room and the landscape, create a slightly tense atmosphere. As we previously said, the more ambiguous space can get, the better it is. This space teaches us that great sights seek for intention; landscape is something that cannot be served in a tray. At the end, after all these lessons had been learned, the architect offers us a prize: Heritage is something that as to be learnt, in order to remain meaningful.
Time is too much precious to be spent in flash shots. Our final considerations would not take too long. We will, simply, tell part of the current owner s story with the inn, particularly, the way she kept this classified building in her personal baggage. Till her early twenties, she often visited the inn, but only as a bar costumer, because by that time, she was too young to afford staying.
As she told us, she kept inside her every instant from while she was there. Despite living nearby, the inn awakened her to a sense of peace and understanding of her own life that she could not get in any other place. For years, it was the only place that, truly, sheltered her. From the inn, her living environment, as she lived nearby, seemed to be clearer; balanced. Years passed, and her life totally changed.
She was overwhelmed by his character; a gentle e noble man, interested in her point of view, memories an insights about the inn, even knowing that she was not an architecture expertise or, particularly, because she is an architecture expertise, we personally believe. In one of their pleasant conversations, she told him about how meaningful the mirror of the top of the living room was to her. There is a bar behind it; the purpose of the mirror was simply to guarantee that the barman could oversee the costumers without being seen.
However, she share with him that by looking in to the mirror as she was leaving, she would never say goodbye to the inn. After several instants of landscape contemplation, its reflection in the mirror as the inn s last sight, made her felt, endlessly, hopeful. Yet, she felt that she was taking with her peace, and a piece of the inn, and that she would never turn her back to that sheltering place.
And she did not. One of her aims is to share her acknowledge of architecture s formative effect. Penguin Books, Berger, John. John Berger The Selected Essays. John Wiley and Sons, Tainha, Manuel. Manuel Tainha Projectos Coord. Manuel Tainha Textos de Arquitectura.
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Author s illustration, When the visitor gets into the inn, faces a small scale space, from that point, slightly to the left, he can go upstairs, directly to the rooms or, a few steps down, he can find the living and dining room. From the same point, at left, there is also an entrance to the patio.
The schist columns can start to be seen from that corner. From this view, in the patio, below the wood porch, we can see the three entrances; from left to right, dining room, living room and reception. The patio is a physical central space, which intertwines the two worlds; inside and outside worlds. Author s illustration, , Illustration 3 From left to right: View of Serra The da produced Estrela. Author s texts are of illustration, each author , responsibility. The purpose of this article is to show how architects, planners and local authorities can create their own language interpretation and application of formal relations, at the same time; they developed their rehabilitation programs and promotional tourism, which transposes the analysis of the cultural landscape to the formal development of each program unit.
The designation of cultural heritage results of the configuration analysis in History, Geography and Architecture in direct relation to the phenomena that arise. And tourism can contribute substantially to the financial maintenance of monuments, and also to help public support created for conservation policies. The heritage depends on a phenomenological and sociological interpretation related then with History of Architecture, with the goal of understanding the cultural heritage.
The main conclusion of this article is to emphasize that the factors which will determine the new heritage, and also influence Tourism, are defined by population, lifestyle and economy. Therefore they are important factors to achieve successfully interventions and programs, public or private. Heritage, Tourism, Memory, Place. Introduction Our reading and comprehension of architecture remain intertwined, with architecture history always supported in Art History tradition, oblivious of social analysis and social and historical identity.
Therefore, it is almost impossible to analyze both the memory and Architecture, art, literature, philosophy and history have always determined broad and deep domains. The purpose of this article is to demonstrate how natural and cultural landscapes and also heritage can positive influence tourism. How natural and cultural landscapes and also heritage can positively influence tourism The designation of natural and cultural landscape results from the analysis of configuration at History, Geography and Architecture in direct relation to the phenomena that arise.
The heritage can be divided into four groups, monuments, places, historic cities and Natural and Cultural Landscapes. It s important highlight what Choay , 87 refer, Magic power of the concept of heritage. Transcends the barriers of time and taste. Christian Norberg-Schulz, in Genius Loci - Towards a Phenomenology of Architecture states the importance of place, and how can establishing its character and its essence, without forget the population. How often people identify themselves is done according to the places and defines the identity concept. As Norberg-Schulz referred the meaning of genius loci as a result of three fundamental ideas: Identity is determined by the location, the general spatial configuration and the characteristic link of each place.
History demonstrates the impossibility of a place, the surroundings, be subject to continuous change. Finally the tradition is the result of the union between identity and history of the place. For this Sociologist memory corresponds to a selective representation of the past, which is never exclusive of the individual alone, but this included in a familiar, social and national context. Some authors Assamann , ; Huyssen, when analyse contemporary societies to describe the "collective amnesia" as the lack of emotional connection to the references of the past, due to the distance and alienation of the past.
We decided to redesign and present, because his reading is very direct and sums up quite well the relationship between the two elements. Currently the real situation of the market and consequently the tourism product, the new trend is highly oriented to the revaluation of cultural heritage, territorial identity, local promotion and branding. The cultural heritage becomes the main reason for tourists choose your destination, enable the tourism sector against global economic crisis and promote development.
Weaver considers that the market can evolve in two different ways, the first corresponds Sustainable Mass Tourism SMT , resulting in a high flow of tourists, allowing a immediate development, or the second hypothesis Alternative Development Type ADT where the development of a touristic destination is voluntarily held back in order to preserve the natural balance, creating a socio-economic niche, where tourist activities are granted only to a small elite.
It is therefore important that you try to frame the different intervention proposals in the natural and cultural heritage, using as an example, national brands fitting in International programs. In the National panorama, there are three major brands, which value and distinguish this heritage. The brands are divided into "Historical Villages of Portugal", "Villages of Portugal" and "Schist Villages", rural villages with touristic potential, which respect and preserve the history and traditions of its architecture, culture and customs.
Through the promotion and preservation of the rural heritage and local and regional endogenous Reflecting itself in the increase of economic values, through tourism, through territories that already have other values: In the International panorama, European Network of Village Tourism is a project that aims to develop, in a sustainable manner, a quality touristic offer in the rural areas, whose genesis is in the concept of Village Tourism Rodrigues, Rodrigues, This network involves five European countries being these, Finland 8 , Italy 8 , Poland 1 , Portugal 14 , Romania 1 and implements in 32 villages.
The added value of this network is to allow approach and analyse a set of points that define a economical feasible management and business model and simple to perform, in order to promote their development. Partly trying to avoid what Cohen states, where the sectors, public and private typically define different goals, and usually at different scales. Conclusion Although tourism can be seen as a cultural and social change agent, Salazar and Porter , 2 refer In many cases, tourism has been identified as both a force for cultural enrichment or rejuvenation and the loss of cultural integrity.
It s important to remember this duality, and only highlight the positive part. As researcher and advisor of several dissertations on this topic, I always try that the proposed intervention projects be true and also respect the tradition and heritage. For these two factors to coexist, interventions should not mimic the existing, but to date the intervention. We must not hide when it was intervened, because then, we will commit the next and future generations perspectives about heritage. While ensuring sustainable proposals, either in construction, economic and social terms.
The methodology that I always propose it is the SWOT analysis, finding the strengths and weaknesses, the weaknesses and opportunities for the definition of a positive strategy, where the memory of the place is preserved and where tourism is the positive attraction element, in heritage protection.
In fact, the Rural Heritage will survive while collective memory lasts, because it also depends on the identity, and without identity there is no sense of belonging because belonging to a place means to have an existential support base in an everyday concrete sense.
But we cannot consider tourism, natural and cultural, as a significant factor for rurality problems salvation. J Building a new Heritage: Marking time in Cultural in a Cultural of Amnesia.
Building a new Heritage: W Cultural heritage and tourism: R Eco-sustainability and cooperation in tourism: When apprehends architecture, the observer assumes an active position that permits the dynamic achieve of its formal and spatial characteristic. This type of perceptive experience is determined by the architectonic object and by the suggestions that it causes on its beneficiary. This interaction made from the architecture apprehension is an imaginative experience that has necessarily a strong subjectivity dimension and can even reflect a conception of its object totally different from the common, instinctive, perception.
The Phenomenology of Architecture can be understood through the conscious apprehension of the observer, when he recognizes and experiments its space. In contrast with a simple physical analysis of the building, he identifies its proportions or stylistic properties that can be directly associated to the architectonic space. Introduction In the matter of experience that man has of the environment that surrounds it is proven that the 'sense of place' is a complex process which concern many variables. We don t simply noticed a common world to us all, as claimed by some naive, practical and In general, the perception highlights valid assumptions about the environment around us and such assumptions vary depending on the situations in which we participate.
The perception interfere in a world that could be described also perfectly as events in a four-dimensional space-time. Blume, Barcelona, , p. Addressing qualitative totalities of a complex nature, places cannot be described through analytical concepts of scientific character. As a matter of principle, science makes abstract elements collected to achieve a neutral and objective knowledge. You lose, however, daily life, which should be the main concern of man in general and in particular architects.
Fortunately there is a method known as phenomenology, which was designed as a 'back to things', as opposed to abstractions and mental constructions. Rizzoli, New York, , p. It is from "Existence, Space and Architecture" and "Genius Loci" that Christian Norberg- Schulz builds a unique theoretical field under the Theory of Architecture, asserting itself as its first and main proponent 1 - the "Phenomenology of Architecture "- theoretical and operational support of the work presented here.
We propose a phenomenological analysis of architecture that part of a conscious and imaginative perception of it space, inseparable from the particular experience of the one who perceives. From an active position of the observer looking dynamic recognition of formal and spatial characteristics of the building, the suggestions brought in users, always ends up determining a type of individualized perceptual experience. This experiment architecture, having an imaginative structure has an inherent subjectivity due to the individualized reading of architectural object and the effects that this causes in the directions of its viewer - it is evident, first, the sight associated with the dynamics of movement of the body in space, supplemented successively or simultaneously by the other senses.
Princeton Architectural, New York, , p. The "indeterminacy" is another sense expressed by the work of art, is a pretext of looking - the prospecting attitude that assigns a heuristic quality to "beautiful experience. As a result, the contemplation of the beautiful tends to "single" and focuses on the individual and the relationship that this created with the work.
This is argued, through its architecture, such as a streamlined unit with a perfectly harmonized integration with the site, and gives us a succession of multiple and varied experiences that lead us to a universe of sensations, only settled on the subject describing their paths and seize their spaces. The interpretation of the architectural complex individual parts is a pretext of searching for understanding of all by the subject, which will aim to give a general sense to factors which, in part, may arise as undetermined due to the subjectivity inherent in the very nature of interpretive act.
Its aesthetic perception begins in a first moment, when the Villa is visually recognized in the distance, giving it a sense of uniqueness. The heuristic pleasure inherent in the aesthetic experience of the architecture begins, right away, to develop due to the understanding of the links between spatial areas with differentiable functional identities - proceeds thus a qualitative understanding of its architectural entities, recognizing their values as a function also of their usefulness.
Continued experience in analyzing its architecture allows the informed observer interpret and understand the signs that identify a particular object, with reference to the environment or place, and to give its judgment on factors that are determinants as the "proportion", "balance", the "hierarchy", the "strength", among others, enabling him to understand their particular qualities and their meaning, and distinguish those that have great architectural and artistic value.
Bayer, is the "sensitive intuition", which has the support or root sensory qualities which are the source of the sensations that the work of art provides or suggests. These always seek recognize the significance on information gathered by the senses instinctively and add it the knowledge previously acquired in similar situations. Memory plays an important role in this phase of the experience of architecture, not only in recognition of spatial order of analogies, as well as in association conceptual frameworks that may have influenced in any way, intentionally or not, the architectural structure of the object in question and their spatial relationships with the surrounding.
These factors take into account the feelings suggested by the architecture open experiment phase , but it can arise also recognition of an exemplary type or model, from the intuitive association with this, can deepen a more rigorous understanding of the creative intentions of its spatial organization and its formal design, the conceptualization of its architectural structure. At this stage of the analysis can begin to develop an approach that considers four types of essential spaces for the understanding of architecture - physical space; perceptive space; functional space and conceptual space, identifying the latter as a result of the understanding of others to perception.
A sensual experience initially of intuitive nature begins thus to provide "intellectual apprehension" that combines the phenomenological analysis side of the mental construction of a compositional rationality and rigor that creates a gradual rapprochement with the very embodiment tectonics of the building and the architecture of gardens. These follow a geometrization with predetermined proportions, seized naturally in almost all stopping points along the possible routes. The rationalized spatial distribution of its volumes is easily interpreted by the observer, along with the rhythms and limits of various orders who consider objectively the human scale, which oppose or relate strictly.
By creating an architectural variable module, referenced to the size of a building, is assumed as a uniform measure given by the human dimension, but also related to the dimensions of the materials and the scale of built and environment. A door will not grow in proportion to the building. If the door is made for man, it shall keep the scale of the recipient; a step will always be a feasible step.
The module is given by the man, and this module is invariable. Although composition rules are defined, they do not overlap the heuristic result of the work of art in which all phenomena are considered simultaneously. Only a formalistic attitude is that supersede the value of the rules, the number and geometry to all others. The rhythm formation, rather than of a measure requires a certain speed in reading the work of a whole, and this interaction.
To be associated with time, the rhythm relates to the experience of human activity and has arguably qualitative value. Gustavo Gili, Barcelona, , p. The first contrasts the "connected spaces" or interrelated fluidly to "static spaces", individualized or autonomous. The second concerns the opposition between the "directional space" and the "non-directional space" which can occur of one or more formal and spatially expressed axiality, or other orders - geometric and topological.
The cases in question are mapped to the first type positive spaces. Bayer as "intellectual intuition" begins, in our case, of the results acquired in the previous phases and considers all the architectural context information theoretical, morphological and typological , historical and cultural. It is also crucial given the symbolic importance, the symbol and its meaning as building aesthetic value of the work.
This causes the imagination to understand the work by suggesting messages or puzzles that transform it spontaneous ambiguity in sensory and emotional experiences particularized by the very act of reading or apprehension. The Villa expresses itself as a symbolic affirmative entity and its constituent parts have, in turn, comes in with its own symbolic purposes loads that gave them typological identity in the spatial context built - see yourself as comparative example the square formal garden of Quinta dos Marqueses de Fronteira, which rigorously embodies the archetype of "ideal garden ".
However, there are many and varied symbolic values associated with architectural elements - loggias, entry gates, fountains, sculptural niches, caves, pergolas, gazebos, etc. The "expression", which is subjective in nature and suggests the interpretation; the "representation", which refers to a language of communicative value; and "pure meaning," which arises from the ideas conveyed by the signs that define it. This reveals an open image that appeals to a number of defined and different values, which can be interpreted from an analytical decomposition of representing meanings.
While the first part of this analytical approach is strictly phenomenological framework - conscious apprehension of the sense of space, a demand to achieve the internal language of the building, contrary to its strictly physical analysis - with the "intellectual intuition" is developed the ability to intellectual understanding of architecture, with reference to an imaginative mind that starts on a visual perception, which associates the experience of the observer to the immediate understanding of the case study.
Conclusion In architecture, and in any art, the simple visual act is totally different from the perception or understanding of complete work. The mind of the perceiver always finds a meaning or significant in all sensorial information that receives or assigns instinctively a particular significant to each specific information.
In the act of receive has in account all the knowledge previously acquired about similar information. That permits to accomplish a satisfactory preliminary interpretation and locate the collected information in a place with meaning. The continued experience in analyzing architecture permits not only to the informed observer to interpreter and understand the signs that identify a particular object, referring Presence, Language, Place, Ed. In the analysis and design of an architecture project there are two factors with a philosophical nature, such as the Silence and the Noise, which can help the development of creativity, the understanding of how people feel the art and experience the architecture in its full sense.
The combination of old and new, the recovery of ruins introducing contemporary ideas, allows to respect the past, the memories and the culture, without the need to recover as it As architects we must raise the creativity to the development respecting what was the left to us by our ancestors adding a new language to differentiate times, thus allowing a historical evolution.
Perguntei ao mestre - Uma floresta cheia de ruido. Silence can be deafening and the noise can be enjoyable, as well as the interpretation of architectural works. In a landscape Fig. The way you see the old, if it is understood as noise or silence, and how one can intervene. While analyzing the place, territorial occupation allows us to understand how the space was used and transformed to fulfil the needs of the rural agricultural season.
As architects, how does it influence us on the recovery and rehabilitation of these places and buildings? What is the sensory and visual perception of the space "between" the close relationship of two seasons? On the outside, the site analysis and its pre-existences can bring us the memories, history, culture, which should be preserved. And how should we do it? On the inside, the analysis and understanding of these external factors can develop the imagination, creativity which leads us to the concept, the Project Idea.
Only this way, unique and differentiating projects can be developed, stressing the importance of specific understanding of each place. Projecting a house requires an understanding of the concept of Living, and all physical and sensory functions involved in feeling the space, either in the silence or noise of living, the Society, Culture and the evolution of lifestyles, respecting all the conditions imposed, adapting and acquiring the identity of place Genius Loci.
The Dovecote Studio Fig: The project authors had the sensitivity to look beyond something that had no value thus giving it a new use and making it distinctive and provocative of different sensations and certainly favourable, and the most unfavourable, reviews and it is in this provocative way that architecture should follow. Haworth Tompkins Year The rehabilitation of buildings or ruins requires the perception of spaces and sites, strongly characterized by history, taking advantage of all that was left, so that the "new" dialogues and adds a new "life" to the existing one.
It is important to give people sensations that can make them feel the new spaces, causing either restlessness or feelings of tranquillity, of dimension or reduction, relaxation and introspection or activation and movement. Only by feeling can someone have an opinion about something, just dealing with our feelings can describe something, expressing it with words. The architect has to pass on to the project the essence of the site, of what the program needs and seeks to provide to the customer, in order to be entirely experienced as a work of art and as a need of space to inhabit.
Contemporary elements designed individually outside were introduced to stress important points, such as the building entrance. In the outer internal spaces it was introduced a set of volumes, of new construction, with walls almost in ruins that serve as the backdrop for the new space with new sensations of scale, proportion, harmony and challenge of those who experience the building. David Closes Year Projecting contemporarily in an imposing pre-existence demands a surgical intervention in order to respect and value both periods.
It is necessary a deep analysis of each case, of each pre-existence, of the way it was programmatically used, of how it was scoured and felt, and 'matched' with the new program, taking advantage of the existing to meet new needs using the 'clues' that are shown when analysing in detail the object and site to be recovered. It is important to follow our Creativity, enjoying everything that worries, moves, thrills, delights us with harmony and proportion together with the identity of the site Rentabilizar a realidade aumentada como diferenciadora Todos os dias surgem ideias e projectos em todo o mundo relacionados com a tecnologia da realidade aumentada.
The Perception of Visual Target. The interest of this confirmation lies on the strengthening of the significance extent of those intensification factors as touristic integration agents, promoting the development of each destiny. Given the existence of an endless multiplicity of touristic experiences, we opted to focus on the differentiated experiences, in order to equate the said subject in a more eloquent sense of generalization. Isto indica-nos que a O mergulho de mar pode ser basicamente dividido em duas categorias: Para Gaspar , existem basicamente dois tipos de mergulhadores: Poder ter mais capacidade de avaliar, Os oceanos vistos como a Ong e Musa , entendem por experiencia de mergulho a soma acumulada de todas as experiencias de toda uma vida.
O mergulho recreativo de mar caracteriza-se por uma forte componente ambiental do meio natural. Questionado um instrutor de mergulho sobre o que tem a ilha de Desde logo o contraste da atividade remete para outros sistemas de valores.
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Mergulha-se praticamente o ano inteiro, mas com menor visibilidade e com temperaturas a rondar os 16 graus. A viagem para a ilha remete-nos para os ritos de passagem em turismo. Journal of Urban Research. Consumer satisfaction and services: Examining the influences of experience, personality and attitude on SCUBA divers underwater behavior: Urban Studies Sharpley, R.
Tourist Experience Contemporary perspectives. Rethinking authenticity in tourism experience. Annals of Tourism Research, 26 2: O Brincar e a Realidade, Rio de Janeiro: Rose Seidler House is a particularly impressive house that is witness to the strength of the Modern Movement world wide. The neoplastic reference is obvious and it is a personal construction of the whole architectural space.
From the environment the house stands on the articulation of the inner-outer spaces and we may easily realise that we are inside an impressive architectural masterpiece. Yet, the place where Rose Seidler lived surrounded by the upper most comfortable environment found its new destiny, a museum. Thus, like other architectural masterpieces, its perfection made the place impossible to live in.
The touristic attraction now dictates the destiny of the house. And writing about it from a personal point of view may mean that we may treat architecture in general as tourists looking for pure architectural experience. Thus, tourism does not only frame important issues such as new uses from old buildings and cultural heritage perspectives, but it can also give us a particular view of everything and anything. Thus, we may tend to operate within a world made up of partial limited views that, nonetheless, we read as universal. This article discusses some aspects of art, architecture, heritage and tourism.
It presents civilization as a spatio-temporal construct that is built upon human records that we may fashion and thus recognize civilization as a long-term construct directed to both past and future. The construct of time is evaluated as a key element at the core of the historic artwork. Yet we can say that modern time is our time and thus brings close to us the evaluation of Modern Architecture as a present living object that we can fashion as if it was recently created.
This fact questions the sense of museology that may be interesting but that also must evaluate properly buildings that are close to us in space and time.
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Sydney Living Museums presents us a special conscientiousness of living houses that combines into cultural tourism an awareness of Modern Architecture built afresh. Certainly Harry Seidler s Rose Seidler House, built in for his mother, is only one example among many in Australia and worldwide. Yet, the fact that young countries have a need to build and to present an architectural heritage that the movement of Modern Architecture of the 20th century reinforces, highlights that which other countries have dismissed.
Last but not least, the option for the Rose Seidler House to become an experiential museum was not alien to Kenneth Frampton s where the remarkable qualities of the building are summarized and stressed in World Architecture. A Critical Mosaic Vol. Southeast Asia and Oceania. The world we live in and fashion creates a living interaction that develops in us an awareness of both the world and ourselves, and thus creates the conditions to evolve civilization.
We thereby have changed nature, created tools and shelters, art and architecture. Art and architecture witness needs that are not utilitarian, but needs that arise from a higher spiritual level. Need by the means of function is synthesized into the Useful and thus the need for shelter becomes a heuristic pretext to create the Beautiful.
The fact that human kind is able to create an Object to pursue pleasure alone, an aesthetic experience, an Object to be seen and experienced that does not arise from the need of bodily nourishment takes us to an upper order of understanding of our relationship to ourselves and to the world we live in and fashion.
And tourism may be an approach that enables the pleasurable experience of the aesthetic. Enlightenment has led to awareness and in a sense a need to experience nature that combines the objectivity of modern science and the need for a sensory experience. Yet this new way of experiencing nature came along with a similar way of experiencing history and from the ruins to the living buildings, architecture as a witness of a living past soon arrived at a new stage to be experienced.
A sense of worship of building-history was thus brought to the realm of the aesthetic and to the experience of civilization. We could say that a new awareness of civilization arose and a sense of balance between individual genius and the moral or spiritual condition of a society could be evaluated and fashioned afresh. We could then see the new emergent tourism as a kind of complete experience, a civilizational experience that places the individual in an extensive spiritual world built from a material world that combines nature, human kind and civilization.
It is in this sense that tourism is approached here, as an experience that may provide all the conditions of fulfillment of a perfect existential experience. A perfect adherence of mind-body-world as would be stressed within the context of a phenomenological approach. Awareness of civilization is not crystal clear. The art object is meant to be universal and a key record of civilization but art creations from former civilizations have been rejected and misunderstood by new civilizations. Kari Jormakka asked why is painting an art and questions common assumptions regarding our certainties of classifying art and thus questions the production of art and the nature of the aesthetic experience.
Patrick Heelen stresses similar phenomena by making clear the way in which the theory of art actually dictates what we see and inhibits our perception of the artwork to the point of blinding ourselves. Molnar argue along similar lines by demonstrating that the asymmetry of Raphael s Marriage of the Virgin is fundamental to Thus we look at the geometric framework of perspective and simply forget light.
Raphael s asymmetry did not belong to the Renaissance theory of art and yet V. Molnar could stress it in the 20th century and the argument seems valid in the 21st century. The contemporary exceptional may not be the longterm exceptional and later may not be understood as fundamental to the space-time we live in today. The unique in artwork needs to be exceptional and to be classified as a landmark in history. Further the characteristics of the exceptional in artwork and in architecture need to be somehow defined in a type of agreement which is particularly important when contemporary interventions deal with architectural heritage and are certainly the centre of discussions in the debate of tourism versus heritage.
An important problem would be that the exceptional has an identity of its own and that it is also a cultural construction as it requires long-term recognition that history is made or easily understood from landmarks that, for instance, may translate the spirit of the age. And cultural tourism uses and abuses this assumption by stressing exceptional aesthetic characteristics of places and objects.
Thus cultural tourism presents an ontological character of objects that nonetheless may be questioned. In some sense, they are biased by the same type of phenomena as Patrick Heelan stresses and we hardly can avoid them. Time is definitely and intricately connected to architecture. Modern architecture has moved time to the centre of architectural thought.
Space-time as a universal reality needed to be aesthetically explored and our time is closely connected to that modern time because of this consciousness. The sense of motion, of continuous metamorphosis, of change was to be found in society, politics, art, science, in brief, in civilization and thus time seems to connect all civilizations. Futurist s, departing from the Marinetti s Futurist Manifesto made it tragically clear, made time intense both as rational and as sensory experience. Perhaps it was the sense of short time segments, a lack of stability or permanency, which has taken us to the necessity for short time decisions on the nature of the artwork and the duty of conservation.
In this sense, the extreme position such as that of Dada has Yet, at the end, even Dada was absorbed by the stream of time that civilization constructed and thus constructed Dada itself. It is exactly twentieth century architecture, in special Modern Architecture, that lays claim to conservation. Yet, the fact that modern architecture belongs to our time means that we can live in it effectively regarding the facilities and spatial organization it provides.
Thus, exceptional houses may not claim to be museums, not to be touristically approached and have objects that were left behind in time, in its own time, just to be witnesses of a lost civilization. Wright s Falling Water or Aalto s Mairea, despite the living atmosphere that has been preserved, have somehow changed by becoming museums. We thus come to a point in which Rose Seidler House appears to be a good example of reflection on tourism and architectural heritage and does not come alone in the Australian cultural context.
Karen McCartney has already published particular comprehensive surveys of Australian exceptional houses and together with Annalisa Capurro has worked intensively on the necessity of keeping these houses alive for the experience of future generations. Both live in iconic houses that have become iconic by working on their recognition as such. To live in iconic houses and display them occasionally or periodically, more as a family or friendly visit than as an act of pure tourism gives back to the visitor a more intense sense experience of what the building transforms into an aesthetic experience.
Thus, there is a sense of fulfillment that cannot be acquired otherwise. The fact that someone actually lives in the house emphasizes a sense of contemporaneity and validity of the Modern House. We may say that turning Villa Farnese into a permanent residence would validate a modern and contemporary way of life, too. In some sense this is true. But by being true, it stresses the argument regarding the modern house because it already belongs to a time where new civilizational habits were built and where the organization of the house reflects them.
The free plan and the flexibility of space are there as heuristic working tools and it is a new approach that, at the end, would give Villa Farnese a contemporary meaning as Metamorphosis of space and time might be the most perfect expressions of the heuristic tools conveyed by the free plan and by the flexibility of space. We may say that there is a paradox on visiting Rose Seidler House because the house is not inhabited except for its visitors and yet it belongs to a set of buildings where people actually live. Yet, the person who works there actually lives in such, just as we work in an office or a factory.
A housekeeper we could say. Yet this way of keeping the house directs it to a touristic approach to the Object. Certainly the space is impressive, but, actually by acting as a tourist that is like visiting the Canova s Three Graces at the Victoria and Albert Museum, one may ask how far we are being acknowledged with Rose Seidler s House. In a sense it is like a text that needs an imaginary reconstruction of living within the building. But how far has one lived in such a space as an everyday dwelling activity?
Perhaps drinking a tea or a coffee, reading a book, sitting on a chair or sofa, inside or outside, listening to the news, would transport us to a close experience of the house. How can one demonstrate what it is like to live in such a space that appears to be so clean and free of any human activity? The wonderful chairs seem stuck to the floor.
It seems gravity has fixed the chairs perpetually to the floor and it is a paradox that we can move through the space. We cannot move them, they are dead witnesses of a lost past! The fire has stopped burning in the fireplace and the house appears to be stopped in space and time. And yet we can imagine how to move, how to move objects, to choose our favorite place to see the trees, to sit by the fire place We seem able to figure our what living in means, we can use imaginary reconstructions of reading, cooking, making laundry, sleeping, playing with children and let them go out to play in the forest outside.
Perhaps we can imagine Rose Seidler moving around and going about her daily life. The fact that the house in its architecture is so close to the modern time we share, makes an imaginary reconstruction possible in a way that is more difficult to achieve than with earlier historical buildings, such as a palace or a castle. In the Rose Seidler House, we can simply sit and start living there. Living architecture that is actually live gives us a new sensory experience and the aesthetic revelation of the Object becomes more powerful in the sense the awareness of living is derived from iconic houses that are not far from our time.
In fact they belong to our time and by living them we give the house that meaning. This is particularly intense in the revelation of Modern Architecture afresh and of young countries whose architectural heritage is marked by modern architecture, are good examples that give us a special awareness of Modern Architecture as a worldwide phenomenon. The spatio-temporality that we share with the house and the house with us is strong enough to inform about a duality of experiences. Somehow we are tourists and friends or family visitors and we also feel like we can live with the house or that we have actually lived there.
Perhaps architecture, heritage and tourism are synthesized on the Rose Seidler House. Librairie Armand Colin, Capurro, Annalisa, is designer, lecturer, writer, speaker, mcm aficionado, preservationist, owner and custodian of the iconic Jack House by architect Russel Jack, Sydney. John Murray, Frampton, Kenneth. Basil Blackwell, Heelan, Patrick A. Space-Perception and the Philosophy of Science. The University of California Press,. Northwestern University Press, Jormakka, Kari. Notes on theory and criticism in architecture and arts. Three decades of Domestic Architecture.
Murdoc Books, McCartney, Karen. Murdoc Books, Molnar, V. Symmetry, Unifying Human Understanding. The image of a tourism destination is an increasingly important topic for research regarding tourism, as it has a very important role in market segmentation and in the consequent satisfaction of tourists. A tourism destination should take into account the current needs of tourists. Its development as a premium choice destination depends on its ability to create differentiating products and the ability to grow in competitiveness and to attract visitors.
This article is the result of two masters' degree research assignments, in which the adopted methodologies were based on the application of a questionnaire to tourists who were in the city of Lisbon, in order to understand and become aware of Lisbon as a target destination by tourists who visit the city's heritage.
Participant observation was the method carried out in "Bairro Alto" and "Mouraria", by interviewing leading and active local natives and by gathering different pieces of press information, regarding tourist projection of those Lisbon's local typical places. As far as as the visited city's heritage is concerned, we found that the image of Lisbon, in spite of being positive, would deserve a different approach, so as to improve some negative aspects of the city's heritage image that still persist.
We found that the policies adopted by the local authorities promote, on one hand and for the same destination, an experience based on the true identity matrix, but on the other hand, an experience based on the primary and immediate consumerism, in which the systems of true local values are pushed aside by the easier attainment of economic benefits. The research work carried out has provided us the possibility of noting the complex image of a destination, resulting from the dualism supplied by the Tourism Experiences.
The Tourism Experience is increasingly seen as decisive in the Tourism Systems, either contributing or not contributing to preserve the Tourism Imaginary of the Destination. Esse conhecimento pode estimular um efeito positivo ou negativo no comportamento futuro dos turistas e condicionar o sucesso ou insucesso de um determinado destino Kastenholz, Ou como a podemos medir? Foram contactados para ser entrevistados: The mean difference is significant at the 0. Tal como Almeida , foi definida como linha de corte o valor 6, numa escala de 1 a 7. Na sua mensagem disse ainda: A Mouraria vai mesmo mudar para melhor.
A Promotion Segmentation Perspective. Journal of Professional Service Marketing, Vol. Tesis Doctoral, Universidad de la Laguna. Annals of Tourism Research, Vol. Journal of Travel Research, Vol. The Journal of Tourism Studies, Vol. International Journal of Tourism Research, Vol. Australasian Marketing Journal, Vol. Expert Systems with Applications, Vol. Annals of Tourism Research. Towards a Phenomenology of Architecture. The industry view, Asworth, G. Leisure and Travel in Contemporary Societies. Experience that makes a difference.
Authenticity criteria in conservation of sacred buildings Iryna Poloz, Ph. Religious buildings are subject to change throughout the life. So we should know how authenticity affects the conservation of sacred buildings?
Authors based on case studies of sacred buildings in Ukraine to understand the best practices for further definition of the authenticity to better maintain the sacred buildings. Taking in consideration the different interdisciplinary views of Europe in Conservation and research materials of sacred buildings in Ukraine, this research aims for a consensus about the concept of the authenticity criteria and a way to improve the practice into conservation of sacred building. The results show that "authenticity criteria" are similar to sustainable development and it is different depending on the geographical location and culture.
The Book of Tourism Vs Heritage International Point of View - PDF
Introduction This study is about a set of authenticity criteria for the conservation of sacred buildings in Volyn, although the definition of authenticity for conservation today is very controversial all over the world. This paper describes the phases that the study went through in order to achieve a consensus about a set of authenticity criteria for the conservation of sacred buildings and also to demonstrate its contribution to the management of UNESCO World Heritage.
Background Following the Nara Conference on Authenticity in Japan in , experts from ICOMOS have published many articles in scientific magazines based on this article but they have not reached a consensus in the area of sacred buildings. According to Stovel the word "authenticity" appears in the preamble to the Venice Charter without a definition, because most of those who were involved in the writing of the Charter shared similar backgrounds and therefore they provided general assumptions, without going into specific area of the conservation.
Aims of the Study According to the document of the Venice Charter about the Conservation of Monuments and the monitoring of a number of case studies, this research has the following: Scope Determine the authenticity for the conservation of sacred buildings. Focus -Development of a set of the authenticity criteria in conservation of sacred buildings in Volyn. The purpose of research is to evaluate the set of authenticity criteria for improving the conservation of sacred buildings in Volyn, Ukraine.
Scope What is Authenticity in the Conservation of sacred buildings? According to the review of relevant research and theories, presented at the Nara Conference , authenticity of sacred building is its own life story with its changes during the life. This includes interventions in different periods of time, and the way how Authenticity can be defined through the artistic, historical and cultural aspects. Authenticity can define through the artistic, historical and cultural aspects. There should be included exterior generally, planning system, construction and technology.
The relative significance of each period in the whole should be established through a historical-critical process, in order to form the basis for treatments. Objective of the research: The purpose of this research work is to determine the set of the common authenticity criteria to promote the high quality conservation and restoration of the sacral buildings in Volyn.
This research uses speculative and empiricalmethodology. It combined qualitative nonintervention and interventional research methodologies. There are literature review, direct observation, field notes, case studies and project. Author used data collection at the beginning of investigation, further presumed to use case studies of sacred buildings and created a project to understand the practices for the further definition of the authenticity.
Taking in consideration the different interdisciplinary views of Europe in conservation and research materials of sacred buildings in Ukraine, this research aims for a consensus about the concept of the authenticity criteria and as a way to improve the practice into conservation of sacred buildings in Ukraine. Pre-conclusions Currently the author came to the conclusion to the following criteria of authenticity in sacred buildings in Volyn: K Jokilehto, Jukka Questions about Authenticity. Marstein, editors, pp Norway, Riksantikvaren. Japan and the Universal In: It is important to verify what is authentic in the castles that are under research.
Base of the found materials about castles in Ivano- Frankivsk region and taking into consideration the different interdisciplinary views on Conservation create a systematization of detected objects in Ivano Frankivsk region by the time of their occurrence and the architectural and typological characteristics. It can help to define the authenticity criteria for Conservation of Castles in this area.
And set the authenticity criteria for Conservation of Castles in this region. Castles, Conservation, Authenticity Introduction: International Charter for the Conservation and Restoration of Monuments and Sites, about Heritage Monuments says, "It is our duty to hand them on in the full richness of their authenticity. Some apps have been optimized for DeX to make use of the extra desktop space and display mode. There aren't may but they do include several Adobe apps and Microsoft Office. For others, DeX attempts to force resize apps that aren't optimized.
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