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Article 1. Definition of cultural property ownership:
- 1. ARCH-4523 Architectural Conservation PART A AdilaTahsin Sara Lecturer, DUET, Gazipur
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- 7. Source: Urban StudyGroup
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- 10. Culture the customary beliefs,social forms, and material traits of a racial, religious, or social group. also : the characteristic features of everyday existence (such as diversions or a way of life) shared by people in a place or time. the set of shared attitudes, values, goals, and practices that characterizes an institution or organization. the integrated pattern of human knowledge, belief, and behavior that depends upon the capacity for learning and transmitting knowledge to succeeding generations https://www.merriam- webster.com/dictionary/culture
- 11. Heritage Heritage is aconcept to which most people would assign a positive value. The preservation of material culture – objects of art and of daily use, architecture, landscape form – and intangible culture – performances of dance, music, theater, and ritual, as well as language and human memory – are generally regarded as a shared common good by which everyone benefits. Both personal and community identities are formed through such tangible objects and intangible cultural performances, and a formation of a strong identity would seem to be a fundamentally good thing. Silverman, H. (2007). "Cultural Heritage and Human Rights ". In Silverman, Helaine; Ruggles, D. Fairchild (eds.). Cultural heritage and human rights. New York, NY: Springer
- 12. Cultural Heritage Cultural heritage isthe legacy of cultural resources and intangible attributes of a group or society that is inherited from past generations. Not all legacies of past generations are "heritage", rather heritage is a product of selection by society. Cultural heritage includes tangible culture (such as buildings, monuments, landscapes, books, works of art, and artifacts), intangible culture (such as folklore, traditions, language, and knowledge), and natural heritage (including culturally significant landscapes, and biodiversity). Logan, William S. (2007). "Closing Pandora's Box: Human Rights Conundrums in Cultural Heritage". In Silverman, Helaine; Ruggles, D. Fairchild (eds.). Cultural heritage and human rights. New York, NY: Springer
- 13. Cultural Heritage The term CulturalHeritage encompasses several main categories of heritage: Tangible cultural heritage: movable cultural heritage (paintings, sculptures, coins, manuscripts) immovable cultural heritage (monuments, archaeological sites, and so on) underwater cultural heritage (shipwrecks, underwater ruins and cities) Intangible cultural heritage: oral traditions, performing arts, rituals Natural heritage: natural sites with cultural aspects such as cultural landscapes, physical, biological or geological formations UNESCO
- 14. Cultural Property Article 1. Definitionof cultural property For the purposes of the present Convention, the term `cultural property' shall cover, irrespective of origin or ownership: (a)movable or immovable property of great importance to the cultural heritage of every people, such as monuments of architecture, art or history, whether religious or secular; archaeological sites; groups of buildings which, as a whole, are of historical or artistic interest; works of art; manuscripts, books and other objects of artistic, historical or archaeological interest; as well as scientific collections and important collections of books or archives or of reproductions of the property defined above; (b)buildings whose main and effective purpose is to preserve or exhibit the movable cultural property defined in sub-paragraph (a) such as museums, large libraries and depositories of archives, and refuges intended to shelter, in the event of armed conflict, the movable cultural property defined in sub-paragraph (a); (c) centers containing a large amount of cultural property as defined in sub-paragraphs (a) and (b), to be known as `centers containing monuments'. Convention for the Protection of Cultural Property in the Event of Armed Conflict with Regulations for the Execution of the Convention 1954, Hague
- 15. Course Content • Architectural &Urban Conservation: its meaning, principles and scope; • History and issues of conservation; • Preservation, restoration, renovation, reconstruction, adaptation, reuse, redevelopment, renewal etc. at building and urban scale. • Valuation and diagnosis.
- 16. • Architectural &Urban Conservation: its meaning, principles and scope; Why should we conserve, What should we conserve, How should we conserve (Purpose, Need and Debate) Heritage Significance and Values Scales of Intervention Heritage Economics
- 17. Assessing Significance toa Cultural Property Conservation Ethics • Architectural & Urban Conservation: its meaning, principles and scope;
- 18. History of Conservation Movements Chartersand Conventions • History and issues of conservation;
- 19. Different Approaches of Conservation Indirect Conservation Preservation Consolidation Restoration AdaptiveReuse/ Rehabilitation Reproduction Reconstructio n • Preservation, restoration, renovation, reconstruction, adaptation, reuse, redevelopment, renewal etc. at building and urban scale.
- 20. World Heritage Sites Selection Criteria Examples Endangered Sites Management Issues • Preservation,restoration, renovation, reconstruction, adaptation, reuse, redevelopment, renewal etc. at building and urban scale.
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- 23. Causes of Decayin Heritage Properties Common Threats Natural Causes Man-made Causes External Causes Disasters • Preservation, restoration, renovation, reconstruction, adaptation, reuse, redevelopment, renewal etc. at building and urban scale.
- 24. • Valuation and diagnosis. Surveyand Documentation Identificatio n Inventory Research and documentation Listing Guidelines and Maintenance Strategy
- 25. • Valuation and diagnosis. HistoricUrban Landscape Integrated Conservation
- 26. It is importantto understand why we are drawn to a good building of any age. First there is the intellectual achievement of creating an artefact of beauty and interest. Second, the human achievement perceived by later generations in the care of the craftsmen in its construction. This care can also be visible in later repairs and alterations. Thirdly, we are drawn by the sense of place created both by the designers and many humans who have lived and worked in the building.’ Alan Baxter—Journal of Architectural Conservation, no. 2, July 2001 REFERENCE BOOK Conservation of Historic Buildings Bernard M. Feilden