Littérature scientifique sur le sujet « Censimento, timber structure, World Heritage »

In Japan, there exist a total of 22 five-storied timber pagodas constructed before the middle of 19 centuries. All of those pagodas are registered as the important cultural heritages by Japanese Government, while some of them are listed in World Cultural Heritages such as Horyu-ji Temple’s Pagoda that was built in the end of 7th century. As those timber pagodas in seismic areas have survived against earthquakes during their long histories, their earthquake resistant capacity has been studied for a century. However, the actual dynamic behaviors of timber pagodas subjected to large earthquakes should be recorded to understand the seismic performance. Furthermore, an interesting structural issue has recently risen of wind resistant capacity of traditional five-storied timber pagodas, as such tall timber structures may be severely affected by strong wind. In order to record the actual dynamic behaviors during not only earthquakes but also typhoons, we have been conducting earthquake and wind monitoring at Hokekyou-ji Temple in Ichikawa City, next to Tokyo, which has survived for 4 centuries against not only large earthquakes but also severe typhoons. Hence, while the earthquake monitoring has been done by the conventional method utilizing accelerometers, the dynamic displacement of the structural response to wind has been directly measured by a new technique employing an image process system using LED makers and CCD camera, because the wind response includes much longer period component in general, therefore, it must be difficult to measure accurately the wind response by accelerometers. The scope of the present paper are 1) to review the past studies to understand the excellent earthquake resistance of five-storied timber pagodas, as well as, to introduce our research project of seismic and wind monitoring that has been successfully conducted since 2007, 2) to interpret those monitoring records which would be useful for understanding seismic and wind performance of the heritage timber pagodas that have survived for many centuries with describing the simulation analysis of seismic response, and 3) to show the long term monitoring records of the horizontal displacement of the heritage structure.

A group of churches of the 18th century in the Lowlands of Bolivia and Paraguay are characterized by a very special timber skeleton frame structure. Most of these churches belong to the famous former Jesuit missions of Guaraní, Chiquitos and Mojos, in densely wooded regions ad the edge of the Spanish colonial empire. The best preserved and most important of these buildings are the six churches of Chiquitos in Eastern Bolivia, declared World Heritage sites by the UNESCO. In these villages and small towns, many traditions of colonial time have survived. The old churches are still the spiritual centers for the Chiquitanos, the Christian Native Americans of the region. The typical plan of these churches is a rectangular interior space with three naves, adobe walls, entrance hall, laterals corridors and a huge and long gable roof. The timber structures of these buildings are very simple, with free standing carved wooden columns that are anchored in the ground, using a pre-Columbian indigenous technique. It is combined with the European ways of constructing roof structures and timber joints and with baroque stylistic influences from Spain and central Europe. Since nearly 40 years, these churches have been the object of a long-lasting restoration project that saved them all, using very different restoration methods and standards.

<p>Wood is an old – modern material, It was and still used in a wide range in a various purposes as construction, decoration and remains the most popular material all over the world, The research provides an overview of the role of timber as an important heritage element which forms the main characters and distinguishes features of many historical buildings in Islamic architecture and used widely in many applications, it had been played a great role in construction and structure of buildings, besides that it had been used in a beautiful purpose in different places whether indoors or outdoors use<strong> </strong>. The research presents the case studies of historical timber in different types of building in Islamic architecture which constructed from more than 1400 years ago, although the historical timber in old buildings exposed to many disasters and faced quite numbers of problems as a result of natural phenomena, man-made, humidity, and termites but it still stands proudly as a great sustain materials. The research shows how he use of timber in historical buildings as sources of inspiration and living evidence of ways of sustainable building practices the types of deterioration which appeared clearly an effect on the statue of historical timber, for that the research introduces some recommendations in the light of ICOMOS international charter “ <a href="http://www.icomos.org/en/home/179-articles-en-francais/ressources/charters-and-standards/163-principles-for-the-preservation-of-historic-timber-structures">Principles for the Preservation of Historic Timber Structures</a> 1999” that Emphasizes the necessity of taking a serious steps and clear strategy to save our heritage elements</p>

The Masaryk Railway Station is the oldest still working terminal railway station in Europe. It was built in 1845 and the buildings belonged to the most splendid railway stations in that time. During the long life the part of Masaryk Station burned, it was also damaged while World Wars and finally large reconstruction started last year. The buildings have a high historical value, so the specialists from National Heritage Institute wanted all the original structural members to be preserved. The structure was constructed from two wooden species spruce and fir. Selected timber elements were tested by various non-destructive methods to assess their health. Pilodyn, a device with iron stick can assess a material quality using correlation between depth of stick indentation and material strength. Sylvatest device operates with ultrasonic waves and can determine dynamic modulus of elasticity as one of the mechanical characteristics. Dynamoe device uses an acoustic wave to assess the material quality. The aim of the paper is to present the procedure of timber testing and to discuss measured results.

AbstractThe Alto Douro Wine Region, located in the northeast of Portugal, a UNESCO World Heritage Site, presents an abundant vernacular building heritage. This building technology is based on a timber framed structure filled with a composite earth-based material. A lack of scientific studies related to this technology is evident, furthermore, principally in rural areas, this traditional building stock is highly deteriorated and damaged because of the rareness of conservation and strengthening works, which is partly related to the non-engineered character of this technology and to the knowledge loosed on that technique. Those aspects motivated the writing of this paper, whose main purpose is the physical and chemical characterization of the earth-based material applied in the tabique buildings of that region through field tests. Consequently, experimental work was conducted and the results obtained allowed, among others, the proposal of a series of adequate field tests. At our knowledge, this is the first time field tests are undertaken for tabique technology. This information will provide the means to assess the suitability of a given earth-based material with regards to this technology. The knowledge from this study could also be very useful for the development of future normative documents and as a reference for architects and engineers that work with this technology to guide and regulate future conservation, rehabilitation or construction processes helping to preserve this important legacy.

Banesa e Skendulate is part of the historical center of the museum-city of Gjirokastra (Albanian UNESCO World Heritage), an unique and well-preserved example of Albanian urban vernacular architecture influenced by the ottoman architectural style, situated in a strategic position in the valley of the Drino. Banesa e Skendulate represents not only the typical compositional characteristics of this architecture but also a culture and a lifestyle deeply rooted in its own traditions. As its known, historic roofings are load-bearing structures made of timber according to an empirical and intuitive design, without structural engineering theory support, and Banesa e Skendulates roof is a clear example of the posts and beams system and shows the ability of the local craftsmen to deal with the support of heavy stone roofing. In the following paragraphs, will be presented the non-destructive diagnostic testing performed on the wooden structure of the roofing together with a detailed geometric and technological survey in order to recognize the structural system, its behavior and pathology and then process the analytical 3D model. Furthermore, the paper deals with the problem arose as consequence of the interpretation of the results obtained by the diagnostic tests, concerning the determination of the classes of resistance attached to ancient structural wooden elements that, for obvious reasons, cannot be classified according to the strength classes defined by the regulations for new timber constructions. Applying the reference strength values classified for the new timber elements to the historic ones, can cause a heavy penalty in terms of structural safety verification of the roof; that is why the role of the diagnostic test campaign should guide the reinforcement project applying reference values determined on the real conditions of the wooden elements.

Abstract St. George’s Orthodox Church in Drohobych is a wooden monument of sacral architecture, recently registered in the UNESCO World Heritage List. However, clear, unequivocal written sources about the origins of the structure are lacking. Absolute dating was attempted with the dendrochronological method, and it was carried out in a noninvasive way due to the status and value of the object. Construction elements of the church were documented with over 40 macrophotographs. The studies were made for selected elements, displaying distinct perpendicular or tangential cross sections. Most of the elements examined represented fir wood. It turned out that the wood used for the construction of this church was contemporaneous and most likely represented a single construction phase. The 124-year chronology based on correlated curves covers the period 1464–1598 AD. Construction elements with the outermost rings retained indicate that the timber was harvested in the 1590s. In most cases, the outermost rings were lacking, which allowed only for dating terminus post quem. The youngest preserved rings (1598 AD) from the church wood apparently reveal the dates of both the wood harvesting and the structure’s construction. Such a dating may indicate that the church mentioned in the sources as purchased in Nadiyevo in 1657 AD could be the basis for the rebuilding of Drohobych St. George’s Orthodox Church, only adapted to the new conditions. The church later underwent renovation, consisting in reconstruction of the dome in 1821 AD.

Timber is one of the most used natural building materials in the world, and it is one of material construction that existed long before science being discussed. Seismic performance of timber structure is quite satisfying, because of its capability to withstand earthquake forces, and timber has been used from traditional house to high rise building. A multi story construction of timber material that still stand strong until now is Maimun Palace, which is a cultural heritage in the city of Medan that must be preserved. So it is necessary to do an analysis to determine the concept of the structure of the Maimun Palace. As a royal palace, Maimun is such a large timber house with complex architecture, so that a comprehensive survey must be done. Surveys carried out include interview with palace guard and royal descendants. The Maimun Palace structure is also modelled into frames and 3D models. The result of Maimun Palace research is that this palace applied the concept of earthquake-resistant building structures which are also outlined in the Indonesian technical guidelines.

AbstractThe Hyrcanian forest in northern Iran is threatened by human use and encroachment and has suffered degradation in some areas. The forest has been declared a World Heritage Site and management in the region is shifting from timber production to conservation. There is considerable interest in developing a greater understanding of these diverse forest communities to inform forest management and multiple use plans to maintain the diversity and resilience of these forests. The Hyrcanian forest is characterized by a complex topography of catenas ranging up mountain slopes. Topographic gradients greatly influence microhabitat conditions which in turn impact tree distribution. To date there has been limited research on the impacts of this diverse topography on the spatial distribution of tree species and tree diameters in Hyrcanian forests. Such information is necessary to better understand the regional traits of tree diameters in these natural mixed temperate forests before forest management occurs. We examined the influence of the area’s catena topography on the spatial pattern of tree species and on species stand structure in terms of tree diameter distribution. To quantify these dynamics, we conducted a complete enumeration inventory of all trees with dbh >12 cm within a 7.947 ha study area that included three C-shaped (concave) and three V-shaped (convex) catenas. Geostatistical variogram analysis and Clark and Evans aggregation index were utilized to study the spatial distribution of tree diameters. Beech, alder, hornbeam, linden and Persian maple exhibited clustered patterns, and sour cherry, ash, and oak exhibited random patterns. Geostatistical analysis clearly revealed the substantial influence of catena topography on the diameter distributions of alder and linden, more subtle influence on the diameter distributions of beech, and a possible influence on Persian maple, providing valuable insight into stand structure over neighborhood-based indices alone. Alder and linden both exhibited strong spatial structure in their diameter distributions (56% and 86%, respectively) where their diameter was strongly correlated with trees within 108 m and 83 m, respectively, sharing more similar diameters to each other than trees beyond that distance. Beech, maple, and hornbeam exhibited very weak if any spatial structure over short distances. These findings can be used to support the alignment of forest management practices in managed Hyrcanian forests with goals of protecting and maintaining biodiversity and sustainable forest ecosystems, and to inform geospatial modeling of species diameter distributions in areas where a complete stem-map is not feasible.

IntroductionThe Sydney Opera House is Australia’s, if not the world’s, most recognisable building. It is universally recognised as an architectural icon and as a masterpiece of the built environment, which has captured the imagination of many (Commonwealth of Australia 4). The construction of the Sydney Opera House, between 1959 and 1973, utilised many ground-breaking methods and materials which, together, pushed the boundaries of technical possibilities to the limits of human knowledge at the time (Commonwealth of Australia 36, 45). Typical investigations into the Sydney Opera House focus on its architects, the materials, construction, or the events that occur on its stages. The role of the illumination, in the perception and understanding of Australia’s most famous performing arts centre, is an under-investigated aspect of its construction and its use today (Dwyer Backstage Biography 1; Dwyer “Utzon’s Use” 131).This article examines the illumination of the Sydney Opera House from the perspective of light as a construction material, another element that is used to ‘build’ the structure on Bennelong Point. This article examines the illumination from an historical view as Jørn Utzon’s (1918-2008) concepts for the building, including the lighting design intentions, were not all realised as he did not complete the project. The task of finishing this structure was allocated to the architectural cooperative of Hall, Todd & Littlemore who replaced Utzon in 1966. The Danish-born Utzon was appointed in January 1957 having won an international competition, from a field of over 230 entries, to design a national opera house for Sydney. He quickly began the task of resolving his design, transforming the roughly-sketched concepts presented in his competition entry, into detailed drawings that articulated how the opera house would be realised. The iteration of these concepts can be most succinctly identified in Utzon’s formal design reports to the Opera House Committee which are often referred to based on the colour of their cover design. The first report, the ‘red book’ was issued in 1958 with further developments of the architectural and services designs outlined in the ‘yellow book’ which followed in 1962. The last of the original architects’ publications was the Utzon Design Principles (2002) which was created as part of the reengagement process—between the Government of New South Wales and the Sydney Opera House with the original architect—that commenced in 1999.As with many modern buildings (such as Eero Saarinen’s TWA Flight Center, Richard Meier’s Jubilee Church or Adrian D. Smith’ Burj Khalifa), concrete was selected to form the basic structural element of the Sydney Opera House. Working with the, now internationally-renowned, engineering firm Ove Arup and Partners, Utzon designed some of the most significant shapes and finishes that have become synonymous with the site. The concrete elements range from basic blade walls with lustrous finishes to the complex, shape-changing beams that rise from under the monumental stairs and climb to terminate in the southern foyers. Thus, demonstrating the use of concrete as both a structural element and a high quality architectural finish. Another product used throughout the Sydney Opera House is granite. As a hardwearing stone, it is used in a crushed form as part of the precast panels that line the walls and internal flooring and as setts on the forecourt. As with the concrete the use of the same material inside and out blurs the distinction between interior and exterior. The forecourt forms a wide-open plaza before the building rises like a headland as it meets the harbour. The final, and most recognisable element is that of the shell (or roof) tiles. After many years of research Utzon settled on a simple mix of gloss and matt tiles of approximately 120mm square that, carefully arranged, produced a chevron shaped ‘lid’ and results in an effect likened to snow and ice (Commonwealth of Australia 51).These construction elements would all remain invisible if not illuminated by light, natural or artificial. This paper posits that the illumination reinforces the architecture of the structure and extends the architectural and experiential narratives of the Sydney Opera House across time and space. That, light is—like concrete, granite and tiles—a critical component of the Opera House’s build.Building a Narrative with LightIn creating the Sydney Opera House, Utzon set about harnessing natural and artificial illumination that are intrinsic parts of the human condition. Light shapes every facet of our lives from defining working and leisure hours to providing the mechanism for high speed communications and is, therefore, an obvious choice to reinforce the structure of the building and to link the built environment with the natural world that enveloped his creation. Light was to play a major role in the narrative of the Sydney Opera House starting from a patron’s approach to the site.Utzon’s staged approach to a performance at the Sydney Opera House is well documented, from the opening passages of the Descriptive Narrative (Utzon 1-2) to the Lighting Master Plan (Steensen Varming). The role of artificial light in the preparation of the audience extends beyond the simple visibility necessary to navigate the site. Light provides a linking element that guides an audience member along their ‘journey’ through several phases of transformation from the physicality of the city on the forecourt to “another world–a make believe atmosphere, which will exclude all outside impressions and allow the patrons to be absorbed into the theatre mood, which the actors and the producers wish to create” (Utzon Descriptive Narrative 2) in the theatres. Utzon conceived of light as part of the storytelling process, expressing the building’s narrative in a way that allows illumination is to be so much more than signposts to points of activity such as cloaking areas, theatre entries and the like. The lighting was intended to delineate various stages on the ‘journey’ noted above, to reinforce the transition from one world to another such that the combination of light and architecture would provide a series of successive stimuli that would build until the crescendo of the performance itself. This supports the transition of the visitor from the world of the everyday into the narrative of the Sydney Opera House and a world of make believe. Yet, in providing a narrative between these two ‘worlds’ the lighting becomes an anchor—or an element held in suspension – a mediator in the tension between the city at the beginning of the ‘journey’ and the ‘other world’ of the performance at the end. There is a balance to be maintained between illuminating the Sydney Opera House so that it remains prominent in its harbour location, easily read as a distinct sculptural structure on the peninsular separate from, but still an essential part of, the city that lies beyond Circular Quay to the south. Utzon alludes to the challenges of crafting the illumination so that it meets these requirements, noting that the illumination of the broardwalks “must be compatible with the lighting on the approach roads” (Utzon Descriptive Narrative 68) while maintaining that “the floodlit building will be the first and last impression for [… an audience] to receive” (Utzon Descriptive Narrative 1). These lighting requirements are also tempered by the desire that the “night time [...] view will be all lights and reflections, [that] stretch all along the harbour for many miles” (Utzon Descriptive Narrative 1) reinforcing the use of light as an anchor that provides both a point of reference and serves as a mediator of the Sydney Opera House’s place within the city.The narrative of the materials and elements that are combined to give the final, physical form its striking sensory presence is also told through light, in particular colour. Or, perhaps more precisely in an illumination sense, the accurate reproduction of colour and by extension accurate presentation of the construction materials used in the creation of the Sydney Opera House. Expression of the ‘truth’ in the materials he used was important for Utzon and the faithful representation of details such as the fine grains in timber and the smooth concrete finishes required careful lighting to enhance these features. When extended to the human occupants of the Sydney Opera House, there is a short, yet very descriptive instruction: the lighting is to give “life to the skin and hair on the human form in much the same way as the light from candles” (Utzon Descriptive Narrative 67). Thus, the narrative of the materials and their quality was as important as the final structure and those who would occupy it. It is the role of light to build upon the story of the materials to contribute to the overall narrative of the Sydney Opera House.Building an Experience through IlluminationUtzon envisaged that light would do much more than provide illumination or tell the narrative of the materials he had selected – light was also to build a unique architectural experience for a patron. The experience of light was to be subtle; the architecture was to retain a position of centre stage, reinforced by, rather than ever replaced by, the illumination. In this way, concealed lighting was proposed which would be “designed in close collaboration with the acoustical engineers as they will become an integral part of overall acoustic design” and “installed in carefully selected places based on knowledge gleaned from experimental work” (Utzon Descriptive Narrative 67). Through concealing the light source, the architecture did not become cluttered or over powered by a dazzling array of fixtures and fittings that detracted from the audience’s experiences. For instance, to illuminate the monumental steps, Utzon proposed that the fittings would be recessed into the handrails, while the bar and lounge areas would be lit from discreet fittings installed within the plywood ceiling panels (Utzon Descriptive Narrative 16) to create an experience of light that was unified across the site. In addition to the aesthetical improvements gained from the removal of the light sources from the field of view, unwanted glare is also reduced reinforcing the ‘whole’ of the architectural experience.During the time that Utzon was conceptualising the illumination of the Sydney Opera House, the Major Hall (what is now known as the Concert Hall) was envisaged as what might be considered as a modern multipurpose venue, one that could accommodate among other activities: symphonic concerts; opera; ballet and dance; choral concerts; pageants and mass meetings (NSW Department of Local Government 24). The Concert Hall was the terminus for the ‘journey’—where the actors and audience find themselves in the same space, the ‘other world’—“a make believe atmosphere, which will exclude all outside impressions and allow the patrons to be absorbed into the theatre mood, which the actors and the producers wish to create” (Utzon Descriptive Narrative 2). This other world was to sumptuously explode with rich colours “which uplift you in that festive mood, away from daily life, that you expect when you go to the theatre, a play, an opera or a concert” (Utzon Utzon Design Principles 34). These highly decorated and colourful finishes contrast with the white shells further highlighting the ‘journey’ that has taken place. Utzon proposed to use the illumination to reinforce this distance and provide the link between the natural colours of the raw materials used outside the theatre and highly decorated colours of the performance spaces.The lighting treatment of the theatres extended into the foyers and their public amenities to ensure that the lighting design contributed to the overall enhancement of a patron’s visit and delivered the experience of the ‘journey’ that was envisaged by Utzon (Dwyer “Utzon’s Use” 130-32). This standardised approach was in concert with Utzon’s architectural philosophy where repetitive systems of construction elements were utilised, for instance, in the construction of the shells. Utzon clearly articulated this approach in The Descriptive Narrative, noting that “standard light fittings will be chosen […] to suit each location” (67), however the standardisation would not compromise other considerations of the space such as the acoustical performance, with Utzon noting that the “fittings for auditoria and rehearsal rooms must be of necessity, designed in close collaboration with the acoustical engineers as they will become an integral part of over acoustic design” (Utzon Descriptive Narrative 67). Another parallel between the architectural development of the Sydney Opera House and Utzon’s approach to the lighting concepts was, uncommon at the time, his preference for prototyping and experimentation with lighting effects and various fittings (Utzon Descriptive Narrative 67). A sharp contrast to the usual practices of the day which relied upon more straightforward procurement processes with generic rather than tailored solutions. Peter Hall, of Hall, Todd & Littlemore, discussed the typical method of lighting design which was prevalent during the construction of the Sydney Opera House, as a method which “amounted to the electrical engineers laying out on a plan sufficient off-the-shelf light fittings to achieve the desired illumination levels […] the resulting effects were dull even if brightly lit” (Hall 180). Thus, Utzon’s careful approach to ensure that light and architecture were in harmony as “nothing is introduced into the scheme, before it has been carefully investigated and has proved to be the right solution to the problem” (Utzon Descriptive Narrative 2) was highly innovative for its time.The use of light to provide an experience was not necessarily new, for example RSL Clubs, theme parks and department stores all used light to attract attention to their products and services, however the scale and proposed execution of these concepts was pioneering for Australia in the 1950s and 1960s. Utzon’s concepts provided a highly experiential unified design to provide the patron with a unique architectural experience built through the careful use of light.Building the Scenery with LightArchitecture might be considered set design on a grand scale (for example see Raban, Rasmuseen and Read). Both architects and set designers are concerned with the relationship between the creative designs and the viewers and both set up opportunities for interactions between people (as actors or users) and structure. However, without light, the scene remains literally, in the dark, isolated from its surroundings and unperceetable to an audience.Utzon was acutely aware of the relationship between the Sydney Opera House and the city in which it stands. The positioning of the structure on the site is no accident and the interplay between the ‘sails’ and the sun is perhaps the most recognised lighting feature of the Sydney Opera House. By varying the angle of the shells, the reflections and the effects of the sunlight are constantly varying depending on the viewer’s position and focus. More importantly, these subtle variations in the light enhance the sculptural effect of the direct illumination and help create the effect of “matt snow and shining ice” (Commonwealth of Australia 51): the ‘shimmer of life’ so desired by Utzon as the sunlight strikes the ceramic tiles. This ‘shimmer’ is not the only natural lighting effect. The use of the different angles ensures variation in the light, clouds and resulting shadows to heighten interest and create an ever-changing scene that plays out on the shells as the sun moves across the sky, as Utzon notes, “something new goes on all the time and it is so important–this interplay is so important that together with the sun, the light and the clouds, it makes it a living thing” (Utzon Sydney Opera House 49). This scene is enhanced by the changing quality of the sunlight; the shells appear to be deep amber at first light their shadows long and faint before becoming shorter and stronger as the sun moves towards its midday position with the colour changing slowly to ‘pure’ white before the shadows change sides, the process reverses and they again disappear under the cover of darkness. Although the scene replays daily, the relative location of the sun and changing weather patterns ensure infinite variation in the effect.This changing scene, on a grand scale, with light as the central character is just as important as the theatrical performances taking place indoors on the stages. With a mobile audience, the detailing of the visual scene that is the structure becomes more important. The Sydney Opera House competes for attention with shipping movements in the harbour, the adjacent bridge with the ant-like procession of climbers and the activities of the city to the south. Utzon foresaw this noting that the “position on a peninsular, which is overlooked from all angles makes it important to maintain an all-round elevation. There can be no backsides to the building and nothing can be hidden from the view” (Utzon Descriptive Narrative 1). The use of natural light to enhance the sculptural form and reinforce isolation of the structure on the peninsular, centre stage on the harbour is therefore not a coincidence. Utzon has deliberately harnessed the natural light to ensure that the Sydney Opera House is just as vibrant a performer as its surroundings. In this way, Utzon has used light to anchor the Sydney Opera House both in the city it serves and for the performances it houses.It is not just the natural light that is used as such an anchor point. Utzon planned for artificial lighting of the sails and surrounding site to ensure that after dark the ‘shimmer’ of the white tiles would be maintained with an equivalent, if manufactured, effect. For Utzon, the sculptural qualities of structure were important and should be clearly ‘read’ at night, even against a dark harbour on one side and the brighter city on the other. Through the use of artificial lighting, Utzon set the scene on Bennelong Point with the structure clearly centred in the set that is the Sydney skyline. This reinforced the notion that a journey into the Sydney Opera House was something special, a transition from the everyday to the ‘other’ world.ConclusionFor Utzon light was just as essential as concrete and other building materials for the design of the Sydney Opera House. The traditional bright lights of the stage had no place in the architectural illumination, replaced instead by a much more subtle, understated use of light, and indeed its absence. Utzon planned for the lighting to envelope an audience but not to smother them. Unfortunately, he was unable to complete his project and in 1968 J.M. Waldram was eventually appointed to complete the lighting design. Waldram’s lighting solutions—many of which are still in place today—borrowed or significantly drew upon Utzon’s original illumination concepts, thus demonstrating their strength and timeless qualities. In this way light builds on the story of the structure, reinforcing the architecture of the building and extending the narratives of the construction elements used to build the Sydney Opera House.AcknowledgementsThe author acknowledges the assistance of Rachel Franks for her input on an early draft of this article and thanks the blind peer reviewers for their generous feedback and suggestions, of course any remain errors or omissions are my own. ReferencesCommonwealth of Australia. Sydney Opera House Nomination by the Government of Australia for Inscription on the World Heritage List. Canberra: Commonwealth of Australia, 2006.Cleaver, Jack. Surface and Textured Finishes for Concrete and Their Impact upon the Environment. Sydney: Steel Reinforcement Institute of Australia, 2005.Dwyer, Simon. A Backstage Biography of the Sydney Opera House. Proceedings of the 7th Annual Conference of the Popular Culture Association of Australia and New Zealand (PopCAANZ) 2016: 1-10.———. “Utzon’s Use of Light to Influence the Audience’s Perception of the Sydney Opera House”. Inhabiting the Meta Visual: Contemporary Performance Themes. Eds. Helene Gee Markstein and Arthur Maria Steijn. Oxford: Inter-Disciplinary P, 2016.Hall, Peter. Sydney Opera House: The Design Approach to the Building with Recommendations on Its Conservation. Sydney: Sydney Opera House Trust, 1990.NSW Department of Local Government. An International Competition for a National Opera House at Bennelong Point Sydney, New South Wales, Australia: Conditions and Program (“The ‘Brown’ Book”). Sydney: NSW Government Printer, 1957.Raban, Jonathan. Soft City. London: Picador, 2008.Rasmuseen, Steen. Experiencing Architecture. Cambridge: Massachusetts Institute of Technology P, 1964.Read, Gary. “Theater of Public Space: Architectural Experimentation in the Théâtre de l'Espace (Theater of Space), Paris 1937.” Journal of Architectural Education 58.4 (2005): 53-62.Steensen Varming. Lighting Master Plan. Sydney: Sydney Opera House Trust, 2007.Utzon, Jørn. Sydney Opera House: The Descriptive Narrative. Sydney: Sydney Opera House Trust, 1965.———. The Sydney Opera House. Zodiac, 1965. 48-93.———. Untitled. (The ‘Red’ Book). Unpublished, 1958.———. Untitled. (The ‘Yellow’ Book). Unpublished, 1962.———. Utzon Design Principles. Sydney: Sydney Opera House Trust, 2002.

Abstract/ITA La tesi di dottorato proposta vuole esplicitamente affrontare il tema delle metodologie di rilievo e rappresentazione per la documentazione e l’analisi dell’architettura in legno. La ricerca è stata condotta non solo affrontando il tematica da un punto di vista pratico o semplicemente operativo, ma ha voluto approfondire le attività di ricognizione e studio per la comprensione del luogo, del genius loci, delle tradizioni e della vita di questi contesti. La ricerca proposta vuole esplicitamente affrontare la trattazione del tema dell’architettura in legno con un duplice approccio: di tipo teorico e di tipo operativo metodologico, per poter definire e sviluppare sistemi rappresentativi adeguati allo studio delle opere lignee. La tesi è composta da tre parti, più una quarta dedicata alle conclusioni. La prima affronta le tematiche relative al costruire in legno considerando il tema da un punto di vista teorico, relazionato al dibattito di natura filosofica sul concetto di ”capanna primitiva”, offrendo una panoramica sulle principali teorie sostenute da personaggi illustri come Vitruvio, Laugier, Semper e Rykwert fino ad arrivare ai nostri giorni e riguardando l’architettura del legno da un punto di vista tecnologico, legato alla definizione delle caratteristiche generali del materiale e all’individuazione delle principali tecniche costruttive. In questa parte sono presentate le diverse tradizioni architettoniche presenti nei paesi del Nord Europa, proponendo un panorama di esempi e documentazioni di architetture in legno. La seconda parte è dedicata nello specifico all’area di studio della Carelia (Federazione Russa), con un approccio metodologioco che va dal generale (inquadramento territoriale, sociale e paesaggistico) al particolare (introduzione alle metodologie operative di studio e presentazione dei casi analizzati). Nella terza parte vengono illustrate le diverse metodologie di rilevamento e le procedure necessarie per svolgere le diverse indagini, presentando i villaggi careliani scelti come aree campione per lo sviluppo delle metodologie di analisi e i risultati ottenuti su ciascun caso studio in base alle finalità descrittive stabilite. La quarta parte, dedicata alle conclusioni, vuole fondere gli aspetti teorici approfonditi con i risultati pratici e tecnici ottenuti dalle attività di rilievo e rappresentazione; vengono tracciate le linee guida per lo sviluppo di protocolli metodologici atti alla documentazione, analisi, rappresentazione e gestione sul patrimonio territoriale e architettonico della Carelia. Il principale contributo che questa ricerca vuole offrire è lo sviluppo e l’elaborazione di procedure scientifiche, tecniche e operative, per la documentazione di strutture in legno, maturate grazie alle esperienze condotte sui villaggi lignei tradizionali in Carelia all’interno del progetto europeo Wooden Architecture. La ricerca pone le basi per determinare le modalità di esecuzione dell’indagine, individuando gli aspetti fondamentali per l’analisi e per il censimento di sistemi complessi. E’ stato elaborato un confronto tra modelli culturali che ha permesso di considerare gli elementi principali del rilievo, della rappresentazione dell’architettura e dell’ambiente in un percorso dove la ricerca teorica abbraccia la sperimentazione pratica e viceversa con l’intento di stabilire le linee guida fondamentali per il rilievo dell’architettura in legno. Abstract/ENG The doctoral thesis proposal originally wanted to address the issues of how-to-do research on wooden buildings, a comparison and analysis not only practical matters or simply linked to detection techniques, but also going deeper to know the place, in the sense of understanding of genius loci, the traditions, the life that exists around and inside these contexts. The thesis consists of two main section: a theoretical and a practical approach, their interaction and meeting with the practice. The index structure of the thesis is mainly composed of three parts, plus a fourth part devoted to conclusions. The first part deals with the general characteristics and aspects related to wooden architecture. In Chapter 1 deals with the theoretical discourse of the concept of “primitive hut” offering a wide scenery of the main theories or historical thesis supported by the great personalities of architecture, from Vitruvius, Laugier, Semper Ryckwert until a reflection on modern age. Chapter two, however, approaches the topic from a technological point of view and more related to the investigation on the wooden material, its characteristics from a static point of view and structural, on the positive and negative aspects related to its use within construction. The third chapter is devoted to the illustration of the different traditions of wooden architecture in several European countries, offering a wide panorama of cases and examples of architecture and building techniques peculiar to different geographical areas. The second part, aims to introduce the research area, entering into specific in the context of architecture in Northern Europe, particularly in Karelia. Starting from the description of the aspects of a general nature, landscape and environment, you get to have a detailed knowledge about the architecture of wood in this particular context. The third part is the most scientific and technical, which are addressed in the different survey methods of detection, direct, indirect, laser scanners, photo modeling, illustrating the specific procedures necessary to carry out this type of investigation and presenting the results according to stated purposes. The discussion of these topics ranges from technical explanations and case studies to practical matters in which it is possible to have a direct feedback and interaction between practical and theoretical approaches. The fourth part, combines and blends the more theoretical aspects of the opening chapters with the practical part of the subsequent chapters. Drawn from the global experience there are offered excellent considerations which are made of the theoretical study and archive research and practical experience of evaluation and validation of the research objects. Research-theory-practice triangle always offers new insights into the world of wooden architecture. The main, important contribution that this research has investigated is the development and elaboration of scientific-technical and operational protocols and tools for the documentation of wooden structures. Understanding how the survey should be performed, locating the primary aspects fundamental to the analysis at the moment when one is confronted with wooden artifacts. To develop the census system, filing with which to define the descriptions useful for the technician who may devote attention to architecture. When this part is well taken care of, also the value assessment of wooden architecture becomes easier.

Is it possible to experience the Neolithic period (c.4000—c.2400 BCE) in Britain today? Of course not, or not in any literal sense. And yet, there are devices that we can create, and places that we can visit, that can to some extent stand in for that experience. These enable us, however fleetingly, to bridge the gulf of time that separates us from the distant world of thousands of years ago. One new way of traversing this chasm became available to us in 2013, when English Heritage opened a new visitor centre at Stonehenge. Inside the airy modern structure the latest audio-visual technology introduces visitors to the site and its surrounding prehistoric landscape. Remarkably, before the year was out, that centre had hosted a visit by the then President of the United States of America. Barack Obama made an unscheduled stop at the World Heritage Site en route from a NATO summit in Wales on 5 September 2014. Apparently, visiting Stonehenge, widely regarded as the most extraordinary of all prehistoric sites in Europe, was on the personal ‘bucket list’ of that recent incumbent of the White House. Among the things that the US President would have seen at the Stonehenge centre were reconstructed Late Neolithic houses from the area, and the visitor can now enter and walk around in these buildings, made using authentic materials. These newly constructed timber and daub buildings had been created on the basis of evidence recovered from Durrington Walls, a colossal Late Neolithic complex 2 miles from Stonehenge, where settings of concentric rings of massive posts were contained within an embanked enclosure half a kilometre across. Surprisingly, if the visitor centre had been built when it had originally been planned a decade earlier, it would not have been possible to recreate these 4,500-year-old houses, with their square ground plans and central hearths. This is because the excavations that would reveal these striking vestiges of the Stonehenge people were then only just beginning. This is an indication of the pace of discovery in the study of Neolithic Britain, and the immediacy of this process is one of the things that we would like to convey in this book.

<p>The Rakaia Gorge No. 1 Bridge on SH77 is a Category 1 Historic Place constructed circa 1882. The 55m span ‘Bollman-like’ truss is recognised as unique in the world and is also one of the oldest wrought iron bridges in New Zealand. To ensure that this important structure continued to provide a safe and resilient transport route, the deteriorating timber deck required replacement. Some innovative solutions were required to resolve the numerous challenges presented by this unusual structure related to load capacity, heritage effects, operational safety, seismic resilience, constructability and traffic management. The project sensitively balanced the conflicting objectives of state highway operations and heritage preservation – refurbishing the deck and providing seismic resilience to this strategically important structure, whilst respecting the heritage significance and successfully preserving the exceptional landmark appearance of the bridge.</p>