Development of a process for dealing with underutilised Queensland government properties with heritage significance

This thesis addresses the contemporary issue of the control, restoration and potential for reuse of State Government-owned heritage properties with commercial potential. It attempts to reconcile the sometimes competing interests of the range of stakeholders in such properties, particularly those seeking to maximise economic performance and return on one hand and community expectations for heritage preservation and exhibition on the other. The matters are approached principally from the Government's position as asset owner/manager. It includes research into a number of key elements - including statutory, physical and economic parameters and an analysis of the legitimate requirements of all stakeholders. The thesis also recognises the need for innovation in approach and for the careful structuring and pre-planning of proposals on a project-by-project basis. On the matter of innovation, four case studies are included in the thesis to exhibit some approaches and techniques that have already been employed in addressing these issues. From this research base, a series of deductions at both a macro and micro level are established and a model for a rational decision-making process for dealing with such projects is developed as a major outcome of the work. Finally, the general model is applied to a specific project, the currently unused Port Office heritage site in the Brisbane Central Business District.

Le infrastrutture viarie dismesse o declassate ed il progetto di paesaggio

Paesaggio ed infrastrutture viarie sono un binomio molto forte: il primo ha insito il concetto di accessibilità, in quanto non può esistere senza la presenza di un osservatore; la strada, invece, trova i fattori che la connotano nel suo rapporto con la morfologia su cui insiste. Le infrastrutture viarie sono elemento strutturale e strutturante non solo di un territorio, ma anche di un paesaggio. Le attuali esigenze di mobilità portano oggi a ripensare ed adeguare molte infrastrutture viarie: laddove è possibile si potenziano le strutture esistenti, in diversi casi si ricorre a nuovi tracciati o a varianti di percorso. Porsi il problema di conservare itinerari testimoni della cultura materiale ed economica di una società implica considerazioni articolate, che travalicano i limiti del sedime: una via è un organismo più complesso della semplice linea di trasporto in quanto implica tutta una serie di manufatti a supporto della mobilità e soprattutto il corridoio infrastrutturale che genera e caratterizza, ovvero una porzione variabile di territorio definita sia dal tracciato che dalla morfologia del contesto. L’evoluzione dei modelli produttivi ed economici, che oggi porta quote sempre maggiori di popolazione a passare un tempo sempre minore all’interno del proprio alloggio, rende la riflessione sulle infrastrutture viarie dismesse o declassate occasione per la progettazione di spazi per l’abitare collettivo inseriti in contesti paesaggistici, tanto urbani che rurali, tramite reti di percorsi pensate per assorbire tagli di mobilità specifici e peculiari. Partendo da queste riflessioni la Tesi si articola in: Individuazioni del contesto teorico e pratico: Lo studio mette in evidenza come la questione delle infrastrutture viarie e del loro rapporto con il paesaggio implichi riflessioni incrociate a diversi livelli e tramite diverse discipline. La definizione dello spazio fisico della strada passa infatti per la costruzione di un itinerario, un viaggio che si appoggia tanto ad elementi fisici quanto simbolici. La via è un organismo complesso che travalica il proprio sedime per coinvolgere una porzione ampia di territorio, un corridoio variabile ed articolato in funzione del paesaggio attraversato. Lo studio propone diverse chiavi di lettura, mettendo in luce le possibili declinazioni del tema, in funzione del taglio modale, del rapporto con il contesto, del regime giuridico, delle implicazioni urbanistiche e sociali. La mobilità dolce viene individuata quale possibile modalità di riuso, tutela e recupero, del patrimonio diffuso costituito dalle diversi reti di viabilità. Antologia di casi studio: Il corpo principale dello studio si basa sulla raccolta, analisi e studio dello stato dell’arte nel settore; gli esempi raccolti sono presentati in due sezioni: la prima dedicata alle esperienze più significative ed articolate, che affrontano il recupero delle infrastrutture viarie a più livelli ed in modo avanzato non concentrandosi solo sulla conversione del sedime, ma proponendo un progetto che coinvolga tutto il corridoio attraversato dall’infrastruttura; la seconda parte illustra la pratica corrente nelle diverse realtà nazionali, ponendo in evidenza similitudini e differenze tra i vari approcci.

The inadequacy of embedded markup for cultural heritage texts

Embedded generalized markup, as applied by digital humanists to the recording and studying of our textual cultural heritage, suffers from a number of serious technical drawbacks. As a result of its evolution from early printer control languages, generalized markup can only express a document’s ‘logical’ structure via a repertoire of permissible printed format structures. In addition to the well-researched overlap problem, the embedding of markup codes into texts that never had them when written leads to a number of further difficulties: the inclusion of potentially obsolescent technical and subjective information into texts that are supposed to be archivable for the long term, the manual encoding of information that could be better computed automatically, and the obscuring of the text by highly complex technical data. Many of these problems can be alleviated by asserting a separation between the versions of which many cultural heritage texts are composed, and their content. In this way the complex inter-connections between versions can be handled automatically, leaving only simple markup for individual versions to be handled by the user.

Old Brisbane Botanic Gardens: Conservation Plan Review 2005, Report of Stage 1 Heritage Significance and Conservation Policies

Report for City Design, for Environment and Parks, within the Brisbane City Council. Context of this Project A Conservation Study for the Old Brisbane Botanic Gardens, formerly called the Brisbane City Botanic Gardens, was finalised in 1995 and prepared by Jeannie Sim for the Landscape Section of Brisbane City Council, the same author of the present report. This unpublished report was the first conservation plan prepared for the place and it was recommended that it be reviewed in five years time. That time has arrived finally with the preparation of the 2005 Review. The present project was commissioned by City Design on behalf of Environment and Parks Section of Brisbane City Council. The author has purposely chosen to call the study site the 'Old Brisbane Botanic Gardens' (OBBG) to differentiate it from the Brisbane Botanic Gardens, Mt. Coot-tha (BBG-MC), and to maintain the claim for this original garden to remain as a botanic garden for Brisbane. This name immediately brings to mind an association with history, as in the precedent set by the naming of the nearby 'Old Government House' at Gardens Point.

Patterns, heuristics for architectural design support: making use of evolutionary modelling in design

Software used by architectural and industrial designers – has moved from becoming a tool for drafting, towards use in verification, simulation, project management and project sharing remotely. In more advanced models, parameters for the designed object can be adjusted so a family of variations can be produced rapidly. With advances in computer aided design technology, numerous design options can now be generated and analyzed in real time. However the use of digital tools to support design as an activity is still at an early stage and has largely been limited in functionality with regard to the design process. To date, major CAD vendors have not developed an integrated tool that is able to both leverage specialized design knowledge from various discipline domains (known as expert knowledge systems) and support the creation of design alternatives that satisfy different forms of constraints. We propose that evolutionary computing and machine learning be linked with parametric design techniques to record and respond to a designer’s own way of working and design history. It is expected that this will lead to results that impact on future work on design support systems-(ergonomics and interface) as well as implicit constraint and problem definition for problems that are difficult to quantify.

Towards sustainable housing for Vietnam

Economic development in Vietnam has led to the spontaneous development of new housing in many parts of Vietnam without consideration of environmental protection, cultural suitability, or resource reduction. The transition of Vietnamese housing into a sustainable industry is both an opportunity and challenge. Vietnam has to satisfy a growing demand for housing while confronting the issues of climate change, extreme weather events, nature conservation and cultural heritage. To that end, model green building guidelines are being developed to facilitate Vietnam’s adoption of sustainable development principles and practices. This paper presents the results of a survey and interviews carried out in Vietnam to ensure that model green guidelines align with the cultural and consumer preferences of the Vietnamese people.

Assessing architectural design processes of diverse learners

Given that what students learn is so strongly related to how they learn, the modes of delivery and assessment that we as teachers provide them with have a major impact on their ability to learn. As this paper shows, good learning environments are constructed from a range of modes that respond to student learning styles and seek to align activities and learning outcomes with assessment tasks, to better accommodate a diversity of student learning styles and backgrounds. This paper uses a number of models of learning to critique and analyse the traditional practices of assessment in an architectural design class, and then proposes and reports on an alternative pattern of assessment. It discusses the issues of accommodating a group of first-year architecture students at Queensland University of Technology in 2009. These students arrived with diverse prior learning backgrounds, the group being evenly split between those with drawing capabilities and those without. They also had a variety of learning style preferences. The experiment in alternative assessment patterns presented here shows that what has traditionally been considered a diverse and difficult cohort of students can benefit from the assessment of a range of task types at different stages in the learning cycle.

Spatial stimulus : Model making in the architectural design studio

This action research examines the enhancement of visual communication within the architectural design studio through physical model making. „It is through physical model making that designers explore their conceptual ideas and develop the creation and understanding of space,‟ (Salama & Wilkinson 2007:126). This research supplements Crowther‟s findings extending the understanding of visual dialogue to include physical models. „Architecture Design 8‟ is the final core design unit at QUT in the fourth year of the Bachelor of Design Architecture. At this stage it is essential that students have the ability to communicate their ideas in a comprehensive manner, relying on a combination of skill sets including drawing, physical model making, and computer modeling. Observations within this research indicates that students did not integrate the combination of the skill sets in the design process through the first half of the semester by focusing primarily on drawing and computer modeling. The challenge was to promote deeper learning through physical model making. This research addresses one of the primary reasons for the lack of physical model making, which was the limited assessment emphasis on the physical models. The unit was modified midway through the semester to better correlate the lecture theory with studio activities by incorporating a series of model making exercises conducted during the studio time. The outcome of each exercise was assessed. Tutors were surveyed regarding the model making activities and a focus group was conducted to obtain formal feedback from students. Students and tutors recognised the added value in communicating design ideas through physical forms and model making. The studio environment was invigorated by the enhanced learning outcomes of the students who participated in the model making exercises. The conclusions of this research will guide the structure of the upcoming iteration of the fourth year design unit.

Methodology for evaluating the landscape character of Malaysian heritage urban river corridors

The effects of rapid development have increased pressures on these places exacerbated by the competition between two key industry sectors, commercial base and tourism development. This, in supplement with urbanisation and industrialisation, has posted a high demand for the uses of these spaces. The political scenario and lack of adaptation on ecological principles and public participations in its design approach have sparked stiff environmental, historical and cultural constraint towards its landscape character as well as the ecological system. Therefore, a holistic approach towards improving the landscape design process is extremely necessary to protect human well being, cultural, environmental and historical values of these places. Limited research also has been carried out to overcome this situation. This further has created an urgent need to explore better ways to improve the landscape design process of Malaysian heritage urban river corridor developments that encompass the needs and aspirations of the Malaysian multi-ethnic society without making any drastic changes to the landscape character of the rivers. This paper presents a methodology to develop an advanced Landscape Character Assessment (aLCA) framework for evaluating the landscape character of the places, derived from the perception of two keys yet oppositional stakeholders: urban design team and special interest public. The triangulation of subjectivist paradigm methodologies: the psychophysical approach; the psychological approach; and, the phenomenological approach will be employed. The outcome will be used to improve the present landscape design process for future development of these places. Unless a range of perspectives can be brought to bear on enhancing the form and function of their future development and management, urban river corridors in the Malaysian context will continue to decline.

Innovation, interaction, and inclusion : heritage luxury brands in collusion with the consumer

Many luxury heritage brands operate on the misconception that heritage is interchangeable with history rather than representative of the emotional response they originally developed in their customer. This idea of heritage as static history inhibits innovation, prevents dynamic renewal and impedes their ability to redefine, strengthen and position their brand in current and emerging marketplaces. This paper examines a number of heritage luxury brands that have successfully identified the original emotional responses they developed in their customers and, through innovative approaches in design, marketing, branding and distribution evoke these responses in contemporary consumers. Using heritage and innovation hand-in-hand, these brands have continued to grow and develop a vision of heritage that incorporates both historical and contemporary ideas to meet emerging customer needs. While what constitutes a ‘luxury’ item is constantly challenged in this era of accessible luxury products, up-scaling and aspirational spending, this paper sees consumers’ emotional needs as the key element in defining the concept of luxury. These emotional qualities consistently remain relevant due to their ability to enhance a positive sense of identity for the brand user. Luxury is about the ‘experience’ not just the product providing the consumer with a sense of enhanced status or identity through invoked feelings of exclusivity, authenticity, quality, uniqueness and culture. This paper will analyse luxury heritage brands that have successfully combined these emotional values with those of their ‘heritage’ to create an aura of authenticity and nostalgia that appeals to contemporary consumers. Like luxury, the line where clothing becomes fashion is blurred in the contemporary fashion industry; however, consumer emotion again plays an important role. For example, clothing becomes ‘fashion’ for consumers when it affects their self perception rather than fulfilling basic functions of shelter and protection. Successful luxury heritage brands can enhance consumers’ sense of self by involving them in the ‘experience’ and ‘personality’ of the brand so they see it as a reflection of their own exclusiveness, authentic uniqueness, belonging and cultural value. Innovation is a valuable tool for heritage luxury brands to successfully generate these desired emotional responses and meet the evolving needs of contemporary consumers. While traditionally fashion has been a monologue from brand to consumer, new technology has given consumers a voice to engage brands in a conversation to express their evolving needs, ideas and feedback. As a result, in this consumer-empowered era of information sharing, this paper defines innovation as the ability of heritage luxury brands to develop new design and branding strategies in response to this consumer feedback while retaining the emotional core values of their heritage. This paper analyses how luxury heritage brands can effectively position themselves in the contemporary marketplace by separating heritage from history to incorporate innovative strategies that will appeal to consumer needs of today and tomorrow.

Innovation, interaction, and inclusion : heritage luxury brands in collusion with the consumer

Many luxury heritage brands operate on the misconception that heritage is interchangeable with history rather than representative of the emotional response they originally developed in their customer. This idea of heritage as static history inhibits innovation, prevents dynamic renewal and impedes their ability to redefine, strengthen and position their brand in current and emerging marketplaces. This paper examines a number of heritage luxury brands that have successfully identified the original emotional responses they developed in their customers and, through innovative approaches in design, marketing, branding and distribution evoke these responses in contemporary consumers. Using heritage and innovation hand-in-hand, these brands have continued to grow and develop a vision of heritage that incorporates both historical and contemporary ideas to meet emerging customer needs. While what constitutes a ‘luxury’ item is constantly challenged in this era of accessible luxury products, up scaling and aspirational spending, this paper sees consumers’ emotional needs as the key element in defining the concept of luxury. These emotional qualities consistently remain relevant due to their ability to enhance a positive sense of identity for the brand user. Luxury is about the ‘experience’ not just the product providing the consumer with a sense of enhanced status or identity through invoked feelings of exclusivity, authenticity, quality, uniqueness and culture. This paper will analyse luxury heritage brands that have successfully combined these emotional values with those of their ‘heritage’ to create an aura of authenticity and nostalgia that appeals to contemporary consumers. Like luxury, the line where clothing becomes fashion is blurred in the contemporary fashion industry; however, consumer emotion again plays an important role. For example, clothing becomes ‘fashion’ for consumers when it affects their self perception rather than fulfilling basic functions of shelter and protection. Successful luxury heritage brands can enhance consumers’ sense of self by involving them in the ‘experience’ and ‘personality’ of the brand so they see it as a reflection of their own exclusiveness, authentic uniqueness, belonging and cultural value. Innovation is a valuable tool for heritage luxury brands to successfully generate these desired emotional responses and meet the evolving needs of contemporary consumers. While traditionally fashion has been a monologue from brand to consumer, new technology has given consumers a voice to engage brands in a conversation to express their evolving needs, ideas and feedback. As a result, in this consumer-empowered era of information sharing, this paper defines innovation as the ability of heritage luxury brands to develop new design and branding strategies in response to this consumer feedback while retaining the emotional core values of their heritage. This paper analyses how luxury heritage brands can effectively position themselves in the contemporary marketplace by separating heritage from history to incorporate innovative strategies that will appeal to consumer needs of today and tomorrow.

Tea ceremony and Sukiya : negating social hierarchy

There is a widely held view that architecture is very strongly and even primarily determined by the society and culture rather than geographical, technical, economic or cli-matic factors. This is especially evident in societies where rituals, customs and tradition play a significant role in the design of built forms. One such society was that of Feudal Japan under the rule of samurai warriors. The strictly controlled hierarchical society of Feudal Japan, isolated from the rest of the world for over 250 years, was able to develop the art and architecture borrowed from neighboring older cultures of China and Korea into what is now considered uniquely Japanese. One such architecture is the Sukiya style tea houses where the ritual of tea ceremony took place. This ritual was developed by the tea masters who were Zen monks or the merchants who belonged to the lowest class in the hierarchical feudal society. The Sukiya style developed from 14th to 16th century and became an architectural space that negated all the rules imposed on commoners by the samurai rulers. The tea culture had a major influence on Japanese architecture, the concept of space and aesthetics. It extended into the design of Japanese gardens, clothes, presentation of food, and their manners in day to day life. The focus of this paper is the Japanese ritual of tea ceremony, the architecture of the tea house it inspired, the society responsible for its creation and the culture that promoted its popularity and its continuation into the 21st century.

Butterpaper, sweat & tears : the affective dimension of engaging students during the architectural critique

Considering how dominant a feature of architectural education the critique has been, and continues to be, little has been written about the affective dimension of engaging students during this key final stage of the design or documentation process. For most students, the critique is unlike any previous educational or life experience that they have ever confronted, and the abrupt change in the instructor’s role, from tutor to judge, can be disconcerting at a time when the student is feeling their most vulnerable. The fact that the period immediately leading up to the critique habitually entails not only a focused and sustained effort, but also sleepless nights of intensive work, further exacerbates this. The purpose of this paper is to recognise the affective phenomena influencing student engagement, during the critique. The participants of this research were second to fourth year architecture students at a major Australian university. Following the implementation of trials in alternative modes of critique in architectural design and technology studios, qualitative data was obtained from students, through questionnaires and interviews. Six indicators of engagement were investigated through this research: motivation and agency, transactional engagement with staff, transactional engagement with students, institutional support, active citizenship, and non-institutional support. This research confirms that affective phenomena play a significant role in the events of the critique; the relationship between instructor and student influences student engagement, as does the choreography and spatial planning of the critique environment; and these factors ultimately have an impact on the depth of student learning.