St Paul's Cathedral, London, clad for refurbishment — in this case, cleaning the exterior. Revision and conservation of Holy Trinity Column in Olomouc (Czech Republic) in 2006. Architectural conservation describes the process through which the material, historical, and design integrity of humanity's built heritage are prolonged through carefully planned interventions. The individual engaged in this pursuit is known as an architectural conservator. Decisions of when and how to engage in an intervention are critical to the ultimate conservation of the immovable object. Ultimately, the decision is value based: a combination of artistic, contextual, and informational values is normally considered. In some cases, a decision to not intervene may be the most appropriate choice, Definitions i Narrow definition Architectural conservation deals with issues of prolonging the life and integrity of architectural character and integrity, such as form and style, and/or its constituent materials, such as stone, brick, glass, metal, and wood. In this sense, the term refers to the "professional use of a combination of science, art, craft, and technology as a preservation tool" and is allied with ~ and often equated to - its parent fields, of historic environment conservation and art conservatior Broad definition-In addition to the design and art/science definition described above, architectural conservation also refers to issues of identification, policy, regulation, and advocacy associated with the entirety of the cultural and built environment. This broader scope recognizes that society has mechanisms to identify and value historic cultural resources, create laws to protect these resources, and develop policies and management plans for interpretation, protection, and education. Typically this process operates as a specialized aspect of a society's planning system, and its practitioners are termed built or historic environment conservation professionals. Functional definition-Architectural conservation is the process by which individuals-or groups attempt to protect valued buildings from unwanted change,“ i History of the architectural conservation movement % ‘As a movement, architectural conservation in general, and the preservation of ancient structures specifically, gained momentum during the 18th and 19th centuries, It was a response to Modernism and its corresponding architectural perspective, which eschewed sentimental attachment to old buildings and structures in favor of-f€chnological and architectural progress and change, Prior to this time most of the ancient buildings that were still'standing had only survived because they either had significant cultural or religious import, or they had yet to be discovered." ‘rhe growth of the architectural conservation movement took place at a time of significant archaeological discovery and seientific advancement, Those educated in the field began to see various examples of architecture as either beingorrect" or "ji «BI cncerratien, neeTTeetA! Because of this, two schools of thought began to emerge within the field of buildin; Pre i ; ; Treeervation/Conservation were used interchangeably to refer to the architectural school of thought that eithe damage and di seater would protect and maintain buildings in their current state, or would prevent furthe damage and deterioration to them. This schoo! of thought saw the original design of old buildings as correct in and 0 ives. Two of the main proponents of preservation and conservation in the 19th century were art eritic Joh, Ruskin and artist William Morris. Restoration was the conservationist school of thought that believed historic buildings could be improved, an sometimes even completed, using current day materials, design, and techniques. In this way it's very similar to th Modernist architectural theory, except it does not advocate the destruction of ancient structures. One of the mo: ardent supporters of this school of thought in the 19th century was French architect Eugéne Viollet-le-Duc. Current treatments ‘The Department of the Interior of the United States defined the following treatment approaches to, architecture conservation: through conservatior ipancies, and th + Preservation, "places a high premium on the retention of all historic fal maintenance and repair. It reflects a building's continuum over time, through successive occu respectful changes and alterations that are made." ¢ the retention and repair of historic materials, but more latitude is provided fe 's assumed the property is more deteriorated prior to work. (Both Preservation an materials, features, finishes, spaces, an "{4l See also adaptive reuse. + Rehabilitation "emphi replacement because it Rehabilitation standards focus attention on the preservation of those spatial relationships tha, together, give a property its historic character «Restoration "focuses on the retention of materials from the most significant time in a property's history, whil permitting the removal of materials from other periods." + Reconstruction, "establishes limited opportunities to re-create a non-surviving site, landscape, building structure, or object in all new materials." II of these as potential treatments for historic structures. Canada recognize Burra Charter, for Australia, identifies preservation, restoration, an Other nations recognize some or al preservation, rehabilitation, and restoration. The reconstruction. Common architectural conservation/preservation problems Punched lead cast in a Venice bridge walll fixing the hard-metal connecting bar‘The earliest building materials used by ancient peoples, such as wood and mud, were organic. Organic materie were used because they were plentiful and renewable. Unfortunately, the organic materials used were also ve susceptible to the two most significant impediments to preservation and conservation: the elements, and life (bo human and animal). Over time inorganic materials like brick, stone, metal, concrete, and terra cotta began to | used by ancient people instead of organic ones, due to their durability." In fact, we know that these materials a durable because many ancient structures that are composed of them, even some built as far back as the Bronze Ag like Egypt's Great Pyramids, still stand today. Ancient buildings such as the Egyptian pyramids, the Rom: Colosseum, and the Parthenon face common preservation issues. The most prominent factors affecting the structures are the environment, pollution, and tourism. ‘As the Earth's climate patterns change, so too do the environmental conditions governing these buildings. F Gxample, the Colosseum has already faced lightning, fire, and earthquakes."! The changing climate increases {1 socurmulation of salt crystals on the outside of monuments like the Colosseum and the Parthenon.’ This phenomen¢ increases the deterioration of these buildings. The salt crystals further contribute to the black effect that man-mac pollution has on these buildings. The Parthenon is especially exposed and many of the remaining marbles proding to the point that they may no longer be identifiable The pollution from corrosive agents inthe ai bas al cena to this deterioration) The thitd factor affecting ancient building conservation is tourism, While tour's provides both economical and cultural benefits, it can also be destructive. The Egyptian, tomb of Seti the Ist Currently off limits to the public due to the deterioration that has been caused by tourists.°" The pyramids in Gi tae alto encountered problems due to large numbers of tourists; more tourists mean greater humidity ad 0 presence, which can lead to erosion 2 All of the above factors complicate the conservation options available to tre these buildings. Conservation process Beirut Central District ‘A preserved historical alleyway in Assessment The first step in any building conservation project is a sensitive assessment of its history and merits. As not ‘architect Donald Insall states, "Every building has its own biography. A knowledge of the whole life of a buildi: brings an essential understanding of its features and its problems. He gives the Parthenon in Athens as an examp! built between 447 and 432 BCE to serve as a temple dedicated to the goddess Athena, its purpose over time chang, to Christian church, mosque, and powder magazine before it became one of the most famous tourist attractions in t world. Once the assessment is complete, the next step is a thorough measured’ survey with a tape, rod and lev. Modern measuring techniques, such as photogrammetry (the use of aerial photographs to make maps and survey and stereophotogrammetry, are also used today to increase accuracy. Once the measurements are complete, there an analysis of the structural stability of the building and its living pattern of movement. No building is permanent‘ill; soil and wind can affect building stability and need to be documented. Finally, the architect or surveyor tests the electrical connections, plumbing, and other utilities present in the building (this is more for historic and re-purposed buildings). For both ancient and historic buildings, lightning conductors ‘and fire-fighting equipment are checked t0 make sure they can provide sufficient protection! At the end of this assessment process, the conservator will analyze all the collected data and decide on a conservation plan based on available funding sources. ‘Treatment- The phrase covers a wide span of activities, from the cleaning of the interior or exterior of a building — such as is currently underway at St Paul's Cathedral in London — to the rebuilding of damaged or derelict buildings, such as the restoration of the Windsor Great Hall in Windsor Castle after a destructive fire in 1992. The 1985-1989 removal of 38 layers of paint and the cleaning and repair of the exterior sandstone walls of the White House in the USA are an example of building restoration“! Buildings are structures which have, from time to time, particular purposes. They require ongoing maintenance to prevent them falling into disrepair as a result ofthe ravages of time and use. Building restoration can be thought of as that set of activities which are greater than year-to-yeat maintenance, but which by retaining the building are less than a demolition and the construction of a new building Not all building conservation seeks to follow the original design of the building. It is reasonably commonplace for the shell of a building — its external walls — to be retained whilst an entirely new building is constructed within, This approach is also referred to as adaptive reuse. Although techniques of architectural conservation are improving, the action of cleaning or repairing buildings can, with hindsight, be seen to cause problems that at the time were unforeseen. A good example is the unrestrained use of sandblasting to clean smog deposits from soft-stoned buildings na technique employed in the UK in the 1960s and 1970s — which has damaged the external faces of stonework tc the extent that in some cases, later, the stonework has needed to be replaced. Contemporary building codes recognize such problems, and (it is to be hoped) mitigate poor outcomes. Case example: Ancient stone structures \ Most ancient buildings are constructed of stone and have survived from antiquity as a result ofthe stability of this building material. However, stone can deteriorate rapidly without protection, particularly in our modern era. 0 pollution and climate change. Architect Susan Rebano-Edwards details a simple technique for preserving stone it cient building structures. She supports treatment that is effective in stopping deterioration and durable in its protective effort while changing the appearance of stone as litle as possible. It should be simple to apply, anc ‘comparatively inexpensive and reversible.) ‘The process is as follows: 1. Clean the material with soft brushes to remove ingrained dirt, Do not use dust eloths. If drt is extensive, use « paste jelly formula such as EDTA ammonium carbonate. 2, Wash with distilled water by brushing, spraying or by immersion or paper pulp method on stones showing symptoms of salting. 3, Steiliz by brushing or spraying with a minimum 25% to 36% hydrogen peroxide stones affected by presence of organic growths such as mosses and lichens. 4, Consolidate by brushing, spraying or injecting (or by impregnating, filling, grouting, j adhesive) on very dry stone using a consolidant such as Rinforzante Hor ethyl silicate for siliceous stone (Granite, sandstone). Consolidation is recommended when the cohesive strength of stone has weakened anc there is @ need to consolidate or bind together the disintegrated material, 5. Gap filling, replacement and/or retouching of missing parts. & In appropriate circumstances, water repellents may be applied. Spray or brush protective films or wate repellents on stone affected by chemical integration and biological attack. Common protectants are waxes acrylic and silicon resins. ing or pin dowe Public awareness and outreach to promote architectural conservation ‘There are many organizations that work to raise public awareness of the necessity to preserve ancient and historic buildings and areas, across communities, users and government. In addition to promoting the cultural value of these buildings, and encouraging appropriate polices and strategies for conservation, the organizations can help in raisingihe required funding to implement conservation initiatives and plans, and often serve as a link between the {it munity and local/Tederal governments to advance conservation projects. A brief list of architectural conservation organizations is below: « AIC-ASG“ (The American Institute for Conservation - Architectural Specialty Group) « IHBC""”) (The Institute of Historic Building Conservation) SPAB™ (The Society for the Protection of Ancient Buildings, a member of the UK's Joint Committee of the National Amenity Societies)" _ UNESCO World Heritage Centre Council of Europe, Architectural and Archaeological Heritage ‘APT! (The Association for Preservation Technology International) intemational Council on Monuments and Sites The International Scientific Committee on the Analysis and Restoration of Structures of Architectural | Heritage Related journals Context The official journal of the IHBC™ International Journal of Architectural Heritage™ Journal of the American Institute for Conservatio ' ‘Journal of Architectural Conservation Western Association for Art Conservation”) References «Weaver, Martin and Frank Matero (1997) Conserving Buildings: ‘New York: John Wiley & Sons : : eG L-Simcce Sanches MC, Die FIC) “ikagiect pen x erm gn against environmental agents". Studies in Conservation, ‘A Manual of Techniques and Materials. Symbolism vs Subsymbolism reece ATAU Symbolism ‘To provide some intuition, a first definition of a symbolic architecture isan architectures that utilizes symbol tranipulations ina fixed manner to represent its processing Subsymbole architectures do not use symbols to raprevent their processing. A common altemative to symbolism isto use analog representations ‘and transformations. [Now the term symbolic architectures willbe defined in more detail. A natural question to ask is what isa symbol? wien Newell considered this question in Unified Theories of Cognition. e differentiated between symbols ihe’ ‘Shenomena inthe abstract) and fokens (their physi¢al instantiations). Tokens "stood for" some larger conve They poet be manipulated locally until the information in the larger concept was needed, when local processing would ove to stop and access the distal site where the information was stored. The distal information may itself be symbolically encoded, potentially leading to a graph of distal accesses for information. Newell defined symbol systems according to their characteristics. Firstly, they may form a universal computational system. They have memory to contain te distal symbol information, symbols to provide a pattem to match oF index distal information, operations to manipulate symbols, interpretation to allow symbols to specify operations, and, ‘capacities for thereto be: (a) sufficient memory, (b) composibility (that the operators may make any symboltie (c) interpretability (that symbol structures be able to encode any meaningful arrangement of i . finally, Newell defined symbolic architectures as the fixed structure that realizes a symbol system. That it is fixed 4 i t jmplies that the behavior of structures on top of it (ic. "programs") mainly depend: i . A : Le. ly depends upon the details of the symbols, operations and interpretations at the symbol system level, not upon how the symbol system (and its componens) are 7 implemented. How well this ideal hold is a measure of the strength of that level. The advantages of symbolic architectures are: i much of human knowledge is symbolic so encoding tina computers more stright -forvard how tecture reasons may be analogous to how hi aking it easi ean gous to how humans do, making it easier for humans to understand 3. they maybe made computationally complete (e.g, Turing Machines) Subsymbolism (Luse the term subsymbolism because these approaches could be used to implement a symbolic system at a higher level -- they do not necessarily preclude symbolism.) As Newell pointed out agents that react in their environment must do three basic mappings: 1. from the environment to that of internal representation (sensing) 2. internally between representations, ("thinking") and 3. from the internal representation to the environment (actuating) ‘There are methods of doing this with out using symbols. Two well known alternatives are Neural Networks and ‘Subsumption Architecture by R. Brooks. Brooks' observation is that some of the difficulties of computing the proper action given a rich analog environment may be avoided if'a symbolic (discrete) internal model weren't used as an intermediary (cf. Subsumption Architecture). Brooks argues, for example, that itis very unlikely that flies recover 3- images, reason about the goals of humans with fly-swattes, use naive physics to land on ceilings, ete. The advantages of subsymbolic architectures are: 1. they may be faster, which is important for dynamic environments 2. they may be cheaper Examples of symbolic architectures are: Atlantis by E. Gat. Dynamic Control Architecture by B. Hayes-Roth. ERE by Drummond et al. Homer by Vere & Bicknore. Icarus by Langley. WAX by D. Kuokka. Prodigy by Carbonell et al RALPH by Ogasawara and Russell. SOAR by A. Newell ot al : Teton by Vanlehn & Ball ‘Theo by T. Mitchell et a2.— ae I gxamples of subsymbolic architectures are: « Behavior-Based Programming by R. Brooks. subsumption Architecture by R. Brooks architectural Symbolism 101: Geometry Classical architecture has @ rich and intr compared to ancient Latin: @ language o ‘ioth century, the educated viewer could reas ute to us, much of its meaning lost and er: deciphering the meaning of the built world is to u three dimensions. The origins of geometry—Iiteraly, "the measure of the earth" ‘and much that was “discovered” by the likes of Pythagor their own knowledge s0 lost simply openly disseminated by the Greeks for the first time, cate symbole repertoire reaching bac to earliest recorded history that today can be sen eommon currency but today understood only by 2 few adepts. Well into the a bulding as one reads a book, but today the language of classicism [s avBely ded by time and the relentless evolution of human societies. The frst step ir derstand a structure's geometry—both its two-dimensional plan and i ‘are as obscure as the origins of civilization, ras was actually obtained from the priestly caste of ancient Egypt in the mists of time that it was attributed to Toth, god of language and knowledge—and wasi [ for example, often attributed to Archimedes, is clearly encoded in the measures of the Great Pyramid of Giza (and was also in ancient China, the Indus Valley and.in Sumer), Likewise, the symbolic meaning of geometry and number can be {traced through the Greeks and the other ancient civilizations of the Mediterranean basin to Egypt and Sumer, and when we continue farther in time we encounter the evidence of monolithic civilizations destroyed by the last ice age, about which se much has been projected and too little known. The point here is to identify the origin of the symbolic meaning of geometric figures: Egypt, transmitted == to. «= us._—svia-~—sthe_~=— Greeks = and_— their -—_—neighbors. We will use a very simple example to illustrate geometry's symbolic power: the Bosquet of the Three Fountains in the gardens of Versailles (depicted in the watercolor reproduced at the top of the post). This elaborate garden-within-2-garden was built ir ‘the early 1700s by order of Louis XIV, and tradition holds that the king acted as his own architect and directed the bosquet's design. The bird's-eye-view watercolor above was commissioned by the Société des Amis de Versailles to ald in fund-raising efforts to rebuild the bosquet. As you can see, the garden is laid out on three levels: each parterre with its central fountain i linked by grass steps, ramps and low cascades to the level below. Like the other baroque bosquets in the park of Versailles designed for Louis XIV, the Three Fountains is rigidly geometric and features elaborate water displays ‘Though difficult to see in this small reproduction, the highest, farthest fountain has a circular basin; the middle basin is square and the lowest is octagonal. And here we have the crux of the bosquet's symbolic meaning: the circle (and its three dimensional counterpart the sphere) represents the arcing vault of the heavens. The square represents the earth, literally its four "corners," or cardinal directions (as well as the four known continents of the Renaissance age: Europe, Asia, Africa and America).ene standing halfway between earth and Heaven, the square and the circle—a French conception of the sovereign as the essential mediator standing | method of constructing an octagon begins with a square, upon which lone inscribes the arc ofa circle, Constructing an octagon also generates an infinitely regressing t jangle, further adding to the " Louis XIV became linked to Descartes' idea of a centered infinity—with himself as the central infinity was referenced, of course). lace the octagon between the circle and the square, as one would expect, but progression, or an equation: Heaven (circle) and earth (square) give rise to the id Insight into the mind of the Sun King: unsurprisingly, he considered of Heaven and earth, rather than as the mediator between them. No ly, the octagon is the symbol of kingship, fect geometric form that perfectly incarnates the jidway between God and the people. The traditional You will also notice that Louis XIV did not pl rather he employed it as the summation of @ king (octagon). And here we have a simple but profoun« himself and his position as the summation of the union ‘one ever said Louis XIV was afflicted by self-doubt, ic expression of absolutism—no surprise really, as the bosquet was conceived by the man who tteally defined the age. France, in the Age of Lous XV, superceded Italy to claim first place among the powers of Europe inal spheres, including forthe frst time, culturally, Though it used the art and architecture of aly a5 its template, | France constructed its cultural hegemony upon the foundations of absolutism, not humanism, and Leonardo's humanist vision Finally, what we have here is a perfect symboli cof man as the center and measure of all things was replaced by the idea of a single man—a king. 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