The transformation of the research process in history of architecture through the use of digital technologies
Article Sidebar
Google Scholar citations
Main Article Content
In recent decades, the use of digital technologies not only has transformed the way in which research on architectural heritage is conducted, but it has also expanded the possibilities of generating ever more interdisciplinary projects. The increase of the range of open tools, with more functional and user-friendly interfaces, has made possible to identify and visualise previously invisible evidence, synthesise and map temporal information and combine data
from heterogeneous sources to generate new data and hypotheses. They have also provided a stimulating setting for raising questions on buildings, cities and territory, as well as the agents interacting with them. The aim of this article is to demonstrate the change, during the process and the practice, of research on history of architecture with the use of digital technologies. To do so, we address a number of issues such as objectivism/subjectivism, data usability, project
flexibility, data sustainability and technology training and learning. Finally, after providing an example of how digital technologies can be applied to history of architecture research, we present some strategies, reflections and future lines to be pursued. These point towards
the suitability of technologies as new research tools which open possible new pathways for disciplinary collaboration, progress in analytical methods and future reflections on managing the data created.
Article Details
Copyright
For all articles published in Artnodes that are subject to a Creative Commons Attribution 4.0 International licence, copyright is retained by the author(s). The complete text the license can be consulted at http://creativecommons.org/licenses/by/4.0/. You may copy, distribute, transmit and adapt the work, provided you attribute it (authorship, journal name, publisher) in the manner specified by the author(s) or licensor(s).
Authors are responsible for obtaining the necessary licences for the images that are subject to copyright.
Assignment of intellectual property rights
The author non exclusively transfers the rights to use (reproduce, distribute, publicly broadcast or transform) and market the work, in full or part, to the journal’s editors in all present and future formats and modalities, in all languages, for the lifetime of the work and worldwide.
I hereby declare that I am the original author of the work. The editors shall thus not be held responsible for any obligation or legal action that may derive from the work submitted in terms of violation of third parties’ rights, whether intellectual property, trade secret or any other right.
Patricia Ferreira-Lopes, Universidad de Sevilla
Degree in Architecture and Town Planning (2009). Master's Degree in the Pathology of Construction and specialisation in Economic Management and Expertise in Restoration from the Polytechnic University of Madrid (2010), Master's Degree in Architecture and Historical Heritage from the School of Architecture (ETSA) at Seville University (in collaboration with the Andalusian Historical Heritage Institute (IAPH) and the Board of Trustees of the Alhambra and Generalife, 2012). She is a member of the teaching staff and trainee researcher at the ETSA in Seville. She is currently a member of the research projects “Sustainable guardianship of cultural heritage through the BIM and GIS digital models. Contribution to knowledge and social innovation” (HAR2016-78113-R) led by Francisco Pinto Puerto, and “Diego de Riaño, Diego Siloe and the Transition from the Gothic to the Renaissance in Spain. Architecture and City: Technique, Language and Spatial Conception” (HAR2016-76371-P) led by Juan Clemente Rodríguez Estévez and Antonio Luis Ampliato Briones. Member of the research group HUM-799 – Strategies in Heritage Knowledge in the Department of Graphic Architectural Expression at the ETSA in the University of Seville. She is a member of the Late Gothic Network (Thematic Network for Cooperative Research into Late Gothic Art. 15th-16th Centuries) and the DOCOGOTHIC Network (Network for the documentation of Late Gothic construction). Throughout her research career, she has combined collaborations and stays in different national and international Centres, including the following: University of Western Ontario, University of the Bass Country, Vrije Universiteit Amsterdam, University of Lisbon and the Polytechnic University of Madrid. The general lines of research on which she is currently working include methodological analyses of heritage and criteria, methods and techniques for conservation, intervention and heritage management using GIS technologies, data visualisation and the application of ICTs in research into the history of architecture.
Similar Articles
- Nuria Rodríguez-Ortega, Five central concepts to think of Digital Humanities as a new digital humanism project , Artnodes: No. 22: (November 2018). NODE 22. Digital Humanities: societies, policies, knowledge (Editor: Nuria Rodríguez-Ortega)
- Nieves Pena Sueiro, Ángeles Saavedra Places, Obsolescence and resilience in Digital Humanities The case of the Digital Library of News Pamphlets , Artnodes: No. 23: (January 2019). NODE 23. Media Archaeology II / Digital Humanities II (Editor: Ana Rodriguez Granell)
- Jesús Fernando Monreal, Digital archons and gathering artists. Poetics of archiving in the Digital Humanities environment , Artnodes: No. 23: (January 2019). NODE 23. Media Archaeology II / Digital Humanities II (Editor: Ana Rodriguez Granell)
- Emillie V de Keulenaar, Marc Tuters, Ivan Kisjes, Kaspar Beelen, On Altpedias: partisan epistemics in the encyclopaedias of alternative facts , Artnodes: No. 24: (July 2019). NODE 24. After post-truth (Editor.: Jorge Luis Marzo)
- Antonio Labella, Salvador Sancha, Maria Cuevas, Heterochronicity. Cronos under debate , Artnodes: No. 22: (November 2018). NODE 22. Digital Humanities: societies, policies, knowledge (Editor: Nuria Rodríguez-Ortega)
- José Antonio Motilla, Analysis of the field of art from digital humanities, a theoretical-methodological proposal (1970-2017) , Artnodes: No. 22: (November 2018). NODE 22. Digital Humanities: societies, policies, knowledge (Editor: Nuria Rodríguez-Ortega)
- Pau Alsina (Coord.), Media art history/stories , Artnodes: No. 13: (November 2013). NODE 13. Media art history/stories (Editors: Ana Rodríguez Granell, Pau Alsina)
- Pau Alsina, On art and computing: an introduction to digital art , Artnodes: No. 4: (July 2005). NODE 4. Calculability (Editor: Pau Alsina)
- Nuria Rodríguez Ortega, Digital Humanities, Digital Art History and Artistic Culture: Relationships and Disconnections , Artnodes: No. 13: (November 2013). NODE 13. Media art history/stories (Editors: Ana Rodríguez Granell, Pau Alsina)
- Sonia 1972 Ríos Moyano, Leticia Crespillo Marí, Javier 1979 González Torres, Anthropological narratives of machinic otherness at the dawn of posthuman and transhuman theories. A first approach from movies and streaming series , Artnodes: No. 32: (July 2023). NODE 32. Possibles III (Editors: Pau Alsina & Andrés Burbano)
You may also start an advanced similarity search for this article.