Paper which introduces an method developed by the research group Duurzame Projectontwikkeling of the SIA-RAAK project Energieke Restauratie. Besides an discription of the method, it also describes the application of the method for three (fictional) case study projects: Dairy Factory Dongeradelen (Lioessens), Strawboard Factory Free (Oude Pekela) and Der Aa church (Groningen).
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This paper presents a proof of concept for monitoring masonry structures using two different types of markers which are not easily noticeable by human eye but exhibit high reflection when subjected to NIR (near-infrared) wavelength of light. The first type is a retroreflective marker covered by a special tape that is opaque in visible light but translucent in NIR, while the second marker is a paint produced from infrared reflective pigments. The reflection of these markers is captured by a special camera-flash combination and processed using image processing algorithms. A series of experiments were conducted to verify their potential to monitor crack development. It is shown that the difference between the actual crack width and the measured was satisfactorily small. Besides that, the painted markers perform better than the tape markers both in terms of accuracy and precision, while their accuracy could be in the range of 0.05 mm which verifies its potential to be used for measuring cracks in masonry walls or plastered and painted masonry surfaces. The proposed method can be particularly useful for heritage structures, and especially for acute problems like foundation settlement. Another advantage of the method is that it has been designed to be used by non-technical people, so that citizen involvement is also possible in collecting data from the field.
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In case of induced seismicity, expectations from a structural monitoring system are different than in the case of natural seismicity. In this paper, monitoring results of a historical building in Groningen (Netherlands) in case of induced seismicity has been presented. Results of the monitoring, particularities of the monitoring in case of induced earthquakes, as well as the usefulness and need of various monitoring systems for similar cases are discussed. Weak soil properties dominate the structural response in the region; thus, the ground water monitoring as well as the interaction of soil movements with the structural response has also been scrutinized. The proposed study could be effectively used to monitor historical structures subjected to induced seismicity and provide useful information to asset owners to classify the structural health condition of structures in their care.It was shown that the in-plane cracks at the building would normally not be expected in this structure during small induced earthquakes happening in Groningen. One explanation provided here is that the soil parameters, such as shrinking of water-sensitive soil layers, in combination with small earthquakes, may cause settlements. The soil effects may superimpose with the earthquake effects eventually causing small cracks and damage.
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This PD project explores alternative approaches to audiovisual technologies in art and creative practices by reimagining and reinventing marginalized and decommodified devices through Media Archaeology, artistic experimentation, and hands-on technical reinvention. This research employs Media Archaeology to uncover “obsolete” yet artistically relevant technologies and hands-on technical reinvention to adapt these tools for contemporary creative practices. It seeks to develop experimental self-built devices that critically engage with media materiality, exploring alternative aesthetic possibilities through practice-based investigations into the cultural and historical dimensions of media technologies. These developments provide artists with new creative possibilities beyond mainstream commercial standardized tools and infrastructures. A key component of this project is collaborative innovation with artist-run analog film communities, such as Filmwerkplaats. By fostering knowledge exchange and artistic experimentation, this research ensures that reinvented tools remain relevant to both analog film communities and contemporary media art practices. The intended outcomes directly benefit two key groups: • Artist-run film labs gain sustainable methods for evolving their practices, reducing dependence on scarce, out-of-production equipment. • Digital-native artists are introduced to alternative methods for engaging with analog processes and media materiality, expanding their creative toolkit. This collaboration also strengthens art and design education by embedding alternative technological perspectives and research methodologies into curricula, providing students and practitioners with resourceful, sustainable approaches to working with technology. It advocates for a more diverse educational paradigm that incorporates media-technological history and critical reflection on the ideologies of linear technological progress. Ultimately, this research fosters critical discourse on media culture, challenges the dominance of corporate proprietary systems, and promotes innovation, redefining the relationship between creativity and technology.
In summer 2020, part of a quay wall in Amsterdam collapsed, and in 2010, construction for a parking lot in Amsterdam was hindered by old sewage lines. New sustainable electric systems are being built on top of the foundations of old windmills, in places where industry thrived in the 19th century. All these examples have one point in common: They involve largely unknown and invisible historic underground structures in a densely built historic city. We argue that truly circular building practices in old cities require smart interfaces that allow the circular use of data from the past when planning the future. The continuous use and reuse of the same plots of land stands in stark contrast with the discontinuity and dispersed nature of project-oriented information. Construction and data technology improves, but information about the past is incomplete. We have to break through the lack of historic continuity of data to make building practices truly circular. Future-oriented construction in Amsterdam requires historic knowledge and continuous documentation of interventions and findings over time. A web portal will bring together a range of diverse public and private, professional and citizen stakeholders, each with their own interests and needs. Two creative industry stakeholders, Yume interactive (Yume) and publisher NAI010, come together to work with a major engineering office (Witteveen+Bos), the AMS Institute, the office of Engineering of the Municipality of Amsterdam, UNESCO NL and two faculties of Delft University of Technology (Architecture and Computer Science) to inventorize historic datasets on the Amsterdam underground. The team will connect all the relevant stakeholders to develop a pilot methodology and a web portal connecting historic data sets for use in contemporary and future design. A book publication will document the process and outcomes, highlighting the need for circular practices that tie past, present and future.
