Book of Fortresses

Ed Triplett

2017-18

The aim of this project is to spatially reconstruct an exceptional architectural source from early modern Portugal called the “Livro das Fortalezas” (Book of Fortresses). This bound volume was created by a Portuguese squire named Duarte de Armas in 1510. It includes a folio of perspective drawings from two vantage-points of over 50 castles on the border between the kingdoms of Portugal and Spain and a second folio of measured plans for each site. With the assistance of student researchers, the book will be reconstructed as a data-rich, three-dimensional map. Sub-projects will include 3D models of the fortresses based on Duarte de Armas’ plans and drawings, a database identifying architectural features and scenes from daily life in the drawings, and GIS layers designed to study how the castles formed a fortified chain on the border with Spain. Future plans include a photogrammetric analysis of the sites in order to determine with greater precision where Duarte de Armas had to be standing when he drew the perspectival drawings, how accurate he was in terms of perspective, scale and detail, and how these castles and towns have changed since 1510.


Collaborators

Cameron Esses

Hillman Han

Stone Mathers

Building Duke

The Architectural History of Duke Campus from 1924 to the Present (2018-2019)

Sara Galletti

2018-present | Project Website

Interested in joining the team? Stop by the Bass Connections Projects Fair on Wednesday, January 24th, 2018 between 2:30-5:30PM, attend the Bass Connections Information Session on February 9th, and submit an application by February 16th, 2018, at 5:00PM.

Building Duke is a new three-year initiative that will be implemented in three phases: data collection and organizing (first year); data analysis and interpretation (second year); data output (third year). It will explore the conception, design and construction of the Duke University campus as well as its changes and expansions.The first phase of the project is supported through a Bass Connections Project Grant.

Principal aims are to offer an historical narrative of the physical environment that the Duke community inhabits and to explore the desires and visions that have materialized in the making of the campus. This project is especially relevant at a cultural and political moment when physical space and its historical connotations are at the center of a heated public debate.

The three-year initiative will culminate in a relational database of textual and visual archival material on the architectural history of Duke campus; an interactive digital 3D model of campus developments since the 1920s; a series of multimedia thematic narratives on history of the campus; and a series of augmented reality tours.


Collaborators

Elizabeth Baltes

John H. Edinger

Valerie Gillispie

Hannah L. Jacobs

Mark J.V. Olson

Victoria Szabo

John Taormina

Edward Triplett


Courses

Building Duke


Projects

Digital Durham

Statues Speak


News & Events

Building Duke Becomes Bass Connections Project Team

Dictionary of Art Historians

Lee Sorensen

2017-present

The Dictionary of Art Historians became a Wired! project in 2017. This dictionary is a compilation of art historians mentioned in major art historiographies. Biographical and methodological information about art historians can be difficult to find. Tucked away in obscure obituaries or foreign-language Festschriften, the basics of where an art historian trained or who his/her major influence was, or even what methodology the scholarship employs are often impossible to discern. This database is designed to give researchers a beginning point to learning the background of major art historians of western art history.

The Dictionary of Art Historians began in the fall of 1986 by indexing the historians cited in Eugene Kleinbauer’s Research Guide to the History of Western Art (1982) and his Modern Perspectives in Western Art History (1971), neither of which possessed an extensive index. Heinrich Dilly’s Kunstgeschichte als Institution (1979) and some of Kultermann’s Geschichte der Kunstgeschichte (1966), [the latter then only available in German] were added. The project remained dormant for a few years in card file format. In the interim, a myriad of art historiographies appeared or were reprinted. In 1996, the card project was transferred into an electronic form.

Image Credit


Collaborators

Elizabeth Brown

Brittany Halberstadt

Hannah L. Jacobs

Paul Jaskot

Jessica Orzulak

Erin Rutherford

Digital Durham

Digital Durham 3.0: Experiencing the Presence of the Past

Trudi Abel, Victoria Szabo

2006-present | Project Website

The Digital Durham archive brings together numerous documents, maps, images, census data, and other primary source materials in a digital form accessible and searchable from the web. This project seeks to activate the archive as a teaching tool and public history resource through the use of annotated maps, multimedia-illustrated essays, and augmented reality tours of the city itself. Students in various Digital Durham related classes over the years have contributed not only to the archive itself, but also to deeper dives into specific research questions about Durham history as localized phenomena of spatial and temporal significance as they relate to race, religion, culture, and economic status. This work is reflected on the site, and in online projects. In addition, some of these essays are being translated to augmented reality experiences accessible via mobile device only from specific GPS points in the city itself, an approach that highlights the importance of they physical materiality and experience of the space itself as we reflect upon historical change over time. Through partnerships with local history institutions, libraries, and schools, we are also exploring collaborative approaches to public history-making in various city neighborhoods as well, including the Walltown area adjacent to Duke’s East Campus.

This project is part of Bass Connections.


Collaborators

FHI GreaterThanGames Lab

Joel Herndon

Hannah Jacobs

Brian Norberg


Courses

Digital Durham


Projects

Augmenting Urban Spaces

Digital Public Buildings in North Carolina

Paul Jaskot

2017-present

This project focuses on the public architecture of North Carolina, from the early Republic to today. Under the general interest in a political history of architecture, we will research major building types (prisons, schools, museums, city halls, etc.) and develop digital maps to visualize the results. The point of the multiyear project will be to produce a dynamic and interactive digital map that allows art historians to query general patterns in publicly sponsored building activity across the state. In addition, specific research into key monumental structures will be highlighted through digital story telling and other means.

Image Credit


Collaborators

Paloma Rodney

Imagining Venice

Kristin Huffman & Brad Lewis

2018-2019

This project brings to life the first accurate map of Venice produced in 1729 by Ludovico Ughi. Printed in sections, it included sixteen vignettes of notable sites and a legend of important locations within the city. Sold to visitors, especially those coming to Venice as part of the Grand Tour and lavish parties of Carnival, this map was printed in a transportable album format that could be cut out and reassembled upon arrival back home. Working with the document in its original format, the team will animate and contextualize the newly acquired version at the Rubenstein Library at Duke University. The map and its story will form the centerpiece of an exhibition in 2019 at Duke Libraries that celebrates the collection’s rare Venetian books.


Collaborators

Lizzet Clifton

Noah Michaud

Angela Tawfik

Mary Kate Weggeland

Mapping German Construction

From World War I through the Holocaust

Paul Jaskot

2017-present

Few eras in art history are as famous for their buildings than Weimar Germany (1918-33) and none is more notorious than the Nazi period (1933-45). Yet how are they related in terms of architects and architecture? This project seeks to probe the continuities and ruptures of cultural production between the two periods by looking at the German construction industry. This history from below (as it were) involves art history in questions of labor, resource allocation, and the larger political economy of the state among other issues. As such, the aim of the project is to gather and visualize large datasets of building campaigns through Germany to reveal patterns of construction that may raise other art historical problems. Special attention will be given to visualizing construction during World War II, such as in occupied Krakow, where construction, forced labor, and occupation policy came together.

Mapping Stereotomy

Sara Galletti, Kristin Huffman

2017-2018

Mapping Stereotomy is a database dedicated to stereotomy, the art of cutting stones into particular shapes for the construction of vaulted structures. Stereotomy is best known for the variety of acrobatic masterpieces produced in early modern France and Spain. Yet the art is neither early modern nor European; it has been practiced over a wide temporal span, from Hellenistic Greece to contemporary Apulia, and across a broad geographical area, centered on the Mediterranean Basin but reaching far beyond—from Cairo to Gloucester and from Yerevan to Braga. Mapping Stereotomy consolidates and visualizes information on stereotomic vaults from antiquity through early modernity, with the aim of furthering and broadening research in the fields of construction techniques and Mediterranean studies.


Collaborators

Aidan Blake

Margot Calmar

Angela Tawfick

Paris of Waters

Focusing on the impact of water on the demographic, social, architectural, and urban development of the city of Paris through time

Sara Galletti

Spring 2014 - present

Paris of Waters is a research project that focuses on the impact of water on the demographic, social, architectural, and urban development of the city of Paris through time. The project is concerned with water in a wide array of forms—as resource, as commodity, as means of transportation, as funnel for the city’s waste, and as cause of disaster and death—and with making it visible as a powerful agent of urban change. Paris of Waters challenges traditional urban history narratives—which tend to focus on design, monumentality, and the stylistic features of the built environment—by highlighting the role of infrastructure, underground works, and hydraulic management and engineering as defining elements of a city’s development and history.


Collaborators

Gaby Bloom

Andrew Lin

Amanda Lazarus

Dryden Quigley

Hanna Wiegers

Irene Zhou

Statues Speak

Statues are all around us, but we often walk past them without reflecting on who or what they represent. Once shiny new landmarks in the built environment, statues can become invisible over time. In our hurry to get from one place to another, we do not stop to read the inscriptions that often tell us why the statue was set up. In any case, the information given on the statue base is only part of the story. Statues can “speak” to us in many ways, but what if we could actually give them a voice? What would they want to tell us about themselves?

This project, a collaboration between undergraduate students and faculty at Duke University and Coastal Carolina University, aims to help statues speak, to help them tell their own stories. By combining historical research with mobile and web technologies, we will present the “autobiographies” of the statues on Duke’s campus, exploring how they fit into the fabric of Duke’s history and the long-standing practice of setting up honorific portrait statues.

 

 

Video research and script by Darrah Panzarella.


Collaborators

Christy Kuesel

Darrah Panzarella

Mary Kate Weggeland

Jessica Williams