Reinstating the Ruin: Augmented Landscapes of Knowledge and Learning as a Journey through Water Part 2 Project 2012 Daniel Hall University of Sheffield | UK Based initially on the character of Prospero in Peter Greenaway’s adaptation of Shakespeare’s ‘The Tempest’, the project explores the relationship between the significance of the collection as defined through reinstating the histori¬cal fragment and artifact back into the landscape as a memory of the place. This approach is based on the idea that architectural history lies in the material; and it is this material, which becomes the object of analysis. By asserting the symbolic function of the ruined monument as a record of time aims to reestablish the strongest sense of place. The subsequent research evolved through a critical study of the typology of Libraries, the Sacred Landscape, and the Baths of Caracalla; revealing the historical, Social and Political implications of the Baths through the dichotomy that existed between the exclusive Mithras Cult and the broad social appeal of the Bath house. In adopting the original plans, and building into, around and within the ruins my proposal; aims to become part of the architectural continuum.Through establishing a method to reintroduce history and typology through the study of artefacts, objects and ritual, alongside a fictional depic¬tion of Rome hand drawings have been used as a research tool to explore the classical tradition of Architecture, and subsequent Neoclassical and Beaux-Arts building style in order to record and transform the ancient fragments into a modern architectural idiom. Detailed analysis of Peter Greenaway’s film ‘The Tempest’ led to analysis of the classical tradition of imitation and classical allegories, as has been quoted through extant buildings, paintings and books.The evolving narrative of the project speculates on a slowly growing collection of books and artefacts once removed from the Baths, and now distributed around the galleries, libraries, archives and museums of Rome and Italy being reinstated into the building through the curators, researchers and scholars of Rome. Spaces for archiving, analysing, browsing, updating and editing, exhibiting and testing the fragments interspersed into the labyrinth sit among and within the augmented landscape of ruins. A landscape designed to re-establish the significance of the sacred garden, celebrating the poetic and tectonic qualities of water and sculpture. Tutor(s)Mr Russell Light