Purpose: Indigenous cultural heritage represents the unique features of a community or ethnic group’s historical legacy, which has evolved over centuries. This heritage is crucial for future generations to understand the past, the foundation on which they stand, and their path forward, as it highlights the importance of their ancestors’ achievements and the lessons from their life. Without proper preservation of written records, oral histories and accounts passed down through various forms of formal and informal documentation, this heritage could eventually be lost. This paper aims to explore the importance of protecting the complex cultural identity of indigenous communities and the measures necessary to ensure its long-term preservation. Design/methodology/approach: There are several approaches that can enhance inclusivity in heritage values, making them visible and accessible to both current and future generations worldwide. While perspectives and strategies may vary, they all highlight the importance of reconnecting with indigenous cultures and integrating historical identities, ensuring their preservation for uninterrupted continuity in the future. Findings: Preserving indigenous heritage is crucial for a variety of reasons. A more integrated and comprehensive approach is needed to distinguish between “Indigenous Heritage Value” and “Outstanding Universal Value” and to elevate indigenous cultural heritage on a global scale. The findings underscore the importance of implementing programs that recognize heritage value and treat indigenous heritage as a living memory. Leveraging technology can enhance accessibility to indigenous cultural heritage, ensuring equal access and promoting new forms of representation that can increase its visibility worldwide. Originality/value: The promotional strategies outlined in the paper can inspire indigenous and local communities, as well as organizations involved in safeguarding indigenous cultural heritage, to reconsider and broaden their roles as leaders in promoting and ensuring sustainable development.

In the wake of the conquest of the New World by the Spanish crown at the end of the 15th century, the expansionist interests of the other major European powers had become so invasive as to convince the Spanish King Philip II of the need to develop a systematic project for the military defence of the most important ports and coastal areas of his new overseas colonies. By then the culture of the Renaissance in the field of military architecture was widely understood in all the major European courts, not least thanks to treatises published by Francesco di Giorgio Martini, Baldassarre Peruzzi, Giovan Battista Belluzzi, and Giuliano and Antonio da Sangallo, supported by important contributions from the liberal arts, mathematics, and geometry. Of the many interpreters of the Renaissance language of military architecture, the Italian military engineer Battista Antonelli, born in 1547 at Gatteo in the Duchy of Romagna and trained at the court of Vespasiano Gonzaga Colonna, Duke of Sabbioneta, was the first to apply its methods and procedures to the construction of Philip's fortifications in the New World. Although he was the architect of numerous fortified buildings, mainly in the Caribbean, few studies of military architecture have so far examined his work. This paper analyses two important works of fortification that he designed and built in the city of Havana between the end of the 16th century and the beginning of the 17th: the Castillo de los Tres Reyes del Morro and the Castillo San Salvador de la Punta. Their completion not only introduced the European Renaissance culture of military architecture to the island, but also had a strong impact on the urban development of the city in general and its relationship with the surrounding territory. In 1982, UNESCO added these fortifications to its World Heritage List, together with the historic centre of Havan

Cultura de la restauración de la arquitectura en Colombia comenzó a manifestarse en la segunda mitad del siglo xx, cuando el arquitecto Carlos Arbeláez Camacho, profesor de la Universidad Nacional de Colombia, instituyó los primeros cursos de historia colombiana del arte. En marzo de 1948, llegó a la misma Universidad el ingeniero italiano Angiolo Mazzoni Del Grande para iniciar, en un primer momento, los cursos de Composición y Urbanismo y, luego, los cursos de Historia de las construcciones y de la arquitectura. La realidad política y social colombiana en aquellos años fue muy compleja y la cultura de la modernización había favorecido la demolición de muchos edificios históricos, tanto civiles como religiosas. En 1902 surgió la Academia Colombiana de Historia, con la finalidad de proteger el patrimonio cultural desde la época prehispánica hasta el siglo xx, pero no tuvo un valor decisional. Con referencia a estas premisas, el presente artículo tiene como finalidad analizar la seis contribución heredada en Colombia por el ingeniero Angiolo Mazzoni Del Grande, tanto como profesor en la Universidad Nacional de Colombia o como profesional de muchos proyectos de restauración en la ciudad de Bogotá. La postura fue extraída de un análisis deductivo a partir de la revisión de algunos artículos, proyectos arquitectónicos y entrevistas.