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Journal articles on the topic '16th century architecture'
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1
Flores-García, Laura Gemma, and Elena Zhizhko. "NOVOHISPANIC CONVENT ARCHITECTURE FROM THE 16th CENTURY." Current problems of architecture and urban planning, no. 58 (November 30, 2020): 95–104. http://dx.doi.org/10.32347/2077-3455.2020.58.95-104.
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The article presents the results of a historical and architectural research, which aimed to reveal the main features of the architecture of Spanish monasteries in the sixteenth century, in particular to highlight elements of the ideology of the Spanish crown and the Catholic Church, promoted through architectural structures. The authors established the components of the architectural program and styles of the New Spanish monasteries of the 16th century, highlighted how the process of creative thinking of the future building and its construction took place, what materials were used.
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Joost-Gaugier, Christiane L., Colin Rowe, and Leon Satkowski. "Italian Architecture of the 16th Century." Sixteenth Century Journal 35, no. 2 (July 1, 2004): 605. http://dx.doi.org/10.2307/20477014.
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Núñez-González, María. "Domestic architecture in 16th century Seville: San Salvador." VLC arquitectura. Research Journal 5, no. 2 (October 31, 2018): 159. http://dx.doi.org/10.4995/vlc.2018.10017.
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This study is based on historical documents belonging to the most important ecclesiastical institution in Seville during the 16<sup>th</sup> century. The Cathedral’s archives have been consulted, with special focus on the section devoted to books of written descriptive records of houses (called ‘apeos’) that belonged to the Cabildo (Chapter) in 1542. These records not only documented the physical distribution of the houses with measurements in Castilian yards of the different parts of the house, but also described the more qualitative features of the interior architectural design. The main purpose of this study is to characterize the typical Sevillian houses from historical documents of the period focused on the collation of San Salvador. By way of a novel methodology, the following steps have been developed: first, an architectural analysis; second, a typology of houses based on functions, dimensions, construction, lay-out, etc.; third, a detailed glossary of architectural terms listed to permit a rigorous understanding of the domestic architecture in 16<sup>th</sup> century Seville; and finally, an example of every documented record has been drawn. Among the most significant conclusions is that the Sevillian dwellings of that period reflected the Islamic terminology, architecture, construction and lay-out typical of Andalusia, but with distinctive features of Sevillian housing.
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Groznov, Oleg D. "ENGLISH ARCHITECTURE OF THE 16th-18th CENTURIES AND TRANSFORMATIONS OF ARCHITECTURAL ORDER." Architecton: Proceedings of Higher Education, no. 3(71) (September 29, 2020): 11. http://dx.doi.org/10.47055/1990-4126-2020-3(71)-11.
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In this article, the author considers the evolution of the classical order in England from the second half of the 16th to the early 19th century.
The research is based on two methods – stylistic analysis and analysis of historical and cultural aspects in the application of the classical order by English architects over more than three hundred years and the basic principles of or approaches to such application.
It is concluded that the analysis of how the classical order was used can help us understand not only the style and idiom of every particular master but also develop a better understanding of the cultural situation or the context in which every particular architect worked.
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Gorse, George L. "The Villa of Andrea Doria in Genoa: Architecture, Gardens, and Suburban Setting." Journal of the Society of Architectural Historians 44, no. 1 (March 1, 1985): 18–36. http://dx.doi.org/10.2307/990058.
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This paper reconsiders Andrea Doria's 16th-century villa in Genoa as an architectural and garden monument in relation to its original suburban setting. The villa has thus far been discussed primarily as a decorative monument, with scholars focusing their attention upon the interior fresco and stucco decorations of Perino del Vaga and façade paintings by Perino, Beccafumi, and Pordenone. However, these paintings have not been understood fully in terms of the architectural, garden, and suburban context of the villa, which serves as the focus of this study. A biographical sketch of Doria is followed by a building history of his villa, tracing its classical and Renaissance prototypes, the development of the building plan, and phases of construction. Giovanni Angelo Montorsoli's gardens of the 1540s are reconstructed from visual and literary sources, then related to the villa architecture and its suburban environs. A discussion of urban planning around the villa during the 1530s and 1540s shows how the villa functioned as a ceremonial entry monument into Genoa. Concluding remarks on the triumphal receptions of Emperor Charles V and Philip II at the Villa Doria during the mid-16th century underscore the importance of the villa's architecture, gardens, and suburb as a unified work of art.
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Sinha, Vandana. "Documentation of Indo-Islamic architecture built along a 16th-century highway." Art Libraries Journal 44, no. 3 (June 12, 2019): 98–107. http://dx.doi.org/10.1017/alj.2019.14.
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An internationally recognized presence in the documentation of Indic and South East Asian art and architecture, the Center for Art and Archaeology (CA&A) of the American Institute of Indian Studies (AIIS) conducted a documentation project in 2007 that explored an interesting range of built heritage arrayed along a 16th-century highway, the Agra – Lahore route, laid by the Mughal rulers of India. The stretch of the Agra – Lahore highway this project traced, crossed two north Indian states of independent India – Haryana and Punjab, and documented built heritage that survives on that road. The documentation revealed edifices unique to a travel environment including Caravansarai (rest house), Kos-Minars (distance markers), bridges, stepped-wells and Bagh (pleasure gardens) built under the patronage of Mughal elites. The project emphasized the importance of identifying the strands of cultural heritage and the processes of documenting them. A major aim of such documentation was to aid preservation of the monuments themselves by providing critical information for future decisions.
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Aydin Oksuz, Aysun, and Zafer Sagdic. "Sacred place and architecture relation in Islamic religion: building of sacredness in Ottoman Mosques in 16th century." International Journal of Academic Research 6, no. 3 (May 30, 2014): 28–39. http://dx.doi.org/10.7813/2075-4124.2014/6-3/a.5.
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Li, Shao Hong. "Study on Architectural Art of the Former German Governor’s Residence in Qingdao." Advanced Materials Research 450-451 (January 2012): 310–14. http://dx.doi.org/10.4028/www.scientific.net/amr.450-451.310.
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The Former German Governor’s Residence in Qingdao was by far the most spectacular building in residential architectures on the German Colonial period. This article studied architectural art of the Former German Governor’s Residence from architectural plan layout, building facades decorating, building structures and materials, and made these three respects compare with the Chinese traditional residential architecture. The architectural plan layout was in common about separate house on the German Colonial period, it inherited the German romantic style of the traditional residential buildings since the 16th century; its facades kept different and changeful; but primary and secondary clear, gorgeous, lively and dignified. The architectural structure was brick stone and wood hybrid construction. In this eclectic style of the building could be seen Germany was one of the birthplaces of the Modern Movement, and it had begun to explore using modern materials and new technologies, but its architectural forms was still the old form.
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Kačinskaitė, Indrė. "Formation and Architectural Development of the Lithuanian Manor (Yard)." Mokslas - Lietuvos ateitis 5, no. 3 (June 20, 2013): 302–8. http://dx.doi.org/10.3846/mla.2013.49.
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The article describes architectural development of the Lithuanian manor from the outset until the 20th century. For over 500 years, the manor had remained a foundational axis of the state structure, around which the political, social, economic and cultural life of the country was concentrated. Up to the 15th century, the ruler’s manors (yards) were the core of the statehood in Lithuania. In the 15th – 16th centuries, the ruler’s manor developed into the main political public institutions with permanent residences being established. Afterwards, when the impact of the ruler’s manor diminished, manor homesteads of local noblemen became the focal points of the Western European stylistic architecture in Lithuania. Through noblemen’s manors novelties reached homesteads of the lower strata of nobility, who was greatly influenced by local tradition. Remaining diversity of cultural landscape, architectural expression, urban relationship ‘manor homestead – town’ nowadays are the relics of the old manor, which developed over the centuries and to this day reflects the Lithuanian architecture and its history.
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Açikyildiz-Şengül, Birgül. "From Yezidism to Islam: Religious Architecture of the Mahmudî Dynasty in Khoshâb." Iran and the Caucasus 20, no. 3-4 (December 19, 2016): 369–83. http://dx.doi.org/10.1163/1573384x-20160307.
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The Yezidi Mahmudî Dynasty controlled Khoshâb and surrounding area between Van, Nakhchivân and Marâgha during almost five centuries, from the end of the 14th century to the second half of the 19th century. Тhe Mahmudî rulers consolidated their power by their rational diplomacy with the main political forces of the region, first with the Black Sheep and White Sheep Turkomans and later with the Ottomans and the Safavids. Converted to Islam in the mid-16th century, the Mahmudîs contributed to the Islamic art by endowing buildings in Khoshâb between 1563 and 1671.The article focuses on the study of Mahmudî religious architecture in Khoshâb, tracing particularly the pre-Islamic Yezidi elements in it.
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Farbaky, Péter. "György Szatmári (c. 1457–1524), Patron of renaissance architecture in early 16th century Hungary." Acta Historiae Artium 41, no. 1 (December 1, 1999): 213–78. http://dx.doi.org/10.1556/ahista.41.1999-2000.1-4.3.
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Kirakofe, James B. "Architectural Fusion and Indigenous Ideology in Early Colonial Teposcolula. The Casa de la Cacica: A Building at the Edge of Oblivion." Anales del Instituto de Investigaciones Estéticas 17, no. 66 (August 6, 1995): 45. http://dx.doi.org/10.22201/iie.18703062e.1995.66.1730.
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The building known as the Casa de la Cacica, seat of the Mixtec leaders of San Juan Teposcolula, Oaxaca, around the middle of the 16th century, exhibits the complexity of architectural and ideological interplay during the first period of colonization. The use of European techniques of construction did not prevent the native leaders of Teposcolula from conceiving of space and its political meaning in pre-conquest terms. Indeed, the new technology and architecture were probably adopted in order to legitimize and reaffirm the power of the ruling class in Teposcolula within the new context of Spanish domination.
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Soćko, Adam. "Programy heraldyczne w dekoracji kościołów parafialnych w Kraśniku i Chodlu." Artium Quaestiones, no. 27 (September 8, 2018): 5–28. http://dx.doi.org/10.14746/aq.2016.27.1.
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The essay is an analysis of coats of arms, mainly from the second quarter ofthe 16th century, connected with the architecture and decoration of thechurch of the Regular Canons in Kraśnik and the parish church in Chodel. The identification of numerous coats of arms used to decorate the keystones,supports, portals, balustrades, and facades of the Kraśnik church confirms two stages of its construction by two branches of the Tęczyński family (coat of arms Topór ) in the 15th and 16th centuries. The identification of the coatsof arms painted on the chancel vault of the church in Chodel determines thedating of its decorations and commemorates the town’s proprietors – theMaciejowski family and their family connections in the second quarter of the16th century. The identification of the coats of arms makes it possible to proposeprecise dating of the construction of both churches.
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Lazzaro, Claudia. "Rustic Country House to Refined Farmhouse: The Evolution and Migration of an Architectural Form." Journal of the Society of Architectural Historians 44, no. 4 (December 1, 1985): 346–67. http://dx.doi.org/10.2307/990113.
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This study seeks to isolate a distinctive architectural tradition of the countryside in Italy through the examination of a single building type which served, over the course of its history, as both a country house for landowners and a farmhouse for tenant farmers. The hipped-roof block with central hipped-roof belvedere, apparently the invention of Vignola, appeared as a country house in Tuscany and Latium from the 1560s through the early 18th century. The sources of this building type reside in the local traditions of the countryside, castles, and farmhouses, and in the designs for country houses by several architects from the beginning of the 16th century which classicized, but still recalled, existing rural forms. The associations with both landowners and workers made it the preferred building type for the construction of new farmhouses under the land reforms of the late 18th century. This study of the development of a country house type and the characteristics of farmhouse architecture reveals that the two building traditions repeatedly interacted and that no clear distinction between monumental and vernacular architecture can be made, but rather that buildings in the countryside shared a set of symbolic forms particular to their setting.
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SIDOROVA, Alena V. "FEATURES OF THE ARCHITECTURAL AND TOWN PLANNING HERITAGE OF THE TOWN OF SOLVYCHEGODSK, ARKHANGELSK REGION." Urban construction and architecture 8, no. 4 (December 15, 2018): 93–97. http://dx.doi.org/10.17673/vestnik.2018.04.16.
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The main stages of the formation of the town-planning structure of the city of Solvychegodsk in the 16th - early 20th century are analyzed. The monuments of religious and civil architecture are studied.. Brief information about the two main cathedrals of the city - Blagoveshchensky and Vvedensky of the Vvedensky Monastery, the last of which is an outstanding monument in the style of Stroganov’s Baroque, as well as about the two remaining churches - the Savior and Vladimir is cited. The most interesting monuments of stone and wooden civil architecture are listed, their regional features are revealed.
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Girard, Jean-Claude. "Religious Tropical Architecture: the churches of Leandro V. Locsin in the Philippines." Tropical Architecture in the Modern Diaspora, no. 63 (2020): 76–79. http://dx.doi.org/10.52200/63.a.61svza7z.
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The focus of this contribution is on the importance of tropical architecture in the work of Leandro V. Locsin, in the context of post-WWII in Asia. Based in the Philippines, Locsin is immersed in the Christian tradition – the main religion of a country that was dominated by the Spanish crown from the mid 16th-century to 1898, and where the Catholic Church remains powerful across much of the archipelago today. Attention is focused on Locsin’s religious buildings and projects, where he succeeded in giving a new treatment to the tropical architecture of faith-based structures, through the integration of climate considerations and the reinterpretation of vernacular architecture of the Philippines.
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Obad Šćitaroci, Mladen, Mara Marić, and Mira Medović. "Perivoji Rijeke dubrovačke." Prostor 25, no. 2(54) (December 31, 2017): 172–89. http://dx.doi.org/10.31522/p.25.2(54).1.
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Rijeka dubrovačka, the area west of Dubrovnik’s historic core, is widely known for its abundance of Renaissance villas and gardens. This article presents 50 gardens of summer villas, developed between the 14th and the late 19th century with the majority of them created during the 15th and 16th century. This research reveals their cultural, historical, architectural, spatial, and ambient value and helps to establish the criteria for their evaluation.
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Groznov, O. D. "The Transformation of Classical Order in John Soane’s Architecture." Art & Culture Studies, no. 1 (2021): 86–103. http://dx.doi.org/10.51678/2226-0072-2021-1-86-103.
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The article provides a new approach to study the oeuvre of an architect-neoclassicist Sir John Soane. This approach is concerned to an original interpretation of architectural order by Soane. Studying the metamorphosis of classical order in Soane’s architecture can help to understand the evolution and particularity of Soane’s individual style and also to define the specific place of this style in the neo-classicist movement. The article describes the development of the architectural order in England (since the 16th century to the beginning of the 19th century) and some specific features of the John Soane’s approach to the application of the architectural order system. The author analyzes different ways of interpretation of the order decoration in the work of John Soane, referring to such buildings as the John Soane House in London (the architect’s Museum now), the Dulwich Picture Gallery and the Bank of England, which was heavily rebuilt in the 20th century, but well-known in its original appearance — from drawings, photographs and descriptions. Other buildings of Soane are also examined in the article. The research is based on two methods — stylistic analysis (of particular buildings and its details) and analysis of historic and cultural aspects of Soane’s work (for better understanding of its theoretical and practical origins and the very reason of its genesis). The preliminary results of the research show that the transformation of classical order’s key elements is going hand in hand with the development of two different phenomena — the style of Soane itself and the situation in European culture of the second part of the 18th century when some significant movements (Neo-classicism, Gothic Revival, etc.) were developing, intersecting and interchanging with one another.
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Syrer, Christa. "Friedrich der Weise als Bauherr in Colditz, 1519 – 1525. Architektur, funktionale Struktur und Raumausstattung eines frühen Renaissanceschlosses zwischen »welsch und deutschen Sitten«." Zeitschrift für Kunstgeschichte 82, no. 2 (July 11, 2019): 147–65. http://dx.doi.org/10.1515/zkg-2019-2001.
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Abstract Frederick the Wise (1463– 1525), Elector of Saxony, was the leading cultural figure among the German princes of the early 16th century. He showed a special interest in architecture, but only little remains of his ambitious building projects except for Colditz Castle (rebuilt 1519 – 1525). This paper explores his active role as patron at Colditz focussing on the palace’s spatial structure and interior. Putting the Elector’s ideas into practice, the Saxon court painter Lucas Cranach the Elder was in charge of a uniform design which reflected humanist approaches to classical antiquity and different Renaissance styles. Following the model of Emperor Maximilian I, Frederick the Wise realised a sophisticated architectural concept at his residences that suited his noble status and ceremonial needs.
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Thomasson, Joakim. "Out of the Past. The biography of a 16th-century burgher house and the making of society." Archaeological Dialogues 11, no. 2 (December 2004): 165–89. http://dx.doi.org/10.1017/s1380203805001480.
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This paper is an attempt to understand how people, in the daily practice of interacting with material culture, created, dealt with and interpreted complex and socially stressful historical processes. A 16th-century timber-framed burgher house, the Reformation and industrialization are the focus of attention. Today the house stands in a museum of cultural history in the south Scandinavian town of Lund, but it once was built in the nearby city of Malmö. Through studies of architecture and spatial analysis, as well as studies of alterations to the house and its surroundings, the biography of the house is followed back to its physical and mental origins. The architecture as well as changes in its appearance can be understood by the use of space as well as the concept of topophilia. The paper ends by relating results to contemporary sociological theories. It is argued that humans structure society through material culture, history (remembrance) and space.
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Demchenko, Alexander I. "The Baroque Era (From the Mid-16th to the Mid-18th Century). Collisions of Contrasts." ICONI, no. 1 (2021): 6–31. http://dx.doi.org/10.33779/2658-4824.2021.1.006-031.
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The essence of the cycle of essays published by the journal is that with a maximal compactness of presentation it provides a summary of the chief phenomena of world artistic culture, covered in general both from the point of view of the overall historical process and in relation to various types of artistic creativity (literature, the visual arts, architecture, music, theater and cinema). At the same time, the customary categorization according to national schools and the division into the separate arts with the genre specifi cation inherent in each of them is overcome, which meets the positive tendencies of globalization and provides a holistic view of artistic phenomena.
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Dechert, Michael S. A. "The Military Architecture of Francesco di Giorgio in Southern Italy." Journal of the Society of Architectural Historians 49, no. 2 (June 1, 1990): 161–80. http://dx.doi.org/10.2307/990475.
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The role of Francesco di Giorgio (1439-1501) in developing the forms of artillery fortification marking the transition from late medieval defenses to the mature bastioned forts of the 16th century is becoming clearer as additional research has enhanced our knowledge of the chronology of his interventions, the maturation of design elements, and the interlocking personal, institutional, and political factors in his work for the Aragonese Kingdom of Naples. These efforts by Francesco di Giorgio and his associates focused on Naples, Otranto, Gallipoli, Taranto, Manfredonia, Monte Sant'Angelo, Reggio Calabria, Ortona, Matera, and Brindisi. Archival sources, investigation of the sites, and surviving graphic materials contribute substantially to identifying this "school" of military architects and the evolution of design brought about by the technological challenge of gunpowder, firearms, and siege artillery.
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Singh, M. R., and S. Vinodh Kumar. "Architechtural features and characterization of 16th century Indian Monument Farah Bagh, Ahmed Nagar, India." International Journal of Architectural Heritage 14, no. 9 (May 8, 2019): 1398–411. http://dx.doi.org/10.1080/15583058.2019.1610524.
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Demchenko, Alexander I. "The Baroque Era (From the Mid-16th to the Mid-18th Century). Collisions of Contrasts (conclusion)." ICONI, no. 2 (2021): 6–29. http://dx.doi.org/10.33779/2658-4824.2021.2.006-029.
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The essence of the cycle of essays published by the journal is that it provides with a maximal compactness of presentation a summary of the chief phenomena of world artistic culture, covered in general both from the point of view of the overall historical process and in relation to various types of artistic creativity (literature, the visual arts, architecture, music, theater and cinema). At the same time, the customary categorization according to national schools and the division into the separate arts with the genre specifi cation inherent in each of them is overcome, which meets the positive tendencies of globalization and provides a holistic view of artistic phenomena.
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Zelić, Danko. "Dva požara, dvije obnove, dva stila: prilog poznavanju dubrovačke stambene arhitekture sredinom 16. stoljeća." Peristil 56 (2014): 113–26. http://dx.doi.org/10.17685/peristil.56.10.
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Demchenko, Alexander I. "Renaissance (From the Middle of the 13th to the Middle of the 16th Century). Facets of Humanism." ICONI, no. 4 (2020): 6–24. http://dx.doi.org/10.33779/2658-4824.2020.4.006-024.
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The essence of the series of essays published by the magazine is that with a maximum compactness of presentation it provides a summary of the main phenomena of world artistic culture covered in general both from the point of view of the overall historical process, and in relation to various types of artistic creativity (literature, the visual arts, architecture, music, theater and cinema). At the same time, the customary categorization according to national schools and the division into separate types of art with the genre specifi cation inherent in each of them is overcome, which meets the positive tendencies of globalization and provides a holistic view of artistic phenomena.
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Bradanović, Marijan. "Prilog poznavanju stambenog graditeljstva 15. i 16. stoljeća na sjevernom Jadranu." Peristil 56 (2014): 71–80. http://dx.doi.org/10.17685/peristil.56.6.
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Tarlinskaja, Marina. "Evolution of Verse Form, Plots and Characters in English Plays (mid-16th to mid-19th centuries)." Studia Metrica et Poetica 6, no. 1 (August 29, 2019): 7–19. http://dx.doi.org/10.12697/smp.2019.6.1.01.
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The aim of this essay is to demonstrate how the rhythmical evolution of English dramatic iambic pentameter parallelled the changes of aesthetic tastes and social values of English society from the mid-sixteenth to mid-nineteenth century. During 250 years the evolution of such features as the abundance or absence of enjambments, the use of constrained or loose iambs, and some others corresponds to the changes in the architecture of the theaters, the social structure of the audience, the manners of declamation, the complexity of poetic language, and the types of characters and plots the playwrights used.
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Santos, T. A., N. Fonseca, and F. Castro. "Naval Architecture Applied to the Reconstruction of an Early 17th Century Portuguese Nau." Marine Technology and SNAME News 44, no. 04 (October 1, 2007): 254–67. http://dx.doi.org/10.5957/mt1.2007.44.4.254.
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The Portuguese sailed yearly on the India Route for more than two centuries, between the early 16th and the 17th centuries. Most ships employed in this route belonged to the Nau type and were among the largest and strongest ships of their time. Although extremely interesting, there is presently very little knowledge about the technical characteristics of these ships. The reason is that they were built in a preindustrial era when technical design and documentation procedures almost did not exist. The method that is presently being applied by the authors to investigate the technical characteristics of these ancient ships combines the analysis of archaeological remains, the interpretation of contemporary texts on shipbuilding, and modern naval architecture techniques. The paper starts by describing the shipwreck discovered recently at the mouth of the Tagus River, known as the Pepper Wreck, which was identified as the Portuguese ship Nossa Senhora dos Mártires, lost on its return voyage from Cochim, India, on September 14, 1606. This is the first significant shipwreck of a Portuguese Nau comprehensively excavated and analyzed by Nautical Archeologists, and in fact the resulting data made possible the study presented here. Based on the analysis of the archaeological remains and on contemporary texts, including Portuguese shipbuilding treatises, a reconstruction of the lines plan and rigging is proposed, as well as the lightweight and cargo distribution on board. The cargo spaces resulting from the reconstruction of the hull are evaluated using ancient tonnage measurement techniques and modern naval architecture techniques to evaluate the cargo capacity of the ship. The intact floatability and stability of the ship are also investigated and compared with modern stability criterion appropriate for large sailing vessels.
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Craig, Robert W. "Traditional Patterned Brickwork in New Jersey." New Jersey Studies: An Interdisciplinary Journal 5, no. 2 (July 16, 2019): 57. http://dx.doi.org/10.14713/njs.v5i2.169.
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<p>This article traces the history of the first architecture of refinement in colonial New Jersey: traditional patterned brickwork, the artful ways in which bricklayers used vitrified bricks to decorate the outer walls of the houses they built. These practices had their roots in 16th-century England, where they were employed in fashionable and prestigious architecture, and where they remained the common knowledge of bricklayers a century later during the rebuilding of London after the Great Fire of 1666. With the slump in the building trades that resulted from the rebuilding, Quaker bricklayers and brickmakers joined the migration to the Delaware Valley, where they found the greatest abundance of brick clay in West New Jersey. In the century that followed, Burlington County experienced the largest number of patterned brickwork buildings, while Salem County became home to the second largest number, the greatest variety of patterns, and most of the best examples. The best and best-preserved of its early buildings, the Abel and Mary Nicholson house, has been designated a National Historic Landmark for its patterned brickwork. The rise of the Georgian style of architecture reduced the popularity of patterned brickwork after 1750. After the Revolutionary War, the ascendancy of the Federal style was incompatible with patterned brickwork, and that sealed its eventual disappearance. This article combines an understanding of these buildings as physical artifacts while collectively placing them within the larger narrative of New Jersey’s development during the colonial period.</p>
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Haştemoğlu, Hasan Şehmuz, and Engin Kepenek. "The Architecture of Mevlevi Buildings, One of the Dervish Houses in the Ottoman Geography." Academic Research Community publication 2, no. 4 (January 1, 2019): 307. http://dx.doi.org/10.21625/archive.v2i4.368.
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The Mevlevism order was established in the Seljuk period in Anatolia in the thirteenth century. After the death of Mevlana Celaleddin-i Rumi, his son Sultan Veled systemized his father's thoughts and created his own rules and brought the rituals to a ceremony in the form of sema ceremonies. Sultan Veled gave the name “Mevlevism” to his sect and was called “Mevlevihan” to his Dervish Houses.
Nearly 140 Mevlevihane building was established in a wide geography which its east is in Tabriz (Iran), west is in Pecu (Hungary), north is in Gözleve (Ukraine), South is in Cairo (Egypt) and Mecca in Saudi Arabia. Nearly 80 of these Dervish Houses remained in the Republic of Turkey. After the declaration of Turkish Republic, these Dervish Houses were closed in 1925 by the law of “closure Tekkes and Zaviyes”, no. 677.
There are two kinds of Mevlevihan, which are “Asitane” and “Zaviye”. Mevlevihan called Asitane are the main Dergahs which are full-fledged and has removing “ordeal” possibilities. The number of Asitane constructions is around 15 in all Mevlevihan buildings. Another Mevlevihan building is Zaviye. Zaviye were ruled by Mevlevi, who has the title of “şeyh” and “dede”. Many of the Mevlevihan become a historical monument because of their architectural style and construction date. However, most of these structures have been ruined over the years. Apart from a small number of Mevlevihan, which was established as "Külliye", "Semahane" parts of these Mevlevihan were used as mosques and remained up to date. When the architectural programs of the Mevlevihans are examined, it is seen that the Mevlevihans, which were settled down in 13th century have an architectural program after the 16th century and they take Konya Mevlana Dergah as an example. However, it is not possible to mention about same sized and specified spaces in all the Mevlevihans. There are similar sections only in the large-
scale Mevlevihans which are “Asitane” status. In this study, an evaluation and classification study was carried out on the architectural formation of the Mevlevihans one of the Dervish constructions in Islamic architecture which attracted attention with its wide geography.
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Shokoohy, Mehrdad. "Architecture of the Muslim Port of Qa'il on the Coromandel Coast, South India. Part Two, the 16th–19th Century Monuments." South Asian Studies 10, no. 1 (January 1994): 161–78. http://dx.doi.org/10.1080/02666030.1994.9628486.
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Kačinskaitė, Indrė. "FORMATION AND ARCHITECTURAL DEVELOPMENT OF THE LITHUANIAN MANOR (YARD) / LIETUVOS DVARO (KIEMO) FORMAVIMASIS IR ARCHITEKTŪRINĖ RAIDA." Mokslas - Lietuvos ateitis 5, no. 3 (October 21, 2013): 302–8. http://dx.doi.org/10.3846/535.
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The article describes architectural development of the Lithuanian manor from the outset until the 20th century. For over 500 years, the manor had remained a foundational axis of the state structure, around which the political, social, economic and cultural life of the country was concentrated. Up to the 15th century, the ruler’s manors (yards) were the core of the statehood in Lithuania. In the 15th – 16th centuries, the ruler’s manor developed into the main political public institutions with permanent residences being established. Afterwards, when the impact of the ruler’s manor diminished, manor homesteads of local noblemen became the focal points of the Western European stylistic architecture in Lithuania. Through noblemen’s manors novelties reached homesteads of the lower strata of nobility, who was greatly influenced by local tradition. Remaining diversity of cultural landscape, architectural expression, urban relationship ‘manor homestead – town’ nowadays are the relics of the old manor, which developed over the centuries and to this day reflects the Lithuanian architecture and its history. Santrauka Straipsnyje atskleidžiama Lietuvos dvaro architektūrinė raida nuo jo ištakų iki XX a. pr. Dvaras daugiau kaip 500 m. išliko pamatinė valstybės struktūros ašis, aplink kurią koncentravosi šalies politinis, socialinis, ekonominis ir kultūrinis gyvenimas. Iki XV a. Lietuvos valstybės struktūros pagrindą sudarė valdovo dvarai (kiemai). XV–XVI a. iš valdovo dvaro išaugo pagrindinės krašto politinės institucijos, kūrėsi pastovios rezidencijos. Vėliau, susilpnėjus valdovo dvaro įtakai, vietos didikų dvarų sodybos tapo vienais iš pagrindinių Vakarų Europos stilistinės architektūros židinių Lietuvoje. Per didikų dvarus architektūros naujovės pasiekdavo žemesnių bajorijos sluoksnių sodybas, kurioms didelę įtaką darė ir vietos tradicija. Išlikusi kultūrinio kraštovaizdžio įvairovė, architektūrinė raiška, urbanistiniai ryšiai „dvaro sodyba – miestas“ yra šimtmečiais formavęsi, Lietuvos architektūros raidą, jos istoriją atspindintys senojo dvaro reliktai.
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Sušanj Protić, Tea. "Tabulae pictae u palači Petris-Moise u Cresu." Ars Adriatica 8, no. 1 (December 28, 2018): 81–104. http://dx.doi.org/10.15291/ars.2756.
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This paper presents the new finds of Renaissance wooden ceilings at the Petris-Moise Palace in Cres, decorated with painted panels and mural paintings. The construction elements, such as the composite massive beam known as trave leonardesca, are technically sophisticated and constructed in accordance with the Renaissance treatises on architecture. The painted ceiling panels are still a unique find in Croatia as to their installation and painting method, but are related to numerous painting cycles in the noble residences of southern France, Spain, Switzerland and northern Italy dating from the 14th until the mid-16th century. As for the dimensions, the pigments used, the installation and painting method, and the represented motifs, the closest analogy has been found in some Friulan examples. The difference, however, is that the Cres examples almost entirely belong to the visual language of grotesque, since they were produced somewhat later, at the time when this kind of decorative repertoire had already become highly appreciated. The constructions and decorative elements are a result of the Renaissance rebuilding in the second half of the 16th century, when the walls were painted as well. Based on an analysis of the heraldic symbols and motifs, and their comparison with the historical data on the Petris family, the commissioner has been identified as the Imperial Golden Knight Ivan Juraj Petris, a close relative of Franciscus Patricius (Petris). It has been assumed that the painting cycle was created under the influence of this renowned Renaissance philosopher.
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Meister, Maureen. "In Pursuit of an American Image: A History of the Italian Renaissance for Harvard Architecture Students at the Turn of the Twentieth Century." Prospects 28 (October 2004): 185–202. http://dx.doi.org/10.1017/s0361233300001472.
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After a five-month sojourn in Rome, the author Henry James departed with “an acquired passion for the place.” The year was 1873, and he wrote eloquently of his ardor, expressing appreciation for the beauty in the “solemn vistas” of the Vatican, the “gorgeous” Gesù church, and the “wondrous” Villa Madama. Such were the impressions of a Bostonian who spent much of his adult life in Europe. By contrast, in June of 1885, the young Boston architect Herbert Langford Warren wrote to his brother about how he was “glad to be out of Italy.” He had just concluded a four-month tour there. He had also visited England and France, and he was convinced that the architecture and sculpture of those countries were superior to what he had seen in Italy, although he admired Italian Renaissance painting. When still in Rome, he told his brother how disagreeable he found the “Renaissance architecture in Italy contemporary with Michael Angelo and later under Palladio and Vignola,” preferring the work of English architects Inigo Jones and Wren. Warren appreciated some aspects of the Italian buildings of the 15th and early 16th centuries, but he considered the grandeur and opulence of later Renaissance architecture especially distasteful.
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Kulhánková, Zora. "The Italian Garden Influence Within the Development of Garden Design in the Czech Lands (Bohemia and Moravia)." Acta Universitatis Agriculturae et Silviculturae Mendelianae Brunensis 65, no. 5 (2017): 1543–56. http://dx.doi.org/10.11118/actaun201765051543.
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This article puts the Czech garden into the context of the development of garden design in Europe. Although it has not been defined as a garden type, it has always reflected new directions and modified them in line with geographical and cultural differences. The selected examples illustrate the development of garden art in the Czech lands from the 16th to the 18th century with an emphasis on Italian patterns and Italian artists. There are gardens that took the morphology of the Italian garden – they were built in slopes, their architecture uses terraces and stairs, dynamic water is used or some building elements typical of the Italian garden. The information provided exemplify the great influence of Italian culture in the Czech lands, which got there directly with Italian artists and builders.
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Popovic, Marko. "Problems in the study of the medieval heritage in the Lim valley." Starinar, no. 55 (2005): 181–95. http://dx.doi.org/10.2298/sta0555181p.
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Discussing the results of archaeological investigation at two important medieval sites - remains of the monastery of St George at Mazici near Priboj and of the church at Drenova near Prijepolje - the author puts forward his critical observations that make significant revisions to the conclusions suggested by excavators. The remains of a monastery at Mazici have long ago been identified with the monastery of St George in the zupa (district) of Dabar known from early 13th-century records. In the 1310s a monastery of St George is referred to in association with the toponym of Orahovica. After a long gap, the monastery is referred to again several times in the 1600s until its final destruction in 1743, as St George?s at Orahovica or simply Mazic(i). The report following systematic archaeological excavations suggests the unacceptable and unfounded conclusion, with dating and interpretation that the monastery church was built in the 13th century, received additions in the 14th, and was renovated in the 16th-17th centuries when there was a hospital attached to it. Careful analysis of the structural remains and the site?s stratigraphy clearly shows that the monastery was built on the site of a medieval cemetery of a 14th-15th-century date, which means that the church and its buildings cannot be older than the 16th century. The author also argues against the assumed presence of a monastic hospital, the assumption being based upon metal artifacts misinterpreted as "medical instruments" (parchment edge trimmer, compasses, fork!!!). The author?s inference is that the ruins at Mazici are not the remains of the monastery of St George, which should be searched for elsewhere, but possibly the legacy of a 14th-century monastic establishment which was moved there from an as yet unknown location most likely about the middle of the 16th century. The site at Drenova, with remains of a church destroyed by land slide, has been known since the late 19th century when a stone block was found there bearing the opening part of an inscription: "+ Te Criste auctore pontifex...", long believed to date from the 9th-10th century. Following the excavations, but based on this dating the church remains were interpreted as pre- Romanesque, and the interpretation entailed some major historical conclusions. From a more recent and careful analysis, the inscription has been correctly dated to the 6th century. With this dating as his starting-point, the author examines the fieldwork results and suggests that the block is an early-Byzantine spolium probably from the late-antique site of Kolovrat near Prijepolje, reused in the medieval period as a tombstone in the churchyard, where such examples are not lonely. It follows that the inscribed block is not directly relatable to the church remains and that it cannot be used as dating evidence. On the other hand, the church remains show features of the Romanesque-Gothic style of architecture typical of the Pomorje, the Serbian Adriatic coast. According to close analogies found for some elements of its stone decoration, the date of the church could not precede the middle of the 13th century. The question remains open as to who had the church built and what its original function was, that is whether a monastic community center round it. Its founder may be sought for among members of the ruling Nemanjic house, but a church dignitary cannot be ruled out. Anumber of complex issues raised by this site are yet to be resolved, but the study should be relieved of earlier misconceptions. Fresh information about this ruined medieval church should be provided by revision excavations in the future.
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Saura-Gómez, Pascual, Yolanda Spairani-Berrio, Jose Antonio Huesca-Tortosa, Silvia Spairani-Berrio, and Carlos Rizo-Maestre. "Advances in the Restoration of Buildings with LIDAR Technology and 3D Reconstruction: Forged and Vaults of the Refectory of Santo Domingo de Orihuela (16th Century)." Applied Sciences 11, no. 18 (September 14, 2021): 8541. http://dx.doi.org/10.3390/app11188541.
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This research presents a new intervention methodology on arches and vaults of a Renaissance factory in the Colegio Santo Domingo de Orihuela (16th century) using 3D software LIDAR technology that verifies the execution process of the works studying the different charges states and structure behavior. This document aims to explain a working methodology in the monitoring of structural repair interventions in the architectural heritage, in the specific case of the replacement of traditional one-way timber joist frame slabs on structures of former, splay and groin arches between vaults. This involves the compilation and processing of two types of data: on the one hand, the analysis of the different load states to which the intervention is exposed in its different phases: initial, dismantling of the different layers of traditional construction and replacement by the new structural system; and, on the other hand, the graphic information provided by the photogrammetry techniques used to dimension and define the spatial position of the structural elements that have historically resolved the covering of the architectural space in this type of Renaissance solution. The different layers and demolished materials have been verified by analysing their constructive disposition, thicknesses, and dimensions of the elements that formed part of the initial construction system and their own weights. In addition, the new construction systems used in the restoration project generate a state of loads similar to the existing one. The LIDAR technology used in the research process provides graphic data of the spatial position of the arches and vaults studied in the different states of the construction intervention. The point clouds obtained are analysed by taking as reference fixed points (considered unalterable and infinitely rigid) of the refectory and the coordinates of the initial and final states are compared. The results show minimal variations between the two positions, which justifies the goodness of the construction methods used and the structural safety obtained in the complex. This methodology applied to arches and vaults in heritage architecture guarantees the control and recording of the movements produced in the process.
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Lojović-Milinić, Nina. "Architecture of the orthodox churches in the area of the patriarchate of Peć with the special overview of the architecture in East Herzegovina in the 16th and 17th century." Bastina, no. 48 (2019): 399–418. http://dx.doi.org/10.5937/bastina1948399l.
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Prieto Vicioso, Esteban, Virginia Flores Sasso, Letzai Ruiz Valero, and José M. García de Miguel. "The colour of architecture. Physical-chemical analysis of polychromy on stone in a 16th century gothic Portal at the Cathedral of Santo Domingo." IOP Conference Series: Materials Science and Engineering 949 (November 11, 2020): 012092. http://dx.doi.org/10.1088/1757-899x/949/1/012092.
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Skibiński, Franciszek. "Uwagi na temat gdańskiego budownictwa publicznego drugiej połowy XVI i pierwszej połowy XVII wieku pod kątem zaopatrzenia w materiał kamieniarski." Porta Aurea, no. 17 (November 27, 2018): 5–32. http://dx.doi.org/10.26881/porta.2018.17.01.
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Works of architecture and stone sculpture would never have been created without the existence of a supply network enabling access to assets crucial for their production, including stone. Based on archive quarries and analysis of existing works of architecture and stone sculpture, this article focuses on the importation of stone for the building and stonecutting industry in early modern Gdańsk. In the second half of the 16th and the first half of the 17th century the city was experiencing an era of economic prosperity and became a major center of architecture and stone sculpture in the Baltic region and the Polish-Lithuanian Commonwealth. The Gdańsk authorities put much effort into securing suitable stone necessary to carry out their ambitious projects. Builders and sculptors based in the Baltic metropolis applied various kinds of stone imported from abroad, including limestone from Oland and Sweden, sandstone quarried in Bückeburg and Bentheim, Belgian marble, and English alabaster. The kind of stone most commonly used in local architecture and sculpture was, however, the sandstone from the Isle of Gotland. To obtain this material the city authorities often approached the Danish king, as revealed by numerous letters preserved in Gdańsk and Copenhagen archives. Each year several shipments of Gotland stone would arrive in the city, the amount of stone reaching up to 10,000 cubic feet. Some of the material destined for the public building works was then prepared by workers supervised by the ‘Bauknecht’. He was an official appointed by the city authorities to support the public building industry and to facilitate the work of specialized building and sculpting workshops by overlooking low-skilled workers and supply of materials. Some of the local builders and stonecutters were also involved in the importation of stone from Gotland. Besides carrying out major architectural and sculptural works, at least some of the guild masters running large workshops were engaged in the supply of necessary materials. For this reason, they had to maintain a network of professional contacts within the Baltic region and beyond. The most prominent among them was Willem van der Meer, called Barth, a stonecutter from Ghent established in Gdańsk. Between roughly 1590 and 1610, he supplied the city with a large amount of Gotland stone, including that used for the building of the Great Arsenal. Other important members of the local milieu engaged in the stone trade were Willem and Abraham van den Blocke as well as Wilhelm Richter, continuator of Van den Blocke’s enterprise often engaged by the city authorities. These findings broaden our understanding of the professional practices of builders and stone sculptors in Gdańsk and the Baltic region in the late 16th and in the 17th centuries.
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Obralić, Ahmed, and Adi Ćorović. "The turning point in tourist facilities in Sarajevo Bazaar at the end of the 19th and beginning of the 20th century." Bizinfo Blace 12, no. 1 (2021): 29–42. http://dx.doi.org/10.5937/bizinfo2101029o.
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The purpose of the study is to present the buildings and sites in Sarajevo Bazaar that stand for the touristic area during the period of power transition between the Ottoman Empire and the Austro-Hungarian monarchy. Many commercial buildings, shops, warehouses and dairies, as well as larger buildings that were used for trade - "bezistan" were built in the area of the Sarajevo Bazaar in the 15th and 16th centuries. Gazi Husrev-beg played a significant role in the development of Sarajevo together with his properties and goods that are today the endowed properties of a Gazi Husrev-beg Waqf. Sarajevo was a very important and central point of economy and trade in that time. Nowadays tourists are attracted to a city by the natural beauty of its surroundings, architectural and historical monuments, cultural and educational institutions, industry and trade, yet in earlier times the visitors were mainly the traveling merchants coming for trade who used to stay longer, buying and selling various goods. There were many inns including 4 big caravanserais in Sarajevo built for guests from abroad. During the Austro-Hungarian occupation, the first hotels and cafes of the European type were opened in the city. Almost all caravanserais were out of use at the time of power transition, replaced with newly built hotels which brought a new cultural scope to Sarajevo. There is only one caravanserai that survived until now. All the aforementioned confirm the thesis that from today's perspective, the transition of power between the Ottoman Empire and Austro-Hungarian monarchy was not smooth in terms of architecture and tourism.
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LOSENSKY, PAUL. "DAVID J. ROXBURGH, Prefacing the Image: The Writing of Art History in Sixteenth-Century Iran, Studies and Sources in Islamic Art and Architecture, vol. 9 (Leiden: E. J. Brill, 2001). Pp. 289. $59.00 cloth." International Journal of Middle East Studies 35, no. 4 (November 2003): 640–42. http://dx.doi.org/10.1017/s0020743803260268.
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The title and publication series of Prefacing the Image initially suggest that it treats a topic of interest only to specialists in art history—a dozen or so rhetorically ornate prefaces composed for bound albums of calligraphies, drawings, and paintings (muraqqaע) during the 16th century. However, it quickly becomes apparent that the scope of this study extends far beyond such disciplinary boundaries. “The primary objective of this book is to study the preface through a variety of approaches—historical, cultural, social, and intellectual” (p. 17). By integrating the album preface into a broad network of social practices and literary discourses, Roxburgh's well-researched and probing study should be of interest not only to art historians but also to any reader with an interest in the cultural and intellectual life of the later Persianate world.
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Mitrovic, Gordana, and Marina Neskovic. "Collaboration between physician Emerich Lindenmayer and architect Jan Nevole in restoring the Sokobanja Turkish bath." Srpski arhiv za celokupno lekarstvo 143, no. 11-12 (2015): 769–74. http://dx.doi.org/10.2298/sarh1512769m.
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The Sokobanja Turkish bath is an exceptional example of twosection baths and quite particular in its style, structure type and technology used. It is one of the two of the same type that remained in Serbia and the only one that has retained its original function. About its construction we learn from the Vidin sanjak defter from the second half of the 16th century. In the lavish built heritage inventory, Turkish baths are quite unique secular public structures, playing a prominent role in the development of health culture. Based upon their specific function, these baths possess a special architectural expression, are often monumental, decorative and imaginative in their forms and ornamentation. Prince Milos initiated repair works of the Soko Banja baths and spa springs immediately after the settlement became a part of the Serbian Principality in 1834. When work on restoring the men?s baths started, a separate room with a tub was built for Prince Milos, while the women?s bath remained in ruins. In 1847, the Ministry of Interior sent Dr Emerich Lindenmayer and architect Jan Nevole, as an expert team, to assess the state of the hammam so that it could be included in the undertakings funded from the state budget. After the assessment and review of the existing issues and upon a detailed report submitted to the Ministry of Interior, complex repairs were conducted in 1850, according to Nevole?s architectural design and his constant supervision. The approach implemented in the architectural renovation process was based on highly regarded principles of the time, thus preserving both the hammam?s original function and its valuable architecture.
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Monni, Francesco, Enrico Quagliarini, Riccardo di Nisio, and Andrea Benedetti. "Diagnosis and Structural Assessment of the Assumption of the Virgin Mary Chapel in Prague (CZ)." Key Engineering Materials 817 (August 2019): 571–78. http://dx.doi.org/10.4028/www.scientific.net/kem.817.571.
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This paper illustrates the results of the activities of analysis and structural assessment of the Assumption of the Virgin Mary chapel, in Prague. The chapel, an oval-shaped building covered with a dome, was built at the end 16th century and can be considered the last example of renaissance architecture and at the same time the first example of baroque architecture in Prague: it is a significant testimony of the close connection between local artists and their Italian teachers. The building closed to visitors during the last decades for the presence of some structural damages and because severely degraded due to lack of maintenance, was reopened in the 2017 after a notable restoration process. This paper gives attention to the interdisciplinary approach used to diagnosis and structural assessment of the chapel, based on the activities of the “knowledge path,” the subsequent structural analysis and the intervention design. Particular attention was paid to the contribution of the historical review, geometric laser scanner survey and mechanical characterization of the structural materials. All these steps result necessary to identify potential vulnerabilities and to enable the understanding of the effective structural models, also in view of proposing adequate retrofit solutions. A numerical model of the chapel was prepared and calibrated. Finally, the structural assessment for the vertical and seismic loading was performed.
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Koehl, M., M. Fuchs, T. Nivola, J. Koch, L. Cartier, and S. Soussoko. "WHEN ROMAN ANTIQUITY AND RENAISSANCE CAME TOGETHER IN VIRTUAL 3D ENVIRONMENT: 3D MODELLING CONSIDERATIONS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B4-2020 (August 25, 2020): 607–14. http://dx.doi.org/10.5194/isprs-archives-xliii-b4-2020-607-2020.
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Abstract. This paper is a review of the modelling of two edifices located in a city which developed on the vestiges of a Roman city during antiquity endowed in the 4th century with a military camp. The term castellum is used for the first structure. A second structure concerns the remains of a castle dismantled at the end of the 17th century, which was generally known only by an engraving in perspective made shortly before its demolition, and the cadastral matrix that had preserved the traces of its right-of-way. It is a Renaissance castle built in the 16th century by the Württemberg family in the northeast corner of the ruins of the castellum. The projects contain a first part of data analysis and interpretation based on available documents. Similar sites close in terms of architecture, geographical location and construction period were also visited to get inspiration from them and to be able to make proposals for restitution. Despite the lack of data available, the multidisciplinary aspect of these projects is very important. In fact, the experience of archaeologists and the monitoring of modelling throughout its progress is essential to work out models that are both justifiable, at the level of the proposals made and sufficiently complete to be able to be highlighted. Once the models validated, they are integrated in a virtual way into the contemporary urban environment, through an interactive virtual tour. This paper reviews the principles implemented during the modelling, the rendering and the valorisation of the models thru virtual tours and AR/VR implementation.
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Buržinskas, Žygimantas, and Vytautas Levandauskas. "Transformation of Dominican Architectural Heritage in the Years of Tsarist Russian Occupation." Art History & Criticism 16, no. 1 (December 1, 2020): 19–34. http://dx.doi.org/10.2478/mik-2020-0002.
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SummaryThis article presents the heritage of the Dominican Order, which underwent the biggest transformation and destruction in Lithuania during the occupation by tsarist Russia. After the uprisings against the tsarist Russian government in the region in 1831 and 1863–1864, a Russification policy began, primarily targeted against the Catholic Church organization. The Dominican Order, which renewed its activities and had been purposefully operating in the Grand Duchy of Lithuania since the beginning of the 16th century, was liquidated during the occupation by tsarist Russia. This article studies the original appearances of Aukštadvaris, Kaunas, Merkinė and Paparčiai monasteries, which were most affected by reconstruction and demolition works during the Russian occupation, and reconstructions of their original appearance are presented. The architectural expression of all the monasteries in question suffered the most after the uprising in 1863–1864. In Aukštadvaris and Kaunas old convent churches were reconstructed into Orthodox churches by changing their old architecture, destroying individual elements of the building volume and decoration. Russian-Neo-Byzantine style promoted in the Russian Empire emerged in this context. The buildings of Merkinė and Paparčiai monasteries were completely demolished. Based on the iconographic material, especially the drawings and plans of the buildings made before the reconstruction or demolition works as well as visitations of the monasteries and material of other historical sources, the visualizations of the Aukštadvaris, Kaunas and Merkinė monastery complexes were prepared using modern means.
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Chernyi, Valentin D. "CHURCH OF ALEXEI METROPOLITAN IN CHUDOV MONASTERY IN MINIATURE OF THE 16TH CENTURY FACIAL VAULT. ON THE ISSUE OF THE APPEARANCE OF TENT ARCHITECTURE IN RUSSIA." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 4 (2019): 138–47. http://dx.doi.org/10.28995/2073-6401-2019-4-138-147.
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Mateus, L., V. Ferreira, J. Aguiar, P. Pacheco, J. Ferreira, C. Mendes, and A. Silva. "THE ROLE OF 3D DOCUMENTATION FOR RESTORATION INTERVENTIONS. THE CASE STUDY OF VALFLORES IN LOURES, PORTUGAL." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIV-M-1-2020 (July 24, 2020): 381–88. http://dx.doi.org/10.5194/isprs-archives-xliv-m-1-2020-381-2020.
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Abstract. The house and farm of Valflores, located near Lisbon, are an important evidence of the Portuguese Renaissance civil architecture from the first half of 16th century, built by Jorge de Barros, the overseer of the Portuguese king, D. João III, in Flanders. Its style has its roots in Italian villas. As was common at that time, the property was a villeggiatura site. In 1982 the house and the farm were listed as property of public interest. In 2000 the property was inserted in a Portuguese list of heritage at risk and in 2001 the property was in a state of pre-ruin. It was bought by the municipality in 2006. After 2007 a partnership between a Local Heritage Association (ADPAC), the Municipality of Loures and the Lisbon School of Architecture developed a series of initiatives for the safeguard and restoration of this Heritage. Several studies were performed, including multiple three-dimensional surveys on several occasions. Ultimately, these studies led to the development of a restoration project in 2016 for European funds application. At the present date, the restoration works are going on. The objective of this paper is the discussion of how three-dimensional documentation played a fundamental role on the several stages of this process, namely after 2007, permitting to gain insights about metrics, space and form distributions, deformations, structural condition, state of conservation, history, and allowing dissemination and public engagement.
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Sriwardani, Nani, and Savitri Savitri. "TINJAUAN BENTUK PENGGUNAAN BAHAN/MATERIAL RUMAH(BUMI) ADAT KAMPUNG CIKONDANG, DESA LAMAJANG." Narada : Jurnal Desain dan Seni 6, no. 2 (September 30, 2019): 215. http://dx.doi.org/10.22441/narada.2019.v6.i2.001.
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This research at some part was an overview of previous studies which is standardization of the form of air circulation in Bumi Adat Kampung Cikondang, Village Lamajang and had been published in proceeding Sinden 2018.Bumi Adat Cikondang as object research in the Village Lamajang is selected since there is only one traditional house left in this village and it has become the site of cultural heritage. Architecture of Bumi Adat is built around the 16th century, and currently is a part of tourism in West Java. The traditional house lost during the fire in 1942, and was not be built again because of local restriction believes as well as limited building material in the sacred woods. Bumi Adat is in total use of natural material, such as bamboo, wood and palm fibers.The use of natural materials for the whole building create the work that have been able to survive until now.Methods used in this research is a qualitative methodology with descriptive analysis supported by observation and study in the field and study in literature review.The aimed at this research is to describing the shape of the use of natural material until become traditional building.