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Vlasov, Viktor G. "ARRHYTHMIA OF COLONNADES IN ROMAN BAROQUE ARCHITECTURE". Architecton: Proceedings of Higher Education, n.º 3(71) (29 de septiembre de 2020): 5. http://dx.doi.org/10.47055/1990-4126-2020-3(71)-5.
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The article considers the special rhythmic structure inherent in the facades of Roman baroque churches of the late 16th – 17th centuries. Select examples illustrate the relations typical of such architecture between the bottom diameter of columns (embates), intercolumniation, and column height. These relations include the classical ones, which are consistent with the theory of proportions of Pythagoras and the rules of Vitruvius, but the unusual arrhythmic techniques of the composition create a special dissonant resonance with human biorhythms and mental states within the space of Baroque architecture.
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Haselberger, Lothar y Samuel Holzman. "Visualizing asperitas: Vitruvius (3.3.9) and the ‘asperity’ of Hermogenes’ pseudodipteral temple". Journal of Roman Archaeology 28 (2015): 371–91. http://dx.doi.org/10.1017/s1047759415002536.
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Asperitas, a key term of Hellenistic-Roman art criticism for the assessment of columnar architecture, is anchored in two passages in Vitruvius, which both point to ‘asperity’ as the decisive criterion for achieving an unparalleled, truly eye-catching visual effect. In the best known of the two passages (3.3.8–9), praise is piled on Hermogenes for having systematically established this effect in the design of temples. In fact, he is credited with the invention of the theory (ratio) of pseudodipteral temple colonnades. And this column arrangement, with ambulatories of greatly increased (double) depth around the cella, is supposed to have been invented to provide dignified grandeur (auctoritatem) in its appearance propter asperitatem intercolumniorum: 3.3.9. This visual effect came with the practical advantage that those deep pseudodipteral colonnades also provided rain-protected space for crowds to circumambulate around the temple’s cella (in aede circa cellam). Vitruvius’ other reference to asperitas, in a visual sense, appears in the context of wall-painting (7.5.5), where a certain Apaturios of Alabanda is reported to have created a deceptively dazzling effect propter asperitatem in his rendering of colonnades and temples, so much so that the visual effect of the painting outshone its deficiencies in logic (which, when pinpointed by the mathematician Likynos, the artist hastened to correct: 7.5.6–7). Here we will analyze a reconstructed 3D computer model of Hermogenes’ well-documented pseudodipteral temple at Magnesia in order to tease out the visual effect and on-site experience of that asperitas which is described by Vitruvius in such tantalizing terms.
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Bazilevich, Mikhail E. y Anton A. Kim. "STYLISTIC FEATURES OF THE EUROPEAN ARCHITECTURE OF BANKING INSTITUTIONS IN GUANGZHOU LATE 19TH – EARLY 20TH CENTURY ON THE EXAMPLE OF SHAMYAN ISLAND". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, n.º 41 (2021): 5–17. http://dx.doi.org/10.17223/22220836/41/1.
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The article is devoted to the architecture of European banking institutions in Guangzhou, built on the territory of Shamyan island in the late 19th – early 20th century. A brief historical excursion into the history of the formation of the British and French concessions is given. This publication examines the stylistic and compositional features of the architecture of such banking institutions as: Hong Kong and Shanghai Banking Corporation; The Chartered Bank of India, Australia and China; International banking corporation (City Bank); Bank of Taiwan; Commercial Corporation of Mitsubishi; Yokogama Specie Bank; The E.D.Sassoon & Co.Ltd. и D. Sassoon Sons Co. Ltd; Bank of Indochina; China & France Industry Bank. A composite and stylistic analysis was conducted, an iconographic description of the buildings of the main banks located within the boundaries of the former European concessions on Shamyan Island is given The study reveals the general principles of the development of the architecture of banking institutions in Guangzhou. The materials and results of the research carried out by the authors of this article allowed us to formulate the following conclusions: 1. The territorial isolation of the Shamyan island from the Chinese part of Guangzhou, as well as the operation within the concessions of British and French laws, contributed to the fact that the development of the architectural ensemble of the island as a whole was carried out in line with the advanced West European architectural and urban trends. 2. Most of the banking buildings here are built in the eclectic style with the predominance of neoclassicism features, of course, this fact is connected with the desire of the owners of bank corporations to demonstrate to the clients and competitors the financial strength of their organizations. 3. In the architecture of the considered banking institutions there is an active use of tectonics and elements of the order system, colonnades, arcades, the allocation of the first floor in the form of a rustic plinth. The motifs of Renaissance architecture, Baroque and Art Nouveau are also traced. 4. The formation of the appearance of banking buildings in Shamyan was strongly influenced by local conditions. The hot and humid subtropical climate of the south of China contributed to the spread in the architecture of the structures of this type of order colonnades, forming deep open verandas, as well as the use of X-shaped creaks-elements to ensure the natural ventilation of buildings, which, in addition, became an expressive element of the facade decoration
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Denker, Ahmet. "Rebuilding Palmyra virtually: recreation of its former glory in digital space". Virtual Archaeology Review 8, n.º 17 (26 de julio de 2017): 20. http://dx.doi.org/10.4995/var.2017.5963.
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<p class="VARAbstract">This paper addresses the role of the digital tools and methods in the preservation of cultural heritage. As the destruction of Palmyra made international headlines, digital tools emerged as a key tool to fight back against the total deletion of the heritage site from memories. Palmyra in Syria had been, with its Corinthian colonnades, theatre and splendidly built temples to ancient gods, source of inspiration and imagination for Western architecture. In this paper, the aim is reviving the lost reality of Palmyra by digitally reconstructing its “ghost images” from rubbles. The paper offers a glimpse of the grandeur and beauty of the ruins of Palmyra, none of which any longer remains in its entirety. 3D models of the most significant structures of Palmyra, including Temple of Bel and Temple of Baalshamin which have been levelled as a result of conflict based vandalism, as well as the Grand Colonnaded Street and the theatre are presented as “ghost images” through reconstructed 3D models. The focus has been in maintaining the accuracy and validity of the visualised data of the relics and environment of Palmyra, as they were once extant. Following the trauma caused by the destruction of Palmyra, these reconstructions revive in our memory the splendour of the city in the Greco-Roman Period.</p>
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Well, G. B. Way y J. J. Wllkes. "Excavations at Sparta: the Roman stoa, 1988–91. Part 2". Annual of the British School at Athens 89 (noviembre de 1994): 377–432. http://dx.doi.org/10.1017/s006824540001546x.
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Survey and excavation between 1988 and 1991 have revealed new evidence for the form, date, and history of the Roman stoa at Sparta. Nearly 200 m long, it was double-fronted and colonnaded, finished in marble, with two storeys on the S side and perhaps a single portico to the N, set either side of a central row of brick-faced concrete compartments that helped consolidate the acropolis plateau. Its order may have been archaizing Doric; it may have represented a reconstructed version of the Persian stoa. At the W end it buttressed the Round Building and its square podium. Evidence of the stratigraphy and architecture suggests it was built c. AD 130 and that the colonnades collapsed in the late 4th cent., after which it was partly incorporated into the late Roman wall circuit. The nearly central, cross-vaulted nymphaeum (bays XI–XII) was reused in the Middle Byzantine period for religious purposes, when a church was built nearby; possibly this was the church and monastery founded by St Nikon Metanoeites c.975. Occupation continued until c.1350. Interpretation of the topography of Sparta in the light of the new evidence from the stoa suggests that the still elusive agora may have been on the upper plateau N of the stoa, rather than beneath the stadium to the S.
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Duraj, Miloš, Dominik Niemiec, Jan Kubáč, Marian Marschalko, Radek Pohanka, David Sysala, Jindřich Vlček y Erik Sombathy. "UNESCO World Heritage Site Karlovy Vary and its geotourism development opportunities linked with architecture". MATEC Web of Conferences 396 (2024): 13001. http://dx.doi.org/10.1051/matecconf/202439613001.
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Today’s appearance of spa towns in the country is represented by the architecture of the 19th and 20th centuries. We mainly find elements of empire, neo-renaissance, and art nouveau in them. Even Karlovy Vary, even though its history goes back to the past, presents itself with this architecture. Even though the spa was here at the very beginning of the city’s foundation, nothing was left of the original buildings due to natural disasters. If they were not natural disasters, they were also remediation that freed up space for the construction of new buildings. Apart from hotel buildings, typical objects of spa architecture are mainly spa buildings and pavilions, construction modifications of springs or colonnades. An essential part of these centres is also greenery and water supplements that balance the mass of these buildings. However, the favourable geological, especially hydrogeological and geomorphological conditions of these locations play the most important role for the development of the spa industry. From the point of view of tourism in Karlovy Vary, the aim of this work is to connect the classic spa tourism of this city, which was already supplemented by film tourism in the middle of the 20th century with geotourism.
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Hemsoll, David. "Palladio's Architectural Orders: From Practice to Theory". Architectural History 58 (2015): 1–54. http://dx.doi.org/10.1017/s0066622x00002574.
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The enduring concept of the orders was fundamental to the perpetuation of the classical tradition, and it is central to much architectural theory. One of the most resoundingly influential of its elucidations was published in 1570 by Andrea Palladio (1508–80) in the opening book of his architectural treatise, the Quattro libri dell'architettura (Four Books of Architecture). There, as in other theoretical works from around this period and later, the five orders — Tuscan, Doric, Ionic, Corinthian and Composite — are presented as a hierarchy of purportedly ideal exemplars; and, in this particular case, their universal ‘principles’ (precetti) are conveyed through two sets of illustrations, one depicting colonnades (Fig. 1) and the other arcades (Fig. 2), together with many further plates showing various individual details. In each of the main illustrations, the specimen is given its own designated proportions of column-diameter to column-height, ranging from 1:7 for Tuscan to 1:10 for Composite, and a distinctive formal make-up for both the column and its accompanying entablature. What is little borne in mind, however, is that this published rendition of the orders dates from towards the end of Palladio's career and was preceded by three decades of prolific practice, during which time his approach — as we shall discover — was in many respects very similar. In other words, the Quattro libri treatment of the orders was not merely a necessary and predictable inclusion in such a publication, or just a theoretical or ‘paper’ exercise, which is rather how it has also been viewed, since, as we shall see, it was representative to a very substantial degree of Palladio's actual established practice and its underlying rationale and philosophy.
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Ou, Weibing, Xudong Chen, Andrew Chan, Yingyao Cheng y Hongfan Wang. "FDEM Simulation on the Failure Behavior of Historic Masonry Heritages Subjected to Differential Settlement". Buildings 12, n.º 10 (2 de octubre de 2022): 1592. http://dx.doi.org/10.3390/buildings12101592.
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Historic masonry heritages, such as cathedrals, colonnades, and arch bridges, were constructed with individual components (e.g., stones, bricks, other materials) bound together with, e.g., mortar, and they are very vulnerable to foundation settlement, especially differential settlement which occurs frequently in engineering practice. These masonry structures are discontinuous, and therefore, their behavior under differential settlement is highly nonlinear and complex. In this study, the combined finite-discrete element method (FDEM) is employed to simulate the failure behavior of historic masonry heritages subjected to support differential settlement. In the FDEM models, structures are discretized into elements where FE formulation is incorporated, resulting in an accurate estimate of structural deformation and interaction forces. In addition, a fracture model is employed for masonry blocks. Numerical examples are given and compared with results from the literature, showing that the FDEM is applicable and reliable in simulating the failure behavior of historic masonry heritages. Further analyses including block fracture reveal that fracturing can decrease the capacity against settlement significantly.
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Kanellopoulos, Chrysanthos y Eleni Zavvou. "THE AGORA OF GYTHEUM". Annual of the British School at Athens 109 (16 de octubre de 2014): 357–78. http://dx.doi.org/10.1017/s0068245414000070.
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The Roman ‘Agora’ of Gytheum appears to be a large compound with an interior peristyle; its width is 52 m and its length at least 61 m. Excavations have revealed the remains of the north-east corner and a portion of the west wing. The extant architectural blocks allow the reconstruction of the colonnades. Column shafts were made of local red limestone and at least some of them were crowned with lotus-and-acanthus capitals. Three different interaxial column spacings are present. A single column must have stood on each corner of the peristyle. The style of the column capital suggests a date after the yearad100. The entablature is almost identical, in both style and dimensions, to the one found on the Captives' Facade at Corinth. The inscription on two epistyles reveals the private dedication of an exedra totheoi Sebastoiand the city. Most probably the exedra was behind the colonnaded space; the mention oftheoi Sebastoimight suggest imperial cult either in the exedra alone or both in the exedra and in the entire colonnaded compound. Quite possibly, and following A. Themos' suggestion, a large part of the colonnaded compound that is conventionally termed the ‘Agora’ can be identified with the Sebasteum/Caesareum of Gytheum; this latter structure is attested in other inscriptions from the city.
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Ryan, Garrett. "Street Theater: Building Monumental Avenues in Roman Ephesus and Renaissance Florence". Comparative Studies in Society and History 61, n.º 1 (28 de diciembre de 2018): 82–110. http://dx.doi.org/10.1017/s0010417518000506.
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AbstractBetween the late first and the mid-third century CE, local elites in the eastern provinces of the Roman Empire lined the formerly utilitarian streets of their cities with honorific statues, colonnades, and ornamental buildings. The monumental avenues thus created have usually been interpreted as unplanned products of competitive munificence. This article, by contrast, suggests that the new streets had real political significance. It compares the monumental avenues of Roman Ephesus with a formal analogue from a better-documented historical context: the long, colonnaded courtyard of Florence's Uffizi complex, constructed by Duke Cosimo I in the mid-sixteenth century. Comparison with the Uffizi courtyard illuminates the prominence of “democratic” architectural conventions in Ephesian monumental avenues, the elite-centric vision of civic history implicit in their sculptural displays, and the degree to which public ceremonies reinforced their political messages.
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Walker, Nathaniel Robert. "Classicisms of Color: Transatlantic Exchanges in African and American Traditional Architecture". Journal of Traditional Building, Architecture and Urbanism, n.º 2 (10 de noviembre de 2021): 437–51. http://dx.doi.org/10.51303/jtbau.vi2.531.
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The beautiful city of Charleston, South Carolina, was built by enslaved Africans, and the painful historical connections between classical architecture and slavery have encouraged some critics to see classicism as racist. Contemporary black artist Jonathan Green, however, proposed a new way of viewing Charleston’s buildings: as a testament to black creativity and resilience that fused African architectural traditions, such as colonnaded porches and metalwork, with European ones. Following Green, this essay traces a number of trans-Atlantic architectural connections forged during the age of empires. Many different African nations, from Ethiopia to Ghana, developed great classical architectures that traveled to Europe and America through the migration of people or the publication of books. African-American designs also returned to Africa, sometimes with European accents, and found compatibility with indigenous traditions. As Green asserted, a beautiful truth emerges from this study: traditional architecture is bigger than racism. It is African, American, and human.
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Driver, W. David. "An Early Classic Colonnaded Building at the Maya Site of Blue Creek, Belize". Latin American Antiquity 13, n.º 1 (marzo de 2002): 63–84. http://dx.doi.org/10.2307/971741.
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Investigations of the civic architecture at the Lowland Maya site of Blue Creek, Belize, have documented an Early Classic building with a colonnaded superstructure. Although one of only six such buildings reported from the Maya Lowlands, this architectural form appears to be a variant of a more common type of colonnaded building. An examination of such structures from a site-planning perspective indicates that columns may have been used by the Maya to create buildings that were conducive to movement, and for the conduct and/or viewing of public activities. The present study refutes the commonly held assumption that the use of columns in Maya architecture was limited in both spatial and temporal distribution, and instead shows them to have been widely distributed throughout the Maya Lowlands by the middle of the Classic Period.
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Barringer, Timothy. "The Albert Memorial: The Prince Consort National Memorial. Its History, Contexts and Conservation Chris Brooks Towers and Colonnades: The Architecture of Cuthbert Broderick Derek Linstrum Victorian Babylon: People, Streets and Images in Victorian London Lynda Nead". Journal of the Society of Architectural Historians 60, n.º 3 (septiembre de 2001): 363–66. http://dx.doi.org/10.2307/991769.
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Pohranychna, Iryna. "ANTIQUE IMAGES AND FORMS IN PALACE ARCHITECTURE OF THE LATE 18TH AND EARLY 19TH CENTURY". Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 4, n.º 2 (22 de diciembre de 2022): 140–46. http://dx.doi.org/10.23939/sa2022.02.140.
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The article defines antique images and forms in the architecture of palaces of the late 18th and early 19th century It was determined that the architectural and artistic system of classicism, preserving and repeating stable antique images and forms, was established in the compositional solutions of palace buildings on the territory of Ukraine, which for a long period of time preceded, coexisting in parallel with other stylistic currents. The development of the stylistic tendencies of classicism in palace architecture developed in the context of the pan-European architectural school and reflected its ideological and artistic diversity. The architecture of classicist palaces and palace complexes had the imprint of “antiquity” and the influence of the Palladian school, characterized by such typical elements as: water systems – a mandatory element of the palace-park complex; each palace-park complex included not only a well-planned park (garden), but also numerous promenades and a hunting park (forest). The general composition of recreation consisted of the following structural elements: a park (garden) for walks, a menagerie, an orchard, “garden in ants” (an interesting method of growing heat-loving plants in the village of Samchyki, Khmelnytskyi region). Each complex was multifunctional, consisting of such types of buildings as: palace, household, service and cult buildings, a complex of entrance gate and fence buildings, park buildings. The palace was always located on an elevated area with a beautiful view. The architecture of the buildings of the palace and park complexes is characterized by strictness and perfection of style. The facades of the palaces had a clear symmetrical composition, which was decorated with massive porticoes with a colonnade. The main constructive scheme of the palaces was a two-tract scheme (enfilade-type rooms were located along the park and main facades). Rectangular in plan palaces, were supplemented with protruding risalites. The rear facades, like the main ones, were decorated with a portico with a colonnade. The four-pitched roof was decorated with a massive chimney (blocked chimney groupe). Window and door openings are rectangular, discreetly decorated. The tympanums of the pediments are filled with sculptures with cartouches and military elements. Architectural elements used classicist order elements, complemented by sculptures, bas-reliefs and military emblems. The palaces were modestly decorated on the outside and luxuriously decorated on the inside with stucco and distinguished by color. The main decoration of the palace was the living room (mostly with a domed vault, which is decorated with stucco)
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Rababeh, Shaher, Rama Al Rabady y Shatha Abu-Khafajah. "COLONNADED STREETS WITHIN THE ROMAN CITYSCAPE: A “SPATIAL” PERSPECTIVE". JOURNAL OF ARCHITECTURE AND URBANISM 38, n.º 4 (23 de diciembre de 2014): 293–305. http://dx.doi.org/10.3846/20297955.2014.992168.
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Studies tackling the Roman legacy of colonial cities and Arabian provinces are still grappling with these cities from an urban planning perspective and/or building typologies. They do not provide a ‘spatial’ analysis that allows reading the Roman cities through the features that structured its urban language; one of which is the colonnaded streets. The study adopts a holistic approach to confront the ambiguities about possible origins, uses and meanings of the Roman colonnaded streets when traced in the Roman East as well as other Western cities. Besides its utilitarian and cultural value, the colonnaded streets are nalyzed according to two interrelated interpretations: astrological interpretation to represent an empire of astral divinity and performative interpretation to represent an empire of imperial power. The colonnaded streets is transformed from a ‘line on site’ into a ‘line of sight’ that testifies to the social norms of the Roman people but also to their ideologies, beliefs, and aspirations.
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Kanellopoulos, Chrysanthos. "The Architecture of the Shops and Colonnaded Street in Petra". Bulletin of the American Schools of Oriental Research 324 (noviembre de 2001): 9–22. http://dx.doi.org/10.2307/1357629.
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Mohamed, Hassan. "The Architecture of the Colonnaded Streets in the Romano-Egyptian Cities". Minia Journal of Tourism and Hospitality Research MJTHR 14, n.º 3 (1 de diciembre de 2022): 110–36. http://dx.doi.org/10.21608/mjthr.2022.168588.1067.
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Berger, Robert W. "Mansart's Colonnade at Versailles: Further Observations". Journal of the Society of Architectural Historians 50, n.º 2 (1 de junio de 1991): 189–91. http://dx.doi.org/10.2307/990593.
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Documents of April and May 1684-including a letter by the Marquis de Louvois to Jules Hardouin-Mansart, dated 22 May 1684-indicate that the Crown was intending to move the sculptures of the Grotto of Tethys to the site then occupied by Les Sources, and that Mansart had been instructed to replace Les Sources with a new design suitable for the sculptures. The eventual new creation, the Colonnade (design begun in June), was probably intended from the outset as a monarchical setting. The spandrel sculptures of the Colonnade may allude to the peace France was enjoying during most of the 1680s.
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Huang, Xianfeng, Zhen Lu y Zhixiang Zhuang. "Analysis of the Wind Environment to Improve the Thermal Comfort in the Colonnade Space of a Qilou Street Based on the Relative Warmth Index". Sustainability 11, n.º 16 (14 de agosto de 2019): 4402. http://dx.doi.org/10.3390/su11164402.
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By analyzing measurements of the thermal environment of a qilou (arcade building) street, this study used the relative warmth index (RWI) to evaluate the thermal comfort in the colonnade space of a qilou. The analysis of the influence of the temperature, humidity, and wind speed on the thermal comfort in the colonnade space of a qilou street was conducted, and it was shown that the ambient wind speed had a strong influence on the RWI, indicating that a proper increase in the wind speed positively affected thermal comfort in this space. Then, this study also analyzed the effects of different forms of qilou streets on the wind environment by employing computational fluid dynamics (CFD) and summarized the architectural design measures that can improve the thermal comfort, including adopting back chamfer, street gaps, and the appropriate sizing of building components. It was concluded that the wind environment of a qilou could be optimized in terms of these measures, and the average RWI value decreased by 0.06, effectively enhancing the thermal comfort in the colonnade space. The research findings are applicable toward designing a thermally comfortable environment in the transitional space.
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Hatherley, Owen. "Review: Colonnade Park by Heidrun Holzfeind". Journal of the Society of Architectural Historians 72, n.º 3 (1 de septiembre de 2013): 406–7. http://dx.doi.org/10.1525/jsah.2013.72.3.406.
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Ebrahim Zarei, Mohammad. "Typology of Kurdistani Style Mosques in Iran". Journal of Architectural/Planning Research and Studies (JARS) 7, n.º 2 (3 de septiembre de 2018): 29–42. http://dx.doi.org/10.56261/jars.v7i2.168840.
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Kurdistan province has been an important part of pre-Islamic Iran territory; after Islam, it changed toJabal and Kurdistan. This region was the major part of the Ardalan state in the Safavid and Qajar periodswhich in newly formed political divisions are divided among several provinces including Kermanshah, Hamadan,and western Azerbaijan. Based on specific characteristics of the region a distinctive type of mosque hasbeen established including wooden colonnaded iwan, lateral corridors, theologian’s room, yard, and entrance.These mosques are consisted of flat ceiling and colonnaded iwan / porticos which are deeply influenced bythe northwestern and western regions’ architectural / building style; one of these stylistic characteristics is theplan with iwans on four corners of Shabestan. Some of these mosques are mono-iwan and some bi-iwan butall in a rather different style from the other mosques of Iran. Iwans in these mosques are built in two floorsor built with wooden columns, which endorse a distinctive type which are called Kurdistani mosques in thisarticle.
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Moravčíková, Henrieta. "An Intriguing Work of Engineering and Architecture: The Collonnade Bridge in Piešt’any". Bridges and Infrastructures, n.º 45 (2011): 90–93. http://dx.doi.org/10.52200/45.a.sp7eqbzt.
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The period around the year 1930 could be termed the culminating point with respect to the Modern architectural avant-garde in Slovakia. It was then that the concepts emerged from the most important works, the first Slovak architectural journals began to be published, the School of Applied Arts opened, as a Slovak variant of the German Bauhaus, and an entire range of other artistic and social initiatives indicated that Slovakia’s cultural environment could not only absorb avant-garde impulses, but develop them in a unique way. It was precisely at this moment that the history of one of the most famed bridges in Slovakia, the Colonnade Bridge in Piešt’any, began to be written.
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Buzaian, Ahmed y Fuaad Bentaher. "Preliminary report on two seasons of excavations at Balagrae (al-Beida)". Libyan Studies 33 (2002): 125–31. http://dx.doi.org/10.1017/s026371890000515x.
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AbstractThis paper presents a short preliminary report of excavations at Balagrae (al-Beida) in 2001 and 2002. Two phases of building were investigated; the first, representing a possibly domestic or industrial structure which appears to have been destroyed in the earthquake of AD 365, and the second a crudely built late structure erected after the earthquake. Elements of a Roman Doric colonnade reused in the walls of Phase I suggests the existence nearby of a still earlier structure of some architectural pretension.
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Waywell, G. B. y J. J. Wilkes. "Excavations at the ancient theatre of Sparta 1992–4: preliminary report". Annual of the British School at Athens 90 (noviembre de 1995): 435–60. http://dx.doi.org/10.1017/s0068245400016294.
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Excavations at the Sparta theatre were resumed in 1992: the objective was to survey it and clarify its history. Nine trenches were opened and a catalogue of architectural blocks compiled. A trench in the sw orchestra revealed two staircases; while the seats of honour, the walkway behind, and two or three rows of benches above are preserved, the remainder of the theatre was severely damaged in the 9th–13th centuries. The diazoma's foundations were revealed; below it were ten radial staircases, above seventeen. The lower cavea had thirty-one rows, the upper nineteen. At the top, rows 17–19 rested on concrete over an inner radial wall of concrete-bonded stones; there are traces of a Doric colonnade around the walkway here. The upper cavea yielded pottery suggesting an initial construction under Eurykles (c.30–20 BC); no certain evidence of an earlier theatre has been found. The stage building's architecture suggests Flavian and Severan reconstructions and later repairs. The site's use as a theatre ended c. AD 400, but finds indicate early Byzantine continuity and three later occupation phases (9th–13th centuries). Sculptures found include a statuette of Apollo or Dionysos, an Antonine female portrait (priestess?), and an important late Roman male portrait head.
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I., Pohranychna. "ARCHITECTURAL HERITAGE OF ANDREA PALLADIO – AS EDUCATION MATERIAL FOR JAKUB KUBICKI". Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2, n.º 2 (noviembre de 2020): 147–53. http://dx.doi.org/10.23939/sa2020.02.147.
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The article covers the Architectural heritage of Andrea Palladio – as education material for Jakub Kubicki reviews artistic heritage of Andrea Palladio and analyzes its influence on the works of Jakub Kubicki. It is known that comprehensive and manysided heritage of Andrea Palladio was education material for many architects, and in the XVII century it became the basis for similarly-named architectural trend – Palladianism. Andrea Palladio (1508-1580) – is a famous architect of the Renaissance era, the author of many architectural tractates that describe the principles and stages of private estates and residences formation in detail. His works were based on symmetry, perspective and objects of value of classical place of worship of Ancient Greece and Rome. In general, Andrea Palladio, having studied traditions of folk architecture as well as likes of nobility, created model types of estates and at the same time showed almost unlimited amount of possible variations, became a founder of “architectural fashion” of Classicism era. That promoted the spread and establishment of the Palladian school where the architecture of Antique period (of Ancient Rome and, later, of Ancient Greece) was interpreted to the demands of the era, and Palladian types of country estates and city palace were used during two more centuries. Creative method or style of every architect of a certain period shapes a style of the era. In the works of architects there are reflected important issues and problems of theory and practice of architectural life of the time. J. Kubicki is also among the architects whose works attract attention with a high level of excellence. He became a mediator between the pure classicism and Empire style of the XVIII century. Although the architect was the representative of mature Classicism with the influence of Palladian school, his works have their own fingerprint and are characterized by such typical elements in the projects as sharp axial plan and symmetry of facades of palaces; simple rectangular forms in plan of a palace that were be supplemented by prominent risalits; main entrance was accentuated by portico with colonnade; the use of classical order elements that were decorated with sculptures and military emblems in façade decoration. Interior arrangement in the palaces was symmetrical, two-path, with gorgeous living-room and entrance hall that contained stairs. Interiors were profusely decorated with moulding and highlighted with colors (hence the name blue living room, gold or red room).
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de Waele, J. A. K. E. "The layout of the Lefkandi ‘Heroon’". Annual of the British School at Athens 93 (noviembre de 1998): 379–84. http://dx.doi.org/10.1017/s0068245400003506.
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The only way to gain insight into ancient architectural planning is by converting the metric dimensions into the architect's foot unit, which must be calculated on the basis of measurements within the building. In the case of the Lefkandi ‘heroon’, a monumental building unique for its time, such an analysis is rewarding. When we try a foot length of 30 cms, the repartition becomes clear. The width (interior measurement 30 ft) consists of two equal naves of 15 ft. This bay determined the interior length of (10 × 15 ft =) 150 ft. This length was divided into a main room of (5 × 15 ft =) 75 ft, and the remaining half was divided into a front hall (30 ft), the north and south rooms (15 ft), and the apse room (30 ft). To these interior dimensions lengthwise were added a porch of 8 ft, a rear wall (2 ft) and a colonnade (6 ft), a total of 166 ft (11 × 15 + 1 ft). To the interior width (30 ft) were added two length walls (2 × 2 ft) and the colonnade (2 × 6 ft): a total of (30 ft + 2 × 2 ft + 2 × 6 ft =) 46 ft. Reduced to these foot measurements the Lefkandi ‘heroon’ appears to us as a simple construction, in which the interaxial or bay of 15 ft seems to be the planning unit for the ground plan.
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Grzegorek, Wiesław. "Conservation of a commemmorative monument to the Emperor Commodus in House H21c in Marina el-Alamein". Fieldwork and Research, n.º 28.2 (28 de diciembre de 2019): 113–24. http://dx.doi.org/10.31338/uw.2083-537x.pam28.2.07.
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Current maintenance conservation work by the Polish–Egyptian Conservation Mission in Marina el-Alamein occasions a revisiting of the history of the archaeological discovery, interpretation and original conservation and anastylosis of a commemorative monument dedicated to the Roman Emperor Marcus Antoninus Commodus. The monument, a rectangular masonry structure with colonnaded front, was built inside a presumed dining or reception hall of building H21c near the harbor of the ancient Graeco-Roman town. The original project took place between 2000 and 2007 (Czerner and Medeksza 2010). Maintenance conservation after a decade created the opportunity for a more in-depth analysis of the dimensions of the monument and the individual architectural elements of which it was composed.
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Sparkes, Brian A. "III Architectural Sculpture". New Surveys in the Classics 40 (2010): 51–74. http://dx.doi.org/10.1017/s0017383510000720.
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The erection of a building – whether temple, treasury, colonnade, or theatre – argues purpose, means, advance planning, and commitment over many years. The number of people involved in any communal project, from sponsors (whether states, individuals, or sanctuary officials) to designers, architects, masons, and sculptors, was enormous. In studying architectural sculpture, we are face to face with originals, usually found in context, with some closely dated on the basis of inscriptions and references in written texts; although the later writers who held free-standing sculpture in such high regard had little to say about architectural compositions. The embellishment was usually added to religious buildings: the temples and treasuries that were erected in local and Panhellenic sanctuaries. The subjects chosen were mainly myths, with themes repeated down the centuries (Battles of the Gods versus the Giants, and Greeks versus Amazons, Centaurs, or Trojans) – they became the default choice, the stock-in-trade, and raise the question of the extent to which there was indeed any specific programmatic intent or local significance behind these mythical encounters. Who chose the subjects? With what purpose? To instruct, to underline social cohesion, to express political identity, to demonstrate superiority? Who were the viewers the designers had in mind? As the brightly coloured sculptures were integral to the building and came to be placed high above the heads of viewers, visitors, and pilgrims, they were obviously intended to take notice of them. Can we know what their reactions were and how deep their understanding was? Euripides in his tragedy Ion (412 BC) presents a chorus of Athenian women on their first visit to Delphi (vv. 184–218). They look up at the sculptures on the outside of the Apollo temple and express wonder and excitement at the figures they can recognize: Herakles, Pegasos, the battle of the Gods and the Giants, and particularly their own patron goddess, Athena. Euripides fits their reactions to their status – they are just glad to identify their favourites, and delight, as it were, at meeting old friends.
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Le Roy, Ludovic, Adrien Malignas, Jessica Galy, Charlotte Carrato, Arnaud Gaillard, Jérôme Bénézet y Raymond Sabrié. "Le site de La Grangette à Vinassan (Aude). Évolution d’un établissement rural précoce près de Narbonne, du IIe s. av. au Ier s. ap. J.-C." Revue archéologique de Narbonnaise 52, n.º 1 (2019): 231–92. http://dx.doi.org/10.3406/ran.2019.1993.
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Le site de La Grangette à Vinassan est installé à environ 8 km au nord-est de Narbonne. Malgré un arasement prononcé, les vestiges mis au jour permettent de suivre son évolution entre le courant du IIe s. av. J.-C. et le Ier s. ap. J.-C. À la fin du IIe s. av. J.-C., une première occupation délimitée par un important fossé fait place à un établissement couvrant près de 1 800 m2. L’édifice richement doté sur le plan architectural apparait comme un cas unique en Gaule méridionale pour l’époque considérée. Il se compose de plusieurs corps de bâtiment répartis autour d’une cour centrale organisée comme un péristyle. Bordée de trois colonnades, elle livre plusieurs aménagements hydrauliques dont un vaste bassin. La distribution et la nature des pièces rappellent les villae et domus italiennes de la fin de la République et interrogent sur le statut et l’origine du commanditaire. Après son démantèlement, un nouvel établissement est construit à l’époque augustéenne. Beaucoup plus modeste, celui-ci semble tourné vers la viticulture.
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Bordeleau, Anne. "‘The Professor’s Dream’: Cockerell’s Hypnerotomachia Architectura?" Architectural History 52 (2009): 117–45. http://dx.doi.org/10.1017/s0066622x00004160.
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In 1849, after teaching architectural history at the Royal Academy in London for just under a decade, the architect Charles Robert Cockerell (1788-1863) exhibited ‘The Professor’s Dream’, a graphic synopsis of the history of architecture (Fig. 1). Produced in an era dominated by historicism, the drawing operates between the two poles of historical relativism, negotiating the line between accumulation and rationalization. Some nineteenth-century architects, indiscriminately collecting, understood each style to have emerged from the particular conditions of their times, considering them distinct and yet equally valid. Other architects, critically ordering, privileged one style over another, variously justifying themselves on religious, technical, moral or structural imperatives. Cockerell’s ‘Dream’ is ambiguously positioned as a place of showing and a means of knowing, speaking both of an homage to the past and a vision of progress, apparently flattening a thousand years of history but inherently offering the depth of historical experience. David Watkin, Peter Kohane and, more recently, in the context of an exhibition at the Royal Academy, Nick Savage, have interrogated the drawing, the first two paralleling it with Francesco Colonna’s Hypnerotomachia Poliphili (1499), the latter framing it within a tradition of systematic charting of history, and suggesting a possible link to geological charts. While all these interpretations certainly stand, it is essential to recast them within a larger discussion of Cockerell’s understanding of history. Substantiating the different readings of the drawing — against Cockerell’s earlier drawings and surveys, within his architectural theory as expounded in his Royal Academy lectures, and in the larger perspective of the interests he cultivated since the 1820s — this essay brings to the fore the tension between ordering and experiencing, revealing how the architect was interested in the latent interstices between history and time.
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Artemieva, N. G. "A Jurchen Temple at the Southern Ussuri Fortifi ed Site, in Primorye". Archaeology, Ethnology & Anthropology of Eurasia 51, n.º 2 (13 de julio de 2023): 85–92. http://dx.doi.org/10.17746/1563-0110.2023.51.2.085-092.
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The article outlines the fi ndings of excavations of a ritual building discovered at the Southern Ussuri fortifi ed site (Primorye Territory), identifi ed as the capital of the Xupin county of the Jurchen Jin Dynasty. Previously it was thought that the Southern Ussuri town was founded by the Balhae people and that during its early period it was the center of the Balhae district of Shuaibin, while the Jurchens appeared there later. However, our fi ndings suggest that the town belonged to the Jurchens from the beginning. Despite the high density of modern buildings on the territory of the medieval town, our study of what was left of the habitation deposits has allowed us to determine the architectural horizons and to associate them with specifi c historical periods. Based on the analysis of materials excavated from a building located on the upper architectural horizon, architectural features of a medieval building representing the Buddhist tradition were described: the colonnade, roof style, and sculptural representations of dragons, phoenixes, and Buddhist immortals. New decorative motifs on the tiles of the front and eaves of the roof were discovered, and new standards of building materials were identifi ed. The fi ndings suggest that the ritual structure dates to the 13th century— the second period of the Jurchen Eastern Xia State (1234–1276), preceding the Yuan Dynasty. Special architectural features revealed during the excavations of the upper architectural horizon are reliable indicators for assessing the age of other sites in Primorye.
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Kristan-Graham, Cynthia. "The Business of Narrative at Tula: An Analysis of the Vestibule Frieze, Trade, and Ritual". Latin American Antiquity 4, n.º 1 (marzo de 1993): 3–21. http://dx.doi.org/10.2307/972134.
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The so-called frieze of the Caciques at Tula, Hidalgo, Mexico, is an 8-m-long bench with most of its original polychromed face intact. It formed part of a larger composition that once ran around the perimeter of the Vestibule, a colonnaded hall that served as a foyer for Pyramid B. The composition of profile males is adapted to look as if they are actually marching around the room toward the pyramid. Although Hugo Moedano Koer (1947) identified the figures as caciques or local chiefs, an analysis of architectural setting, subject matter, and ethnohistory suggests instead that the figures represent merchants engaged in rituals related to trade. This new reading demonstrates that Tula had decorative programs paralleling its development as an important center of long-distance exchange during the Early Postclassic period, and that merchants from Tula may have been a plausible prototype for Aztec pochteca.
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Клюев, С. А. "THE CHURCH OF MADHANE ALEM IN ADI QASHO AND THE DIFFICULTIES OF DATING OF TIGRAY (ETHIOPIA) ROCK-HEWN MONUMENTS". ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, n.º 2(11) (17 de febrero de 2020): 98–113. http://dx.doi.org/10.25995/niitiag.2019.11.2.006.
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Датировка скальных памятников - один из наиболее сложных и дискуссионных вопросов, возникающих перед исследователями в процессе изучения истории архитектуры Эфиопии. Основываясь на различных концепциях и подходах, ученые расходятся в датировке отдельных памятников более чем на 300 лет. Так, один и тот же памятник может быть воспринят как относящийся ко времени упадка Аксумского царства VIII- IX вв., угасания культуры или же, напротив, укрепления династии Соломонидов XIV-XV вв., времени создания множества новых храмов с богатым декором. Одним из памятников, датировка которого остается спорной, является скальная церковь Медхане Алем в Ади Кешо (Тыграй). Автор статьи, сопоставляя различные факты, прежде всего обращаясь к особенностям резного декора и архитектурного плана церкви, предлагает свое обоснование датировки храма второй половиной XIV - первой половиной XV в. The dating of rock-hewn churches is one of the most complicated and controversial issues facing researchers in the process of studying the history of Ethiopian architecture. Based on various concepts and approaches, scientists differ in the dating of monuments for more than 300 years. Thus, D. R. Buxton dated the rock-hewn church of Madhane Alem in Adi Qasho to the end of the 10-11centuries, D. Phillipson determines the time of its creation to the period up to the 10th century, and M. Gervers and E. Fritsch note that the structure of the maqdas of the church indicates a later date of creation, but do not specify it. The purpose of this article is to determine the dating of the rock-hewn church of Madhane Alem in Adi Qasho. Legendary information reports that the church of Adi Qasho, like some others (Mikael Baraka, Maryam Hibiito) in Tigray, was founded by Abuna Abreham, a saint who lived in 1350-1425. The layout of the church combines the principles of both traditional basilicas with two aisles, which became widespread in Ethiopia during the time of the Aksum kingdom, and some signs of the "open-type" basilicas that appeared in Ethiopia, probably in the period from the 14 century. In accordance with the traditions of the architecture of early Ethiopian basilicas, the church at Adi Qasho has the following features: - the vault of the nave is elevated relative to the aisles (in this case, slightly); - an Aksumite frieze runs along the upper part of the nave (with the exception of the east wall); - the maqdas is separated from the naos by a wall with a triumphal arch resting on pilasters; - the vault and the eastern wall of the maqdas form the apse with semi-dome. However, in the maqdas there are no pastophoria which are characteristic of early Ethiopian basilicas. Gervers and Fritsch draw parallels between the Adi Qasho church and the famous cruciform church of Beta Giyorgis at Lalibela (according to their dating from the 15 century), which also does not have pastophoria in the maqdas area. The church of Adi Qasho has some features of the decoration and the layout in common with the basilicas of "opentype", especially the rock-hewn church of Maryam Dabra Tsion. The U-shaped narthex presumably derives from the churches of the Lasta region: in the churches with an ambulatory (Abba Libanos at Lalibela and Zoz Amba Giyorgis), and the later "open-type" basilicas in Tigray: Yesus Archnao and Maryam Dabra Tsion. The facade solution of a four-pillar portico at the church also finds possible prototypes in the Lasta region in churches with colonnades: Madhane Alem at Lalibela, Gannata Maryam, Kankanet Mikael. Exploring the carved decoration of the Adi Qasho church, one can find a characteristic resemblance to the decoration of the church of Maryam Dabra Tsion (the paintings are stylistically dated to the turn of the 14th-15th centuries), and in particular, to the richly decorated ornamental carving of Abuna Abreham’s cell, which is connected to the church by the ambulatory. The Cupola and walls of this cell have the following decorations: diamond-shaped caissons (in Madhane Alem, they are located in the vault of the central bay in the northern aisle); a cross with four accented squares between its bars (in Madhane Alem - in the vault of the nave); multifaceted cross with ornamental filling; another geometric compositions consisting of squares. Carved crosses in the interior of the church are also stylistically dated to the 14th-15th centuries. Two crosses on high shafts are carved on pilasters in the span of the triumphal arch. Paired crosses are also known in earlier churches, but their location in the maqdas area finds parallels with the church of Maryam Dabra Tsion. Is it possible that the image of paired crosses flanking the triumphal arch may be related to the rejection at the middle of the 14th century of the previously used wooden altar barriers with columns decorated with paired crosses. Shallow triple niches (in the western parts of the southern and northern walls) and six niches in the western wall are carved in the naos of the church. Similar niches with images of saints decorated the walls of the church Maryam Dabra Tsion and of the church Yesus Archnao, probably a little earlier. The upper limit of the dating of the monument can be determined by the presence of abundant traces of soot, which can be evidence of the destructive invasion of Ahmad Gran’s jihadists, which destroyed many churches and church relics in Ethiopia in the thirties of the 16th century; likewise, the style of the corner beams of perspective frames of doorways leading from the narthex to the naos. Their form from the second half of the 15th century changes from cubic to round-headed. These factors make it possible to designate the upper limit of dating to the middle of the 15th century, i.e. approximately until 1450. Probably, the creators of the church tried to unite in the monument both the local traditions of the basilica architecture and the new trends that came from the political center of the country. The features of the layout of the church, particular qualities of its maqdas demonstrate close creation date of the Adi Qasho church and the basilica of Maryam Dabra Tsion. Thus, the most plausible dating is close to the legendary information, namely 1370-1450.
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Bilello, Cristiano, Emilio Greco, Martina Greco, Nazareno Madonia, Antonina Pirrotta y Antonio Sorce. "A Numerical Model for Pre-Monitoring Design of Historical Colonnade Courtyards: The Case Study of Chiaramonte Palace in Palermo". Open Construction and Building Technology Journal 10, n.º 1 (29 de abril de 2016): 52–64. http://dx.doi.org/10.2174/1874836801610010052.
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This paper proposes a numerical model that can be used for theoretical and experimental dynamic characterization of historical colonnade courtyards. Such an architectural element appears often in buildings of historical heritage and, especially under seismic excitation, it represents the most vulnerable structural part. Therefore, it is very important to have reliable as well as simple models available for vulnerability analysis, to evaluate different reinforcing systems if needed, or to plan dynamic characterization tests or monitoring campaigns, as in the present case. Chiaramonte Palace, a wonderful example of the historical heritage of Palermo, is investigated as case study. Firstly, a review of the restoration and structural consolidation works made over the years is presented, as fundamental step towards the knowledge of any existing structural system. Then the acquired information are used to propose a simplified finite element model that properly accounts for the interaction with the surrounding part of the building, and that can be easily calibrated on the basis of estimated or measured vibration periods.
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Antonov, Dmitriy I. "ON THE PRINCIPLES OF DEPICTING INTERNAL SPACE IN RUSSIAN ICONOGRAPHY". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, n.º 5 (2021): 69–92. http://dx.doi.org/10.28995/2686-7249-2021-5-69-92.
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The article discusses four key principles of demonstrating the inner space in Russian iconography. The first three techniques are different variations of framing the characters with an architectural or geometric ‘border’. These are: placing the figures against the background of buildings that in such case themselves play the role of a frame that bringing the characters inside the depicted house; a ‘retractable’ architectural element– a colonnade or wall that frames the characters from behind and brings them into the interior space; finally, the nutrovye palaty (inner chambers) – a frame that ‘cuts’ the building with high arches and allows the painter to show both the interior of the building and fragments of its exterior. Similar principles of ‘cutting’ the composition with frames, ‘bordering’ a number of characters with a geometric line, were used to demonstrate scenes related to another time or space (visions, events of the past or future, etc.). The fourth technique was the partial overlap of the depicted figure with an architectural element (a person looking out from behind a column, from a window, from a doorway). It is based on the impression of an outside observer and refers no longer to the conventional, but to realistic techniques in painting. As shown in the article, all four variants coexisted in Russian iconography and could easily complement each other in a composition. The paper demonstrates the functioning of each of those techniques based on the corpus of Russian icons and miniatures.
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Casula, Giuseppe, Silvana Fais, Francesco Cuccuru, Maria Giovanna Bianchi y Paola Ligas. "Diagnostic Process of an Ancient Colonnade Using 3D High-Resolution Models with Non-Invasive Multi Techniques". Sensors 23, n.º 6 (14 de marzo de 2023): 3098. http://dx.doi.org/10.3390/s23063098.
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Here, an avant-garde study of three ancient Doric columns of the precious, ancient Romanesque church of Saints Lorenzo and Pancrazio in the historical town center of Cagliari (Italy) is presented based on the integrated application of different non-destructive testing methods. The limitations of each methodology are overcome by the synergistic application of these methods, affording an accurate, complete 3D image of the studied elements. Our procedure begins with a macroscopic in situ analysis to provide a preliminary diagnosis of the conditions of the building materials. The next step is laboratory tests, in which the porosity and other textural characteristics of the carbonate building materials are studied by optical and scanning electron microscopy. After this, a survey with a terrestrial laser scanner and close-range photogrammetry is planned and executed to produce accurate high-resolution 3D digital models of the entire church and the ancient columns inside. This was the main objective of this study. The high-resolution 3D models allowed us to identify architectural complications occurring in historical buildings. The 3D reconstruction with the above metric techniques was indispensable for planning and carrying out the 3D ultrasonic tomography, which played an important role in detecting defects, voids, and flaws within the body of the studied columns by analyzing the propagation of the ultrasonic waves. The high-resolution 3D multiparametric models allowed us to obtain an extremely accurate picture of the conservation state of the studied columns in order to locate and characterize both shallow and internal defects in the building materials. This integrated procedure can aid in the control of the spatial and temporal variations in the materials’ properties and provides information on the process of deterioration in order to allow adequate restoration solutions to be developed and the structural health of the artefact to be monitored.
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Bagnolo, V., R. Argiolas y A. Cuccu. "HBIM FOR ARCHAEOLOGICAL SITES: FROM SFM BASED SURVEY TO ALGORITHMIC MODELING". ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W9 (31 de enero de 2019): 57–63. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w9-57-2019.
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<p><strong>Abstract.</strong> The implementation of new technologies often leads research towards experimentation with new methodological approaches. The BIM process applied in cultural heritage is increasingly consolidating its practices, expanding its potential even in the field of archaeological research. Integrating archaeological data into BIM models has clear benefits but, due to the complexity of the involved elements, archaeological case studies can fit effectively into the BIM process only with the creation of semantic-aware libraries implementing dedicated objects. Cultural heritage can advantage of BIM-based knowledge management only integrating approaches and tools with different characteristics from those commonly used in BIM workflows. In the phase of the geometric modeling process, following that of the survey process and preparatory to the subsequent information modeling process, when the detected geometries are not easily traceable to libraries of pre-compiled objects, an alternative to the so-called "Scan to BIM" local modeling can be represented by algorithmic modeling. The paper, focusing on the geometric modelling phase of the HBIM process, presents first results and prospective tasks of an ongoing research project on the last architectural phase of the colonnade of a multilayered temple in the Antas valley in Sardinia (Italy), affected by imposing works of anastylosis and restoration.</p>
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Nofal, Eslam, Rabee Reffat, Vanessa Boschloos, Hendrik Hameeuw y Andrew Moere. "The Role of Tangible Interaction to Communicate Tacit Knowledge of Built Heritage". Heritage 1, n.º 2 (5 de diciembre de 2018): 414–36. http://dx.doi.org/10.3390/heritage1020028.
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Meanings and values of built heritage vary from factual and explicit meanings which are relatively easy to present, to more tacit knowledge, which is typically more challenging to communicate due to its implicit and often abstract character. In this paper, we investigate how tangible interaction influences the communication of this tacit knowledge of built heritage, and howit affects the experience of visitors. Through a between-group comparative study in a real-world museum context, we examined howthe tangible characteristics of an interactive prototypemuseuminstallation influence how visitors perceive a particular story containing tacit heritage knowledge. The communicated story relates a historical journey in ancient Egypt to the physical and architectural characteristics of the entrance colonnade at the Djoser Complex in Saqqara. Our experimental conditions consisted of an interactive navigation (input) and a passive representation (output) components, ranging from traditional digital displays to fully tangible means of interaction. We report on our findings, which showed various differences and commonalities between our three experimental conditions. We conclude with a number of discussion points and design recommendations: (a) to strive for balance between navigation and representation modalities in terms of affordance and the required cognitive effort; (b) to take advantage of physical representation and grasping, such as conveying particular physical details and characteristics; and (c) to consider design aspects of embodiment, physical abstraction and materiality for future research or potential further development of communicating the meanings and values of heritage.
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MacGillivray, J. A., L. H. Sackett y J. M. Driessen. "Excavations at Palaikastro, 1994 and 1996". Annual of the British School at Athens 93 (noviembre de 1998): 221–68. http://dx.doi.org/10.1017/s0068245400003440.
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Work at Palaikastro in the 1994 and 1996 seasons was concentrated in Building 6 in the southern area adjacent to Main Street, where tests had previously been made in 1990–1. It was confirmed that the architectural history of the area ended before the Santorini eruption. Its later use as a walled open space was marked by the construction in LM IB of two wells. These were fully excavated and were very productive of useful stratified material. The principal building complex lay to the SE and comprised a propylon and a small central court with colonnade and surrounding rooms. The most important of these is a paved hall at the south entered by a pier and door system of Knossian type. All these features, as well as unusual decorative elements, including building materials of varying colour, frescoes and horns of consecration, distinguish this building from others at Palaikastro. The date of first construction seems to be MM IIIA (over an earlier MM II building), but this was followed by a destruction and major rebuild in MM IIIB, the period to which many of these decorative elements should belong. A violent destruction by earthquake later in MM IIIB left substantial pottery deposits in several areas of the building, which seems to have been only partially repaired before a final destruction took place. This was followed by deliberate dismantling (LM IA early?) which was far advanced when the tephra fell on an essentially abandoned plot.
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Perperi, A. A., N. M. Yavorskaya y P. V. Yavorskyy. "RESEARCH OF GEOMETRY IN THE ARCHITECTURE OF ANTONIO GAUDI". Problems of theory and history of architecture of Ukraine, n.º 20 (12 de mayo de 2020): 312–21. http://dx.doi.org/10.31650/2519-4208-2020-20-312-321.
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Exploring the work of Antonio Gaudi and his knowledge in descriptive geometry, which develops a spatial imagination, we notice the use of lines, shapes, volumetric geometric images in architectural creativity. In his early work, Antonio Gaudi designs buildings under the influence of the Moorish style, using geometric shapes and lines that emphasize Arabic motifs in the patterns. So in the house of Vissenty, made in the style of modernism, he applied the idea of a self-repeating element of a simple form toa more complex one. In a fragment of the gallery of the city park Guell, which is an example of the urban style, Gaudi used the transformation of one surface to another, while showing the smoothness of lines and the accuracy of surface construction and without violating their regularity.Combining various forms in one building or structure, Gaudi perfectly mastered the geometry of the curved lines of the second and third order in space. To achieve a similar effect of shaping, scientists tried in the 60s of the XX century by constructing curved lines and Bezier surfaces. Gaudi achieved a similar effect of shaping in a practical way.n his work, he used cylindrical, conical and spherical surfaces that smoothly passed one into another, as well as the surfaces of Catalan: a hyperbolic paraboloid, conoid, cylindroid. In creating volumetric interior plastic, the curved lines with a kinematic movement created bizarre shapes of the ceiling, smoothly turning into other geometric shapes of the walls.The staircasein one of the towers of the Sagrada Familia is a geometric image of a helicoid, where a complex geometric shape is taken as the generatrix, and the guides are two helises -cylindrical helical lines of different radii.In the geometric construction of a direct or inclined helicoid, it is necessary to have two guides and a movement step, which can be set mathematically. In any case, such a surface remains one of the most unique in nature because the helicoid is a minimal surface.Park Guell is located in Barcelona on the Carmel hill, an area of 17.2 hectares. It was built in the first half of the last century. The customer, who was Eusebi Güell.He huge park complex includes a territory with residential buildings and comfortable relaxation areas, amazing picturesque gardens, quaint shady alleys, multi-tiered terraces, colorful flower arrangements, winding grottoes and gazebos.Working on a park project, Gaudi was inspired by the beauties of the surrounding nature of the Carmel Upland and its picturesque landscapes. In the project, walking paths stretched across the entire park, the mountains were not specially cut from the terrain to emphasize the natural landscape of nature.Necessary for the construction of the elements of the park: poles and beams, were decorated under palm trees. Despite the fact that the height difference was 60 meters, the master skillfully beat the landscape with bizarre forms, emphasizing the desire of a person from simple to sublime.If you delve into history, you can see that the construction work is divided into three stages: the strengthening of hills and slopes with the arrangement of terraces for curved paths and the erection of walls; the construction of a colonnade, a market and mansions; building a bench in the shape of a snake. To date, all the facilities of the complex have been preserved in their original form. At the entrance to the park there are two houses resembling fabulous gingerbread houses, the walls of which arelined with ceramic fragments. The facade of eachhouse is decorated with a medallion with the inscription “Park Guell”. In Gaudi’s work, the “hundred columns” hall, which is inscribed in the landscape of the hill, is a terrace with 86 columns of 6 meters each. These columns support a ceiling with a bizarre shape of complex geometric surfaces of revolution. The plastic of the ceiling vault is made of modern concrete of the time, the decoration of which is made of ceramic in the form of a mosaic. In practical work, Antonio Gaudi took a self-repeating algorithm that developed in space in the form necessary for his design. Gaudi perfectly mastered the skills and knowledge of the discipline called Descriptive Geometry. Developing the spatial imagination, this discipline offers us all kinds of lines, geometric shapes and three-dimensional bodies, for the embodiment of the ideas of masters of architecture, one of which is Antonio Gaudi.
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Fuchs, Wladek. "Confronting Vitruvius: a geometric framework and design methodology for Roman rectangular temples". Journal of Roman Archaeology 33 (2020): 93–112. http://dx.doi.org/10.1017/s1047759420000938.
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Studies of design principles of Roman temples typically have been based on Vitruvius, which inspired a belief that the colonnade was at the core of the geometric framework of every temple and that the lower column diameter (D) was used as a module to plan all other aspects, both horizontally and vertically. Archaeological evidence, however, shows that most extant temples do not match the Vitruvian model.1 Scholars have tried to explain the discrepancies in different ways: for example, by claiming that Vitruvius did not describe the actual state of Roman architecture but “what it should be”,2 that architects had to make “adjustments” to the “Vitruvian ideal” to create a particular effect, or that they had to make on-site corrections.3 A few studies have shown that also other design principles must have been at play. P. Barresi, based on the geometric analyses of several temple-podia of the 5th to 1st c. B.C. in central Italy, argued that they were designed and built relative to a square grid.4 He derived the size of each grid-module from the proportions of the rectangles of the temples' bases. He later reached the same conclusion for the temples of the Capitolium at Sufetula,5 while J.-N. Bonneville presented a similar theory for temples at Baelo Claudia.6 M. Wilson Jones observed that the principal parts of the façades of the Temple of Portunus at Rome and the Maison Carrée at Nîmes formed square contours,7 which he considered a reason for the “irregularities” (relative to Vitruvian principles) in the intercolumniations. He also presented other examples of simple geometric shapes in the compositions of the façades of Roman buildings.
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Zelić, Danko. "O Gradskoj loži u Šibeniku". Ars Adriatica, n.º 4 (1 de enero de 2014): 299. http://dx.doi.org/10.15291/ars.502.
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The municipal loggia in Šibenik was built between 1534 and 1547 as a replacement for the old loggia which had been constructed in the early fourteenth century as more modest building. The new loggia was a two-storied structure built on an elongated rectangular ground plan with an arcaded portico on the ground floor and an open colonnade on the first floor which stretched along the entire north side of the main town square. There, it faced the north side of Šibenik Cathedral and, therefore, helped shape an architectural setting which, compared to the public spaces in other Dalmatian towns, could be described as a proper Renaissance square. Despite this, in contrast to the Cathedral which has been extensively studied by several generations of art-historians, the municipal loggia never attracted much scholarly attention and tends to be mentioned briefly in general overviews of sixteenth-century art and architecture in Dalmatia and/or Croatia. In fact, no significant contributions to the knowledge about the history of this building have been made for almost a century, that is, since it was last discussed by local historians. Moreover, the loggia as they knew it was completely destroyed in a 1943 bombing raid and subsequently rebuilt from 1949 to 1960.The aim of this article is to establish basic facts about the original sixteenth-century building, starting with how it was called and which purpose it fulfilled. From the early twentieth century onward – the time when one first comes across the suggestion that the Šibenik loggia originally served as the seat of the municipal council – it has often been referred to as the town hall, not only in everyday life but also in the scholarly literature. However, the evidence obtained from the primary sources such as the Šibenik municipal statute, archival documents and other historical records demonstrates that the meetings of the local Great Council were held in the nearby Municipal, that is, Rector’s palace and nowhere else. Moreover, the loggia could not suit the needs of a large assembly, especially considering that its ground floor was divided in (at least) seven separate rooms while the upper level was completely open towards the square across the entire width of the building. The latter is corroborated by the written testimonies of the early nineteenth century which pre-date the time when the intercolumnations were filled in so as to make a wall on the first floor. On the other hand, the use of the term loggia (or logia as it appears in the sources written in Latin) which is not just a generic name for a distinctive architectural type, is indicative enough, not just with relation to the original purpose and function of the building but with regard to the important role in had in the everyday life of the local community. Just like any other municipal logia magna found in the medieval Mediterranean world, the one at Šibenik served as a place for the dispensation of justice but also as a place where a number of activities connected to public affairs took place, for example, promulgations of legal decrees issued by the central or local government, announcements of sale of immovable property, public auctions and so on.With regard to the commissioning process, design and execution of the loggia, the study of the primary sources has not yielded any results. Nothing is known about its designer, builders, sculptors and stonemasons, and the same can be said for the role played by the municipal bodies in its construction. The only reliable source of information concerning the chronology of the building and the individuals connected to it are the texts of four all’antica inscriptions, which were not restored after the Second World War, and which praise the merits of two Venetian noblemen who served as rectors of Šibenik in the sixteenth-century. The building of the loggia begun during the office of conte et capitano Zuan Alvise Venier (1532‒1534) while the inscription of 1542 gives the credit for its completion to Francesco Diedo who was rector between 1541 and 1543. However, what seems to have been completed by 1542 was only the main construction because we learn from the last dated inscription, located on the bell-tower, that Zuan Alvise Venier not only started the project but brought it to an end in 1547, the final year of his second term in office as the rector of Šibenik (1545-1547).The concluding sections of the article deal with the loggia’s unique architectural and urbanistic qualities and provide a brief survey of the still open historical and art-historical questions surrounding it, particularly those concerning its place within the context of contemporary architecture in the Venetian province of Dalmatia.
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Тарханова, С. В. "FOUNDATIONS OF ROMAN STRUCTURES AND SPOLIA IN EARLY BYZANTINE CHURCHES AND MEDIEVAL MOSQUES AT TEL SHILO (SAMARIA)". ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, n.º 2(11) (17 de febrero de 2020): 18–36. http://dx.doi.org/10.25995/niitiag.2019.11.2.002.
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Представляемое здесь исследование посвящено элементам архитектурного декора (базы, колонны, капители, перемычки, детали алтарных преград, декоративные рельефы, др.), которые были найдены в памятниках теля Шило в первичном (in situ), вторичном, третичном использовании или вне архитектурного контекста. Малая часть из них кратко опубликована, но большая их часть никогда не публиковалась и не анализировалась. Основная часть исследования включает в себя каталогизирование объектов, их обмеры, стилистический анализ и атрибуцию с предположительными датировками (данные работы уже частично проведены автором, материал неоднократно изучался натурно). Но прежде необходимо уточнить топографические особенности римского города, остатки ранних строений, дорог, из которых могли происходить детали, расположение ранневизантийских церквей с ориентацией на уже существующий контекст, чему и посвящена данная статья. Таким образом, здесь характеризуется эллинистический, римский контекст города, с последовательно вписанным в него ранневизантийским и раннеисламским, что до сих пор делалось лишь кратко и неполно. The present research is devoted to reporting on the recovery of architectural fragments in the Roman and Byzantine periods (bases, pedestals, shafts, capitals, lintels, chancel screen elements, decorative reliefs, etc.). They were found at the monuments of Tel Shilo in situ, in secondary, in tertiary use or out of the architectural context. Only a small part of them was published as part of the general reports on the excavations at Tel Shilo, which were conducted by Swedish and American expeditions and in the framework of regular works of the Civil Administration of Judea and Samaria (Dr. Aage Shmidt, Hans Kjær, Sven Holm-Nilsen, Marie-Louise Buhl, Flemming Gorm Andersen, Hananya Hizmi, Reut Livyatan ben Arie, Yodan Fleitman, et al.). Most of them (especially the fragments at the Basilica church, which I consider mainly Roman spolia) weren’t published or ever analyzed, except in some very general works and in general photographs. Besides, several architectural fragments were found during the last years of the excavations. The main section of the research includes a catalog of the objects, their measurements, stylistic analysis, attribution with preliminary dating. This work was accomplished in part and is still ongoing. The objects were examined at the site, photographed against the scale, and measured. But before proceeding to this main part of the research, it is necessary to outline and to present the main Roman and Early Byzantine architectural context at Tel Shilo. It is impossible to discover the original derivation, function, actual date and style of the details without characterization of the monuments, for which they may have been originally executed. Thus, the present article is devoted mainly to the architectural context of the town, which is divided into three main periods with sub-phases: Late Hellenistic and Roman decumani with several smaller in their scale cardines, their rebuilding during the Late Roman period (enlarging of the western colonnade of decumanus in front of cardo), tower on the outer edges of the settlement; Early Byzantine Northern churches, baptistery and Basilica church, which were, by my theory, inserted into the earlier system of roads with the use of their foundations, stylobate and members (though plenty of Roman spolia were reused, liturgical furniture was especially imported for the churches); and finally - Early Islamic mosques (Jami’ al Yetin, Jami’ Arbain, Jami’ es-Sittin), that were built on the place of the churches and inside the Roman tower with the use of all their elements (it seems that no special decorative elements were executed for mosques). It was done only in a brief and fragmentary manner before, without general systematization. The preliminary attempt to coordinate the known architectural details to their original architectural context is also presented here.
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Hoti, Afrim, John Wilkes, Elvana Metalla y Brikena Shkodra. "The Early Byzantine Circular Forum in Dyrrachium (Durrës, Albania) in 2002 and 2004–2005: Recent Recording and Excavation". Annual of the British School at Athens 103 (noviembre de 2008): 367–97. http://dx.doi.org/10.1017/s0068245400000113.
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Excavations a decade ago in the centre of the city of Durrës (ancient Dyrrachium) in Albania revealed an extensive complex of concentric structures of the Late Roman and Early Byzantine eras. Initially identified as a market complex (macellum) of a type known in numerous Roman cities, it also became apparent that the circular paved area 40 m diameter within a colonnade at the centre represented a space intended for more formal activities and was most likely a Forum comparable with the Curved Forum at Constantinople. A central focus of the area was a rotundac.5.75 m diameter that may have supported monumental statuary or possible a column. In 2001 a record was made of the architectural remains and in 2004 and 2005 two unfinished trenches adjacent to the Rotunda were enlarged and completed. The dating evidence recovered from beneath the level of the Forum paving indicated a construction date around the end of the sixth century, making it likely that it was one of the embellishments conferred on his native city by the emperor Anastasius (491-518).Οι προ δεκαετίας ανασκαφές στο κέντρο της πόλης του Δυρραχίου στην Αλβανία αποκάλυψε ένα εκτεταμένο συγκρότημα κυκλικών κατασκευών των Ύστερων πωμαϊκών και των ∏ρώιμων Βυζαντινών χρόνων. Μολονότι εξ' αρχής το συγκρότημα χαρακτηρίστηκε ως αγορά (macellimi), ο τύπος της οποίας συναντάται σε πολλές Ρωμαϊκές πόλεις, έγινε επίσης φανερό, ότι ο πλαισιωμένος με περιστύλιο κυκλικός πλακόστρωτος χώρος διαμέτρου 40 μ αντιπροσώπευε στο κέντρο του ένα χώρο, ο οποίος προοριζόταν περισσότερο για επίσημες δραστηριότητες, ταυτιζόμενος κατά πάσα πιθανότητα με αγορά (Forum), εάν συγκριθεί με την Κυρτή Αγορά της Κωνσταντινούπολης. Το επίκεντρο του χώρου ήταν μία ροτόντα με διάμειρο 5·75 μ κατά προσέγγιση, η οποία ίσως να στήριζε ένα μνημειακό σύμπλεγμα αγαλμάτων ή πιθανώς έναν κίονα. Το έτος 2001 δημιουργήθηκε ένα αρχείο για τα αρχιτεκτονικά κατάλοιπα και κατά τα έτη 2004 και 2005 δύο μη ολοκληρωμένες ανασκαφικές τομές, παρακείμενες της ροτόντας, επεκτάθηκαν και ανεσκάφησαν πλήρως. Τα δεδομένα χρονολόγησης, που συλλέχθηκαν κάτω από το επίπεδο του πλακόστρωτου της αγοράς τοποθετούν την οικοδόμησή της περί τα τέλη του 60υ αι. μ.Χ., συνηγορώντας προς την άποψη, ότι πιθανώς πρόκειται για ένα από τα αφιερώματα, που πρόσφερε στη γενέτειρά του, ο Αυτοκράτωρ Αναστάσιος (491–518 μ.Χ.).
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Escalada Marco-Gardoqui, María. "Estudio y aplicación de diferentes metodologías de cálculo para el conocimiento gradual del proceso constructivo y comportamiento mecánico de una arquería de la Mezquita de Córdoba = Study and application of different calculation methodologies for the gradual knowledge of the construction process and mechanical behavior of an arcade of the Mosque of Cordoba". Advances in Building Education 1, n.º 3 (31 de diciembre de 2017): 80. http://dx.doi.org/10.20868/abe.2017.3.3671.
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ResumenLa mecánica de las estructuras de fábrica ha sido durante mucho tiempo de alguna manera abandonada en la enseñanza universitaria durante la licenciatura de arquitectura, en comparación con otros campos del conocimiento, como el hormigón armado, el acero y la madera. Una parte importante de nuestro patrimonio arquitectónico se erigió empleando estas técnicas ampliamente difundidas antaño, pero ahora olvidadas tanto en la práctica constructiva como en el marco teórico de la universidad, más centrado en tecnologías contemporáneas e innovadoras. Los avances del software computacional como son los modelos macro/micro de elementos finitos nos permiten realizar un análisis extremadamente complejo de estructuras de mampostería, pero paradójicamente, al mismo tiempo, se distancian de las limitaciones y la forma en que los antiguos concibieron y entendieron la arquitectura. Los maestros canteros fueron capaces de construir perfectamente sin la ayuda de tales pruebas precisas sobre los materiales. Por lo tanto, la mentalidad que hay que adoptar a la hora de abordar la enseñanza del comportamiento de las estructuras de mampostería es aquella en la que se estimule al alumnado a apropiarse del conocimiento no solo de la geometría, sino también y principalmente de las fases del proceso constructivo y de las técnicas acordes al período histórico. Solo una vez elaboradas ciertas hipótesis sobre ellas, se deberá comenzar con el cálculo gráfico-numérico. El objetivo del presente trabajo es exponer una metodología de enseñanza basada en programas de optimización y ejemplificada con el estudio de un caso concreto: el análisis de las arquerías de la Mezquita de Córdoba y de los posibles sistemas de contrarresto provisionales de empujes mediante tirantes y apeos, buscando la rentabilidad material de los mismos. Se plantea un recorrido progresivo, con un gradiente de conocimiento, a través de un estudio gráfico-numérico que engloba cuatro programas de diferente complejidad: Geogebra, Autocad + Excel, Maple y Sap2000, partiendo siempre de una hipótesis constructiva razonada. De esta manera, se resuelve el mismo problema de maneras diferentes para entender la estática gráfica desde varias perspectivas y ver cómo agilizar y “sistematizar” el cálculo de este tipo de estructuras mediante modelos elaborados con software de optimización matemática y programación simbólica, aprendiendo a la vez, cuáles son sus limitaciones y dificultades.Abstracthe mechanics of masonry structures have been for a long time pushed aside in university teaching during the bachelor degree of architecture in comparison with other fields of knowledge, such as reinforced concrete, steel and wood. An important part of our building heritage is raised using techniques once widely spread but now forgotten in the construction practice as well as in the theoretical university framework, more focused on contemporary and innovative technologies. Developments regarding computational software like FEM macro/micro modelling and discrete element methods allow us nowadays to carry out extremely complex analysis of accomplished masonry structures. Paradoxically, at the same time, this distances itself from the limitations and the way ancients conceived and understood architecture. Master bricklayers and stonemasons were able to build wonderfully without the help of such precise tests on the materials. Therefore, the mind-set when tackling the teaching of masonry structures should be that one where it is forced to the student body to take ownership of the knowledge of the geometry, constructive techniques and processes according to the precise historic period, keeping the tradition alive. The purpose of this work is to present a teaching methodology mainly based on optimization programs for masonry structures. It is illustrated with the analysis of the construction process of the colonnaded portico with double arches of the Great Mosque of Cordoba. The requirement of hypothetical auxiliary resources, such as wood props for the fixation of the capitals and tightening structures will also be considered. This methodology should be understood as a progressive path with a knowledge gradient through a graphical-numerical study that involves the use of four programs: Geogebra, Autocad + Excel, Maple and Sap2000. In this way, the same problem of the thrust line falling within the boundaries of the archery is solved in various ways to understand graphic statics from different perspectives. Moreover, creating a personal optimization model sheet will be taught as a way of accelerating and “systematizing” the calculation. The study will be followed by more complex analysis using symbolic calculation programs. As a result of the learning process described, the limitation and difficulties of each way of approaching the stability problem of the archery will be understood. Not only that, but also students will take advantage of the freedom offered when proceeding to the limit analysis suited to their own interests, always having graphical support.
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STASYUK, Olena. "ESTABLISHMENT OF NEW MILITARY CEMETERIES IN THE HISTORICAL TOWNS OF GALICIA". Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 5, n.º 1 (7 de junio de 2023): 177–84. http://dx.doi.org/10.23939/sa2023.01.177.
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Cemeteries are an integral part of the cultural landscape of every city or town, evidence of the ideology and spiritual life of their time. Military cemeteries may not be in every settlement, but they very clearly record their time, history, ideology. Today we have just such an important and historical moment and we have a war again in our country. Which means dead heroes. And this in turn means new military cemeteries. Galicia has a rich history of military cemetery formation. The first military cemeteries appeared in Galicia, and thus in Lviv during the First World War. That is, in the early twentieth century. The twentieth century was further marked by a series of events which replenished the number of military cemeteries.. These are the Second World War and the struggle for the Ukrainian state. Regardless of the status and the age of the cemetery, from an architectural point of view, the cemetery is a very vulnerable object that requires continuous care and ordering. Military cemeteries are additionally overlaid with an ideological component that complicates their existence. Let's take a look at how thedead warriors were treated in the past. In ancient Greece, mounds were heap up on the battlefields, which were both graves of the dead and symbols of victory. On the tops of mounds, stone lions were installed as a symbol of invincibility and courage. And during the Enlightenment, when burial was restricted in churches and churchyard cemeteries, new cemeteries were built outside the city walls. The changes also concerned the approach to the dead in general and the dead heroes in particular. The attitude towards soldiers' anonymity has changed.The first soldiers to be honored with a memorial tombstone were soldiers killed during the domestic wars of the French Revolution. Until the First World War, no military cemeteries were created in Europe. It was the First World War that provoked the need for the establishment of military cemeteries in our latitude. The Departments of Military Graves were engaged in construction of military cemeteries In Galicia with headquarters in Krakow, Przemysl and Lviv. Lychakiv Cemetery became the place of the first military burials of the First World War in Lviv. After the First World War the Polish state in Lviv builds a pantheon on the Lychakiv Cemetery in the so-called "Lviv Eagles" for Polish soldiers who died for Poland's independence in the Polish-Ukrainian war. The Second World War is breaking out in Europe very quickly. The front passes through the Galicia several times. . After the war Galicia was split between the Soviet Union and Socialist Poland. . In 1951, the Eagle Memorial in Lviv was destroyed. In 1971, the graves and the colonnade were destroyed by tanks and construction equipment. Military burials of World War I in Lviv were also located at the Yaniv Cemetery. In particular, a military memorial to UGA shooters, which was destroyed by the Soviet authorities in 1971 by bulldozers. After Ukraine gained independence in 1991, events began to reverse. In 1998 a construction of the memorial for the soldiers of the Ukrainian Galician Army was started at the Lychakiv Cemetery, and in 2005 it was solemnly opened. In 1997-1999, a memorial to the UGA shooters was restored at Yaniv Cemetery in Lviv. In 1990, the restoration of the Memorial of the Lviv Eagles at Lychakiv Cemetery began. In 2014, in the independent Ukraine, the execution of the celestial hundred took place. The fallen heroes returned to their homes. In Lviv, they are buried at the Memorial to the soldiers of the Ukrainian Galician Army at the Lychakiv Cemetery. Other cities also hold memorials to the victims. Very soon, after the shooting of the celestial hundred, the war began. It is still going on. And the expense of the losses we incur in this war does not stop. The question of the military cemetery to the heroes of the modern war remains open.
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"Towers and colonnades: the architecture of Cuthbert Brodrick". Choice Reviews Online 37, n.º 07 (1 de marzo de 2000): 37–3743. http://dx.doi.org/10.5860/choice.37-3743.
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Kusumo, Camelia May Li, Ken Ying Cho y Robert Powell. "Five-footways: the generator of public realm in Malaysian historical urban centre". Archnet-IJAR: International Journal of Architectural Research, 28 de junio de 2022. http://dx.doi.org/10.1108/arch-12-2021-0347.
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PurposeFive-footways are an important feature in historical urban centres of tropical South East Asian cities. These colonnades along the rows of commercial shop houses provide comfortable pedestrian walkways. In spite of the decline of the liveability in many historical urban centres, the “kaki-lima” or five-footways in Klang Valley Malaysia are bustling and alive. Many studies have been done on kaki-lima, however it focuses mostly on historical and cultural context. There is lack of understanding on how the physical attributes of kaki-lima facilitate the liveliness of urban life. The paper aims to investigate the five-footway as the generator of public realm and to analyse the physical attributes of the five-footways that contribute to the “stickiness” of the public space.Design/methodology/approachThe study utilized behaviour mapping to identify the sticky activity, then subsequently used Roger Barker's theory of Behaviour Settings to observe different stationary activities along the five-footways of the historical centres of Kuala Lumpur and Klang.FindingsThe findings show that all the identified behaviour settings along the five-footways are strongly characterised by tropical climate and local diverse culture. Additionally, the small architectural detail provides an important physical setting for informal activities to take a place in the five-footways.Research limitations/implicationsThe study is limited only to two urban heritage districts in Malaysia, namely Kuala Lumpur and Klang.Practical implicationsThe findings have the implication for the public space policy of the local municipalities, specifically for urban design policy of the five-footways. Firstly, the inclusion of five-footways should be encouraged in any new shophouse development and secondly, the policy maker should consider to retain certain physical features of the five-footways that support not only the informal economy activities but also the creation of third places in the neighbourhoods.Originality/valueThis study will contribute to the discourse of urbanism, especially in understanding the public realm in South East Asian cities. Additionally, the outcomes will assist the local municipality in developing urban design policy of the five-footways.
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Pensabene, Patrizio y Eleonora Gasparini. "Colonnaded Hall in Kourion: How the Oecus Corinthius Was Interpreted in the Roman Houses of Cyprus". Études et Travaux, n.º 34 (31 de diciembre de 2021). http://dx.doi.org/10.12775/etudtrav.34.014.
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This contribution analyses the architecture of the public reception area of a house in Kourion, on the southern coast of Cyprus. Known as the Early Christian House due to the discovery of a later phase, characterised above all by mosaics, the house, which is only partially excavated, boasts architectural features that date back to the Hellenistic era. These sprang from official Alexandrian models that subsequently spread across the Mediterranean. In territories such as Cyprus, where ties with the Ptolemaic Kingdom were close, this new form of architectural expression continued to flourish, with transformations and elements of innovation, even during the Imperial Age. In the Early Christian House this phenomenon is particularly evident in a colonnaded room in which the model defined by Vitruvius, the Oecus Corinthius appears. In this particular instance, the style is embellished with the use of simplified capitals and angular heart-shaped pillars of the Doric order. The architectural elements of the house are analysed here in order to provide a stylistic and chronological framework what contribute to the reconstruction of the history of the early Imperial phase of the building.
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Ahmad Khan, Ghufran. "How influencing factors govern the planning of Greek Architecture". International Journal of Innovative Research in Engineering, 22 de abril de 2023, 571–75. http://dx.doi.org/10.59256/ijire.2023040228.
Texto completoResumen
The architecture style of Greece was coined by the Hellenic people. They expand their culture powerfully. It extends it wings starting from Asia Minor to Italy for a period from about 900 BC up until the 1st century AD with prior lifelong architectural works came into being in from around 600 BC. Temples are the best-known examples to recognize the architecture style of Greece. But out of those temples few of the temples are still there in existence but most of them were in the form of ruins.This paper talked about the factors that governed the whole of Greece in terms of geography, geology, climate, religious, historical, and social characters. Under which few of the corrections that had accomplished. In this paper, the clear elaboration of order of architecture has introduced with some best examples with respect to the architecture and structure of Greece. Such as the processional entrance, which is termed as Propylon, the public plaza or square is there, which is termed as an agora surrounded by storied colonnaded structure termed as stoa, the town council building is happening in the name of bouleuterion, the public monument as a monumental tomb termed as a mausoleum and the stadium is also there. Key Word: Architecture buildings and structure of Greek Architecture, Climatic factor, Corrections in column, Geographical and Geological factor, Historical factor, Optical illusion, Order of architecture, Religious factor, Social factor.