Articles de revues sur le sujet « Carved architecture »
Pour voir les autres types de publications sur ce sujet consultez le lien suivant : Carved architecture.
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Consultez les 50 meilleurs articles de revues pour votre recherche sur le sujet « Carved architecture ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Parcourez les articles de revues sur diverses disciplines et organisez correctement votre bibliographie.
1
Mitiukov, Nicholas W., Arina N. Pislegina et Irina V. Preobrazhenkaya. « CLUSTER ANALYSIS OF CARVED TERRACE WINDOWS IN VOTKINSK ». Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no 43 (2021) : 270–81. http://dx.doi.org/10.17223/22220836/43/23.
Texte intégralRésumé :
Terraced windows, along with frames, are a unique element of Russian wooden architecture. But if in the major cities of the Pre-Urals, the old wooden quarters were demolished for serial building in the middle of the 20th century, the center of Votkinsk retained its almost original appearance of the mid-19th century. As a result, the carved terraced windows are no longer so massively represented in other cities of Udmurtia and the Urals. Nevertheless, due to economic activity, the private sector of Votkinsk is actively being built up, and the owners of wooden houses that are not architectural monuments everywhere are replacing carved terraced windows with plastic windows that are more comfortable in everyday life. As a result, it is likely that in a couple of decades such an expressive element of Russian wooden architecture as the Votkinsk carved terrace windows can be lost forever. Therefore, the objective of this work consisted, firstly, in photo fixing windows still available in Votkinsk, and secondly, in their cluster analysis to identify typical signs. Their definition is necessary, for example, if, with the improvement of the production technology of serial windows, it again becomes possible to return this element of architecture, then the starting point can be not only simple imitations of preserved monuments of wooden architecture, but the existing database in all its richness of forms. In 2013-2015 the authors surveyed 35 terrace windows of Votkinsk were surveyed, mainly central streets: Kirov, May 1 and Lenin, which are presented in the appendix. During cluster analysis, it was revealed that the most common type of window consists of three modules with an arched completion with the same width of modules. As a rule, the upper part of the window consists of three elements, divided by straight partitions. The ornament of the window itself, as a rule, has axial symmetry and consists of two parts. The presence of elements that are difficult to manufacture, including semicircular and parabolic ornament lines, testifies to the high production culture and craftsmanship of the workers who made the terrace windows, the production technology of which was possible only in the workshop or artel conditions. Undoubtedly, the influence on the windows of the neo-Gothic style, which could have been brought to Votkinsk by invited foreign experts. Local culture also had a great influence. But Udmurt motifs are extremely limited, as evidenced, for example, by the lack of asymmetric parts built on the principle of rotation. In addition, obviously Orthodox motifs have been found, for example, the use of the triptychiconostasis form, ornaments in the form of a “forked” cross superimposed on the silhouette of an Orthodox church cloth. In general, Votkinsk terrace windows can be considered as a unique cultural phenomenon on the territory of Udmurtia, which is so massively not found now.
2
Filipova, Jevgenija, et Marina Rynkovskaya. « Carved Monge Surfaces as New Forms in the Architecture ». MATEC Web of Conferences 95 (2017) : 17006. http://dx.doi.org/10.1051/matecconf/20179517006.
Texte intégral
3
Peng, Minghao, et Ruoshui Li. « Additional niches and architecture added in the Tang dynasty to the Vairocana niche in the Fengxian Temple at Longmen ». Chinese Archaeology 22, no 1 (1 novembre 2022) : 182–90. http://dx.doi.org/10.1515/char-2022-0015.
Texte intégralRésumé :
Abstract The niche with the colossal statue of Vairocana Buddha in the Fengxian Temple in Longmen was carved in the second year of the Shangyuan reign period of the Tang dynasty. At the beginning of the Kaiyuan reign, additional niches were carved into the same cliff wall. Based on spatial analysis of the surviving holes for architectural structures and their relation to the niches added later, it is inferred that the architecture in front of the niche was not built after the construction of these later niches. These two construction events could have belonged to the same construction phase. The construction of the architecture in front of the Vairocana niche completely altered the outer appearance and visibility of the statues, which then resulted in the relocation of worship activities from the open area to an enclosed space created by the wooden-structured temple in front of the niche.
4
Kurek, Jan. « ARCHITECTURE OF MALTA’S STRUCTURES ». Space&FORM 2021, no 47 (9 septembre 2021) : 67–82. http://dx.doi.org/10.21005/pif.2021.47.b-03.
Texte intégralRésumé :
Stone buildings appeared on Malta over 7000 years ago – around 3500 BC. Impressive megalithic structures were built at the time. Similar stone structures were erected in many places throughout Europe. Large megalithic structures have survived on Malta in areas such as Ġgantija and Tarxien. In other areas, large spaces called hypogea were carved from rock. Both in prehistory and today, stone remains one of the primary construction materials used across the Maltese archipelago. The architectural forms of seaside resorts are now cosmopolitan. Few contemporary projects reference historical building traditions – both formal and material.
5
Patel, Neelam. « The Impact of Architecture Embellishment on Traditional Motifs : A Study ». International Journal for Research in Applied Science and Engineering Technology 10, no 12 (31 décembre 2022) : 1766–73. http://dx.doi.org/10.22214/ijraset.2022.48300.
Texte intégralRésumé :
Abstract: This research is descriptive in nature and data collection source are from internet, books and field visits. The reason of this paper is to understand the relationship between the inspiration and impact of architecture and cultural incorporation in the back of the conventional motifs of India. Retaining this reality in mind, researcher attempted to discover the connection between ‘fashion’ and ‘structure,’ that could function style detail for designers. India has a vast history of crafts and textiles. There are huge variations of surface ornamentation techniques and diverse range of motifs as well, but the point is how the artisans got inspired for motifs and patterns embellished on textiles. Motifs are one of the prominent examples of this fusion where one can feel the essence of two different art. The foreign invasion, when both the architectural design and silhouette endured a significant transformation, is when the influence can be found. Many non-indigenous designs were incorporated with the classic Indian motifs as a result of the expansion of trade routes between and within the Indian subcontinent. Indo-Islamic architecture also had an impact on Rajput and Sikh architectural forms. The Mughal, European, British, and Indian art influences are still clearly visible in the architecture and motifs. Motifs inspirations for garments are influenced from the carved motifs in architectures with few changes. Due to the diverse culture these motifs are applied with diverse changes in many regions of India. For example, the paisley design, which has Persian roots and is prominently featured in Mugal architecture, is adopted in numerous cultures with subtle modifications
6
Caneva, G., A. Altieri, A. Kumbaric et F. Bartoli. « Plant iconography and its message : realism and symbolic message in the Bernini fountain of the four rivers in Rome ». Rendiconti Lincei. Scienze Fisiche e Naturali 31, no 4 (19 août 2020) : 1011–26. http://dx.doi.org/10.1007/s12210-020-00946-2.
Texte intégralRésumé :
Abstract The use of symbols in architecture of the past centuries is evident, even if sometimes cryptic. The reasons behind the representation of plants in artistic and architectural contexts are of great interest as they help in their understanding. We analysed the plants carved in the Fountain of Four Rivers (Rome), designed by G.L. Bernini (mid-seventeenth century), through iconographic and historical documents. The carved plants (about 34 species) creates a natural and symbolic association with the selected rivers and continents. Some species are chosen to characterise various geographic contexts or fluvial and rupestrian habitats or are referred to the papal coats of arms (Innocent X Pamphilj). A certain number has auspicious connotation and takes a strong symbolic salvific meaning and protective against the evil’s threat. The Kircherian influence emerges in several iconographic choices, as well as the river selection and orientation, in a philosophical-religious logic linked to the Papacy and Christianity role.
7
Fehér, Krisztina. « Tas-de-charge – An Essential Part of Gothic Vault ». Periodica Polytechnica Architecture 52, no 1 (21 avril 2021) : 21–31. http://dx.doi.org/10.3311/ppar.16889.
Texte intégralRésumé :
Gothic architecture can be viewed from several perspectives, including stylistic aspects, architectural theory, and structural analysis.As Gothic architecture is a skeletal construction, it is essential to achieve an equilibrium with the multiple loads and forces. Medieval master masons' architectural knowledge was firmly based on empirical learning, which stimulated the dynamic development of structural innovations.This paper emphasises and describes a particular type of vault springer, one of the most complicated and sensitive parts of Gothic construction. Known as tas-de-charge, it became especially characteristic of high Gothic architecture. According to its principle, the springer's lower courses contain the merged vault nerves and are carved from one single stone block in each course. The beds of these courses are not radial as those of the average voussoirs, but horizontal. Without the concept of tas-de-charge, the development of late Gothic vaults could not be imaginable. This particular solution made possible the creation of elegantly narrow imposts supporting the vault ribs, the double arch and the formerets. So far, tas-de-charge has not been a focus of interest in the historiography of Hungarian medieval architecture; however, it appears that it was commonly applied in our late Romanesque and early Gothic monuments.
8
Makovicky, Emil, et Nicolette M. Makovicky. « The first find of dodecagonal quasiperiodic tiling in historical Islamic architecture ». Journal of Applied Crystallography 44, no 3 (6 mai 2011) : 569–73. http://dx.doi.org/10.1107/s0021889811013744.
Texte intégralRésumé :
The tympanum of the entrance of the Zaouïa Moulay Idriss II in Fez contains the only known example of a dodecagonal cartwheel quasiperiodic pattern in Islamic art, dating possibly from the Merinid epoch. This pattern, carved in a marble plate, is based on a type of Ammann quasilattice known also from modern mathematical literature. The central portions of this pattern were used as elements in a periodic pattern on the walls of the Saadian mausoleum in Marrakech.
9
Suresh Kumar, P. « Architecture of Kalyana Pasupatheswarar Temple, Karur ». Shanlax International Journal of Arts, Science and Humanities 8, no 1 (2 juillet 2020) : 180–86. http://dx.doi.org/10.34293/sijash.v8i1.3205.
Texte intégralRésumé :
Karur Kalyanapasupatheswarar temple is one of the most remarkable temples of the Chola period. The temple stands majestically on the western bank of the river Caveri, the gigantic structure drawing the attention of the visitors. The Kalyanapasupatheswarar temple, Karur, has been attempted in the succeeding pages. There is nothing special in such legends, which are associated with many religious centers of the country. But in the present context, what is noteworthy is the fact that such legends seem to have gained currency in a much early period, say that of the Cholas, for some sculptures depicting these stories are found carved on the gopuras, walls, and pillars which had come into existence by then. The sculptors were making use of such stories for the depiction of sculptural art. But later, these stories were collected, and with additions and distortions, they came to be associated with the place.
10
López Quiroga, Jorge, et Natalia Figueiras Pimentel. « The laura and coenobium of Saint Pedro of Rocas. A rupestrian complex of Byzantine origin in the northwest of the Iberian Peninsula. » Anastasis. Research in Medieval Culture and Art 7, no 1 (29 mai 2020) : 9–48. http://dx.doi.org/10.35218/armca.2020.1.01.
Texte intégralRésumé :
The building we see today when we approach the monastery of Saint Pedro of Rocas reveals the modern architecture: the priory house. But this architecture "hides" another one that corresponds to the various construction phases carved in the rock, both in its worship, residential and funerary function. An architecture excavated in the rock that is directly related to its hermitic origins linking Saint Pedro of Rocas with an anchoretic tradition characteristic of the territory in which it is located and which we know as Ribeira Sacra. Many are the questions, and the enigmas, which still contains Saint Pedro of Rocas and it is precisely in the rock where we find the answers to those questions. We do not intend to solve them within the framework of this article, but we will point out some reflections that allow us to understand the complexity and enormous historical dimension that enclose the rock of Saint Pedro of Rocas. The data that we are obtaining from the interdisciplinary research that we have been carrying out points to a clear oriental origin in the forms of community life that took place in Saint Pedro of Rocas. The influence of Saint Martín of Dumio (bishop of Braga, in the second half of the 6th century) in the importation of monastic life forms of Syrian-Palestinian origin ended up configuring an architecture carved into the rock at the service of a clearly Byzantine liturgy.
11
Shumka, Laura. « Particularities of wooden carved iconostases in selected post-Byzantine churches of Albania ». Muzeológia a kultúrne dedičstvo 10, no 4 (2022) : 79–88. http://dx.doi.org/10.46284/mkd.2022.10.4.6.
Texte intégralRésumé :
This paper presents the data and study results of the post-Byzantine wood carved iconostases of different churches in Albania, which notwithstanding the circumstances of the communistic period have preserved to a considerable extent their typical characteristics. The paper aims to examine the stylistic and morphological aspects of the iconostasis in selected churches in relation to the architecture and tries to identify the relationships, sequences and reasons for such phenomena. The presence of iconostases in the Eastern Orthodox Church is based on the carried rituals and services that are expressed through ecclesiastical sculptures and other works. In these contexts, the iconostasis is the most dominating screen, related to the rood screen of English mediaeval churches, but contrary to them it is a closed and solid structure. In the iconostasis, architecture and wood carving workers collaborate on a large scale in order to create a solid and well-integrated frame. The analysis includes St Mary’s Monastery, also known as the Monastery of Dormition of Theotokos Mary, a medieval Byzantine church on Zvërnec island in the Narta Lagoon, southwest of the city of Vlora, southwestern Albania (SMZ); the Church of Apostles in Hoshtevë, Gjirokastra, with its spectacular interior completely covered with frescoes that became a cultural monument of Albania in 1948 (SA); and the Church of the Dormition of the Theotokos, simply known as Koimissi or St Mary, in the village of Labovë e Kryqit, Gjirokastër County, southern Albania (SM).
12
Kirilko, Vladimir P. « Art and Archaeological Realities of Carved Decor from Marl in the Architecture of Medieval Crimea ». Actual Problems of Theory and History of Art 12 (2022) : 135–47. http://dx.doi.org/10.18688/aa2212-01-08.
Texte intégral
13
Zhang, Dengyong, Gaobo Yang, Feng Li, Jin Wang et Arun Kumar Sangaiah. « Detecting seam carved images using uniform local binary patterns ». Multimedia Tools and Applications 79, no 13-14 (31 juillet 2018) : 8415–30. http://dx.doi.org/10.1007/s11042-018-6470-y.
Texte intégral
14
Kirilko, Vladimir Petrovich. « Architrave Slab of the Entrance into the Gate Church of Funa ». Античная древность и средние века 49 (2021) : 164–75. http://dx.doi.org/10.15826/adsv.2021.49.012.
Texte intégralRésumé :
The gate church of the Theodorite castle near the village of Funa appeared in 1459 and existed to 1778. Left unattended later on, it became decayed, quickly dilapidated, and finally turning into ruin after the earthquake of 1927. The experts’ conclusions concerning its origin are based mainly on the typical features of the architectonics and carved decoration of the structure, correlated with the traditions of Armenian architecture and Seljuk ornamentation. The most exquisite architectural detail of the building is the large slab with relief ornamentation that overlapped from outside the doorway of the south entrance. Two iconographic sources are published for the first time to supply new information about the slab in question along with the results of a substantive study of a large fragment of the artefact which was found by chance outside the castle short time ago. Almost a half of the composition that adorned the outermost part of the architrave survived. Its completely lost middle part can be reconstructed reliably by the photograph taken by N. N. Klepinin and the drawing by D. M. Strukov. The ornamental motif of the slab is one of the most popular in mediaeval art, being typical of the eastern decorative tradition. It is still not possible to discover the origin and exact date of the architrave which was secondary used in the church of 1459. Stylistically, structurally, and technologically it is comparable with carved architectural details of many main buildings of the capital town of Theodoro, which were erected in the 1420s. Therefore, the slab in question possibly has the same chronology, but still it could be made even earlier.
15
Aston, David A. « TT 358, TT 320 and KV 39. Three early Eighteenth Dynasty Queen’s tombs in the vicinity of Deir el-Bahari ». Polish Archaeology in the Mediterranean XXIV, no 2 (31 janvier 2016) : 15–42. http://dx.doi.org/10.5604/01.3001.0010.0168.
Texte intégralRésumé :
This paper discusses the similarities between TT 358, TT 320 and, in its second stage, KV 39. In terms of both architecture and grave goods, it is suggested that these three tombs were all made for early Eighteenth Dynasty queens. That TT 358 was carved for Ahmose-Meryetamun is certain, whilst the suggestion that TT 320 was cut for Ahmose-Nofretari is defended. Although it is not certain for whom KV 39 may have been designed, the suggestion that it was Ahmose-Inhapi seems plausible.
16
Abdul Majid, Noorhanita, Puteri Shireen Jahn Kassim, Tengku Anis Qarihah Binti Raja Abdul Kadir, Abdul Razak Bin Sapian et Abu Dzar Bin Samsudin. « Baitul Rahmah : a Final Evolution of The Malay Classical Style Amidst Change ». Cultural Syndrome 2, no 1 (29 juillet 2020) : 78–98. http://dx.doi.org/10.30998/cs.v2i1.347.
Texte intégralRésumé :
The paper highlights the significance and position of the Baitul Rahmah, an early 20th-century mansion in Kuala Kangsar, Perak, Malaysia, as a key milestone of stylistic evolvement of local vernacular architecture. Its form embodies, a typological variation at a time of growing Colonial imperialism, while its grammar and language refers to early modern stylistic expression reflecting the fundamental principles of indigenous architecture. The Baitul Rahmah brings to light how a final evolution and epitome of the vernacular projects an identity as a cosmopolitan manifestation. Its internal ornamentation recalls the stylized forms of local motifs and reflect a form of control and minimalism; i.e. an ‘ornamental decorum’. Its wood-carved expressions seem stylised into increasing ‘modernised’ simplication and modularity, while its masonry- timber structure reflect the identity of hybridity in architecture which symbolise the tensions of local communities as they step into the 1900s into a global context.
17
McKay, Bill, et Antonia Walmsley. « Māori Architecture 1900–18 ». Architectural History Aotearoa 1 (5 décembre 2004) : 57–62. http://dx.doi.org/10.26686/aha.v1i0.7895.
Texte intégralRésumé :
This decade can be noted for several distinct approaches to Māori architecture, reflecting a variety of nationalistic impulses. This paper offers a brief overview of the diversity of Māori architecture and ideas in this period. Pākehā, in the search for national identity, and also reflecting the interests of the global Arts and Crafts movement, were enthused by the local example of the carved and decorated whare whakairo, native timbers, Māori adzing techniques and local flora and fauna. This can be seen in the work of architects such as JW Chapman Taylor, as well as the symbolism and trademarks of popular culture, and the pattern of museum acquisitions. By the twentieth century Māori were seen as a culture that could soon become extinct and this is reflected in the images of artists such as Goldie ("The Calm Close of Valour’s Various Days"), Lindauer's interest in preserving ersatz records of tradition and custom, and Dittmer's interest in myth and legend. Parliamentarian Āpirana Ngata, a member of the Young Maori Party, was very influential in the revival of certain customary arts (seen in the later establishment of schools of Māori arts and crafts in Rotorua) but he and his colleagues promoted a form of these arts that while "encouraging national Maori unity" also suppressed the diversity of activity in modern figurative painting and tribal identity for instance. These approaches can be contrasted with the patterns of building by other Māori movements more opposed to the government and actively seeking the restoration of Māori lands, rights and mana. Rua Kēnana's settlement at Maungapōhatu in the 1910s and TW Rātana's hall and church building later in the century (his ministry began in 1918) eschew the use of any meeting house forms or customary motifs – they were turning to new forms and symbols to sustain Māori identity in the new century.
18
Villamil, Laura P., et R. Jason Sherman. « ANCIENT MAYA SETTLEMENT, INTERACTION SPHERES, AND GEOPOLITICS IN SOUTH-CENTRAL QUINTANA ROO, MEXICO ». Ancient Mesoamerica 28, no 2 (2017) : 441–61. http://dx.doi.org/10.1017/s0956536116000420.
Texte intégralRésumé :
AbstractThis paper presents the results of investigations at the ancient Maya site of Margarita in south-central Quintana Roo, Mexico, and relates them to documented patterns at neighboring centers. Following initial settlement of the region in the Middle Preclassic, settlement hierarchies topped by large centers with monumental architecture, carved monuments, and associations with sites to the south emerged in the Late Preclassic to Early Classic periods. In the Late Classic, several primary centers declined and there was a proliferation of affluent urban populations—evidenced by construction of elaborate residential groups—at smaller centers like Margarita. Long-distance cultural affiliations shifted as well, with ceramic and architectural links to western and northern Yucatán becoming pronounced. Many settlements were abandoned in the Terminal Classic, but there is also evidence of the formation of “post-collapse” communities at Margarita and other neighboring sites during the same period.
19
Utaliev, Saken A. « Production and Use Specifics of Carved Decorations in the Architecture of Medieval Khwarezm (XIII-XIV Centuries AD) ». Annales d'Université "Valahia" Târgovişte. Section d'Archéologie et d'Histoire 19, no 1 (2017) : 57–66. http://dx.doi.org/10.3406/valah.2017.1206.
Texte intégral
20
Klotsko, Shannon, et Neal Driscoll. « Geomorphological and stratigraphic evidence along the northeastern U.S. margin for Laurentide glacial lake outburst floods during the MIS 2 deglaciation ». Quaternary Research 90, no 1 (17 mai 2018) : 139–52. http://dx.doi.org/10.1017/qua.2018.32.
Texte intégralRésumé :
AbstractBlock Island Sound (BIS), in southern New England, was occupied by a glacial meltwater lake (Lake BIS) during the MIS 2 deglaciation. New CHIRP seismic data, swath bathymetry, and legacy seismic profiles from BIS provide important insights and constraints on the morphologic evolution of a glaciated margin from the last glacial maximum to present. Interpretation of seismic data revealed four well-defined sediment units: acoustic basement, glaciolacustrine varved sediments, a lag deposit, and Holocene sediment. The morphology and architecture of the sedimentary units suggest that Lake BIS drained quickly, followed by the catastrophic drainage of glacial Lake Connecticut through BIS (Lake Connecticut occupied present-day Long Island Sound). The draining waters carved depressions ~100 m deep in the floor of BIS and the region between the lakes. The waters also carved Block Island Valley, which extends across the continental shelf. Continued existence of the depressions and valley suggests a rapid transgression over these water depths and limited sediment supply. Our results show the significant impact of glacial lake outburst floods, even during a sea level transgression, and may help explain morphology observed along other glaciated margins.
21
Chasukwa, Michael, Happy Kayuni et Yapikachi Msiska. « Malawi’s Post-Independence Foreign Policy and Its Influence on Development Options ». Afrika Focus 35, no 2 (20 décembre 2022) : 293–317. http://dx.doi.org/10.1163/2031356x-35020003.
Texte intégralRésumé :
Abstract This paper analyses the causes, processes and systemic factors that have been central to Malawi’s post-independence foreign policy and its implications for national development policy options between 1964 and 1993. The paper argues that Malawi’s post-independence foreign policy and development direction were mainly adopted in reaction to the failure of Kamuzu Banda (the first president of Malawi) to win international support (at an Organisation of African Unity summit) for his quest to interact economically with more countries. From a historical institutionalist perspective, it can be argued that this rejection “carved out” a future foreign policy direction that was deliberately meant to “rebel” against the Organisation of African Unity’s prescriptions. Subsequent development policies (for instance, maintaining ties with Israel and the apartheid South African regime) were actually more of an aftermath of this “carved-out” foreign policy direction. In other words, foreign policy dictated the development policy options. The findings are drawn from available documentary sources (new and old) and a review of existing literature. Through a re-examination of the existing evidence in the context of historical institutionalism, it provokes and recasts a new and fascinating debate on Malawi’s post-independence foreign policy architecture.
22
Suantika, I. Wayan. « IDENTIFIKASI BANGUNAN PADA PAHATAN TEBING DI SEPANJANG SUNGAI PAKERISAN, KABUPATEN GIANYAR ». Forum Arkeologi 33, no 1 (30 avril 2020) : 1. http://dx.doi.org/10.24832/fa.v33i1.520.
Texte intégralRésumé :
Pakerisan River which located in Gianyar Regency is one of the famous rivers which has many archaeological sites. Some of them are rock-cut architectures, carved along its riverbank, such as Gunung Kawi Temple Site, Kerobokan Temple Site, Goa Garbha, and Tegallinggah Temple Site. In general, all of the rock-cut architectures are the depiction of buildings and could be categorized as sacred or profane in regard to their functions. These sites were built around 10th- 13th Century. This research aims to indentify all the building types based on the carving. Survey and interview were used in data collection, and were used in collecting data. Then, the data were analyzed with morphological, technological and contextual analysis. The result of this research shows that these rock-cut architectures consist of sacred buildings, i.e. rock-cut temples, worship niches, hermitage niches, and some house-like profane buildings. These architectural concepts of rock-cut architecture might be used as references to understand the origin of Balinese traditional architecture nowadays. Sungai Pakerisan yang ada di Kabupaten Gianyar adalah salah satu situs arkeologi yang terkenal di Bali. Sebab di sepanjang sungai itu terdapat beberapa pahatan tebing kuno, seperti Komplek Gunung Kawi, Situs Kerobokan, Situs Goa Garbha, dan Situs Tegallinggah. Umumnya semua pahatan tebing tersebut merupakan bentuk-bentuk bangunan yang dapat diketahui sebagai bangunan suci dan bangunan biasa yang dibangun sekitar abad ke- 10-13 Masehi. Tujuan dari penelitian ini adalah untuk mengidentifikasi tipe-tipe bangunan berdasarkan pahatan tebing yang ada di sana. Metode survei dan wawancara diterapkan dalam penelitian ini untuk memperoleh data. Analisa data menggunakan teknik analisis morfologi, analisis teknologi dan analisis kontekstual pahatan tebing. Dari kegiatan penelitian ini diharapkan dapat diketahui seluruh tipe bangunan yang ada di sana. Temuan penelitian ini berupa berbagai pahatan tebing berbentuk bangunan pada DAS Pakerisan, yang secara garis besar terdiri atas bangunan suci (sakral) berupa candi tebing, ceruk pemujaan dan ceruk pertapaan, serta bangunan profan berupa rumah. Dengan melihat pahatan-pahatan tebing tersebut, tersirat adanya konsep-konsep dasar arsitektur yang mungkin sebagai cikal-bakal dari arsitektur tradisional Bali yang kita kenal sekarang.
23
Yegül, Fikret K. « A Victor’s Message ». Journal of the Society of Architectural Historians 73, no 2 (1 juin 2014) : 204–25. http://dx.doi.org/10.1525/jsah.2014.73.2.204.
Texte intégralRésumé :
Carved on the bottom molding of one of the columns of the Temple of Artemis in Sardis is an inscription that declares: “My torus and my foundation block are carved from a single block of stone. … Of all the columns I am the first to rise.” In addition, the base is fashioned as a victory wreath. The torus—decorated by horizontal laurel leaves gathered by a fluttering ribbon—and a bronze medallion glorify the column as the winner of a competition. In A Victor’s Message: The Talking Column of the Temple of Artemis at Sardis, Fikret K. Yegül analyzes this phenomenon of competitive and celebratory inscriptions and decorative carvings, in particular the message and metaphor voiced by the victorious column of Sardis, to illustrate a wide web of cultural relationships connecting the city to its proud past and auspicious future. The transformation of an architectural element into a victory wreath, which was probably influenced by the base of Trajan’s Column in Rome, is unique in Asia Minor. Equally rare, perhaps even unique, is a column speaking in the first-person singular, using an archaizing mode and message, particularly appreciated in the memory-inspired urban culture of Asia Minor during the Second Sophistic.
24
Khan, Sonia Nasir, et Iqra Ashraf. « The Architecture and Decoration Varieties of Khirbat al Mafjar ». PERENNIAL JOURNAL OF HISTORY 1, no 2 (31 décembre 2020) : 161–80. http://dx.doi.org/10.52700/pjh.v1i2.17.
Texte intégralRésumé :
The 8th century desert palace Khirbat al Mafjar remains (in present day Jordan) is a matchless specimen of Umayyad luxurious lifestyle and their perception for art. The palace is amalgamation of variety of decoration type like carved and moulded stucco, stone relief and birds and figure sculpture and also frescos paintings. It is famous for its well-preserved floor mosaics. Although credited to caliph Hisham (r. AD 724– 743) but his successor and also his nephew named as Al Walid II probably built this palace (r. AD 743– 44) . However after five years Al-Walid’s died and, the palace was smashed due to an earthquake. This article discusses the building designed structure and the ornamentation and decoration varieties used in the architecture. Though this palace is famous for its mosaics but this paper covers its main parts of architecture and all types of varieties. It’s an explorative study collected from historical data, literature and excavation reports and in the end it concludes that this palace is unique not only for its varieties but also the symbolic meanings of elements in the decoration. These symbols have some logic or reason of representing in the palace that explains the power and authority of the owner. In other words not just depiction of luxurious lifestyle but the aesthetics and symbolic both designs are the parts of this Umayyad era building.
25
Aibabina, Elena A. « Mediaeval Gravestones from the Crimean Steppe ». Materials in Archaeology, History and Ethnography of Tauria, no XXVI (2021) : 362–73. http://dx.doi.org/10.37279/2413-189x.2021.26.362-373.
Texte intégralRésumé :
There are late eighteenth-century maps of the town of Eski-Krym (Solkhat, Krym, Staryi Krym) which Muslim commune shaped by the last third of the thirteenth century showing a number of significant architectural objects and gravestones with stone-carved decorations. The system of Muslim gravestones developed by O.-N. A. Akchokrakly and A. S. Bashkirov is based on the study of forms and the location of ornamental and epigraphic parts of monuments from the cemeteries of Staryi Krym. Carved decorations of medieval grave monuments of Solkhat show by the high artistic level of carving, the quality of technical execution, and original ornamentation. Their connection of stone carving of the Crimea in the Golden Horde Period with the Asia Minor appeared simultaneously with the development of Muslim architecture. Photographs and drawings made by an academic expedition in 1925 that surveyed ancient Tatar settlements and cemeteries in the Crimean steppe (its western areas close to Yevpatoria, as well as the north of the Crimean Peninsula and its east close to the town of Staryi Krym) show a wide range of gravestones, mostly of geometrical forms like pillars topped with turbans. There is a small group of grave monuments, or the so-called two-horned gravestones, representing a rough form of similar tombstones originating from the Muslim cemeteries of Solkhat as the capital of the Crimea in the Golden Horde Period and other large settlements, such as Eski-Iurt. The two-horned gravestones from the cemeteries of large settlements present elaborate forms and inscriptions; they are covered with ornaments featuring the Seljuk style of the Asia Minor. The two-horned gravestones from the cemeteries in the steppe have a high base, with their pillars following the shape of vertical
26
Alborova, Lana A., et Stanislav V. Strashnov. « Surfaces of congruent sections of pendulum type on cylinders with generatrix superellipses ». Structural Mechanics of Engineering Constructions and Buildings 18, no 1 (23 mai 2022) : 64–72. http://dx.doi.org/10.22363/1815-5235-2022-18-1-64-72.
Texte intégralRésumé :
In 1972, I.I. Kotov proposed to separate the surfaces of congruent sections into a separate class and to include the surfaces of plane-and-parallel translation, surfaces of revolution, carved surfaces of Monge, cyclic surfaces with a generatrix circle of constant radius, rotative, spiroidal, and helical surfaces in it. The aim of the research is to obtain generalized parametric equations of surfaces of congruent sections of the pendulum type on right cylinders with plane-and-parallel translation of movable rigid superellipses. Analytical geometry methods are used. Computer systems MathCad and AutoCAD are applied to visualize surfaces. The results consist in the derivation of parametric equations of the studied surfaces in a general form convenient for the use of computer modeling methods. The technique is demonstrated on five examples with congruent mobile superellipses. The possibility of using obtained surface shapes in parametric architecture, free-form architecture, and in shaping of the surfaces of some technical products is noted.
27
Cohen, Matthew A. « Ugly little angels : deliberately uneven construction quality in the Basilica of San Lorenzo in Florence ». Architectural Research Quarterly 11, no 3-4 (décembre 2007) : 276–89. http://dx.doi.org/10.1017/s1359135500000774.
Texte intégralRésumé :
Upon entering the basilica of San Lorenzo in Florence one is immediately impressed by the nave arcades, those rhythmic, monumental assemblages of columns, entablature blocks and arches that in the first half of the fifteenth century established a benchmark of elegance and refinement for all subsequent architecture of the Renaissance [1]. Cool, orderly and restful yet, like springs coiled in compression, full of energy, the nave arcades are works of tremendous artistic power. By functioning so strongly as complete compositions, the nave arcades suppress the individuality of their component parts: viewed from ground level, the repeated bays all appear to be identical, even though when viewed up close the capitals and other carved details betray notably uneven levels of quality in both design and execution. This variation in quality constitutes a rich and largely untapped source of evidence pertaining to the construction history and original meaning of this pivotal work in the history of architecture.
28
Brodini, Alessandro, et Maddalena Spagnolo. « Facciate parlanti. Per un’introduzione ». Opus Incertum 8, no 1 (26 novembre 2022) : 8–16. http://dx.doi.org/10.36253/opus-14064.
Texte intégralRésumé :
Since antiquity, buildings have carried inscriptions on their surface. In particular, the habit of decorating façades with epigraphs spread in early modern Europe, in keeping with the all’antica revival. This issue of the journal investigates the role of new and ancient inscriptions (i.e. spolia) in secular and religious architecture from an aesthetic, political, literary and artistic point of view. Expression of the patron’s ambition and culture, the facciate parlanti engaged in a close dialogue with public spaces and their audience. While the inscriptions could be in different languages and media (carved on stone, graffitied or painted), they always retained a particular relationship with the building itself, as well as with the social and urban context.
29
Novas-Ferradás, María, María Carreiro-Otero et Cándido López-González. « Galician Female Architects—A Critical Approach to Inequality in the Architectural Profession (1931–1986) ». Arts 9, no 1 (4 mars 2020) : 33. http://dx.doi.org/10.3390/arts9010033.
Texte intégralRésumé :
The remoteness of Galicia, a cultural and linguistic bridge between Portugal and Spain, did not prevent it from playing a significant role in the history of female architects in the Iberian Peninsula. Nine Galician pioneers have carved the path since the first generation of Spanish female architects outlined the precedents during the Second Spanish Republic (1931–1939). They were also present in an initial period, even if housewifization theories were intensively fueled by the dictatorship (1939–1975); likewise during the continuity period in the transition to democracy (1975–1982), and the second wave of feminism. However, it would not be until progressive democratic institutionalization (1982–1986) that more women gained access to architectural studies in university (consolidation period); but what is the legacy of these pioneers? Are Galician female architects ‘in transition’ yet? Based on data primarily collected by research group MAGA and released publications, this piece explores how, despite their achievements, their recognition is still superficial. And even if the number of undergraduate students reached quantitative equality, female practitioners continue to leave architecture and these numbers are increasing. Towards a critical approach to inequality in the profession, this article researches the history—and stories—of Galician female architects to examine how far we are from effective equality in the Galician architectural world.
30
Yanwen, Huang, Cao Qixin, Zhou Jingliang, Huang Yi et Frank L. Lewis. « Multiagent cooperation based entertainment robot ». Robotica 24, no 5 (4 mai 2006) : 643–48. http://dx.doi.org/10.1017/s0263574706002815.
Texte intégralRésumé :
In recent years, cooperation of heterogeneous multiagents (HMAs) has achieved formidable results and gained an increasing attention by researchers. This paper presents an entertainment robot system based on the HMAs' cooperation. This robot is used to distinguish the basic information of a person from the audience and entertain him in the exhibition hall. The main agents include the Arbitration System (AS), the Face Recognition System (FRS), the Position Cognition System (PCS), and the Behavior Planner (BP), which are carved up according to their respective functions. Each agent completes its own task independently and the robot finishes the whole mission through their cooperation. The hybrid control architecture and the data-fusion algorithm based on Bayesian Belief Network are also discussed in this paper.
31
Wang, Xiaoxiao, Jing Li, Yuanyuan Liu, Meiri Wang, Yuchao Zhao et Hongtao Cui. « Shell-strengthened hollow architecture of NiCo2S4 carved through an in-situ reaction Ostwald Ripening mechanism with significantly enhanced electrochemical performance ». Journal of Alloys and Compounds 889 (janvier 2022) : 161632. http://dx.doi.org/10.1016/j.jallcom.2021.161632.
Texte intégral
32
Chen, Lesia. « PORTALS IN DECORATION OF BUILDINGS OF THE ASSEMBLY OF THE ASSUMPTION OF THE VIRGIN IN LVIV ». Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 4, no 1 (30 mars 2022) : 173–83. http://dx.doi.org/10.23939/sa2022.01.173.
Texte intégralRésumé :
In artistic and stylistic terms, the architecture of Lviv's sacred buildings during the 16th-18th centuries was marked by a variety of appearances. The builders paid great attention to the plastic expressiveness of the building. The facades of sacred buildings were richly decorated, had a clear system of horizontal divisions of cornices and belts, carved in stone with ornamental carvings window frames, and portals of entrances. The role of portals in the decoration of the church ensemble of the Assumption of the Virgin in Lviv is shown. The peculiarities of the use of decorative stone carvings in the plastic design of the facades of sacred buildings during the Renaissance in Lviv are considered on the example of the portals of the Assumption Cathedral, the Chapel of the Three Saints, and the bell tower. The compositional and stylistic features of the Renaissance portals of the temple ensemble are analyzed. In order to physically preserve unique portals, outstanding works of art, and architecture, comprehensive measures for their restoration are outlined.
33
Hashim, Mohd Haizra, Abdul Mu’ati Zamri Ahmad, Muhammad Pauzi Abdul Latif et Mohd Yazid Mohd Yunos. « VISUAL COMMUNICATION OF THE TRADITIONAL HOUSE IN NEGERI SEMBILAN ». Humanities & ; Social Sciences Reviews 5, no 2 (12 septembre 2017) : 112. http://dx.doi.org/10.18510/hssr.2017.527.
Texte intégralRésumé :
Visual communication in architecture is a genuine aspiration in realizing the relationship between the Malays and other communities. The composition of the models in this communication is very well organized and will remain relevant to be developed from time to time. It is an observation on the symbols, types of motifs and design aspects of the carvings, also the structural elements in the Malay architecture of Negeri Sembilan.This also comprises the study of the chronology of the early history of the Malay architecture of Negeri Sembilan which has its linkages with the Islamic art. Emphasis is given to the diversity in the carving characteristics as a comparison regarding historical, cultural and environmental backgrounds. The delicacy of the craftsmanship among Malay carvers in Negeri Sembilan is reflected in their maturity and ability to fuse traditional elements and Islam. Symbols that have motifs in the carvings result from the carvers' observation and experience.The selection of these motifs is carefully made to ensure that they are the Islamic teachings and not deviating with the Islamic law. Carvings in the Malay architecture of Negeri Sembilan are also crafted with an aim to beautify a piece of architecture made of various motifs. Those carved parts are always assured to maintain the balance with the surrounding space. Floral motifs are often combined with cosmic or geometrical motifs. In many cases, plant-based motifs are also prevalence translated into carvings. This is a tribute from the Malay carvers to beauty, perfection, and harmony of nature.
34
Hashim, Mohd Haizra, Abdul Mu’ati Zamri Ahmad, Muhammad Pauzi Abdul Latif et Mohd Yazid Mohd Yunos. « VISUAL COMMUNICATION OF THE TRADITIONAL HOUSE IN NEGERI SEMBILAN ». Humanities & ; Social Sciences Reviews 5, no 2 (5 février 2018) : 112–23. http://dx.doi.org/10.18510/hssr.2018.527a.
Texte intégralRésumé :
Visual communication in architecture is a genuine aspiration in realizing the relationship between the Malays and other communities. The composition of the models in this communication is very well organized and will remain relevant to be developed from time to time. It is an observation on the symbols, types of motifs and design aspects of the carvings, also the structural elements in the Malay architecture of Negeri Sembilan.
This also comprises the study of the chronology of the early history of the Malay architecture of Negeri Sembilan which has its linkages with the Islamic art. Emphasis is given to the diversity in the carving characteristics as a comparison regarding historical, cultural and environmental backgrounds. The delicacy of the craftsmanship among Malay carvers in Negeri Sembilan is reflected in their maturity and ability to fuse traditional elements and Islam. Symbols that have motifs in the carvings result from the carvers' observation and experience.
The selection of these motifs is carefully made to ensure that they are the Islamic teachings and not deviating with the Islamic law. Carvings in the Malay architecture of Negeri Sembilan are also crafted with an aim to beautify a piece of architecture made of various motifs. Those carved parts are always assured to maintain the balance with the surrounding space. Floral motifs are often combined with cosmic or geometrical motifs. In many cases, plant-based motifs are also prevalence translated into carvings. This is a tribute from the Malay carvers to beauty, perfection, and harmony of nature.
35
Šačić Beća, Amra, et Edin Veletovac. « Roman conquest of the Sarajevo Region and its consequences on the example of urbanism and Early Christian (Late Antique) architecture ». Journal of BATHINVS Association ACTA ILLYRICA / Godišnjak Udruženja BATHINVS ACTA ILLYRICA Online ISSN 2744-1318, no 3 (1 décembre 2019) : 31–62. http://dx.doi.org/10.54524/2490-3930.2019.31.
Texte intégralRésumé :
Observed from the Roman perspective, the territory of the modern capital of Bosnia and Herzegovina and its wider area was a deep and inaccessible heartland of Illyricum, subsequently the Roman province of Dalmatia. This territory had been conquered by the Romans for many decades, as evidenced in the works of GrecoRoman authors. Based on the analysis of source materials and the critical approach of the modern literature, in this paper, the authors have offered a chronological review of Roman conquests of the Sarajevo Region. Following the military and political events that refer to the oldest population of the Daesitiates, that we know by name, in the period of 33 BC to AD 9, we have established the conquest phases of the upper course of the Bosna River and the valleys of Željeznica and Miljacka Rivers. The second part of the paper lists all the arguments why Roman itineraries and other geographic sources do not mention the Roman settlement near Ilidža or the administrative unit (municipium) whose territory included the Sarajevo Region. The issue of administrative development of municipium Aquae was interpreted through a critical analysis of the epigraphic monuments. In this context, we paid attention to the name of this municipal unit. By comparing the text carved on two epigraphic monuments that holds the name of the municipal unit of Aquae, it was determined that we need to give precedence to the name carved on the base of the statue of Emperor Diocletian (AD 284-305) because this inscription belongs to the category of public inscriptions unlike the inscription found on a tombstone of a member of local elite in Krivoglavci. In addition, the second part of the paper analyses the Early Christian architecture found in the Sarajevo Region. The analysis includes the period from the 4th to the 6 centuries AD, and in its final part, it will offer certain guidelines regarding the Christianization process and the earliest Church organization in this region for the purpose of posing new questions that will assist in finding a solution to this important problem in future research.
36
Tarakanova, Ekaterina I. « WOODEN “CRUCIFIXION” BY FILIPPO BRUNELLESCHI AND MASACCIO’S FRESCO “TRINITY” ». RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no 1 (2022) : 124–33. http://dx.doi.org/10.28995/2686-7249-2022-1-124-133.
Texte intégralRésumé :
The connections of the perspective construction and inter- pretation of architecture in Masaccio’s fresco “Trinity” with the work of Brunelleschi is covered extensively in the literature. At the same time, it is surprising that the striking similarity of the figure of Christ on the cross in this monumental painting panel with a wooden crucifix carved by Filippo Brunelleschi is mentioned only in a few foreign studies in the mode of state- ment. This paper analyzes the reasons for this similarity and traces the role of Brunelleschi’s “Crucifixion” in the development of Italian art of the Quat- trocento era. The hypothesis is put forward that the image of Christ in the Masaccio’s fresco is not just a technical repetition, but a kind of “homage” to an older friend and consultant.
37
Chen, Dong Xiang, Jia Li et Chen Zhao. « Development of CNC System for Machining of Grooves in Automobile Synchronization Regulators Sleeve ». Materials Science Forum 626-627 (août 2009) : 571–76. http://dx.doi.org/10.4028/www.scientific.net/msf.626-627.571.
Texte intégralRésumé :
On the basis of analyzing the shortcomings of the current technics for grooves machining, this paper deals with the development of Numerical Control System for machining of grooves in automobile synchronization regulator sleeve, which holds first-rate technics. In order to improve efficiency and precision of grooves machining and reduce cost of the cutter, Hypocycloid-based technique together with interpolation is introduced and studied. With IPC as system platform and PMAC (Programmable Multiple-Axes Controller) as the controlling center of the system, the open architecture of “PC-Based” is used in the CNC system and the framework of the CNC hardware is developed. According to the ideas of modularization and real-time multi-task scheduler, the CNC software system is carved into many modules and the framework of the CNC software is developed.
38
Robin, Guillaume. « Spatial Structures and Symbolic Systems in Irish and British Passage Tombs : the Organization of Architectural Elements, Parietal Carved Signs and Funerary Deposits ». Cambridge Archaeological Journal 20, no 3 (27 septembre 2010) : 373–418. http://dx.doi.org/10.1017/s0959774310000478.
Texte intégralRésumé :
Passage tombs are the most elaborate monuments that were built during the Irish and British Neolithic, not only because of their complex monumental architecture but also because they are the only type of tomb that has carvings and such a diversity of funerary objects. This article focuses on the spatial organization of these three components of passage tombs and identifies several recurrent structures that are classified into three groups. From these spatial structures, an abstract elementary model is proposed that helps to understand the conceptual principles and the symbolic significations that guided the construction, decoration and use of the monuments.
39
Burton, Antoinette. « House/Daughter/Nation : Interiority, Architecture, and Historical Imagination in Janaki Majumdar's “Family History” ». Journal of Asian Studies 56, no 4 (novembre 1997) : 921–46. http://dx.doi.org/10.2307/2658294.
Texte intégralRésumé :
My mother grew up in a small Punjabi village not far from Chandigarh. As she chopped onions for the evening meal or scrubbed the shine back onto a steel pan or watched the clouds of curds form in a bowl of slowly setting homemade yoghurt, any action with a rhythm, she would begin a mantra about her ancestral home. She would chant of a three-storeyed flat-roofed house, blinkered with carved wooden shutters around a dust yard where an old-fashioned pump stood under a mango tree.… In England, when all my mother's friends made the transition from relatives' spare rooms and furnished lodgings to homes of their own, they all looked for something ‘modern. ’ “It's really up to date, Daljit,” one of the Aunties would preen as she gave us the grand tour of her first proper home in England. “Look at the extra flush system … Can opener on the wall … Two minutes' walk to the local amenities …” But my mother knew what she wanted. When she stepped off the bus in Tollington, she did not see the outside lavvy or the apology for a garden or the medieval kitchen, she saw fields and trees, light and space, and a horizon that welcomed the sky which, on a warm night and through squinted eyes, could almost look something like home.
40
Szilágyi, Kata, et Anette Sand-Eriksen. « Medieval Norwegian Wooden (Stave) Churches : Built Heritage and Places of Memory ». Hungarian Archaeology 10, no 1 (2021) : 30–40. http://dx.doi.org/10.36338/ha.2021.1.5.
Texte intégralRésumé :
This paper focuses on the Norwegian medieval religious buildings called stave churches. The word stave (meaning ‘post, pole’ in Norwegian) derives from the buildings’ post and lintel construction, giving the churches their characteristic style. The structures display a highly developed tradition of wooden Christian buildings, which during the Middle Ages (1050–1500) where the most common in Norway, their number can be estimated at around a thousand. There were probably at least as widespread in other areas (e.g. on the territory of present-day Germany and Russia), but they did not remain in such a large number from the early period. However, the number have declined dramatically, and today only 28 are preserved. The article aims to expand the knowledge of the unique and irreplaceable wooden architecture of the stave churches. Although we consider the wooden churches to be one of the characteristics of Scandinavia traditionally, they mix and carry the influences of other cultures and countries. The heritage and memorial role of wooden churches, as well as the motif of the combination of different architectural and religious elements, represent an interesting comparison to similar phenomena in the Carpathian Basin. Transylvania and especially the Maramureş region are also famous for their wooden churches and the rich carved and painted iconostasis.
41
SELKANI, IKRAME. « The Riads of Morocco as tourist accommodation products : characteristics and potentialities ». REVISTA INTERNACIONAL DE TURISMO, EMPRESA Y TERRITORIO 5, no 2 (18 décembre 2021) : 42–60. http://dx.doi.org/10.21071/riturem.v5i2.13679.
Texte intégralRésumé :
Riad and dar ‘house’ are frequently confused, but with the following elements, we can tell the difference. Riads are likewise larger and more spacious than dars, although not to the level “ground floor + first floor”, as they are designed for almost four generations of the same family under one roof. Riads feature an exterior façade comprising a blind wall to 8 meters high, completely neutral, with nearly no windows. These Riads were erected to prevent indiscreet eyes from seeing inside. In the middle of the Riad, there is a fountain, richly decorated in zellige ‘tiles’ and carved plaster, surrounded by four separate gardens, containing lemon, fig, mint trees…, giving off a subtle fragrance for the locals. In Morocco, Riads are very common in the old ‘Médinas’. These houses benefit from a very rich history made through its own architecture. They were initially houses of notables, keen to protect the privacy of their families. Nowadays, Riads have been restored for a touristic objective as guest houses where the visitor encounters a comfy area, frozen in another time. Rabat, Meknes, Fez, and Marrakech are the cities that have been nominated for the World Heritage by UNESCO. This list is not complete, but these cities were chosen to expand the Riad phenomenon in the country. In this paper, we will discover the history of the Riads through their architecture giving some examples.
Keywords: Riad, Architecture, Morocco, Médina, Tourist, Morocco
42
Subbulakshmi, S. « Sound of Music in Rocks ». Shanlax International Journal of Arts, Science and Humanities 9, no 3 (1 janvier 2022) : 73–78. http://dx.doi.org/10.34293/sijash.v9i3.4484.
Texte intégralRésumé :
In India many Rock Pillars had occupied a distinguished and special place in Architecture. Especially the Musical Pillars, which produce melodic tones when tapped. They can also be called natural singing Rocks. Among the temples in different regions of Tamilnadu with the Musical Pillars are Nellai Appar Temple in Thirunelveli, Meenakshi Amman Temple in Madurai, Thaanumaal Ayan Temple in Susindram, Alwaar Thirunagari Temple in Thirunelveli, Shembagaraama Nallur Temple in Thirunelveli, Airaavatheshwarar Temple in Dhaaraasuram, Dhaadikkombu Temple in Dindukkal, Varadaraajar Temple in Kanchipuram. In India, there are Three types of Musical stones are seen. According to a Petrological study, Metamorphic Rocks turn into Granites. From these Granites, Musical Pillars are carved out of a single block of Granite. According to a Mineralogical study, the Rocks are Resonants in nature not only because of the metallic ores present but also because of more Silica in them.
43
Carmean, Kelli, Patricia A. McAnany et Jeremy A. Sabloff. « People Who Lived in Stone Houses : Local Knowledge and Social Difference in the Classic Maya Puuc Region of Yucatan, Mexico ». Latin American Antiquity 22, no 2 (juin 2011) : 143–58. http://dx.doi.org/10.7183/1045-6635.22.2.143.
Texte intégralRésumé :
AbstractThis study builds on the premise that local knowledge of limestone—and its workable characteristics—was foundational to landscape inhabitation in the Puuc region of Yucatán, México. Classic Maya architecture of the northern Yucatán generally is considered to represent the apogee of Maya construction prowess with extensive use of core-veneer masonry and the creation of tall, wide corbelled vaults. Less commonly discussed is the variable distribution of high-quality limestone across the Yucatán, the social matrix that undergirds the quarrying, transporting, and working of limestone, and the pronounced social differences materialized in stone architecture. This study explores these three topics by bringing to bear Yucatec Mayan linguistic evidence and excavation data from the archaeological site of Sayil, in the hilly Puuc region of Yucatán. That information provides a basis for understanding the development of a sprawling residential complex, the role that variable limestone quality played in its expansion, and serves as an index of intra-compound social difference. Late additions to the dwellings indicate that recognition of the cultural value of carved stone persisted long after masonry skills became attenuated. The durability of stone renders it a particularly effective—if underutilized—medium for interpreting social landscapes of the past.
44
Milošević, Predrag, Vladimir Milošević et Grigor Milošević. « Investigation Architecture and Environmental Planning in Prehistory for Designing an Ecologically Sustainable Tourist Resort ». Journal of Human, Earth, and Future 3, no 1 (1 mars 2022) : 99–128. http://dx.doi.org/10.28991/hef-2022-03-01-08.
Texte intégralRésumé :
Lepenski Vir is an archaeological site of extraordinary international significance; an area where exceptional culture and specific art, which took place within organized social and religious life, emerged as unique in Central and South-Eastern Europe (6800-5400 BC, according to the date C14). The methods and complexity of the architecture of these buildings, their sustainability and energy efficiency, as well as the treatment of the associated monumental sculptures, clearly define the stages of settlement over a period of at least two thousand years. Today, it is even possible to say that people in those ancient times were even more instructed in the issues of nature and her whimsicality than we are today. Today, the site is in a natural reserve in an extremely picturesque landscape. During the archaeological excavations of the 1960s, seven prehistoric settlements were unearthed, one after the other. These settlements contain the remains of 67 apparently planned dwellings, fireplaces, tools, instruments, and jewellery. The settlements also contain altars and sculptures, carved out of round limestone pieces that are of artistic and aesthetic, as well as ritual and symbolic importance. The paper elaborates on the harmony of architectural style and natural surroundings that has been considered since the earliest times. Its aim is to analyse Lepenski Vir, one of the most significant archaeological sites in the world, i.e., the technique and the conditions under which it was created. However, as the reality of the subject is quite elusive in today's time, this paper seeks to show the value of the principles on which ancient architecture rests, primarily using natural materials and specific simple forms in design and construction. The reason for this is the inextricable link between man and nature at all times, the very essence of their interconnectedness, as well as the creation of a healthy, aesthetically valuable, and quality living space. Based on these analyses, one specific conceptual solution will be attached, i.e., the proposal of a contemporary interpretation of the ancient Lepenski Vir settlement and houses that can meet the needs of modern man and age, where millennia-old tradition is implemented in contemporary Serbian architecture. Doi: 10.28991/HEF-2022-03-01-08 Full Text: PDF
45
Adams, David. « Rudolf Steiner's First Goetheanum as an Illustration of Organic Functionalism ». Journal of the Society of Architectural Historians 51, no 2 (1 juin 1992) : 182–204. http://dx.doi.org/10.2307/990714.
Texte intégralRésumé :
Austrian designer Rudolf Steiner intended his first Goetheanum building in Dornach, Switzerland (1913-1922), among other purposes, to be a dramatic illustration of the principles of a new style of architecture, simultaneously organic and functional. Its unusual forms in carved wood and reinforced concrete, its watercolor murals, and its engraved colored-glass windows were also to be a visual introduction to the metaphysical ideas of Steiner's anthroposophy. The central dynamic of the building was the intersection of its two domes of different sizes, intended by Steiner to express the union of spirit and matter through his treatment of the functions of stage and auditorium. The contrast between the two domed spaces was supported in great detail throughout the interior. Steiner applied formative principles of the natural world to building designs, attempting to achieve an organism-like relation between part and whole, a harmonious adaptation of building to site, and an organic formal quality sympathetic to the human observer. In particular, he employed the principle of metamorphosis in the abstract forms of the building's ornamentation and ground plan, relating this principle to Goethe's studies of biological morphology. He created forms and spaces that not only fulfilled but also directly imaged their functions, including their relationship to their human users. He set forth his new architectural approach within the context of an extensively enunciated architectural theory, whose primary thrust was the encouragement of a clear adaptation of the designs of buildings to a holistically conceived human nature. He pioneered new techniques and styles, which, along with his lectures and writings, have influenced a number of significant artists and architects of the twentieth century.
46
Protzen, Jean-Pierre, et Stella Nair. « Who Taught the Inca Stonemasons Their Skills ? A Comparison of Tiahuanaco and Inca Cut-Stone Masonry ». Journal of the Society of Architectural Historians 56, no 2 (1 juin 1997) : 146–67. http://dx.doi.org/10.2307/991281.
Texte intégralRésumé :
At Tiahuanaco, on the southern rim of Lake Titicaca, Bolivia, visitors encounter enormous stone slabs and carved building blocks dressed with astonishing skill. The stones are the visible remains of a culture that flourished there about a thousand years ago. Some six hundred kilometers to the northwest, in Cuzco (Peru), one finds the different yet equally remarkable masonry of the Incas, who dominated the Andean world from the middle of the fifteenth century to the Spanish conquest in 1532. Did the Inca stonemasons learn their skills from their predecessors at Tiahuanaco? A comparative study of Inca and Tiahuanaco construction techniques reveals fundamental differences between the architecture of the two cultures. In this article, we compare masonry bonds, design details, stone-cutting techniques, and the methods of fitting, laying, and handling of stones used by both cultures. The results of this comparison suggest that the ingenuity of Inca masonry originated with the Incas, and not with their predecessors.
47
Sands, Kathleen R. « Word and Sign in Elizabethan Conflicts with the Devil ». Albion 31, no 2 (1999) : 238–56. http://dx.doi.org/10.1017/s0095139000062724.
Texte intégralRésumé :
Gloriana, Britomart, Astraea, Belphoebe, the Sun in Splendor, England’s Moses, the new Deborah, the Phoenix—Elizabeth I possessed a generous wardrobe of public personas. Monarchy, chastity, divinity, and other intangibles played in the early modern mind as images, personifications, embodiments—the invisible rendered visible. As Clifford Geertz has observed, the Elizabethan imagination was “allegorical, Protestant, didactic, and pictorial; it lived on moral abstractions cast into emblems.” These emblems were culturally ubiquitous, appearing in books and broadsides, painted and carved portraits, architecture, tapestry, jewelry and clothing, armor and weapons, monumental funerary sculpture, wall and ceiling decoration. University students neglected Aristotle in favor of fashionable continental emblem books, and the taste for embellishing houses with emblems extended from the monarchy and aristocracy to the landed gentry and the rising middle class. Peter Daly stresses the psychological impact of emblems on the early modern mind when he observes that emblems were “as immediately and graphically present in this period as illustrated advertising is today.”
48
Sagebiel, Kerry Lynn. « THE LATE AND TERMINAL CLASSIC CERAMIC SEQUENCE AT LA MILPA, BELIZE : IMPLICATIONS FOR ITS OCCUPATION HISTORY ». Ancient Mesoamerica 25, no 1 (2014) : 115–37. http://dx.doi.org/10.1017/s095653611400008x.
Texte intégralRésumé :
AbstractPrevious interpretations of the occupation history of La Milpa, Belize, which were based on preliminary ceramic data, suggested that occupation of the site fluctuated dramatically from the Late Preclassic to the Terminal Classic (400 b.c.–a.d. 850). It was determined that the modest Late Preclassic village became a large Early Classic city with regal-ritual architecture and carved monuments. In Late Classic I, it appeared the site was nearly abandoned. Its reoccupation and exponential growth in Late Classic II was followed by rapid abandonment before the end of the Late Classic III/Terminal Classic. New ceramic analyses utilizing attribute analysis with an emphasis on formal modes has clarified the sequence and, in turn, softened the occupation curves. This article provides descriptions of the Late Classic I, II, and III ceramics, along with revised percentage frequency graphs of La Milpa's occupation history based primarily on the work of the La Milpa Archaeological Project (1992–2002).
49
Piri, Ali, et Mohammad Piri. « The Quintessential Features of Iranian Art in Saljuq Period ». Modern Applied Science 10, no 6 (27 mai 2016) : 219. http://dx.doi.org/10.5539/mas.v10n6p219.
Texte intégralRésumé :
The reign of Saljuqian in Iran is considered as a flourishing era of Islamic-Iranian culture. In the Saljuq period, Iran art has experienced and underwent some changes as long as the presence of these evolutions as keystone in Iranian traditional arts have played a significant role in arts such as architecture, painting, pottery and etc. Since the effect of the Saljuq art has been so impressive, even it is not considered as a renaissance period, it can be accounted as one of the significant period in Iranian art. The purpose of this study is to point out some features of the Saljuq art through using descriptive-analytical approach, and to examine some aspects of arts including architecture, pottery, and textile in this period. What is more, the outcomes of the present paper reveal that with regard to the Saljuq architecture, mosques have been formed by nave, dome, and four-porch courtyard derived from Khorasan architecture art. The eminent buildings of this period are Jameh Mosque of Isfahan, Jam Minareh, Sanjar monument in Marv city. Successes have been also achieved in pottery art such as making pottery dishes with over glaze, and under glaze painting and red dishes with white cover. In the field of discovered metal works, there is a variety of bowls, vases and golden, silver and bronze cups which have been carved, embossed and inlayed by picture of animals and plants as well as Kufic script. Moreover, the silk textile known as Ordaki has been one of the brilliant samples of textiles art in this period, decorated with blue Kufic script. In overall, Saljuq arts have paved the way for more development of arts in the subsequent years.
50
Dwijendra, Ngakan Ketut Acwin, Ida Bagus Idedhyana, Ngakan Putu Sueca et Ida Bagus Wirawibawa. « Ornamental Variety of Garuda and Wilmana on Padmasana Architecture at Kahyangan Jagat Temple in Bali, Indonesia ». International Journal of Engineering and Emerging Technology 5, no 1 (27 juillet 2020) : 37. http://dx.doi.org/10.24843/ijeet.2020.v05.i01.p08.
Texte intégralRésumé :
Garuda was known in prehistoric India, where his paintings were found in the Harappa (Sindhu River valley), then spread to all corners of the world affected by Indian civilization. Its head, beak and claws are eagles, the light of the gods shining from its body. While Wilmana as a picture of a space vehicle that moves beyond the speed of thought. Wilmana is also a worldwide character, presented in the world of the internet, film and games. Padmasana architecture is a sacred building as a place/position of God, on the back is often carved by the two kinds of decoration. This research about ornamental variety is research in the context of traditional architecture, as an exploration of building concepts that have been developed in the past and are useful to apply to contemporary architecture. This study aims to re-express the meaning of Garuda and Wilmana and how they are placed on Padmasana architecture. The steps taken are to record the Padmasana in the Kahyangan Jagat Temple in Bali, followed by comparing the use of these two types of decoration on each Padmasana. The next step is to interpret the meaning by connecting the object with its past (expanding the horizon of the researcher). The results of the study show that the use of Garuda and Wilmana decoration in the Padmasana architecture is not a necessity. The use of Garuda points to the message that humans must try to free themselves from the bondage of worldly passions. While the use of Wilmana refers to the sky vehicle that carries passengers, both Giant and Dewata to the place they want. Both are symbolic decoration types, have the same position, placed on the body behind the padmasana. The position of the two becomes different if applied together, Garuda is placed in a position above Wilmana, because only a soul that has been freed from worldly slavery can ride Garuda.