Gotowe bibliografie tematyczne / Architectural Decorating Company

Gotowa bibliografia na temat „Architectural Decorating Company”

Autor: Grafiati
Data publikacji: 25 lipca 2024

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Artykuły w czasopismach na temat "Architectural Decorating Company"

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Safronova, Elena Mikhailovna. "Saint Petersburg period of creativity of P. K. Vaulin (1906-1914)". Человек и культура, nr 2 (luty 2021): 1–11. http://dx.doi.org/10.25136/2409-8744.2021.2.35221.

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The subject of this research is the stylistic peculiarities and means of artistic expression of the architectural majolica by Peter Kuzmich Vaulin. The object of this research is the architectural ceramics of Vaulin in facades of the buildings of St. Petersburg in the early XX century. The application of inclusive approach allows tracing correlations between the historical facts and the cultural characteristics of this period. The compositional-artistic analysis, comparative-descriptive method, and imagery-stylistic analysis were used for consideration of the means of artistic expression of architectural ceramics, compositional interaction of the materials and space, and examination of the style and formative peculiarities of ceramics. Detailed analysis is conducted on the Saint Petersburg period of the ceramist P. K. Vaulin, opening of his own ceramic workshop, and active participation in the development of decorative image of St. Petersburg in the early XX century. Special attention is given to the most remarkable works of the master for architectural decoration of the city. Emphasis is placed on his works for the Insurance Company Building “Russia”, which is brilliant example of the harmonious synthesis of majolica and architecture. The conclusion is made that the architectural ceramics of the master made in many ways determined the majolica decoration of St. Petersburg – compositional, textured, color, imagery-stylistic, and plastic peculiarities of the ceramic works of P. K. Vaulin contributed to aesthetic transformation of the environment. The scientific novelty of consists in the thesis that the ceramic workshop of P. K. Vaulin was one of the leading manufacturers of artistic majolica of the indicated period. It is also proven that the Heldwein-Vaulin workshop was able to organically synthesize the heritage of the best traditions of the past with the courage and ambiguity of the Art Nouveau.
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Churchill, James E. "Historic Monel, Part I: Production and Processes of the International Nickel Company into World War II". AM&P Technical Articles 178, nr 6 (1.09.2020): 22–24. http://dx.doi.org/10.31399/asm.amp.2020-06.p022.

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Abstract Monel 400 was used as a decorative building material from 1905 to the mid-1930s, when it was replaced by stainless steel. This article discusses the development and commercialization of this short-lived architectural metal, also known as nickel alloy 400.
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Peremyslov, I. A., i L. G. Peremyslova. "JAPANESE AESTHETICS IN MASTERPIECES OF AMERICAN SILVER". Arts education and science 1, nr 1 (2021): 89–96. http://dx.doi.org/10.36871/hon.202101010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany jewelry multinational company).
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Peremislov, I. A., i L. G. Peremislov. "JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES". Arts education and science 1, nr 2 (2021): 79–88. http://dx.doi.org/10.36871/hon.202102010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).
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Cui, Rongrong. "Design of New LED Curtain Wall Controller and Its Effect in Architectural Decoration". Journal of Nanoelectronics and Optoelectronics 18, nr 6 (1.06.2023): 711–17. http://dx.doi.org/10.1166/jno.2023.3446.

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In recent years, LED with high brightness or ultra-high brightness has appeared. Because of its low production cost, it has been widely used. Compared with other display media, LED has the advantages of rich display content, wide dynamic range, vivid picture, no pollution, long life, etc., so it is used in building curtain wall facade decoration. This research designs LED curtain wall control system, the use of SD600 chip dimming control of LED, the use of absorbing current mode LED drive, further design of single SD600 chip application circuit, multi-SD600 chip application circuit. LED curtain wall display text need to design the corresponding graphic processing hardware, the hardware is composed of ARM microprocessor LPC2210 and its related peripheral circuits. The core chip of the LPC2210 processor chip needs 1.8 V working voltage, and the I/O interface voltage is 3.3 V, so it is necessary to design the corresponding power circuit; The system clock is adjusted through the internal PLL circuit to make the system run faster and design its crystal oscillator circuit; The power monitoring chip CAT1025JI-30 is adopted to build reset circuit, 20-pin interface type JTAG interface circuit; It is considered that the UARTO interface can’t be directly connected with the RS232 interface of PC, the MAX3232 chip is introduced for level conversion, and the serial interface circuit based on LPC2210 is designed. In the experiment, the new technology is used for outdoor lighting LED curtain wall construction, and the development tool uses the ADS1.2 provided by ARM company. The μC/OS-II embedded operating system is introduced to control the graphic processing hardware resources, reading the file from the SD card, and writing the text file and BMP file into the three-dimensional array, the corresponding text and pattern effect are displayed in the LED curtain wall.
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Tulić, Damir. "Štukature iz zadnje četvrtine 18. stoljeća u Palači šećerane u Rijeci". Radovi Instituta za povijest umjetnosti, nr 47 (marzec 2024): 109–24. http://dx.doi.org/10.31664/ripu.2023.47.09.

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This paper provides a detailed analysis, for the first time, of the stucco decorations in the representative salons on the second floor of the Sugar Refinery Palace in Rijeka. Despite being an extremely important group of secular stuccos, it has, until now, lacked a thorough iconographic and stylistic analysis and contextualization. Furthermore, no models or masters who produced them have been identified. The Sugar Refinery Palace, specifically its administration building, served as the headquarters of the Privileged Trieste-Rijeka Company, founded in Trieste in 1750 to establish sugar trade in the Habsburg lands. Administration and production were relocated to Rijeka in 1752, when the central industrial complex was organized, and the Administration building was erected. Following the devastating fire of 1785, the building underwent reconstruction, and it was raised in height while acquiring a new representative staircase. It was assumed that the architect behind the renovation was Andrea Menini from Treviso, and recently discovered archival data confirm his presence in Rijeka during 1786. The stone decoration, part of the restoration, also reveals the contribution of Sebastiano Petruzzi, the most prominent sculptor and builder in Rijeka at the time, and his workshop. Between 1786 and 1789, the period to which the frescoes in the western salon with architectural capriccios have been dated, the decoration of the central Ceremonial Hall and the two flanking salons on the western and eastern sides along the façade was executed. The central hall features Corinthian pilasters with beams and is covered by a cloister vault decorated with war trophies and four figural medallions. Although the exact iconography of these compositions has not been determined, it is assumed that they depict scenes from the lives of Roman emperors, possibly the reigns of two “bad” emperors - Domitian and Vitellius - who met violent death, and their “good” counterparts Vespasian and Titus. The overall decoration of this hall reflects late Baroque or Josephine Classicism characteristic of the enlightened Joseph II Habsburg’s reign (1780-1790), manifesting renewed enthusiasm for the art of ancient Rome, its rationality, simple austerity, and cold sublimity. Therefore, the decoration of this hall incorporates numerous models derived from ancient and Renaissance traditions, reshaped in the manner typical of the second half of the 18th century. Notably, the early neo-Classical style in Italy and in Habsburg Tuscany during the time of Joseph’s brother, Grand Duke Peter Leopold II, played a crucial role, with his Florentine residence in Poggio Imperiale, decorated by two stucco masters, brothers Giocondo and Grato Albertolli. In the lateral salons, the finely detailed decoration is still executed in the spirit of late Rococo and painted in soft pastel tones. The cornice under the vault features stucco cameos depicting famous ancient statues, such as Venus Callipyge or Cupid and Psyche, while the ceiling is adorned with war trophies collaged from various graphic templates of the time. Based on stylistic and formal analysis, the stuccos from Rijeka can be associated with the brothers Clemente (Montagnola, 1758 - Kaštel Lukšić, after 1810) and Giacomo (Montagnola, 1763-1838) Somazzi from the Swiss Canton of Ticino. They left a significant stucco oeuvre in numerous churches across Kvarner, the Croatian Littoral, and northern Dalmatia during the late 18th and early 19th centuries. The stuccos from Rijeka would be their earliest and only preserved secular work. It is plausible that the brothers worked as part of a larger workshop in Rijeka before starting their career as independent masters in the last decade of the 18th century. It may have been the workshop of Sebastiano Petruzzi, where Clemente is mentioned as an associate and partner in Rab during 1790.
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Dajković, Aleksandar. "Urban development of Cetinje and Bari observed through of the activities of Augusto Cesare Corradini (1900-1931)". Arhitektura i urbanizam, nr 53 (2021): 48–63. http://dx.doi.org/10.5937/a-u0-32734.

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The paper presents the chronological development of urbanism in Cetinje and Bari observed through the work of Italian architect Augusto Cesare Corradini (Augusto Cesare Corradini 1860-1932). Corradini contributed to the intensive urban and architectural development of Cetinje, the former capital of Montenegro, in the period 1900-1912, and Bari, the center of the Pula region, especially in the period 1905-1931. In these environments, he managed to define spaces with recognizable urban-architectural creations with an artistic sign, either as a segment of international eclecticism, such as the Russian legation in Cetinje (1900), Fizzarotti Palace (1906-1908) and Ingami Scalvini Palace (1923) or rationalism/modernism, such as the Fiat Palace (1925) and the pavilion of the Navigation Company of Puglia (1930) in Bari. Corradini especially defined the urban identity of cities with monumental buildings and complexes - the Government House in Cetinje (1910), and the Fiera del Levante (1928) in Bari. Aimed at acting in different environments and socio-political systems, his work had a special architectural expression with an undoubtedly semantic character. With new stylistic concepts and forms of spatial organization, he permanently influenced the modern urbanarchitectural processes of the mentioned cities, and the status of his work as national cultural goods confirms its importance as a unique combination of functional and decorative, artistic and technical. Through his integral view of urban trends and Corradini's work in Cetinje and Bari, the strong influence of this Italian architect on the formation of unique urban matrices can be seen.
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Oliveira, Nuno. "The Iron Age Settlement of Terronha (Viana do Castelo, Northwestern Portugal): Analysis of Ceramic and Lithic Materials in Context". Heritage 2, nr 1 (3.01.2019): 56–71. http://dx.doi.org/10.3390/heritage2010005.

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This article’s main objective is to present some results of a study carried out in Castro de Terronha, located in the Union of Cardielos and Serreleis parishes, county and district of Viana do Castelo, North of Portugal. This settlement was discovered and excavated in 2000 by the archeology company Perennia Monumenta under the scientific direction of Francisco Queiroga. The text focuses on the analysis of structures and indigenous ceramic and lithic remains discovered in sector A. The seven circular structures under study correspond to probable housing structures. Three of them have a vestibule attached. These would be about 5–6 m in diameter—a device of reasonable quality. Also found was a section of wall that ends abruptly, adjoining a great outcrop. Most of the ceramic specimens in articulation with the architectures revealed numerous similarities in morphological, technical and decorative terms with that of the Late Iron Age and the beginnings of Romanization in the Cávado Basin River. The set of remains suggests this settlement was involved in subsistence activities, metallurgy and trade.
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Bjerke, Rune, i Nicholas Ind. "The influence of aesthetic investments on employees". EuroMed Journal of Business 10, nr 2 (6.07.2015): 214–33. http://dx.doi.org/10.1108/emjb-09-2014-0029.

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Purpose – The purpose of this paper is to explore new constructs related to organizations, art and physical environment. Further, an intention was to explain and discuss whether investments in the physical environment in the form of art, design and architecture do have an effect on employees. Design/methodology/approach – To conclude whether aesthetics had an impact on employees in terms of job satisfaction, motivation and their self-perception of their own ability to provide customer service, the authors undertook a quantitative study of 222 employees in seven companies. The authors subsequently commenced five in-depth, semi-structured interviews with four accessible corporate art buyers and one curator to identify the main motivations for purchasing art and placing it in the work place. Findings – With regard to perceptions of art, design and architecture, the physical environment is perceived as a whole and seems to play a significant role in organizational life for employees in companies that have invested in art. The research implies, however, that the companies that invested in art, design and architecture, despite the positive influence on employees’ self-perceived service ability, did not accumulate benefits on service ability relative to employees in companies without art. Practical implications – Managers should cautiously reflect on their motivations for investing in art, design and architecture. Useful motivations might include projecting a desired external image or decoration or expressing connection to a community. Investing in art, design and architecture independent of what the organization is trying to do strategically will create cosmetic solutions that lack any wider purpose. Originality/value – Despite increased corporate interest in aesthetics, little research has been done to determine the effect on employees. The research shortage may be due to the challenge of understanding the meaning of the visible expressions. This paper is a contribution to strengthen the knowledge of the impact of workspace aesthetics on employees (the authors subsequently undertook five in-depth, semi-structured interviews with four accessible corporate art buyers at Storebrand (insurance and banking corporation), Telenor (mobile operator), Hydro (aluminium company), Nordic Choice Hotels and one curator).
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Barbosa, Thielsse de Araújo, Cláudio Fernandes Tino, Gilbert Breves Martins, Luiz Henrique Claro Júnior, Elisângela Leitão de Oliveira, Márison Luiz Soares i Daniel Nascimento-e-Silva. "Analysis of The Reuse of Tires in Synthetic Grass in Manaus From the Perspective of The Reverse Logistics Process". Revista de Gestão Social e Ambiental 18, nr 3 (6.03.2024): e05254. http://dx.doi.org/10.24857/rgsa.v18n3-091.

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Objective: This study aimed to analyze the reuse of tires by a company that produces synthetic grass in Manaus from the perspective of the reverse logistics process. Methods: The scientific-technological method was used to build the theoretical architecture and generate empirical findings, consisting of four stages: a) elaboration of guiding research questions, b) data collection from the company's managers and employees through a script interview and an observation script, c) organization of data based on semantic analysis, so that each stage of the logistics process, its operations and purpose could be understood, and d) generation of answers to guiding questions, seeking to know what happens, how it happens and why it happens. Results and discussion: The results showed that 1) the process of reusing the collected tires is made up of a few simple steps, 2) the reverse logistics planning procedures for the materials to be recycled include the objectives of the company and its suppliers, 3) the management procedures for the company's employees when executing the reverse logistics process take into account how much is known about the production and logistics process and 4) the control procedures for the objectives and goals to be achieved are based on indicators and metrics connected with the synergy of the team of collaborators. Research implications: When the objectives and goals of organizations involved in the reverse logistics process are integrated, the possibility of success of the ventures increases considerably. Furthermore, it is necessary that the planning and execution of the reverse logistics process is built based on the stages of the management process. Originality / Value: This study shows that innovation and creativity can reuse practically all materials that are usually discarded. Tires are a problem for almost all urban centers, but they have been transformed into exquisite synthetic grass for the most popular sport in Brazil, soccer. The company created other products aimed at home and building decoration.
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Rozprawy doktorskie na temat "Architectural Decorating Company"

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Lippincott, Richard Hysler. "Rookwood architectural faience tile". Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/865963.

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The Rookwood Pottery Company was one of the most outstanding American pottery producers in the early 20th century. Rookwood produced a line of significant architectural facing tiles, unlike anything else produced in the Arts and Crafts tile industry. This thesis is an assimilation of all the primary product. Rookwood's catalogues, commissions, and artisans are discussed to illustrate the design and production significance Rookwood's product. The analysis will be valuable for the documentation and identification of tile installations produced by the Rookwood Pottery Company from 1903-1931.
Department of Architecture
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LINDAIYI i 林岱儀. "The Development of Decorative Tiles in Northern Taiwan Temple Architecture(1970s-1990s) —Case Study of the Tile Works of Li-Gu Company, Beitou". Thesis, 2019. http://ndltd.ncl.edu.tw/handle/n2jn59.

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碩士
國立臺北藝術大學
建築與文化資產研究所
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The decorative tiles of traditional Taiwanese architectures refer to first-fired white-glazed tiles or mechanically dust-pressed tiles hand-painted or printed with decorative patterns that after second firing could be used for decorating various architectural components. Decorative tiles were introduced into Taiwan in the late Qing dynasty. Today, decorative tiles can still be found on the remnant western-styled buildings as a product of the period. In the 1930s and 1970s, decorative tiles had been largely used in decorating traditional architectures, such as ancestral halls, traditional manors and religious temples. Popular styles include Majolica tile, hand-painted tile panel and screen-printed tile. Decorative tiles are used on traditional architectural components such as roof ridge covers, gallery walls, window panels, and door frames to replace traditional ornaments of stone carving, wood carving, hand-painting and ceramic appliqué (cut-stick). This shows a surging demand for decorative tiles and a changing trend of decorative materials during this period. After WWII, some temple managements in northern Taiwan expanded temple complex and structures for conveniences that also called for a change of locations for decorative tile application. Most of decorative tile companies, originally pottery and ceramics workshops in Beitou, now instead focused on the business of temple decorative tiles. This transformation resulted in changes of techniques and expressions of decorative tiles and brought forth new formats and looks. Li-Gu Company, established by Mr. Cheng-Hsiung Wang in Beitou, Taipei in 1979, has left a rich trajectory of decorative tile works in many temple architectural components in Keelung, Taipei City and New Taipei City. It is also one of few extant producers of decorative tiles. Li-Gu’s decorative tiles on temple architectures reveal Mr. Wang’s experiences from Beitou’s pottery and ceramics industry, and hand-painting, hand-glazing and tombstone making experiences from many other artistic pottery and ceramics companies. Mr. Wang produced decorative tiles, tabletop pieces and ritual vases as features in stylistic and thematic layout arrangements. In addition, he also applied screen-printing techniques on tableware acquired from Tatung Chinaware on tile panels, frames and ridge covers to respond to increasing market demands for speed and quantity. This thesis explores the historical context of Beitou’s pottery and ceramics industry and the post-war development of decorative tiles by drawing from interviews with Mr. Cheng-Hsiung Wang, the founder of Li-Gu Company, his employees and relevant temple personnel, as well as from field research on ninety-four temples for whom Li-Gu had completed decorative tiles assignments. Through literature analysis to compare, explain and analyze application locations, expressions and production techniques of remnant decorative tiles from the Japanese rule and the post-WWII period, this thesis aims to present the development of decorative tiles in northern Taiwan temple architecture from the 1970s to the 1990s.
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Książki na temat "Architectural Decorating Company"

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Compact living. London: Mitchell Beazley, 1999.

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Kurutz, Gary F. Architectural terra cotta of Gladding, McBean. Sausalito, Calif: Windgate Press, 1989.

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Richard, Ball. Making space: Design for compact living. New York, NY: Overlook Press, 1989.

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(Firm), Rambusch. Rambusch in Manhattan: Four generations of an American family company 1898-2008. New York: Rambusch Studios, 2008.

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author, Shockley Jay, red. Seventh Regiment Armory Interior first floor interior consisting of the Entrance Hall, the main corridor, the grand Stair Hall and staircase leading to the basement and to the second floor, the Veterans' Room, the Library, the Reception Room, the Board of Officers Room (Colonel Emmons Clark Memorial Room), the Colonel's Room, the Adjutant's Room, the Equipment Room, the Outer Committee Room, the Inner Committee Room, the Field and Staff Room, and the Drill Room (excluding the storage rooms beneath the gallery, but including the four comer stairs and the passageways to the Lexington A venue and administration building entrances); the second floor interior consisting of the main corridor, the grand Stair Hall and staircase leading to the third floor, the staircases at the north and south ends of the main corridor leading to the third floor, the Company A (First Company) Room, the Company B (Second Company) Room, the Company C (Third Company) Room, the Company D (Fourth Company) Room, the Company E (Fifth Company) Room and western alcove, the Company F (Sixth Company) Room and western alcove, the Company G (Seventh Company) Room, the Company H (Eighth Company) Room, the Company I (Ninth Company) Room, the Company K (fenth Company) Room, the Company L (Eleventh Company) Room, and the Company M (Twelfth Company) Room; and the fixtures and interior components of these spaces, including but not limited to, wall, ceiling, and floor surfaces, woodwork, cabinets, fireplaces, doors and door hardware, chandeliers, light fixtures, stained-glass window screens, stair railings, radiators, affixed paintings, attached decorative elements, and Drill Room roof trusses; 643 Park Avenue, Manhattan: Built 1877-81, architect Charles W. Clinton : additions and alterations, Robinson & Knust, 1909-11. New York]: NYC Landmarks Preservation Commission, 1994.

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Ann, Thomas Jo, i R. Williamson & Company., red. Early twentieth century lighting fixtures: Featuring gas & electric, ceiling, wall, table & art glass fixtures : selections from the R. Williamson lamp catalog. Paducah, Ky: Collector Books, 2000.

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Foundation, Two Red Roses. The Aloha Boathouse and the Iris Bathroom: Two installations by the Grueby Faience and Tile Company from the Two Red Roses Foundation. Tampa: Two Red Roses Foundation, 2013.

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Buchon, J. L. Mico. La Iglesia de la Compania de Quito. Quito: Fundacion Pedro Arrupe, Residencia de San Ignacio, 2003.

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New York (N.Y.). Landmarks Preservation Commission. Thomson Meter Company Building (later New York Eskimo Pie Corporation Building), 100-110 Bridge Street (aka 158-166 York Street), Brooklyn: Built 1908-09 : Louis E. Jallade, architect : Hennebique Construction Co., general contractor : [report]. N[ew York, N.Y.]: Landmarks Preservation Commission, 2004.

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A, Binroth Justus, Grassimuseum i Bauhaus-Archiv Museum für Gestaltung, red. Bauhausleuchten? Kandemlicht!: Die Zusammenarbeit des Bauhauses mit der Leipziger Firma Kandem = Bauhaus lighting? Kandem light! : the collaboration of the Bauhaus with the Leipzig company Kandem. Stuttgart: Arnoldsche, 2002.

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Części książek na temat "Architectural Decorating Company"

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Roberts, Daniela. "Visualizing Historical Greatness". W Spaces for Shaping the Nation, 231–54. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839466940-014.

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In this paper I will look at the two national portrait galleries in Great Britain (the English institution in London and the Scottish National Portrait Gallery in Edinburgh) and compare their strategies for presenting the collections of certain eminent men and women. Such strategies served to convey the significance of these figures both for the nation and for each museum's history. Choices of architecture, style, and decorative scheme, as well as the setting for the collection and its display, will be analysed in order to understand these institutional modes of reconstructing and visualizing national history.
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Streszczenia konferencji na temat "Architectural Decorating Company"

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PESSUTTO, Ana Carla, i Eliena JONKO. "COMPARISON OF TWO STAINING METHODS FOR ANODIZING IN ALLOY 6063 ALUMINUM PROFILES". W SOUTHERN BRAZILIAN JOURNAL OF CHEMISTRY 2021 INTERNATIONAL VIRTUAL CONFERENCE. DR. D. SCIENTIFIC CONSULTING, 2022. http://dx.doi.org/10.48141/sbjchem.21scon.03_abstract_pessutto.pdf.

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Aluminum stands out for being a light, corrosion-resistant, and recyclable metal, achieving wide coverage in the market. When incorporated into alloying elements, it is possible to acquire other desirable characteristics. Alloy 6063, intended for architectural purposes, has aesthetic, structural, and strength functions. This study aims to compare two different staining methods on the surface of anodized profiles of aluminum alloy 6063. Anodized finishing is performed through an electrolytic process using sulfuric acid as an electrolyte to change the surface layer of the material, ensuring a more resistant aluminum oxide film than that formed naturally. For decorative purposes, the anodic film coloration can be performed by several methodologies, including, in this case, the coloration by organic adsorption, with the use of aniline, and the electrolytic coloration, composed of tin sulfate salts, both for obtaining the black color. To compare, neutral saline mist tests, scanning electron microscopy analysis, determination of the anodic layer thickness, and immersion tests with 3.5 percent sodium chloride for 1000 hours. The results obtained highlight that both were shown to be resistant to corrosion due to the fact that they do not present corrosion points when exposed to the neutral saline mist test for 600 hours. In the immersion tests, both remained resistant to sodium chloride. Because both methodologies present satisfactory results in all tests, the quality of the applied stains is ensured, and it is found that they are equivalent when the parameters discussed are used.
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