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Статті в журналах з теми "Agps architecture (Firm)"
1
Wasik, Bogusz. "Golub Castle in the Middle Ages. Architecture and Construction Technique." Masuro-Warmian Bulletin 304, no. 2 (July 20, 2019): 191–217. http://dx.doi.org/10.51974/kmw-134838.
Повний текст джерелаАнотація:
Golub Castle has aroused the interest of researchers since the 19th century. In the 1960s, in connection with its planned reconstruction, architectural and archaeological research was carried out, the results of which, however, were not fully realised. In 1989, further archaeological surveys were carried out to verify the question of the earlier settlement. From the current research it can be concluded that there was no early medieval stronghold in the place of the later castle. However, there was settlement until the 11th century. The next traces derive only from the time when Golub was taken over by the Teutonic Knights in 1293. It can be concluded from the sources that they erected a temporary wooden watchtower, which was the seat of the procurator in 1304. It is uncertain whether it was situated in the same location as the castle, although perhaps it is associated with a layer of burning, documented under the high castle. It is also unclear whether the original moat and embankment, protecting the outer ward from the west, should be associated with this structure. Around 1305 a commandery was established in Golub and the construction of a brick castle began. This saw the employment of the old Culm measure and the geometric ad quadratum method. The four-wing convent house was built according to a homogeneous plan, but it was implemented in stages typical for this type of building in Prussia. First, a peripheral curtain wall was built, then the main and subsequent wings. Modifications were made during the process of construction, abandoning, among others, the building of the Bergfrid. From the west, the castle was protected by a walled moat and parcham. Initially the outer bailey was constructed of timber and earth, on a trapezoidal plan and protected by the aforementioned moat and embankment. It was not until around the mid-14th century that the brick perimeter of the outer ward with towers was built, expanding them to the west and southeast. Inside, there were farm buildings, known from modern sources and archaeological excavations. At the end of the 14th century, two cylindrical fire towers were built in front of the west facade of the convent house, and at the beginning of the 15th century, two houses were inserted between them. The last works carried out by the Teutonic Knights in the castle were related to its reconstruction after the war of 1422.
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Gonçalves, Maria Helena, Maria Luisa Braunger, Anerise de Barros, Rafael C. Hensel, Julianna G. Dalafini, Italo O. Mazali, Leonardo M. Corrêa, Daniel Ugarte, Antonio Riul, and Varlei Rodrigues. "Controlled Insertion of Silver Nanoparticles in LbL Nanostructures: Fine-Tuning the Sensing Units of an Impedimetric E-Tongue." Chemosensors 12, no. 6 (May 24, 2024): 87. http://dx.doi.org/10.3390/chemosensors12060087.
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Silver nanoparticles (AgNPs) possess unique characteristics ideal for enhancing device sensitivity, primarily due to their high surface-to-volume ratio facilitating heightened interaction with analytes. Integrating AgNPs into polymers or carbon-based materials results in nanocomposites with synergistic properties, enabling the detection of minute changes in the environment across various applications. In this study, we investigate the adsorption kinetics of AgNPs within multilayered layer-by-layer (LbL) structures, specifically examining the impact of AgNPs concentration in the LbL film formation that is further explored as sensing units in an impedimetric microfluidic e-tongue. Although absorption kinetic studies are infrequent, they are crucial to optimize the AgNPs adsorption and distribution within LbL structures, significantly influencing upcoming applications. Through systematic variation of AgNPs concentration within identical LbL architectures, we applied the films as sensing units in a microfluidic e-tongue capable of distinguishing food enhancers sharing the umami taste profile. Across all tested scenarios, our approach consistently achieves robust sample separation, evidenced by silhouette coefficient, principal component analyses, and long-term stability. This work contributes to exploring controlled nanomaterial-based developments, emphasizing the importance of precise parameter control for enhanced sensor performance across diverse analytical applications.
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Vahid oğlu Fərzəliyev, Nurbəy. "The artistic description of religious monuments in primitive and ancient ages." SCIENTIFIC WORK 79, no. 6 (June 17, 2022): 77–81. http://dx.doi.org/10.36719/2663-4619/79/77-81.
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Bu məqalədə qədim Azərbaycan ərazisində inşa olunmuş dini tikililərin bədii-ornamental tərtibatının formalaşması və mərhələli – pilləvarı inkişafı nəzərdən keçirilir və analiz olunur. Məqalədən belə nəticəyə gəlmək olar ki, ibtidai insanın dini təsəvvürləri ilə bağlı olmuş ilk rəsm və rəmzlər hələm son paleolit dövründə meydana gəlmişlər. Sonrakı mərhələlərdə heyvan təsvirləri və rəmzləri ilə yanaşı od və su, həmçinin səma cisimləri və təbiət hadisələrinin kultu ilə bağlı olmuş müxtəlif petroqlif və rəmzlər yaranır. Antik dövr Albaniya incəsənətində isə artıq ellinizm mədəniyyətinin təsiri izləri aydın nəzərə çarpır. Açar sözlər: memarlıq, ibtidai, dini görüşlər, antik Nurbay Vahid Farzaliyev The artistic description of religious monuments in primitive and ancient ages Abstract In this article, the formation and gradual development of the artistic and ornamental design of religious buildings built in the territory of ancient Azerbaijan were considered and analyzed. It can be concluded from the article that the first paintings and symbols associated with the religious ideas of primitive human still appeared in the Late Paleolithic period. In the later stages, along with animal images and symbols, various petroglyphs and symbols related to the cult of fire and water, as well as celestial bodies and natural phenomena appeared. The influence of traces of Hellenistic culture is already evident in ancient Albanian art. Key words: architecture, primitive, religious encounters, antique
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Kurek, Jan. "TROYES – THE WOODEN BEAUTY OF THE SIXTEENTH CENTURY." Space&FORM 2023, no. 55 (September 29, 2023): 387–408. http://dx.doi.org/10.21005/pif.2023.55.e-05.
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Troyes – a city on the Seine – was an important point on the pilgrimage route to Santiago de Compostela in the Middle Ages and was consumed by fire several times. However, the city was rebuilt – both in stone and in the more cost- and material-efficient so-called half-timber technology. Many of these houses still survive today, forming, as in Reims, the valuable historical and architectural heritage of Champagne, another important city in the region, and as in Rouen in Normandy. History has thankfully spared many of the half-timbered (colombage) houses of Troyes. Today, they are of particular concern to conservators, who work to help save them and adapt them to modern needs.
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Wang, Ru-Guan, Pai-Yu Wu, Chang-Yuan Liu, Jia-Cheng Tan, Mei-Ling Chuang, and Chien-Cheng Chou. "Route Planning for Fire Rescue Operations in Long-Term Care Facilities Using Ontology and Building Information Models." Buildings 12, no. 7 (July 21, 2022): 1060. http://dx.doi.org/10.3390/buildings12071060.
Повний текст джерелаАнотація:
As our society ages, more and more elderly or disabled people live in long-term care (LTC) facilities, which are vulnerable to fires and may result in heavy casualties. Because of the low mobility of LTC residents, firefighters often need to enter the facility to save people. In addition, due to LTC facility management needs, many doors or windows on the passages for a fire rescue operation may be blocked. Thus, firefighters have to employ forcible entry tools such as disk cutters for passing through, which may lengthen the rescue time if an incorrect route or tool is utilized. As new information technologies such as ontology and building information modeling (BIM) have matured, this research aims at proposing a BIM-based ontology model to help firefighters determine better rescue routes instead of using rules of thumb. Factors such as the path length, building components and materials encountered, and forcible entry tools carried are considered in the model. Real LTC fire investigation reports are used for the comparisons between the original routes and the ones generated by the proposed model, and seven experts joined the evaluation workshop to provide further insights. The experts agreed that using the proposed approach can lead to better fire rescue route planning. The proposed BIM-based ontology model could be extended to accommodate additional needs for hospital fire scenes, in the hopes of enhancing the efficiency and effectiveness of firefighters’ rescue operations in such important facilities.
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Bakus, Grigoriy. "Gothic Сathedrals in the Fire of the World War: Monuments of Medieval Architecture in the Visual Historical Evidence of the 20th Century". ISTORIYA 14, № 7 (129) (2023): 0. http://dx.doi.org/10.18254/s207987840026931-3.
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“Rotterdam durch deutsche bomben vernichtet” — this inscription in German Language was written on snapshot with most prominent Gothic-styled Church of the city. The nearest area was destroyed completely and only ruins there were everywhere. Today this card, an amateur photo, is a piece of historical evidence both in the fields of longue durée terms of existence for medieval monuments in traditional cityscapes and local societies, which had living there. During the periods of the First and the Second World Wars were made the arrays of images of the same sort with monuments of medieval culture — the cathedrals of Reims, Rouen, Amiens, Laon, the Sint-Laurenskerk in Rotterdam, the Benedictine abbey of Mont Saint-Michel. Together with the earlier images, these photographs allow us to return to the problem of the “Traditional Church in Modern Culture”, which was identified by R. Kieckhepher on another material, as well as to talk about the content of the images of the Middle Ages in the discourses of the 20th century (O. G. Oexle).
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Hussain, Nedal A., Lamyaa A. Latif, and Haidar J. Mohamad. "Preparation of silver sulphide (Ag2S) thin films by chemical bath deposition for photocatalytic application." Indonesian Journal of Electrical Engineering and Computer Science 31, no. 2 (August 1, 2023): 692. http://dx.doi.org/10.11591/ijeecs.v31.i2.pp692-699.
Повний текст джерелаАнотація:
Semiconductor silver sulphide (Ag2S) thin films were grown on the glass substrate by chemical bath deposition (CBD). Five films deposited at the room temperature in a bath containing an aqueous solution of silver sulphide. The chemically synthesized Ag2S films are annealed at 573K for one hour for the second sample, and two hours for the third sample. The fourth sample exposed to microwave irradiation for one hour, and two hours for the fifth sample. Surface morphology, photocatalytic, optical and structural properties of all Ag2S samples investigated. The optical parameters such as transmittance, absorbance, absorption coefficient and energy bandgap of the films with thermal annealing and expose microwave irradiation presented. Optical measurement shows high absorbance in the ultraviolet-visible (UV-Vis) region. The difference in bandgap values of Ag2S samples was located to be in the range of (1.5-2.05) eV. X-ray diffraction (XRD) measurements reflect the existence of polycrystalline, and the scanning electron microscopy images showed that the morphologies of Ag2S thin films have various microspheres. The summary of the samples in is in the annealing Ag2S thin film which exhibits the best photocatalytic application.
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Salimov, Alexey M., and Marina A. Salimova. "Ensemble of the Tver Imperial Travel Palace: Metropolitan and Regional in the Architectural History of the Monument." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 70 (2023): 318–40. http://dx.doi.org/10.37816/2073-9567-2023-70-318-340.
Повний текст джерелаАнотація:
The history of the formation of the ensemble of the Imperial Travel Palace in Tver goes back to the deep Middle Ages, when there were two palace complexes (Princely and Vladychny (Archbishop’s) on the territory of the Kremlin. The first one ceased to exist during the period of the Troubles of the beginning of the 17th century, and by the end of the 17th century Vladychny consisted of several stone buildings of the 15th — 17th centuries. This ensemble was severely damaged during the fire in 1736, which led to the creation of a new Archbishop’s palace, erected near the dismantled chambers. The building of the 1730s stood for less than 30 years, because in 1763 it was damaged by fire again. As a result, the building, built according to the project of the capital architect I. F. Michurin, was replaced by a palace complex, the construction of which was supervised by the Moscow architect P. R. Nikitin. At the same time, its baroque decorative forms with the inclusion of late medieval elements in the mid — second half of the 1760s gave way to openly Baroque architecture, and the project of this building was probably approved without much doubt by Catherine II, who decided in the 1770s to make the newly rebuilt Vladychny palace her residence in Tver. Since then, a new stage in the biography of this complex begins, but during the early 19th century another metropolitan master K. I. Rossi expertly deprived the Imperial Travel Palace of its original appearance, informing its facades with a classic style. And finally, the royal architect A. I. Rezanov in the 60s – 70s of the 19th century changed the facade decoration of the Tver Palace again, bringing it into the context of many-sided eclecticism.
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Iwaszczuk, Urszula, and Maciej Marczewski. "A contribution to the study of meat consumption by the wealthy burghers of Słupsk (Middle Ages to modern times)." Folia Quaternaria 91 (2023): 5–30. http://dx.doi.org/10.4467/21995923fq.23.001.19376.
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During archaeological research of the Old Market Square in Słupsk, cultural strata and architectural relics related to various phases of the market’s development were discovered. The oldest remains date back to the pre-location period; the youngest come from the beginning of the 20th century. The original Gothic town hall was made of brick in the 14th century, accompanied by small wooden annexes. The structure was significantly damaged by the great fire of 1477, after which it had to be partially demolished, renovated and expanded. At the end of the 18th century, all existing buildings were destroyed, the area was lowered, and a new, smaller town hall was built. The last reconstruction of the town hall took place in 1901. The excavations in this area documented 1,179 fragments of animal remains. Due to the complexity of the area’s history and high number of uncovered structures, the remains were analysed chronologically. Their analysis aims to understand the burghers’ meat diet and briefly examine the state of animal husbandry in and around the city from medieval to modern times. The research showed the high importance of livestock, mainly species such as cattle and pigs that provide a large amount of meat. Remains of poultry, especially chicken and geese, were also relatively abundant. Discovery of the remains of the domestic turkey Meleagris gallopavo domesticus in 17th- and 18th-century contexts appears to be of great interest, as they were the leftovers from the luxurious meals at the tables of the burghers. Additionally, a surprising assemblage of corvid bird bones was found in a layer of decayed wood dating to the 18th–19th century, which consisted almost exclusively of the tarsometatarsus bones of a rook (Corvus frugilegus) and a raven (Corvus corax), found along with a skull of a passerine. This find could be associated with some unknown magical rituals; the bones may have also been collected as trophies.
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TEAL, RANDALL. "Building-in-Place." PhaenEx 3, no. 1 (March 29, 2008): 134. http://dx.doi.org/10.22329/p.v3i1.298.
Повний текст джерелаАнотація:
Martin Heidegger’s Discourse on Thinking lays out a troubling view of the world which holds true today much as it did at the time of the speech:
"The world now appears as an object open to the attacks of calculative thought, attacks that nothing is believed able any longer to resist. Nature becomes a gigantic gasoline station, an energy source for modern technology and industry. This relation of man to the world as such, in principle a technical one, developed in the seventeenth century first and only in Europe. It long remained unknown in other continents, and it was altogether alien to former ages and histories" (50).
As an architecture professor in an age of modern technology, I believe it critical that design students cultivate an ability to see more comprehensively and learn how to think more meditatively (as Heidegger later suggests). Coming into a state of attunement with context, culture, and environment must be considered to be the most basic criteria for building in the world, as these are the elements that preserve the feeling and identity of ‘place’.
Considering being-in-the-world as a stance that necessarily moves more toward complex understandings of the environment, this paper outlines an effort given to the pedagogical implementation of Martin Heidegger’s description of the phenomenon of ‘world’, the three-fold structure for Being-in as a means of teaching students a more attuned comportment toward place, building, and site. I will discuss how these ideas were used in an preliminary design exercise, then clarified and elaborated through a lecture on Terrance Malick’s film The New World.
Книги з теми "Agps architecture (Firm)"
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Another Take: 17 Short Stories on Architecture. Antique Collectors' Club, 2011.
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Agps clues: Marc Angelil, Sarah Graham, Manuel Scholl, Reto Pfenninger, Hanspeter Oester. Berlin: Aedes, 2012.
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Grimshaw, Caroline, and Iqbal Hussain. Buildings (Connections! (Thomson Learning : Firm).). World Book, 1998.
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Haberly, Daniel, and Dariusz Wójcik. Sticky Power. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198870982.001.0001.
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Modern civilization revolves around money. However, money is a paradox. It is nothing more than a representation of and medium for decentralized networks of social trust, but its production is controlled by highly centralized networks of firms, places, and governments, and there is never enough of it to go around. Moreover, given that the creation of money, as credit, is based on expectations, money is at its heart an instrument for human agency to change the future. At the same time, however, the financial systems that produce money are deeply rooted in the past, and perpetuate themselves through history. This book seeks to deepen our understanding of the paradox of money, by introducing a novel conceptual lens—that of Global Financial Networks—to cast new light on the geography, history, politics, and sociology of finance from the middle ages to the global financial crisis and beyond. It shows that the power of finance is inherently “sticky”; with what are generally assumed to be new innovations such as “offshore” finance actually dating back centuries, and the architecture of global financial networks more broadly adapting to the rise and fall of empires and new technologies while changing surprisingly little in their basic character; or at most changing very slowly. A recognition of the mechanics of this durability, it is argued, calls for a new approach to reforming finance which is less reactively focused on regulation, and more proactively focused on building new institutional systems with a long-term “sticky power” of their own.
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Harrison, Thomas. Pop Goes the Decade. ABC-CLIO, LLC, 2017. http://dx.doi.org/10.5040/9798400699030.
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This fascinating overview of popular culture in the 1980s describes the decade of excess that resulted from the social, political, and economic conditions of the time, documenting why so many milestones in entertainment, arts, and technology occurred the 80s. Popular culture in the United States in the 1980s—as reflected in film, television, music, technology, and art—serves to illustrate the general feeling of American citizens during this decade that the sky was the limit, and the only thing better than "big" was "bigger." This title provides readers with an engaging, in-depth study of the 1980s and supplies the larger historical and social context of popular culture in an era when the extraordinary seemed normal and all the rules were being rewritten. The book's wide scope includes the concepts, fashions, foods, sports, television, movies, and music that became popular in the 1980s. Readers will see how specific elements of the decade, such as visual art and architecture, reflect the sense of change in the 1980s, often through excessive displays of expression that helped further movements into the avant-garde. The technological advances, entertainment developments, and "game changers" that were essential to establishing the popular culture of the decade are highlighted, as is the trend of how personal expression in the 80s began to penetrate a wider segment of American culture, spanning across all ages. The book also calls attention to the standout events and individuals who influenced society in the 1980s, with emphasis on the figures who intentionally used pop culture as an avenue for change as well as the influences from the 1980s that are still felt today.
Частини книг з теми "Agps architecture (Firm)"
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Görgül, Emine. "Nostos or Ritournelle: The Spatio-Temporal Narrative of the Journey and Homecoming in the Movie of Ulysses’ Gaze." In Architecture in Cinema, 138–52. BENTHAM SCIENCE PUBLISHERS, 2024. http://dx.doi.org/10.2174/9789815223316124010018.
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This chapter focuses on the movie Ulysses’ Gaze-To Vlemma tou Odyssea (1995) by renowned Greek director Theodoros Angelopoulos. It was shot during the Yugoslavian War. While depicting the socio-political climate of the late 1990s Europe, the aftermath of the Cold War, and the falling communist ideology in the Balkans; Angelopoulos develops a traversal narrative of the Balkan region and portrays the multicultural structure and the shared history of the region. Looking at the last hundred years of the territory, Angelopoulos blurs the line between the past and the present conditions by reconstructing a selected perspective of time-space, while highlighting the ever-changing faith and unrest in the region over the ages. More concretely, the movie depicts the fictive journey of protagonist A, a movie director coming home from his exile in the US for a film screening, to find three undeveloped roles of the Manaki Brothers, starting from Thessaloniki and moving through Sarajevo. This journey is dismantled by elaborating the notions of anastylosis and ritournelle-refrain, which are used as the methodology of the film. The key scenes of the journey are also dismantled sequentially to reflect the systematic representation and repeating scheme of Angelopoulos in developing the visual narrative via key actions, characters, spaces, and ambiance, as well as feelings.
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Özbursalı, Z. Türkiz. "The Name of the Rose (Umberto Eco)." In Architecture in Cinema, 9–15. BENTHAM SCIENCE PUBLISHERS, 2024. http://dx.doi.org/10.2174/9789815223316124010004.
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The Name of the Rose is a 1986 film by Jean-Jacques Annaud, a novel adaptation, and a co-production of German, French, and Italian companies. The Name of the Rose, as it is known, is a 'historical mystery without police' by Umberto Eco, in which the 'political' authority war between the ruling power and the papacy institution, the conflicts between sects, and the pressures of religion on the people in Europe at the beginning of the 14th century, were woven like needlework through a seven-day slice of life and the seven sins associated with seven deaths. It is a tough novel with a detailoriented approach and philosophical weight in which Eco's deep knowledge is reflected in every line. The Name of the Rose is a book that has been translated into many languages, has been selected in the list of The Top 100 Crime Novels of All Time by the British Crime Writers' Association, and has been criticized for its approach to religion, but has also received much acclaim. Due to these features, it is a long and luscious work that carries serious risks to be adapted into cinema, and every detail has a meaning that cannot be ignored. Yet, in every frame of the film, in all open and closed spaces, the misery of the famine years of the Middle Ages, the bitter face of poverty, and the oppression of religion can be seen and felt. As those who have read the novel will remember, Eco began to describe the structure and the environment from the moment the protagonists started to see the monastery from afar. Once inside the monastery, all structures of the complex were explained in detail in terms of their place, size, form, relations with each other, and decoration. Undoubtedly, it is not possible to reflect this much detail properly in a limited time; however, it must be admitted that Annaud managed to reflect the general historical and architectural atmosphere as best as he could. The scenes in which we watch the eerie depictions of the reliefs, which also observe uneasiness and even fear, make the audience at least as uncomfortable as Adso.Cinema, which expresses its concerns through moving images, is a field of study that reveals its existence in other art branches and has to follow the technology closely. Literature and cinema, which have a common dramatic source, have always progressed art in art, and in The Name of the Rose, the relationship and affiliation of architecture, which is a visual field of study focused on intervention in space and designing the space for cinema has come to life in a much stronger and more violent way.
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Agazzi, Michela. "The Medieval Rialto: The Transformation of an Area in the Developing City." In The Layers of Venice Architecture, Arts and Antiquities at Rialto. Venice: Fondazione Università Ca’ Foscari, 2023. http://dx.doi.org/10.30687/978-88-6969-729-6/002.
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The Rialto area, where the church of San Giacomo stands, has a central role in medieval Venice: a market place from the earliest centuries that developed during the Middle Ages. De ’Barbari documents the medieval quarter in 1500 before the fire of 1514. The territory was already characterized in the 11th century by long shop buildings. The churches are witnessed from the 11th century (S. Giovanni Elemosinario) and from the 12th (S. Giacomo and S. Matteo). In the 12th century the area was almost completely built. In the 13th century, a stream was buried creating the main road, connected with the Ruga of the Oresi, and the bridge was built, a fundamental link for the entire town. Offices and public buildings are scattered around the area. In the thirteenth and fourteenth centuries attempts were made to reorganize it. The Loggia, (disappeared in the 16th century), at the foot of the bridge, had a central role: the trading center was also decorated with frescoes (historical episodes and globe).
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BAŞ, Gülsen. "ESKİ VAN ŞEHRİ KAZISI." In CUMHURIYETIN BIRINCI YÜZYILINDA ANADOLU’DA TÜRK DÖNEMI ARKEOLOJI ÇALISMALARI, 299–325. Türkiye Bilimler Akademisi, 2023. http://dx.doi.org/10.53478/tuba.978-625-8352-61-0.ch14.
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Old Van is located approximately 5 km west of the current city settlement, east of Lake Van. The city, which was the capital of the Urartian civilization, was used uninterruptedly until the beginning of the 20th century, and then became abandoned and ruined. Most of the architectural structures known today in the city, where many cultures left their mark, belong to the Middle Ages and Ottoman periods. The city has an intertwined and congested architectural texture shaped around the main roads running east-west and north-south and the narrow streets connecting to these roads. When city photographs taken at the beginning of the 20th century are examined, it is seen that the urban texture of Van consists of adjacent mud brick buildings, except for a few monumental buildings with stone architecture. Past research on Old Van has largely focused on the city’s archaeological phases before Christ. The first systematic excavation work in Old Van was carried out in the Ulu Mosque by Oktay Aslanapa between 1970 and 1972. The project, which was launched in 2022 regarding Old Van, aims to transform the city into a holistic cultural value. Within the scope of the project, which includes excavation, conservation, restoration, reconstruction, re-functioning and landscaping works, to make correct scientific interventions to the architectural structures that have survived to the present day within the urban fabric; It is aimed to obtain findings about the cultural history of the region through archaeological excavations and to revitalize the society’s perception of Old Van. In the excavations carried out in 2022 with the official permission of the Ministry of Culture and Tourism, the southern inner wall and the original road network of the city were studied. The inner wall displays a stronger architecture than the outer wall, with its adobe-filled and stone-covered structure. The outer wall has not survived to the present day. It has been understood that the walls have been subjected to a lot of intervention due to their role in defending the city throughout history. While the location of the circular and quadrangular bastions on the walls, which had to be constantly renewed, were clearly determined through excavations, some new data was also obtained about the entrance gates through which the city was entered. The need for new building types in the 19th century caused the architectural texture to extend beyond the city walls. The tight texture within the city resulted in the construction of small spaces even at the base of the city walls. It has been determined that the spaces created with adobe architecture were functional for civilian life and military purposes. While some findings indicating a blacksmith workshop were associated with civilian commercial life, traces of attack, fire and burnt documents found in a place unearthed near the Aziziye Barracks at the western end of the city revealed new thoughts that this place could be a document recording and storage unit. During the studies, groups of finds were encountered, most of which date back to the Ottoman period. Most of these are glazed and unglazed ceramic pieces that represent examples of daily use items of the civilian population. Additionally, Ottoman bronze coins, tobacco pipes, metal items, cannonballs and shrapnel, and burnt pieces of paper are among the artifacts recovered. For more detailed information, please refer to the Extended Abstract at the end of the text
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Stillwell, Richard. "The Present Chapel and its Predecessors." In The Chapel of Princeton University, 3–21. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691195209.003.0001.
Повний текст джерелаАнотація:
This chapter provides an overview of the Princeton University Chapel. The architects of the Chapel were the firm of Cram and Ferguson of Boston, while the builders were the Matthews Construction Company of Princeton. The general plan of the Princeton Chapel does not differ much from the large parish church or small cathedral typical of the Middle Ages. It consists of a nave of six bays, crossing, transepts, and choir. It recalls the English chapel or abbey tradition in that the choir is unusually large and without aisles. However, any English church of the same size would be certain to have a tower at the west end, or the crossing, or both. Here, the roof runs in an unbroken line from end to end. Another difference is that in a mediaeval building, the architectural aisles would be much wider than at Princeton, where they are used not for seating but merely for passage. The chapter then details the material and dimensions of the Chapel, as well as the interior and exterior sculpture.
Тези доповідей конференцій з теми "Agps architecture (Firm)"
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Beuk, Bojana. "DOKUMENTARNI FILM KAO IZVOR OČUVANjA KULTURNE BAŠTINE: ZADUŽBINE KRALjA MILUTINA U PRODUKCIJSKOJ DELATNOSTI RADIO TELEVIZIJE SRBIJE." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.849b.
Повний текст джерелаАнотація:
The development line of documentary film is defined by the need to present reality in the form of video material, and as such it is a document whose content can be understood as a separate museological form of preserving cultural heritage and the principle of archiving film memory in general.Since its founding, Radio Television of Serbia, as the first national television frequency, has recorded an enviable production activity, the repository of which includes documentary recordings of educational character, of cultural-artistic, educational and historical significance, thus promoting cultural heritage and historical events as well as contemporary art and culture.The subject of this paper follows the decades-long production of documented series dedicated to Serbian medieval art, shows about King Milutin's endowments that testify not only to the cultural and historical circumstances of the Middle Ages, the current state of certain cultural monuments, but also to theoretical reflections of history and art connoisseurs.We would direct a special scientific review towards architectural sacral buildings and fresco painting as a kind of monuments of cultural-historical and stylistic-artistic value of the Palaeologus dynasty.Therefore, we can say that the documentary film as a separate form of media reception of heritage and artistic artifact in audio-visual format shows and preserves, in this case study, the cultural heritage of King Milutin.