Architectural decoration of the stoas of the Agora of Amathous

The long 18th century was a period of intense investment in elite architecture in Britain which sustained an extensive craft culture in carving, modelling, and joinery. Yet decoration is largely marginalised or ignored by architectural historians. This antipathy to the enrichment of buildings is not particular to Britain and reflects a wider discourse on the architecture of many periods and places. By situating past and present attitudes to 18th-century decoration in Britain within a wider historiography, this paper reveals the prejudices which still attend the discussion of ornament and craft production in architecture. Conversely, it explores revisionist perspectives on craft and decoration and considers how they can inform architectural history and contribute to a more holistic understanding of building production. Despite a recent, widespread revival of interest in ornament, however, scholarship continues to privilege conceptual issues over the material practices of decoration. Disciplinary boundaries have militated against an integrated approach to architecture and decoration and historians of sculpture and architecture have overlooked significant common ground. Lacunae in the historiography of decoration in 18th-century British architecture call for approaches which integrate the analytical and methodological tools of architectural and sculpture history.

The use of symbolism in contemporary architecture is increasingly gaining momentum, especially so in the Eastern countries currently undergoing rapid economic development. Sociologically, this phenomenon can be related to a desire to manifest a vast wealth of national art and respond to the globalisation and unification of world culture. Taking this tendency as a prompt, this study explores different ways of implementing symbolic ornaments in landscape architecture. Traditionally architecture has been defined through and judged against culturally acceptable criteria that set the norm for appropriate form and expression. Yet, technical advances have altered this process and contributed to a certain level of oblivion of traditional architectural form. Thus, the meaning of many Kazakh ornaments has been lost through time. On one hand, this paper collects historical information on the semiotics of Kazakh ornaments and on the other hand, it conducts field studies focusing on the cultural tradition of the native people in Eurasia. The study introduces the use of symbolism in landscape architecture as an aspiration for luck and prosperity which then dictates the quality of the landscape compositions. The findings show that the use of symbolic ornamentation in architecture is not bound to specific geographic areas but rather motivated by broader underlying principles. Through analytical exploration of different cultures and their use of symbols in architecture, this study identifies four main categories of architectural symbolism relating to floral, zoomorphic, geometric and cosmogonic patterns. Each nation then recognises its own identity in the semiotics of those patterns and incorporates them in the urban realm as part of its cultural legacy.

This article provides a study of Corinthians capitals with interlocked helices from four main locations: Jordan (Jerash (Gerasa), Petra); Lebanon (Baalbek); Egypt (Alexandria); Italy (Rome); and Libya (Lepcis Magna). A typological study of Corinthian capitals with interlocked helices show two main types, the first, interlocked normal helices, the second, interlocked flowered helices. Those types were used on in general on temples during the Roman period. The study included is descriptions of the capitals, which are then compared with one another. It has been noted that capitals with interlocked helices were rare compared to Corinthian capitals having normal helices, such as those that were generally used during the Roman period. This would suggest that the scheme was a new one in the East; likewise, that it was introduced from the Western provinces. Interestingly enough, those found in the Eastern provinces are more developed than those found in the Western ones, especially with respect to the first type. Furthermore, we can also say that this architecture developed during the First and Second Centuries, and thus reflect the new architectural elements and decorations such as those that were not used before.This preliminary comparative study serves as an introduction to the study of architectural elements and decorations in Jordan used during the Roman Period.

Under the background of big data and the Internet of Things, different design elements in domestic architectural design are becoming more and more abundant. During the integration of different elements, traditional elements are an important part of the domestic building decoration industry. In the integration of the entire architectural style, it is integrated with the entire architectural style. It reflects the deep heritage of traditional culture. Many scholars have conducted in-depth research on this phenomenon, but how to better apply big data technology to promote the application of traditional elements in the field of architecture is still blank. This paper establishes a scientific evaluation model according to the different proportions in the application of traditional architectural elements and its proportion in the external display of actual buildings, which opens up new ideas for research in this field. This article studies the application and development prospects of the traditional elements of the architectural decoration industry in my country, and explores the innovative development of traditional decorative elements in the modern architectural decoration industry. Study the development needs of modern aesthetic design in the current stage of the building decoration industry. Through the rich and innovative application survey of traditional elements, the vitality in modern architectural decoration that stimulates traditional culture, and continuously enriches the extensive development and innovative development of the domestic building decoration industry. Stimulates the importance of traditional architectural decoration elements. This article conducts statistics and analysis of the big data and decoration requirements of the domestic decoration industry, applies the computing and evaluation model in the field of architecture, and evaluates the application of traditional elements in the field of architectural decoration more coordinated development. Looking at the existing research results, they all put forward suggestions for development at a macro level, but there is a blank on how to choose the ratio of various traditional factors more scientifically. In order to solve this problem, the research has created a scientific calculation model. Traditional factors are used for assignment and big data is used for calculation, which provides new ideas for research in this field.

With the field study of Bang-Tang Ancient Village in Leizhou on spatial layout, settlement cultural exchanges, and ancient architectural decoration, this paper discusses ancient residential courtyard layout, architectural design, materials and features, and analyses orderly hierarchical and organically connected architectural decoration art of ancient village in Leizhou peninsula. Based on researches on existing problems in folk house architecture, some prospects and principles to protect and renovate the village are put forward, together with some basic theory and measurements to protect and promote ancient residential architecture art of layout, surroundings, construction space, traditional streets, and ancient architecture decoration.

Book Review| September 01 2021 Review: Race and Modern Architecture: A Critical History from the Enlightenment to the Present Irene Cheng, Charles L. Davis II, and Mabel O. Wilson, eds. Race and Modern Architecture: A Critical History from the Enlightenment to the Present Pittsburgh: University of Pittsburgh Press, 2020, 438 pp., 96 b/w illus. $45 (paper), ISBN 9780822966593 Maura Lucking Maura Lucking University of California, Los Angeles Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (2021) 80 (3): 361–363. https://doi.org/10.1525/jsah.2021.80.3.361 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Maura Lucking; Review: Race and Modern Architecture: A Critical History from the Enlightenment to the Present. Journal of the Society of Architectural Historians 1 September 2021; 80 (3): 361–363. doi: https://doi.org/10.1525/jsah.2021.80.3.361 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the Society of Architectural Historians Search It is difficult to recall an academic anthology so appropriately timed and so desperately needed as this volume. Race and Modern Architecture arrived as the United States grappled with another brutal wave of police violence against people of color. As part of that activism, a new generation of students, architects, and scholars have called for reappraisal of anti-Black racism in the structures of our own discipline, from curricula to office cultures to licensure procedures. The essays collected here offer tools for this kind of pointed institutional critique. Although this project fills a lacuna in a particular strand of architectural history (one concerned with the canonical narratives of architectural modernism and modernization in a Euro-American context), its arguments already feel somewhat familiar, in that they summarize the state of the field as much as they constitute pathbreaking scholarship in their own right. Those by editors Irene Cheng, Charles L. Davis II,... You do not currently have access to this content.

book, Ornament: The Politics of Architecture and Subjectivity, deals with the comeback, over some thirty years, of ornament in architecture, after the modernist parenthesis which excluded it. A comeback, because ornament has always been present in European architecture-Antoine Picon's book takes its history back to the Renaissance, but we should go much further back than that: to the Middle Ages of Suger and Bernard de Clairvaux, or to the Antiquity of Vitruvius. 1 A comeback nevertheless marked by a deep-seated difference-and not just linked with the fact that the forms and ornamental motifs of contemporary architecture are novel, with regard to those of the architecture of past centuries. What is missing, according to Antoine Picon, is the political dimension of ornament in architecture. We can find confirmation of as much by examining theoretical writings on contemporary architecture. The famous book by Farshid Moussavi and Michael Kubo, The Function of Ornament (2006), presents an ornamental typology of famous 20 th and 21 st century buildings, from Louis Sullivan's Carson Pirie Scott Department Store (1904) to Norman Foster's 30 St. Mary Axe ( A different history of modern and contemporary architecture is thus mapped out from the ornamental viewpoint: the authors note that pre-1900 edifices involve Form and Structure more, while Screen and Surface remain the main forms of architectural ornament after that date. But not a word is said about the political dimension of these buildings. 2 Great contemporary architectural projects, and the edifices of famous architects, skip the expression of the shared values which cement democracies. When, on the other hand, architects focus on the political aspect of their work, ornament disappears from their Is Democratic Ornament Possible?

The decorated column bases in Hellenistic-Roman Architecture in Anatolia The act of including the column bases into the architectural decoration programme is one of the Attic characteristics emerged for the first time at the Anatolian Architecture of Hellenistic Period. This execution starting with Apollon Temple of Didyma and Artemis Temple of Sardes and in a different way at the temples which were attributed to Hermogenes lasted in the Early Roman Period and later on. While this treatment is seen mostly on the temples all of which are almost prestigious buildings with their monumental sizes and decorations in the Hellenistic Period, the entrance gates and the honorific monuments were preferred as well from the Early Roman Period. The decorated bases were applied firstly at the important temples and the buildings with different functions in Roman Imperial Period. However, to the contrary, the percentage of the execution is fairly limited among the intensive building activity of the Imperial Period. As obviously observed at the monumental temples of which the architectural decoration were never completed because of the sizes, the challenging works caused by the application of the decorated bases at the colossal building in terms of time and finance can be accepted as the most important reason for the limited choices in this period. In this study, the buildings which have decorated bases and the general tendencies with the framework of Architecture of Hellenistic and Roman Periods in Anatolia were evaluated on the basic points

During the last century, the relationship between designing of printed upholstery and architecture is a type of imagination, but current times there is increase in the correlation between them due to realization of that both of them depend on art, science and technology. The parametric design, in the field of architecture, considers a creative and innovative source to design printing textiles in general and upholstery designs for living rooms in special (research subject). In light of the tremendous scientific revolution and the unlimited technological leaps and the development of computer technologies, especially animation applications, parametric design tools and applications appeared, and it is a modern design trend that began to appear in architecture, as it is based on relationships, systems and equations applied by the designer through specialized computer programs, through which it is possible to obtain a number of Unlimited units and design elements by tweaking and matching one of the variables of these equations. It can be easily manipulated to create multiple design ideas at breakneck speed. Therefore, this research seeks to apply the use of the parametric design trend as an aesthetic dimension, and to propose a new vision, innovation and inspiration for new designs suitable for use in living room upholstery fabrics, as well as providing a new design style and style that works to provide many modern designs with high artistic and aesthetic value, which works on Elevating the artistic taste of the consumer through an artistic and aesthetic vision of modern living room upholstery designs. The research is also interested in presenting new features of contemporary parametric architecture, which opens new horizons for creative thought to transform traditional patterns in the design of print living room upholstery fabrics into designs with innovative and varied sensory and visual effects. The research problem is determined in the following questions: What is the concept of parametric design? And how can we rely on the practice of experimental thought based on the parametric design trend variables to reach a design construction for printing surfaces for living room upholstery? And how to take advantage of the aesthetic values ​​and structural foundations of parametric architecture to enrich the field of designing the printing of living room upholstery and to obtain innovative and unconventional design solutions? The research aims to identify the importance and features of parametric design, find new plastic formulations for print living room upholstery designs by taking advantage of the parametric design trend and inspired by parametric architecture, producing print designs for living room upholstery characterized by richness of shape, color and texture, and providing a new design style and style that works to provide many Of modern designs with high artistic and aesthetic value. The importance of research is to take advantage of parametric design in architecture, which supports technical design innovation and makes it keep pace with modern development, contributing to enriching the field of living room upholstery design because of its contemporary design structure and to emphasize the importance of experimentation, opening new horizons for the direction of parametric design and its application in the field of print design Textiles, and this research leads to a new field of vision for the contemporary artist to benefit from in the field of textile printing design in general and the design and printing of living room upholstery s in particular, which is a new addition to the Arabic library. Methodology: The research is based on the analytical descriptive approach, by identifying selections from parametric architecture, and the experimental approach, in which technical design experiments and employment proposals are conducted in the field of designing printing fabrics for living room upholstery s through experimentation and switching of parametric architecture elements. Results Showed that: the study of the parametric design trend in architecture is an important source that leads to the creation of designs suitable for printing contemporary living room upholstery studying the parametric design trend in architecture is a new idea worthy of to be included in research and studies of the arts of textile printing design in general and the field of designing and printing living room upholstery in particular. (8) Design ideas suitable for printing contemporary living room upholstery (interiors), and obtaining atypical designs that do not exist in the markets. When presented, we can make a great diversity of the offered designs to increase economic popularity and enter into competition in the local and international markets, as well as enhance the parametric design of the designer's creativity and confirms the importance of studying computer programs through which parametric design is achieved.

Tree-like architectures and branching structures are one of the analogical designs that are among the nature inspired structures arousing attention of the designers, inspiring them and that are frequently confronted throughout the history of architecture. Likewise, trees are structural models for designers beyond the plant and branching patterns that are used as architectural ornamentation. Trees have the characteristics of being mentors for architects and engineers concerning how the vertical and the horizontal loads are transmitted through the trunks, branches, and leaves and how the balance is provided. Within this context, it is possible to claim that a quite wide and intuitively developed structural knowledge is acquired with the tree analogies throughout the history of architecture. By the development of computational design technologies, there have been significant developments in the design and the building of tree-like structures. Especially the number of branching, angles of dendroids, lengths, and the other parameters can be defined by using algorithms and can be optimized also by the help of computational tools. In this paper, the historical development and classification of the tree-like structures have been carried out and Frei Otto who is the pioneer to pave the way for innovative structures related to this field has been selected to revisit the efficiency of lightweight columns inspired by nature. One of the experimental studies of Otto in which he called as “minimum path system” has been determined as the case study; the parametric design behind the structure has been analyzed and reproduced by using a parametric software. The structural effectiveness has been determined and discussed by testing the obtained models using a FEM program under horizontal and vertical loads. Consequently, the structural effectiveness of today’s computational technologies and the branching structures that Otto built intuitively and by natural analogies have been able to be tested and the possible potentials that can be leading for today’s architects have been demonstrated.

The necropolis at Malbork-Wielbark was excavated from 1927 to 1936 and 2008 to 2019. This burial ground is the eponymous site of the Wielbark culture. To date, over 2000 burials, both inhumation and cremation (pit and urn graves), have been recorded at this site, attesting to its continuous use from the Early Pre-Roman Iron Age (phase A1) to the early Migration Period (phase D1), with particular emphasis on the Roman Period. The cemetery site partially overlies and damages an earlier Iron Age settlement of the Pomeranian culture.Laboratory analyses were carried out on 113 pottery sherds. The series of samples chosen for analysis reflected, as far as was possible, all relative chronological phases and vessel shapes. The pottery was analysed using a step by step strategy built on the results of MGR-analysis (i. e. the classification of samples based on their matrix type) and on a macroscopic assessment of clastic material. In addition, an estimation of chemical composition by portable energy-dispersive X-ray fluorescence (pXRF) was available for each sample. After they had been classified, samples were selected for chemical analysis by wavelength-dispersive X-ray fluorescence (WD-XRF), estimation of physical ceramic properties (open porosity, water absorption and apparent density), Kilb-Hennike analysis (K-H analysis), thin-section studies using a polarising microscope, a study of surface phenomena by RTI (Reflectance Transformation Imaging), thermal analysis (TG-DTG-DTA), X-ray diffraction analysis and functional properties analysis (water permeability and thermal shock resistance), as well as experimental estimation of magnetic properties.The results of MGR-analysis carried out on ceramic samples taken from 113 potsherds revealed that all of the pottery was made from various non-calcareous clays with fine-grained iron compounds homogeneously distributed in the matrix. It was decided not to carry on determining/using MGR-groups, as nearly every sherd represents a different MGR-group. This means that these vessels were made during different production cycles. The differences in thermal behaviour between samples were attributed only to matrix-type groups. It can be concluded that 85 % of the total sherds were made from plastic raw materials of the same provenance, and that the same matrix-type groups occurred in all chronological phases. The percentage of vessels made of particular raw materials indicates a significant difference in the preferences of Pomeranian Culture potters and those of Pre-Roman Iron Age, Early Roman Period and those of the Late Roman Period, when one type of raw material disappears from use. This last period is also characterized by an increase in the number of vessels fired in a reducing atmosphere. Standardization is also evident in vessel-wall thickness, which falls within a narrow range of values, on the other hand combined with a large variety in grain sizes up to very large ones and with a wide range of open porosity values, which in turn points to a lack of care in the preparation of the ceramic body. Vessels that may have been non-local origin are noted in all chronological phases. Analysis of functional properties (water permeability and thermal shock resistance) revealed that the pottery deposited in graves included fully functional wares, such as cooking pots, as well as vessels intended solely as grave goods.More than a few samples evidence the use of a slow-rotating potter’s wheel, and it is also possible that a template was used for forming vessel rims. However, there are very few examples of truly technologically advanced vessels. The technology is generally tailored to the desired type or form of vessel.

In this article we consider a theme concerning the evolution of metal decoration in architecture of the town Ivano-Frankivsk (Stanislaviv), dated XIX - early XX century, this question was analyzed in line with European architectural and artistic trends of that time. Style trends and compositional features were detected through the example of certain types of metal-plastic in the architecture of the town. Special attention was paid to finding ways to preserve valuable historical examples of architectural-artistic metal, which are exposed to destruction. Ancient metal-plastic, which impresses us by the mastery of far-back blacksmiths, adorns most historic buildings in Ivano-Frankivsk (Stanislaviv). It was formed, at each stage of its development, in line with European architectural-artistic trends and reproduces the content of these processes by typological, compositional, stylistic, iconographic, formal features, together with production technique and manufacturing technology. The metal-plastic being a valuable architectural-artistic heritage of XIX - early XX century, which defines the direction of urban modern forging art development, nowadays is exposed to destruction. Undervaluation and low level of research work, concerning Ivano-Frankivsk historic metal-plastic as a cultural heritage object, become one of the reasons that community and some experts do not consider it as an object that influenced the formation of the architectural urban space image and still continues to influence its evolution.

Seattle's growth has been remarkable; from a population of only 3,500 in 1880 the city grew to over 500,000 in 1990, and the Puget Sound region exploded to a population of nearly three million. Shaping Seattle Architecture: A Historical Guide to the Architects focuses on those whose designs shaped the physical form of the city and region. Forty-five generously illustrated profiles of architects and firms provide an overview of Seattle's architectural history as well as a handy reference guide to the life and work of these designers. Jeffrey Ochsner's introductory chapter summarizes the main currents of Seattle's architectural history, relating it both to the city's history and to national and international trends in architecture. Three special essays, focusing on the region's Native American architecture; on the impact of pattern books, plan books, and periodicals; and on vernacular and popular architecture - ordinary structures often built without the participation of professional designers - are valuable additions to the book. Only architects no longer actively practicing are included in the individual profiles, but an appendix providing over eighty thumbnail sketches of additional significant Seattle architects and the works for which they are most noted does include recent AIA-Seattle Medal winners. Non-Seattle architects who designed major Seattle structures are listed separately. Another appendix lists the extant buildings mentioned in the text, along with their current names and addresses, including buildings across the Northwest and elsewhere. Sections on sources of information and on researching Seattle architecture provide suggestions for finding out more about aparticular architect, building, or project.

Modern China is a period of rapid change and staggered development of social ideology. The blending and collision of Chinese and Western cultures has made Chinese architecture undergo diversified and complex changes in a short period. Among them, architectural decoration, as the most intuitive architectural language, records architecture history through the change of decorative style. Most of the existing studies on modern architectural decoration design in China focus on the aesthetic and humanistic values of decoration, ignoring that architectural decoration is a product of society and eras and lacking systematic perspectives to explore the social value and era significance of the change of modern Chinese architectural ornamentation. Therefore, this research initiated a tripartite approach, which includes the following: (1) establishing the theme research of architectural decoration and architects and bringing architects into the research category as social dynamic elements, (2) restoring the social environment of the change of modern Chinese architectural ornamentation from the perspective of social culture, and (3) exploring the era value and significance of the transformations in modern Chinese architectural decorative styles from the perspective of global history. Through the systematic research method, this study attempted to restore the historical context of the development and change of modern Chinese architectural decoration and comprehensively viewed the deep reasons for the change of modern Chinese architectural decoration style to enrich the theoretical system of modern Chinese architectural decoration research and to provide a new methodological reference for the future research mode of modern Chinese architectural decoration.

Over 80 years of colonization, the cultural and historical mark of the French in Saigon is reflected in many ways, especially the architectural system is seen as historical witnesses to record the process of development into city. From the pearl of to Western model city, Saigon brings its own unique, harmonious and graceful features through architectural, technical and decorative styles on each architectural project with Indochinese style. Those beautiful features gradually affirmed the value of French architectural art, cultural and historical value of the southern land. By the method of surveying, fieldwork, analyzing from an aesthetic perspective on the basis of an interdisciplinary approach, studying decorative arts on some Indochinese architectural works in Saigon - Ho Chi Minh City colonial section from 1887-1945. This is the time of starting and ending the influence of the French, in terms of politics, social culture, education and especially colonial architecture through urban planning and architectural decoration. The architectural style of Indochina has become a trend in modern architecture, marking the influence of French culture in Saigon on architectural heritage, and simultaneously demonstrating the aesthetic values from various art forms that they create.