Slovenska kapela v Washingtonu D. C.: Zgodovina nastanka in njen kulturni, politični in verski pomen za Slovence in slovensko-ameriško skupnost

At present, the research and application on material still stays in the primary stage in domestic, mainly by introducing the foreign advanced technology and experience, rare in independent research and new materials development of technology. Proceeding from our national conditions, we should focus on the materials which is resource conservation and economic. In recent years, when continuously develop the new materials, they do not forget to grasp of environmental protection at the same time abroad, a large number of energy conservation and environmental protection green harmless material has been created. Because of the boomy of China's real estate, decoration has become the most popular topic in people's life, according to the statistics, decoration output value exceed more than 300 billion yuan a year. Due to heavy pollution and poor effect, the previous materials already can't satisfy people's needs .New material has good performance and decorative effect, what is important is the character of green environmental protection, and it become the new hot consumption.

Language is the medium through which all literature finds its manifestation. It is therefore necessary to have a language-based perspective for the study of literature. Since one finds in literature not only the referential but the creative and aesthetic aspects of language use, it is necessary to show that with a global perspective linguistics, through its sub discipline ‘stylistics’, can explicate literary texts as well. Hence, the paper consists of two parts: the first presenting a brief picture of linguistics as a discipline with a global orientation that is capable of studying not only the structures but also the functions and uses of language, and the second consisting of a stylistic analysis of S. H. V. Agyeya ‘s modern poem cup-caap nadii (The silent river). The first part briefly delineates the form of stylistics needed for explicating poetic texts. The paper emphasizes that stylistics must be semiotic in orientation, be sensitive to the context of situations and be rooted in ‘fictiveness’. Hence the approach has been called ‘semiolinguistics’ in order to distinguish it from other linguistic approaches. At the heart of stylistic meaning lies the multi-tiered stylization process which is attempted to be captured by positing three separate, though integrated, levels of the ‘sentence symbols’, ‘symbols in art’ and the ‘art symbol’. The paper focuses mainly on the level of the sentence symbol, since this is where stylization takes place, and the other two levels are implicated in the conclusions. This functional model is used for the analysis of the Hindi poem cup-caap nadi. The stylistic analysis of cup-caap nadi at the level of ‘sentence symbol’ views the poem as a linguistic construct in terms of its phonological, lexical, syntactic and semantic/ pragmatic aspects. While the phonological level shows, through the irregularity of meter, a ‘prose rhythm’, the lexical level reveals the signification of continuous motion, and the contrasts in lexicon signify the poem’s focus on a mental ‘state’ rather than on any physical scene. At the syntactic level, the contrasting simple and complex structures of the poem signify respectively the steady and calm motion of external nature which by-passes or submerges all obstacles in verse paragraph A, and a continuous violent motion of an ‘internal’ river that cannot submerge or obliterate the ever standing obstacles of 'desires' and hence remains in a state of constant collision in verse paragraph B. The semantic/ pragmatic level reveals that the continuous motion and the memories and desires are a permanent feature of the poem 'I's personality along with his sense of helplessness.

The aesthetics law of architecture and interior design is from the development of abstract art, initiated by Cubism and Futurism, after exploring the many artists, forming a great value for the rule of aesthetics of interior design. Modern art in pursuit of fashion and trends, modern art interior design also is the pursuit of fashion and trends, which attaches great importance to the overall layout of the interior space, but also pays attention to the perfect combination of interior space and the use of functional layout. Interiors follow certain aesthetic principles, but also contains modern art thinking.

Early Christian baptisteries were more than simply convenient shelters for liturgical rites. They functioned as symbols in themselves; their shape and decoration reflected and reinforced the theological significance or meaning of the ritual. This chapter considers such symbolic language of space and decor in light of what surviving documents reveal about how the ritual was performed and what participants understood its various components to achieve. It assumes that the architectural designs, shapes of fonts, and interior decoration were not haphazardly or arbitrarily chosen, nor of little consequence to those who built or used those structures. Certain architectural forms became standard because they were well suited, not only to liturgical movements but also to what the rituals meant to their participants. A number of iconographic themes regularly show up in the existing decorative programs of baptismal chambers. Keywords:architectural design; early Christian baptisteries; iconographic themes; interior decoration; symbolic language

Early Christian baptisteries were more than simply convenient shelters for liturgical rites. They functioned as symbols in themselves; their shape and decoration reflected and reinforced the theological significance or meaning of the ritual. This chapter considers such symbolic language of space and decor in light of what surviving documents reveal about how the ritual was performed and what participants understood its various components to achieve. It assumes that the architectural designs, shapes of fonts, and interior decoration were not haphazardly or arbitrarily chosen, nor of little consequence to those who built or used those structures. Certain architectural forms became standard because they were well suited, not only to liturgical movements but also to what the rituals meant to their participants. A number of iconographic themes regularly show up in the existing decorative programs of baptismal chambers.Keywords: architectural design; early Christian baptisteries; iconographic themes; interior decoration; symbolic language

From the private space of the boudoir to the public space of the museum, curtains are typically associated with interior decoration. As functional ornament, they commonly remain outside the traditional scope and canon of architecture, yet their spatial deployment demands (re)consideration. This research explores an architectural history of curtain and their “hidden” use in modernism. The inclusion and subsequent erasure of these textiles occurred in tandem with the proliferation of the free plan, the free façade and the curtain wall. The following essay attempts to highlight the pivotal role of curtains beyond lighting control and client demands for privacy, but as a soft architecture of flexible programming. Through architectural drawings, details and documented photos, key architectural projects—including Mies van der Rohe's Barcelona Pavilion (1925)—are examined to understand the role of curtains in early 20th-century designs. Whether the initial parti or the result of post-occupancy demands, curtains were necessary for a functional architecture of transparency. “Curtain-as-Wall” further considers how the modernist curtain evolved into unconventional contemporary variations, such as SANAA's Glass Pavilion (2010) or Inside Outside's Kunsthal Rotterdam commission (1999), and other 21st-century examples. Unlike their predecessors, the translation of these new curtains are integrated into the architectural drawings as a crucial project component. The essay seeks to reclaim curtains as an alternative strategy in architectural design. It further demonstrates that curtains are also codified with identity politics and semantics, much like building elements, and aims to blur the disciplinary boundaries between architecture and interior design.

H. Allen Brooks has unearthed a wealth of letters, diaries, family records, school reports and unpublished sketches and drawings that document every facet of the formative years of 20th-century architect and urbanist Le Corbusier. The text examines every aspect of his education from preschool through to and including his training as a designer of ornamental watch cases and his early studies in decoration and architectural design. This was followed by extensive travel, studying in Paris and Berlin before returning home to La Chaux-de-Fonds to teach and practice architecture, interior decoration and furniture design. Finally in 1917 Le Corbusier moved to Paris, where he became an unsuccessful entrepreneur before turning his talents to writing, painting, architecture and urban design.

It cannot be said that the creative biography of the artist-architect Stefan Narębski (1892–1966) remains a completely unknown page in the history of art, but everything that has been written and published so far about the life and work of Stefan Narębski is only the top of the iceberg which is his complete biography. The author restores many forgotten and unknown facts of this biography, mainly based on the materials of the Archive of the Nicolaus Copernicus University, first of all, the artist’s own notes (“Diaries”), which had never been published before. Discoveries of this kind relate primarily to the childhood and adolescence of Narębski, held in the Caucasus and Vilnius; his participation in the 1905 revolution; his educational and creative activities in Włocławek in the 1920s; his connections with Stephen Batory University; as well as the repressions that he faced both during the years of the Nazi occupation of Lithuania and during the restoration of Soviet power here, in 1944–45. In the artistic heritage of Narębski, a close-up is highlighted by the types of residential buildings developed by him, educational institutions (museum, school, university department), modern churches, projects for the artistic transformation and decoration of public interiors (the residence of the archbishop; town halls in Vilnius and Torun). The theoretical development of the artistic training program for masters of architectural design (design and decoration of interiors), carried out by Narębski, and the practical implementation of this program at the Nicolaus Copernicus University contained an innovative beginning and provided the most important breakthrough of Polish post-war artistic pedagogy towards a modern, progressive methodology. Of great importance is the international aspect of the work of Narębski, whose personal biography is connected not only with Poland and the strongest impulses of Polish patriotism, but also with Lithuania, Russia, Belarus, Ukraine (with the places where he studied, lived, worked, built and planned the construction of new objects). His contribution to the development of art and artistic pedagogy is subject to measurement on the scale of not only national but also Eastern European culture.

The article takes the major of architectural decorative art design in a vocational education school in Hainan the illustration to discuss the professional construction background, location of talent training, and thinking of talent training, and train the professional talents with the thinking of schoolenterprise integration. The article proposes four steps of school-enterprise integration, and uses “schoolenterprise” cooperation to break the ice of “school-enterprise cooperation”. Finally, we will use the form of school-enterprise integration to achieve the goals of alternation of work and study and work-shift of teachers, and deeply push production-study-research forward. KEYWORD: school-enterprise integration; school-enterprise cooperation; architectural decorative art design; talent training International Conference on Social Science, Education Management and Sports Education (SSEMSE 2015) © 2015. The authors Published by Atlantis Press 1736 professional talents, so Hainan software vocational education school set the major of architectural decorative art design to meet this requirement, to provide design talents of indoor and outdoor decoration design in Hainan province. 2 THE ORIENTATION OF TALENTS TRAINING Based on the principle of serving provincial economy, by extensive research, the major of architectural decorative art design will provide high quality technical special artistic talents who received basic theory and method of indoor and outdoor the architectural decorative art design training and can skilled in hand-painted performance, engineering drawing, computer effect, budget, and construction management for the stations effectiveness performance, CAD drawing, decoration designer, interior designer, landscape designer, etc. of Interior design company, Interior decoration company, Garden design company, Real estate development company, architectural design and research institute and so on. 3 THE IDEA OF TALENTS TRAINING Establish the scientific and distinctive talent training mode and practical teaching orientation is the important premise of talent training. According to the development trend of decoration industry and disciplinary development characteristics of school, the talent training of the major of architectural decorative art design should put strengthen the foundation, emphasize the ability, pay attention to practice, work-integrated learning for station, as the goal, to develop a solid professional foundation for fundamental, train practical ability of the student the core, to aim at the employment the goal, adhere to the combination of classroom teaching and practice, the principle of combining practical training inside campus and practice outside campus, emphasize the combination of learning with working to apply the practical teaching throughout the whole teaching process. 3.1 Promote talent training mode of schoolenterprise integration, section by section training and basic&example&item. To promote talent training mode of school-enterprise integration, section by section training and basic & example & item. That is through the win-win mechanism established by cooperation of universityenterprise, based on the actual working process, to carry out the training in accordance with four steps of preparation, pre-design phase, latter design phase, construction organization, after the end of each phase, at least arrange for an actual combat training of project, all phases are finished, conduct a comprehensive actual combat training, so to ensure to provide qualified design talents. Courses system of decoration art major will make the talent training mode be modular reflected, combined and optimized the courses, focus on professional basis, ability training, hands-on practice, station reproduction, truly achieve the goal of workintegrated learning. So that the students can be competent the requirement of the post given by society, to widen the students' employment and improve the students' employment ability on the basis of professional foundation and practice operation ability [3]. Prepartion Pre-design phase Later design Construction Negotiation with client

In this chapter, we present a conceptual and analytical understanding of the re-use of museum artworks and objects through digital and social media, and how this re-use positions museums in a field of tension between economic and political logic and creative empowerment. The chapter approaches digital museum communication from the perspective of the museum as a charged space, referring to the museum’s historical, cultural, and political significance as an institution that produces, maintains, and presents our common identity, history, and heritage. Drawing on Bourdieu’s field of cultural production, position-takings, and space of possibles (Bourdieu, 1993), the chapter discusses the duality of digital museum communication and relates this to how the museum’s ability to charge its objects with certain values and meanings is used to promote political and commercial goals.

Tracing the emergence of female interior decorators around the turn of the twentieth century, Peter McNeil notes that the issue of the designer’s sexuality has been suppressed in most of the design literature, perhaps because during the interwar years so many leading figures in the field were women who pursued same-sex relationships. To demonstrate his point, McNeil draws our attention to the interior decorator Elsie de Wolfe, the florist Constance Spry, the painter and frame-maker Gluck, the furniture historian and advisor Margaret Jourdain, the designer and architect Eileen Gray, and the designing couple Elizabeth Eyre de Lanux and Evelyn Wyld.1 Starting from McNeil’s observations, this chapter considers the practice of two such designing couples: Phyllis Barron and Dorothy Larcher, who specialized in hand-block printed textiles and worked in London before moving their studio to rural Gloucestershire, and Eyre de Lanux and Wyld, who produced furniture and rugs first in Paris and later in Cannes. Both couples were active during the late 1920s and early 1930s, when they combined their work (sometimes with that of other artists) to produce remarkably innovative interior decoration schemes. This chapter investigates their sources of inspiration, technical practices, and esthetic tenets as well as their desire to redesign everyday life for the modern woman.KeywordsSprig PatternModern WomanFurniture DesignGlass TableCraft MovementThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Patrimony for Peace:

The research covers the development of the legislation of the Ukrainian SSR cultural heritage protection problems. The rapid development of sectoral legislation in the second half of the twentieth century was driven by the need of preservation of cultural heritage sites, damaged during the Second World War, or affected by the improper use by various institutions and organizations.The purpose of the article is to analyze the specifics of legal regulation of cultural heritage protection in the Ukrainian SSR in the second half of the 1950 s – the end of the 1980 s.Scientific novelty. The analysis of the legislative acts of the Verkhovna Rada of the USSR and the Council of Ministers of the USSR, as well as by-laws of the Ministry of Culture of the USSR revealed the specifics of the legal regulation of cultural heritage protection in the Ukrainian SSR in the second half of the 1950 s – late 1980s, which consisted of application of separate national legal terminology. The main directions of legal regulation of cultural heritage protection during the period under review are singled out.Conclusions. Soviet legislation on the protection of cultural heritage, as any sectoral legislation, was unified, and the republican special-purpose laws duplicated Union norms. The legislation of the Ukrainian SSR of the 1950s – 1980s concerning the cultural heritage protection was developed in accordance with the Union legislation, as well as the decrees and orders of the USSR Government. At the same time, both federal and republican legislation had basic international rules, including the provisions of the 1972 Convention concerning the Protection of World Cultural and Natural Heritage, signed by the Soviet Union. The special aspect of the the Ukrainian SSR legislation was the consideration of some national traditions, including terminological ones. This could be noticed in the name of the Law of the Ukrainian SSR from July 13, 1978 «On the Protection and Use of Monuments of History and Culture», in which instead of the term «памятник» (monument) in the Russian language and the law, the term «monument» was introduced more wide term «пямятка» (site). In general, due to the consistent policy on conservation and extensive legislation, we have been able to preserve the destruction of monuments that remind the thousand-year history and culture of Ukraine.

This thesis first discusses the necessity of the inheritance and innovation of Lingnan traditional architectural culture, then analyzes the connotation of Lingnan traditional architectural culture and studies the inheritance of Lingnan traditional architectural culture in modern architectural design, and finally focuses on the integration of Lingnan traditional architectural culture into architectural design Innovative application methods. Through these approaches, Lingnan traditional architectural culture can be better inherited and innovated in architectural design, and it is hoped that it will have some practical guiding significance for the application of architectural designers in architectural design.

In May 2005, Chong Yi Church, the biggest church in China, which sits about 5,000 people, was completed and dedicated in Hangzhou, in Zhejiang Province in China. The ceiling above the spacious choir loft of this impressive church soars to more than two hundred feet, and the prominent white cross at the center measures sixty feet tall. During the dedication ceremony, Yang Lufu, at 90, conducted the choir of several hundred members with joyfulness and gratitude. The widow of the Rev. Cai Wenhao, a prominent Christian leader in Hangzhou, Yang has lived through the ups and downs of the Chinese churches: the adaptation to the founding of the People’s Republic of China; the closure of churches during the Cultural Revolution (1966-1976); the reopening of churches in the late 1970s; and the phenomenal growth of churches in recent years. When the People’s Republic of China was founded in 1949, there were about 2.7 million Catholics, 700,000 Protestants, and 300,000 Orthodox Christians.1 In the 1950s, when foreign missions were attacked as cultural imperialism, the Chinese churches severed their ties with foreign missions and launched the China Christian Council and ThreeSelf Patriotic Movement: self-governing, self-supporting, and selfpropagating. The Three-Self Patriotic Movement of the Protestant churches was formed in 1954;2 in 1957, the Chinese Catholic Patriotic Association was established and the Chinese Catholic Church began to elect and consecrate its own bishops. However, many Chinese Christians remained suspicious of the Three-Self Movement and fearful of government control in religious affairs. Instead of joining the Three-Self The Journal of World Christianity 2010, Volume3:1 #1-17