The Name of Kayrrud in the Franklin's Tale

During the author’s childhood days, she passed by a colonial red brick house every time she hiked up Mount Parker in Hong Kong. She wondered why such a beautiful yet dilapidated house stood so alone. It seemed to have no connection with its surrounding area, a very local district of Quarry Bay.
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\nLater in life, when the author began to take on more interest in Hong Kong’s architectural heritage, she then realized that the red brick house, “Woodside” (「林邊屋」或「紅磚屋」), used to be the staff quarters of Butterfield & Swire, a company that contributed a great deal to the development of Quarry Bay.
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\nCoincidentally, this company became the employer of the author, and this motivated the author to seek answers to her queries about the building, and reveal the stories behind this lonely building. Studying in the Architectural Conservation Programmes has provided the opportunity to put these answers on record, so that the public may access them in the future.
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\nThe research of this dissertation focuses on the history and stories of Woodside from its construction in 1922 until its handover to the government in the 1970s. Through researching and documenting facts related to Woodside, its values (aesthetic, historical, social, rarity and architectural) and significances will be identified.

Guanzhong region of Shaanxi province has a continental monsoon climate of warm temperate zone, with hot in summer and cold in winter. Therefore, the strategies of traditional houses dealing with wind environment are mainly ventilation in summer and wind protection in winter. Due to the limitation of technical and economic conditions, winter heating has always been the core problem of rural houses, so people usually adopt a relatively closed space layout to strengthen the windproof performance of buildings, but also lead to poor indoor ventilation in summer.With the development of social economy, rural residents have higher requirements for living quality, so it is very important to improve ventilation efficiency in summer under the condition of ensuring wind protection in winter. Taking the red brick house project in Ezi village of Xianyang as a practical case, in order to improve indoor wind pressure ventilation and thermal pressure ventilation efficiency, the project introduces double-height space and skylight that commonly used in urban buildings into rural houses, providing reference for the construction of similar residential buildings in Guanzhong area.

The current experimental study conducted in Ouled Sidi Brahim (Algeria) seeks to understand how the direction of the walls affects their temperature in the summer. A small red brick house of 20×20×20 cm³ was used for the test, and throughout the experiment, the temperature was recorded every minute at the center of each wall facing the four cardinal points (East, West, North, and South) for 24 h (day and night). A digital acquisition device based on an Arduino board was realized to record the temperature on different days at the end of June, July, August, and the beginning of September. Only when solar radiation is present during the day can the influence of the walls' orientation be detected. The temperature of the walls remains nearly constant at night and drops from sunset to daybreak. The wall facing east is the hottest in the morning during the summer. The west-facing wall, on the other hand, is the coolest, especially in the morning. In the early summer, the west-facing wall is the hottest in the afternoon. It will, however, be replaced by the south wall at the end of the season. The temperature of building walls is significantly affected by the sun's daily and annual trajectory.

Winter heating costs is a large proportion of the economy in the account of farmers in cold regions, which can be solved exactly by rice straw brick house. Because the rice straw brick house has many advantages, such as turning waste into treasure, cleaning up the environment and saving heating costs. In this paper, a rice straw brick house and a common brick house have been theoretically designed with the same size and in the same area. The heating load calculation, construction cost, operating costs and social benefits have been compared between the two. From the comprehensive results, the performance of the rice straw brick house is superior to that of the common red brick house

Celebrate, Educate, Preserve:A Conversation with Furious Flower Poetry Center's Founder and Inaugural Director, Dr. Joanne V. Gabbin Dr. Sheryl C. Gifford (bio) Dedicated to the memory of Dr. George E. Sparks, whose friendship and support of Drs. Gabbin and Gifford made this interview possible. Click for larger view View full resolution Joanne V. Gabbin with poets at the 2014 Furious Flower Conference: (left to right) Joanne V. Gabbin, Rita Dove, Mariahdessa Tallie, Frank X Walker, Ishmael Reed, Elizabeth Alexander, Yusef Komunyakaa, Cornelius Eady, and Toi Derricotte. Photo by C. B. Claiborne. Introduction At one point in our 2017 conversation, Dr. Joanne Gabbin describes Sterling Brown as a literary parent. Similarly, she has fostered the development of Black poetry by founding the Furious Flower Poetry Center at James Madison University in Harrisonburg, Virginia. Since 1994, the Center's programming and decennial conference have produced a substantial archive of Black poetry. The archive attests to the wealth of opportunities the Center provides for emerging Black poets to work firsthand with established poets such as Kwame Dawes, Rita Dove, Nikki Giovanni, Yusef Komunyakaa, and Sonia Sanchez. [End Page 36] The archive reflects Dr. Gabbin's commitment to ensuring the continuity of Black poetry by validating emerging poets' relationships to previous generations of Black poets and their contributions to a singular literary tradition. A sense of belonging characterizes the Center and its decennial conference, which has honored the Elders, Warriors, and Seers in the Black poetic tradition and generated a familial dynamic that celebrates artistic and scholarly distinctions. The kinships forged at the conferences have deepened over the last thirty years, a testament to the strength of their roots in Furious Flower. The deaths of luminaries in Black poetry such as Kamau Brathwaite (2020), Mari Evans (2017), bell hooks (2021), Dolores Kendrick (2017), Naomi Long Madgett (2020), Toni Morrison (2019), Ntozake Shange (2018), and Derek Walcott (2017) highlight the significance of Dr. Gabbin's work as the Center's founder and inaugural executive director. Her efforts have ensured contemporary Black poets' inheritance of Elder, Warrior, and Seer traditions, inspired Black poetry readers' and writers' creative and scholarly growth, and motivated the development of similar organizations across the country. Yet the experience that awaits lovers of Black poetry when they enter Cardinal House, the red brick house at the edge of JMU's campus that is the Center's home, is unique. They will leave as members of a storied family, inheritors of its inexhaustible heritage, and bearers of its precious charge to seed the future of Black poetry. Part I: Celebrate SG: Joanne, you've dedicated over twenty years to supporting Black poetry through the Furious Flower Poetry Center. What inspired you to create this distinctive enterprise and its conference? JG: Furious Flower started with the modest idea of a reading for Gwendolyn Brooks. I'd planned to have her do a second reading when she came back to the [Shenandoah] Valley in 1994. One thing I always did, when I went to a new school, was to invite Gwendolyn Brooks—there's a story to that—so I invited her to read in 1986, a year after I first got here [to JMU]. In 1993 she was invited back to the Valley by Piedmont [now Virginia] Community College. When I heard she was going to be in the area, I took my students to Charlottesville to see her. They heard her read, and then, in her gracious way, she signed autographs for an hour after the reading, for every student. She'd ask for each student's name, sign her autograph to that name, and then spend thirty to forty seconds saying something to the student. It was wonderful. On the second day of her visit, I called her and thanked her for being so kind to my students, and I asked her if she would come back to JMU in that same semester. She declined but promised to come the next year, so I had a whole year to plan her reading. Once I started telling people I was planning a reading for Gwendolyn Brooks, many of the poets who were friends of mine wanted to be there when she...

IN his Signboards of Old London Shops, Sir Ambrose Heal pointed out the large scenic advertisements which used to hang over the places of call of a number of eighteenth-century chimney-sweepers in the metropolis.' Although the simpler signs of nineteenthcentury sweeps have not found their way into illustrated books, they deserve some attention before like those of the preceding century they, too, fall prey to vandalism and neglect. In the eighteenth century the master or, in some instances, the mistress chimney-sweeper, limned in the top panel of a signboard, would be sending apprentices to climb flues to remove soot or extinguish fire or clean smoky coppers; in the bottom panel, watching journeymen as they removed nightsoil from privies and cesspools. Proclamations in 1762 and 1763 ordered the removal of all signboards projecting from buildings in the Cities of London and Westminster,2 but some sweeps were so loath to obey the ordinances that, writing in 1851, Henry Mayhew recalled some years earlier he had observed one of the ornate signs depicting a master sweep with his apprentice, 'on the way to a red brick house from the chimneys of which bright yellow flames were streaming. Below was a detail of the things undertaken by the sweep, such as the extinction of fires in chimneys, the cleaning of smoke-jacks, etc.'3

The consumption of energy is anticipated to increase due to rapid urbanization and increase in population. A huge amount of the total energy is consumed in space heating or cooling. Around half of total energy utilized in residential buildings goes in space heating or cooling. The present work is an attempt to find out the effect of mud walls and roof of a house on the solar heat gain and indoor room temperature. Lower value of the room air temperature was obtained in case of mud house in comparison to brick, cement-concrete house for the month of June. A maximum of 4.349°C temperature difference is obtainable in comparison to brick and cement-concrete house for the month of June. There are savings of energy and money by using mud houses. The energy savings are 427 units of electricity and money savings are Rs. 2136 for the month of June for mud house in comparison to red brick and cement-concrete house. So the mud houses have good thermal performance and are more suitable for living in comparison to brick and cement concrete house for the month of June.

In 1896, the novelist Henry James became captivated by Lamb House, a Georgian, red brick house at the top of a cobbled street in Rye with a unique, bow-windowed “garden room.” Restoring and decorating it sympathetically, it became his main home for the rest of his life, a comfortable retreat where the observer of society could himself entertain guests. The house and garden feature in subsequent novels, and he worked in the garden room, revising his novels and tales for the New York Edition, a re-examination of his whole career. After James’s death, his friend E. F. Benson moved in, using Lamb House as the inspiration for Mallards in his comic Mapp and Lucia novels (1920–1935). In 1940, the garden room was obliterated by a bomb, which nearly destroyed the house. However, what Edith Wharton called “the centre of life at Lamb House,” still survives in various recreations and re-imaginings, from the novels written by its inhabitants to memoirs and fictions by more recent writers and television adaptations. James utilized the distancing and memorializing effects of nostalgia in his own work, to create a living, modernist interaction with the past, the “conscious memento.” Thus, fictional representations and the writing of place can be part of intangible heritage, enabling the survival of architecture beyond its physical presence.

Panglejar Plantation is a plantation heritage from the Nederlandsch-Indies era. One of the heritage is an old building in the form of a colonial residence. The colonial residence of Panglejar Plantation has a characteristic seen from the physical form of the building, so it is important to write. What and how these particularities become the main problem, with the aim of explaining the characteristics of building architecture typology. The method used is desk research on archeological research reports, books, journal articles and other writings. Discussion of writing based on the form, nature, and basic functions, as well as the layout and internal layout. Colonial houses of Panglejar Plantation have architectural typology characteristics in general, namely the volume of large buildings, thick walls, high roofs, lots of space, many openings, as well as the shape of the roof of “parahu kumereb” and “jolopong”. Typical typology of colonial houses in Panglejar Plantation can be seen from the materials used and the layout. Building materials from the surrounding environment, such as red brick, river stone, bamboo. The layout of houses in settlements, is in the plantation settlement emplacement area, with undulating topography and Indonesia's wet tropical climate.

Red and yellow bricks are the wall-building materials generally used in Roman masonries. The reasons for the different coloration are not always understood, causing loss of crucial information both for the conservation and for the archaeological knowledge of the cultural sites. In this work, a combination of in situ analyses, employing portable Raman spectroscopy and handheld energy dispersive X-ray fluorescence (HH-ED-XRF) spectroscopy along with chemometric analysis, was carried out on ancient Roman bricks of the "Casa di Diana" building (Ostia Antica, Italy-130 CE). Specifically, the compounds and the characteristic elements, which describe each type of brick (red and yellow), were studied avoiding destructive or invasive sampling. The molecular analysis allowed us to identify the major and minor compounds that characterise the bricks (anatase, hematite, quartz, calcite and silicates). However, the elemental analysis gave more useful information. Thus, the complex HH-ED-XRF data matrix generated was treated by a specific principal component analysis (PCA) to identify behavioural differences of the coloured bricks. The results revealed that Ca and Fe are the discriminatory elements for the two types of bricks. The PCA outcomes suggest that the contribution of certain elements is different in the bricks (mainly Ca, P, Sr, As and S, for yellow bricks), which could indicate different raw materials. Even among bricks with the same red colour (Al, Si, Ti, K, Fe, Cr, Mn, Ni, Zn, Cu, Rb and Zr, seemed to be the elements linked to raw materials), as a function of the surface impacts (orientation and microclimate affect the salts' formation), a distinction was made. Furthermore, the PCA pointed out that the yellow bricks are those more affected by decaying processes (related with Ca, P and S), complying with the Raman spectroscopy results in which the efflorescences (gypsum) affect especially the surface of these types of bricks.

The school practitioners whom I interviewed and whose voices I share worked at The School, a large private school that is typical of the “public schools” in India. Public schools in India refer to independent schools with high tuition costs and fees as opposed to U.S. public schools, which refer to state-run tuition-free schools. The School was housed in a large red brick building and at the time of my visit a fleet of yellow school buses stood parked outside the gates since it was close to dismissal time. The sun shone brightly on the hundreds of potted Chrysanthemum plants that were lined up against the brick walls. There were the yellow, pink, mauve, and white blossoms that are typical of Delhi in the wintertime when one can see them everywhere—full, fragrant, and expensive. The grounds of the school were neatly manicured and very picturesque. Near to where I stood was a rockery decorated with small, white, marble cherubs and a tiny cascading waterfall. In another section of the grounds was a Japanese garden with a small arched bridge and more figurines. The plants were green and well maintained. All the classrooms in this school were similar in design. The second grade classroom I visited that morning was furnished with only tables and chairs. There were 20 tables that seated 2 students each, and a total of 40 chairs. A blackboard (chalkboard) was mounted on one wall of the room, and in front of it was placed an adult sized desk and chair for the teacher.

This paper explores the implications of re-used Roman building-stone for an apparently ‘lost’ site of possibly military significance in eastern Norfolk. Herein we revisit the low-lying peninsula (FIG. 1, A–B) between the marshy estuaries of the Bure and Yare where, in the parish church of St John the Baptist, Reedham, a grey-weathering quartzitic quartz sandstone (grey quartzite), suggested to be from ‘an exceptionally large Roman building near Reedham’, has apparently been exploited. Threefold grounds were cited at this first examination by one of the present writers. The stone is associated with abundant Roman brick and tile, and some blocks present chamfered edges and dressing marks ‘similar to those that occur on Roman monumental buildings’. Reportedly, the rock resembles stone used in the Roman shore fort at Brancaster on the North Norfolk coast, although no petrographie or mineralogical details are actually cited by Rose.

This article investigates late eleventh- and twelfth-century architecture in England and Wales from five interrelated points. First, it considers the appropriation of Roman sites for buildings of the post-1066 Norman administration. Second, it examines the creation of an architectural iconography in which there are associations with Imperial Rome. Third, there is the matter of scale, the desire to build big after many centuries of little or no tradition of constructing large edifices. Fourth, it explores the acquisition of a practical understanding of the building technology required for erecting large buildings. Fifth, it looks into the vocabulary of architectural articulation, the use of marble, and aspects of stone sculpture inherited from antiquity and appropriate to the monumentality of the new architecture. It references specific buildings, such as the Constantinian Basilica of Old St Peter’s in Rome, through the adaptation of triumphal arches down to details such as chip carving, marble, and the reuse and recreation of Roman bricks. Of the many large-scale buildings built by the Normans, a more detailed examination is devoted to the White Tower in London, castles at Colchester and Castle Rising, Winchester and Durham cathedrals, and the former abbey churches of Tewkesbury and Gloucester. It investigates the application of principles of the first-century BCE Roman architect and engineer, Vitruvius, the author of De architectura.