Architectural Decoration Research Articles

Study on ecological adaptability construction characteristics of residential buildings in Kangba area, Tibet, China.

Located in the southwest of the Qinghai-Tibet Plateau, Tibet is characterized by high cold, high radiation, and large differences in temperature between day and night. Tibetan residential buildings are famous for adapting to the harsh ecological environment and maintaining durability. Based on the residential buildings in Tibet, this paper extracts the technical process and color decoration culture in the construction process in order to adapt to the harsh natural environment. This paper first analyzed the four ecological construction modes of Tibetan residential buildings, analyzed the interior layout characteristics and cultural customs connotation, and introduced the architectural decoration characteristics and decorative color painting. The results show that the ramming type of adobe mainly includes the selection of building foundation, wall laying, floor and roof construction and so on, and its insulation effect is better. The rubble masonry type mainly adopts irregular gneiss, supplemented by clay, which has strong compressive capacity. Logs dry type using log masonry, heat preservation. and shock resistance is better. Concrete-infilled wall frame is composed of horizontal and vertical load-bearing system, which has stronger seismic performance. Tibetan residential buildings generally have two or three floors. The first floor is the enclosure and sundry room, the second floor is the rest place, and the third floor is the Sutra hall and sun terrace. The overall outdoor color of Kangba Tibetan buildings is mainly red and black, while the indoor color is mainly blue and red, with wood carvings and furniture. The layout of Tibetan villages can be divided into centripetal layout and scattered layout. Tibetan residential buildings provide a new sustainable development direction for the current global urbanization process at the expense of the ecological environment. It can alleviate the crisis of global resource shortage, climate warming, and biodiversity degradation.

نقد کتاب The topkapi scroll-Geometry and ornament in Islamic architecture (هندسه و تزیین در معماری اسلامی - طومار توپکاپی)

A Study of Geometry in Islamic Architecture by Professor Golroo Najibaaghlou is a valuable work in the field of Islamic architecture. This book has a detailed preface, a brief introduction, and five main sections. As it is known from the introduction of the book, this book was originally written for a non-Iranian audience. The first purpose of writing this book is to try to moderate public belief about geometry and the stages of compilation and discussion in Islamic architecture. Another purpose is to correct the negative view of the geometric documentation of Islamic architecture in the West, because such a view has created a kind of reluctance to equate the works of Islamic architecture with the great works of classical Western architecture. In addition, Najibaaghlou wants to reject and respond to Western criticism that reduces Islamic architecture to the level of an unedited work. In the final chapter of the book, Najibaaghlou looks at the compiled documents of Islamic architecture from a Western perspective and highlights some of the missed points of geometric sciences, including clarifying conceptualization, recording, and transferring architectural design in the Islamic world.

NEW STONE RELIEFS-ARCHITECTURAL DETAILS OF THE 
 14th – 18th CENTURIES FROM KUBACHI WITH ORNAMENT 
 AND ARABIC INSCRIPTIONS

The paper describes stone reliefs of the architectural decor of the 14th – 18th centuries with floral ornaments and Arabic inscriptions, discovered by the author in different years of the 20th – 21st centuries in the villages of Kubachi and Shiri, which are currently stored in museum collections. This paper is a continuation of a previous study of the stone reliefs from the village of Kubachi. The author provides the description of 20 reliefs, of which one (№ 12) is stored in the State Hermitage, seven others (№ 13–18, 20) – in the National Museum of the Republic of Dagestan (NMRD); eleven reliefs (№ 1–11) were revealed by us in Kubachi, and one relief (№19) – in the village of Shiri. The Kubachi reliefs are inserted in the structure of various residential or cult buildings (mosques) of the upper, middle and lower livings districts of the village. The reliefs had been obtained from the ruins of old buildings and installed into walls of new ones during their construction for decorative purpose. The integrity of the reliefs varies: some remained in a satisfactory condition, some have defects (break-offs, splits, etc.), others are incomplete, i.e. in fragments. Most of the reliefs considered in the article were drawn with estampage prints, which were then transferred to A1 paper sheets with the use of ink.
 The restoration of the broken-off details of the decoration of the reliefs № 7 and 16 was carried out by us. The Arabic inscriptions of some reliefs (№ 13–14), which are kept in the National Museum of the Republic of Dagestan, have not been translated into Russian due to the difficulty of reading or poor integrity. Many reliefs of the 14th – 18th centuries with floral ornaments and Arabic inscriptions, found in the masonry of the walls of some residential and religious buildings, especially the quarter mosque in the lowest part of Kubachi, are still not included in the article. The location of the reliefs in the upper parts (third floor) of buildings erected on a very steep slope makes it impossible to photograph them properly.
 The dating of some reliefs (№ 1–4, etc.) is preliminary. It can be further clarified on the basis of analogies after the publication of unpublished reliefs preserved in the village of Kubachi and those stored in museums – the State Hermitage and NMRD.
 Accurate dating of medieval art monuments in Kubachi without dates is one of the challenges in studying them.
 Description of the reliefs revealed in Kubachi is given in the order of recording them at different times and in different districts of the old part of the village.

AN ANALYSIS OF THE USE OF TEXTILE MATERIALS IN SPACE DESIGN IN EARLY REPUBLICAN PERIOD

The advances and developments that appeared with the Industrial Revolution have accelerated with the independence of the countries, and the synergy between the craftsmanship and machinery had become a power factor. Particularly the concept of textile has become an inseparable part of the word “art” in the 21st century with the influence of Bauhaus. The use of textile products in interior design as spatial elements made the disciplines of textile and architecture an integral whole. In the article, textile as one of the architectural elements was analyzed for the period where postwar Turkey was in her infancy and trying to rapidly recover, and artistic movements as well as architectural identities, investments and developments that impacted the process were examined. In addition, the power of England’s influence that emerged during 1920s in shaping the world’s textile market and her interactions are examined in the article with various examples. In this context, the concepts of space and textile in Early Republican Era’s Turkey are discussed both as an interior architecture decoration element and as one of the elements in the country’s progress. In this way, the study aims to demonstrate how the history of textile design has evolved through unique trends of each era; the designs, designers and institutions that shape the society and the varying role of textile in space design. Keywords: Early Republic, textile design, Turkey, UK

Analysis of architectural decoration esthetics based on VR technology and machine vision

Analysis of architectural decoration esthetics based on VR technology and machine vision

Stucco Inscriptions and Ornaments of The Great Seljuk Mihrab of Rey

The art and architecture of the Great Seljuk period, known as the Renaissance of Persian Art in Persian studies, left an undeniable effect on the following periods. The art of the Great Seljuk period, influenced by the art of the previous periods, became a source of inspiration for the artworks of later periods. The aim of this article is to introduce the stucco ornaments and inscriptions of the mihrab of Ray, to reveal the important values of the mihrab and thus to provide the opportunity to evaluate the influence area and its power of influence. As a result of our research, it is found that the ornamental composition of the mihrab includes inscriptions, vegetal and geometric decorations. Also, these decorations were made in embossing and hollowly technique. There is no information about the artist of the stucco decorations of the altar. Although there is no date inscription on the mihrab, it is similar to the examples of the Great Seljuk period in terms of general shape and decoration features. Also according to the results of this research, the stucco decorations in this mihrab, It is very similar to the decoration of the first Islamic era of Iran, obtained from Neyshabur excavations, stucco decorations discovered from Samarra Exploration, architectural ornaments of the Qarakhanid period, stucco decorations from the Ghaznavid Period, Anatolian Seljuk Architectural decorations and stucco decorations of the Ilkhanid Period of Iran.

MOSCOW METRO OF ALENA DERGILIOVA: IMAGE OF STABILITY AND FEATURES OF CHANGE

The article focuses on the study of graphic works depicting the life of the Moscow metro, created in 1980–1990 by the Moscow artist Alyona Dergiliova. The etchings convincingly reflect the life of our people on the threshold of national historical development. In her complex, variously sized, drawn from life compositions with many figures in motion, the artist mastered the whole range of compositional and visual devices that she would use in her narrative watercolours of the 2000s. She found the contrast of the pathos in the metro interior – stations with a bustling motley crowd of Muscovites deep in themselves and rather shabby travellers from the depths of the Russian backcountry – which became the counterpoint for her further creative search for the image of Moscow. Investigation of resources, experiments in methods of taking the motion of subjects beyond the boundaries of the compositional plane, allow the series to be included in the list of artistic experiments relentlessly carried out by Dergiliova despite the years of difficulties in her creative life. The theme of ‘A Man and His City’ is apparently simple but it is resolved in a multitude of complex relationships carried from life on the squares of Moscow over to the interiors of its underground. People above and underground are the same, with their acquired strangeness, yet their psychological state in a confined space is different. The environment – albeit imperceptibly – changes people. It is vibrant all the same, but in a different way. The architecture inside the metro is closer to the person, and Dergiliova successfully uses this aspect in building her composition. The compositions include many recognizable details of architectural decor which complement the central narrative. These details are clues helping the viewer to figure out its meaning. The characteristic feature of the metro is motion, and the artist draws numerous human figures, figurative stucco elements, sculptural compositions, chips and cracks in the steps, chandeliers swinging at the arrival of the subway train – into an endless cycle. Scenes depicting the entrances to the metro is a separate theme, which is almost non-existent in Russian art. By rendering the entrances as energy hubs – breaches between the aboveground Moscow and its underground – Dergiliova fills them with particular meaning, as all these people, drawn by a skilful and confident hand, will have to squeeze into the endless corridors and noisy subway wagons rattling on rails. Careful analysis of the artist’s creation reveals the disturbing condition of the master’s soul. The condition which the masters of art were firmly in for the entire decade after the events depicted in these works.

Re-Ornament of Traditional Architectural Ornament and at the Present-Time the Possibilities of Technology

Throughout the history of architecture, ornamentation has been applied as elements that embody emotions through aesthetic pursuits within the scope of the possibilities, and techniques of the period. Traditional craftsmanship in ornamentation are items embodied in architectural structures in historic buildings by local craftsmen. Its protection necessitates the method of transmission from generation to generation. In traditional production times, this transmission was handled by competent people. At the present time, technological developments have caused a radical change during this regard. This study aims to enhance how the ornaments in traditional architecture are often revitalized and interpreted by applying a re ornamental understanding of contemporary architecture and benefiting from the possibilities of technology. Keywords: Architectural Ornament, Re Ornament, Technology, Tradition DOI: 10.7176/JSTR/7-05-03

A WOODEN-COLUMNED MOSQUE FROM ANATOLIA. BEYŞEHİR EŞREFOĞLU MOSQUE

Wooden-columned mosques constitute a major structural group in Turkish mosque architecture. Inspired by the abundance of forestation in the region in which they were built, the mosques that made use of wood boasted of rich architectural ornamentation. It is the aim of this study to offer a presentation of Beyşehir Eşrefoğlu Mosque, one of the wooden-columned mosques that were widely constructed in the Anatolian Selçuk Era, taking their place in Anatolian Turko-Islamic architecture. A product of the local master builders of its time, the structure was included in UNESCO’s List of Provisional World Heritage Sites. In this context, the paper will describe the characteristics and elements of the layout of the Beyşehir Eşrefoğlu Mosque, its structural system, roof structure, and the distinctive features of the materials and adornments used.

Lost and Found: The Ilkhanid Tiles of the Pir-i Bakran Mausoleum (Linjan, Isfahan)

ABSTRACT The mausoleum of Pir-i Bakran (1298–1313) is an exceptional Ilkhanid monument, which exemplifies different types of architectural decoration. These rich and exuberant revetments have been subject to extensive research: scholarly concern with the mausoleum focused on the distinctions between the monument's numerous constructive and decorative phases and its stuccos, wall paintings, and applied stuccos. However, the mausoleum was originally also decorated with tiles in lustre, moulded and glazed, Lajvardina and glazed media, which were removed from the mausoleum at an early stage. This paper dedicates its attention to this less well-studied aspect of the monument: art history research and work in museum collections support the suggestion that tiles (in lustre, moulded and glazed, Lajvardina and glazed media) in museum collections, may originate from the Pir-i Bakran mausoleum. Some of these tiles comprise animate elements (birds, such as cranes and phoenixes), which require an explanation of their meaning within the religious and funerary structure contexts. The Pir-i Bakran mausoleum appears to be one of the most southerly, though not the most remote, monuments with revetments containing animate imagery and lustre tile decoration. The research provides a new insight into the circulation of ideas and artistic exchange within the Iranian plateau.

Study on Conservation strategy of Historical and Cultural Towns and Villages in Southeast Hubei Based on Ecological View

Historical and Cultural Towns and Villages are important parts of Chinese cultural heritage. At present, the research on the ecological concept and characteristics of regional Historical and Cultural Towns and Villages is still shallow. This article takes Historical and Cultural Towns and Villages in Southeast Hubei as an example, discusses the location and layout of Historical and Cultural Towns and Villages as well as the ecological characteristics of traditional residential building layout, architectural skills and architectural decoration. Finally, conservation strategies based on ecological concept are analyzed.

Application of Architectural Decoration Materials to Space Design of Rehabilitation Center for Autistic Children

Architectural decoration materials play an irreplaceable role in indoor design, landscape design and decoration design. A suitable decoration material can elevate the aesthetics and comfort of the overall space. There are numerous cases of ecological protection and aesthetic comfort achieved through rational use of architectural decoration materials in contemporary Chinese design; however, the indoor space design of rehabilitation center for autistic children is still out of step. This paper is to discuss the architectural decoration materials suitable for children’s rehabilitation from the perspective of particularity of autistic children, in order to provide a design blueprint for creating a safe and comfortable indoor space for autistic children, maximizing the treatment effect and improving their abnormal behaviors as well.

A Study of Betawi Architecture in Setu Babakan, Jakarta

Abstract Betawi is one of the indigenous cultures that inhabit the capital city of Jakarta. This culture was born from a fusion of several cultures that came to the Jakarta area. Betawi culture can be seen from the system of customs that are still preserved such as silat, traditional food, community life, and traditional buildings that are still preserved today. This research used a case study of the Betawi cultural area located in Setu Babakan, Srengseng Sawah, South Jakarta. Setu Babakan area is a stronghold of the Betawi cultural heritage site which is still preserved today. The research objectives of the Betawi architectural concept in the Setu Babakan area are as follows: to know the Betawi architectural Concept, to identify the Betawi architectural concept in the Setu Babakan area, and to find solutions related to the application of Betawi architecture concept in architecture buildings today. The research method used a descriptive method based on empirical facts. The data of this research consisted of primary and secondary data obtained from literature and existing field conditions. Betawi culture as the local culture of the capital city of Jakarta is increasingly marginalized, it is even not the majority in its own area. The results of observations on the site of 879 housing units were divided into original houses as much as 22.75% characterized the Betawi architecture and 77.25% did not characterize Betawi architecture. The application of Betawi Architectural Ornaments in the Setu Babakan area, especially seen in the following elements: pendopo or front porch of the house, langkan [Betawi balustrades], hanging lamps, doors, windows, blinds, roofs, and colors.

ARCHITECTURAL DÉCOR OF FACADES OF BUILDINGS IN LVIV FROM 1890’S (HISTORICISM)

Currently, the problem of typing architectural decor of facades of buildings in Lviv from 1890’s (late historicism) has not been studied. Therefore, the task is to explore all architectural decor elements of each architectural piece, which are of indisputable value for Lviv and in need of preservation and restoration.
 A set of villas and a number of profitable and public buildings erected at the time of late historicism in Lviv were identified and taken as a basis based on comparative and bibliographic analysis. In addition, photographic evidence and visual inspection of these pieces were completed and architectural decor elements were studied. A total of 95 architectural pieces were analyzed on the basis of field surveys: 28 villas, 2 public buildings. and 13 residential buildings. As a result of the above, types of architectural decor elements, such as: constructive-decorative, art-decorative, decorative-plastic, were established. Subsequent studies have led to a smaller division into subtypes. Thus, entrance portals, windows, balconies (fences, brackets), cornices, and attics were included in the constructive-decorative elements, paintings and majolica were included in the artistic-decorative elements, and order, rustic, stucco works, round sculptures were included in the decorative-plastic category.
 This publication involved analysis of constructive-decorative architectural decor elements. Constructive-decorative architectural decor elements were analyzed in view of their composition and style peculiarities. In particular, composition features of architectural decor elements were analyzed for form and tectonic location, while types and motifs applied to style specifics.

Research on the Innovation of Teaching Mode of the Studio System of Architectural Decoration Majors in Higher Vocational Education under the Perspective of "Integration of Industry and Education"

"Studio system" is a typical teaching mode for architectural design majors at present. This paper adopts the method of theoretical elaboration, combined with the teaching experience of higher vocational architectural decoration majors, and through literature review and summarization, proposed the research on the innovation path for the "studio system" teaching model of the higher vocational architectural decoration major with "work process" at its core and oriented by "project result".

Facades of Manhattan Apartment Buildings from the 1902–1915 Period. I: Modes of Failure

The apartment buildings erected in New York City between 1902 and 1915 form a specific typology characterized by similarities in structural, architectural, and fire protection solutions. Except for a few municipal buildings and “skyscrapers” of the same period, the facades of this typology contain the highest percentage of ornamentation of New York City’s building stock. Several recent facade incidents have fueled new concerns about the condition of architectural ornaments. In Manhattan alone, about 3,500 buildings belong to this typology. The ornaments include materials such as stone, terra cotta, wrought iron, and pressed metal. Using findings from the examination of a sample of 171 facades of five- to seven-story masonry buildings, the author presents the performance of facade components and identifies their most common modes of failure. The findings are based on observed present deficiencies, comparisons with 1908 illustrations, and evidence of past distress mitigation. The inspections produced numerical results for the facades with deteriorating terra cotta, stone, brick masonry, and metals. This paper represents the first half of a study intended to evaluate the remaining life of the facades of this typology. In the follow-up paper, condition ratings and the history of recent repair activities are used to predict the remaining life of the facades.

The Manifestation of the Collective Unconscious in the Architecture of the Safavid Era in Iran (Case Study: Imam Mosque in Isfahan)

Believing in the world of Mesal has always been relevant in the beliefs of the illuminationis‌ts (ishrāq). This world has proximity to the world of Barzakh in the viewpoints of Muslims as the layers of the spiritual unconscious. Therefore, it’s borne results in the ideology of philosopher’s line Mulla Sadra in the Safavid era. Since architecture has always been a language for the values of its time, especially the unconscious of the society, to find out how and if the world of Mesal is manifes‌ted in the Safavid architecture, this writing is s‌tudying this case in the architecture of this era. Using the descriptive-analytical method, the present s‌tudy has s‌tudied the ornaments of Isfahan’s Imam Mosque to evaluate its conformity with the world of Mesal in the Muslims’ beliefs. The descriptive-analytical research method and information-gathering are through the library and observational sources. It’s concluded that the ornaments of Isfahan’s Imam Mosque could be the manifes‌tation of the details of the Muslims’ beliefs and spiritual subconscious in the Safavid era in Iran, especially Isfahan, and the amount and manner of this matter in the of decorative patterns topic, the numbers used in them and then, the colors in the architectural ornament have been s‌tudied.

Stone Architectural Decoration in Burji Era: The Northern Mausoleum in the Khanqah of Al-Nasir Faraj Ibn Barquq (Cairo). Contribution to the Knowledge and Conservation Assessment

The conservation of monuments in Cairo represents a complex matter, influenced by the cultural context, the intrinsic features of a vast and heterogeneous architectural heritage, and the environmental conditions. Monument vulnerability levels strongly need to be systematized to delineate adequate programs of control, management, and intervention. Despite their leading role in the Egyptian architectural heritage, many monuments experience a critical state of conservation. Here, we report the results of a multi-scale investigation of the northern mausoleum in the complex of the Khanqah of Al-Nasir Faraj Ibn Barquq, located in the Islamic cemetery of Al-Qarafa Al-Kubra (Cairo, Egypt). Our research aims to increase the knowledge on the decorative stones used in the mausoleum and their decay processes. The investigation has been focused on the two areas of the building covered by a colored stone-slabs pattern: the floor and the qibla wall. A detailed architectural survey, carried out through photogrammetric techniques, provided a three-dimensional morphological knowledge of the mausoleum, upgrading the available surveys made about 50 years ago. The distribution of the materials has been verified by visual analysis, integrated by the first detailed mineralogical and petrographic characterization made on this mausoleum. The digital survey of the stone surfaces and the mineralogical, chemical, and petrographic analyses allowed a systematic mapping of the decay phenomena and some insights on the morphological alteration of single elements. The obtained results indicate a capillary rise of groundwaters and airborne pollution as the main degradation processes.

Digital 3D modeling using photogrammetry and 3D printing applied to the restoration of a Hispano-Roman architectural ornament

New technologies provide the means to record images of cultural assets and, subsequently, process them to obtain virtual or physical items, guaranteeing greater respect for their physical integrity.The main purpose of this paper is to demonstrate a useful workflow concerning photogrammetric techniques, specific software and 3D printing for the application of non-invasive restoration treatments.The applied methodology was based on the application of photogrammetric digital 3D modeling to obtain virtual models of a Roman cornice from Castulo Archaeological Site (located in Spain), along with the subsequent use of those models for the material restoration of the losses, by making the 3D printing of the piece for the reintegration.The results demonstrate that the losses can be accurately and controllably filled in by direct reintegration, potentially in several 3D printing materials, and by using a mold, which could also be printed. The automatic creation of the mold using specific software could considerably reduce the manufacture process.

Thyateira’daki Tapınak Kalıntısına İlişkin Değerlendirmeler

Thyateira, a Lydian city, is located within the borders of Akhisar district of Manisa province today. New excavations contuining since 2011 go on intensively in Hastane Hoyuk. The site in question is estimated to be the acropolis of Thyateira from the Hellenistic period onwards. During the excavations on the area that can be defined as the top of the mound, ruins of an Ionic ordered temple; construction of which is believed to had been started in the Hellenistic era, have been brought to daylight. At present, the excavations are concentrated on the eastern entry and the center of this structure. The late period usages on the temple have been extensive and this amplified its destruction. It has been confirmed that the architectural pieces of the structure had been destroyed to a large extend due to the usages of the areas of the necropolis located on south and north of the temple. At this level which we call as the layer of destruction; a large number of broken pieces belonging to ornamental sections of the temple, had been found. With respect to the determination of the initial construction date; these ornamental archeological pieces are of great significance. In the light of the evidence provided by the similar architectural ornaments; it has been realized that the construction of the temple dates back to a period between second and third quarters of the second century BC. The temple in Thyateira, Hastane Hoyuk, whose structure has been started to be revealed, is at most similarity with the temple of Chryse Apollon Smintheios in terms of its substructure and ornamental features.