Decorative Elements Research Articles

Emotional Design of Interior Spaces: Exploring Challenges and Opportunities

At present, the integration of cultural and emotional aspects in interior designs is considered to be crucial. The combined emotional and new Chinese decorative style effects of interior spaces have not been examined adequately in previous studies. Thus, this study focuses on the role of new Chinese decorative elements in influencing emotional aspects within the context of interior design in China. To fulfil this aim, a qualitative approach was utilized. For this purpose, the data is gathered in two phases. In phase I, semi-structured interviews were utilized to collect data from 5 interior designers. In phase II, data was collected from a focus group discussion with 6 experts. Nvivo 12 software was used for conducting a thematic analysis of the collected transcripts within the context of interview strategy. However, for focus group discussion, content analysis was conducted. The findings from five interior designers showed that emotional aspects in interior designs are impacted by cultural elements. Moreover, numerous challenges in interior design can be overcome by the integration of emotional strategies. The results have shown that the emotional and cultural aspects are crucial for the development of creative interior spaces. Three levels of emotional design have been identified from focus group discussion. Visual aesthetic level comprises of novelty, color conformity, order and sequence, and richness of design. Three main functional levels are usability, comfort, and privacy. Individual level consists of culture, personalization, and fashion elements. Therefore, this study can be effective in promoting the development of creative interior spaces with a comprehensive focus on the levels of emotional design in the context of the new Chinese decorative style.

Analisis Kreativitas Siswa pada Praktik Menggambar Dekoratif dalam Mapel SBDP Kelas III

The background that prompted this research was based on observations during a preliminary study at one of the State Elementary Schools in Pucakwangi District, Pati Regency, Central Java.. In the drawings produced by students, each student draws with different creativity according to their own imagination. For example, when students are asked to do decorative drawings with free themes, students will draw with different themes, some will draw flowers, butterflies, trains and many more. The coloring and decoration motifs on objects also vary. In this case, the author is interested in knowing the decorative drawing creativity of class III. Based on the data analysis results, it can be concluded that the learning process was conducted in the Grade III classroom.This research used a qualitative descriptive approach. The learning activities were attended by 17 students. The learning process consisted of opening activities, core activities, and closing activities. During the learning process, the teacher explained the material on decorative drawing. Based on the drawing works, students were able to draw using their own ideas. All the drawings made by the students were already aligned with their original form. The students were able to creatively incorporate decorative elements into their drawings. The drawings contained decorative elements consisting of dots, lines, shapes, textures, and colors. The coloring of the drawings was good, and the students were able to combine colors effectively. It was concluded that 4 students produced drawings categorized as very creative, 9 students produced drawings categorized as creative, and 4 students were categorized as moderately creative. Based on the research results, the suggestion is to further enhance the students' creativity in drawing, particularly for those with lower levels of creativity.

YAKÎNÎ DİVANINDA KUMAŞLAR, KIYAFETLER VE KIYAFETLERİN TAMAMLAYICI UNSURLARI(AKSESUARLAR)

The concepts of fabrics and clothing mentioned in the verses of the Diwan poetry contribute to enriching our understanding of the social culture of that period, society’s preferences in clothing, and the aesthetics of fashion in the daily life of the Ottoman society. Fabrics and clothing are prominent symbols that reflect the economic status and cultural identity from a social perspective, in addition to being decorative elements. Clothing represented specific social classes, professional groups, and even genders. At times, these garments were associated with the professions they symbolized. The quality, color, shape, and patterns of the fabric contribute to revealing the social and cultural environment of the person wearing the garment, as well as their spiritual state, worldview, social status, and economic condition—all without the need for verbal expression. In classical poetry, poets reflect their vision of the era they live in through the words and metaphors used in their verses, presenting a comprehensive image of that period to future poets and generations. When studying Yakini’s Diwan in this context, it becomes clear that the poet accurately depicts the outward appearance of society in the 16th century in his poems.

The Pucok Reubong Motif as an Inspiration for Leather Bag Design

The pucok reubong motif has been stylised from the form of young bamboo shoots. These bamboo shoots are transformed into a unique decorative pattern. The artist's interest in exploring the pucok reubong motif stems from its distinct shape, surrounded by triangular leaves with pointed ends resembling swords, and its interlocking patterns. This inspired the artist to incorporate the pucok reubong motif into leather bag designs. The creative process follows the Hendriyana method, which consists of four main stages: (1) pre-design, which involves the development of imagination; (2) design, where alternative designs are visually conceptualized; (3) realization, in which selected sketches are transformed into final works; and (4) presentation, involving exhibitions to establish communication between the artist and art enthusiasts. The concept applied is a symbolic expression, representing modern art that utilizes traditional idioms as its foundation. In the final project titled “Pucok Reubong Motif as an Idea for Leather Bag Creation”, the artist applied the pucok reubong motif as a decorative element on leather bags. This work aims to enhance aesthetic appeal while introducing the pucok reubong motif to a wider audience unfamiliar with it. The bags were created using embossing techniques combined with weaving, resulting in works that are both artistic and meaningful.

미륵사지 출토 供養 小塔에 대한 고찰

Excavations at the Mireuksa Temple site have unearthed eighteen small votive stupas across six sets, crafted from materials such as clay, stone, and metal. Each material group reveals a distinct historical context: the small clay stupas were discovered in 1997 during excavations in the pond area; the small stone stupas were found beneath a staircase in the drainage channel on the eastern stylobate of the large stone platform near the monks’ quarters on the West Side; fragments of metal stupas emerged during secondary excavations from the northern building site within the temple site, on the gapsuk (a flat stone laid on another stone) of the temple auditorium stylobate, and in the southern parts of the galleries. This paper aims to examine the religion of building stupas at the site of Mireuksa Temple where many small votive stupas were excavated. This is achieved through a comparative analysis of style in addition to a study on the characteristics and functions of the small votive stupas discovered at Mireuksa Temple. Thus, the research presented here is based on a review of the temporal evolution of sutras on stupa construction as related to small votive stupas and a comparative analysis of such sutras from small votive stupas unearthed at other contemporary temple sites. Small clay votive stupas were decorated according to the Paticca-Samuppada-Gata from the Sutra on Building Pagodas and Practicing Good Deeds. Inscribed with the Paticca- Samuppada-Gata in addition to depictions of alternating pagodas and Buddha statues, the stupas were circulated throughout the region. However, the clay votive stupa unearthed at Mireuksa features a relief of only three pagodas. The rest of the stupa is damaged, which suggests multiple possibilities for the missing portions. These include configurations with either pagodas alone or a combination of pagodas and Buddha statues. Likely intended as architectural components within temple structures or as decorative elements for pagodas, these clay stupas are estimated to date to the late 7th to 8th centuries. The small stone votive stupas, crafted according to the Pure Light Dharani Sutra, were typically produced in specified quantities and enshrined en masse. From the 9th and 10th centuries, the practice evolved to incorporate circular openings at the base of the stupas for Dharani offerings. The stone votive stupas from Mireuksa, similar to those enshrined in the late 9th century, include this feature, indicating that they likely served as personal offerings by monks within the monks' quarters and were crafted in the late 9th century. The small metal votive stupas, following the Bohyeopin Dharani Sutra, preserved their original metal composition, yet emulated the design of multi-tiered castle-like wooden pagodas depicted in the Emergence of the Treasure Pagoda in the Circulation of the Lotus Sutra frontispieces. These multi-storied wooden pagoda-type metal stupas were crafted in the spatial pattern with multiple compartments, which were used to enclose Buddha statues or sutras, so they are seldom discovered intact. Only the fragments from the construction of the pagodas and the finial of the stupa remain in the metal stupa unearthed at Mireuksa Temple site. They indicate an elaborate style of multi-tiered wooden pagoda-type metal stupa, likely adorned with additional decorative elements beyond the typical design. It is presumed that these stupas were used as ritual items by practitioners or monks in the vicinity of the temple hall and northern building site of the temple during the mid-11th century, in the Goryeo period.

The Effect Of Colors In Tiles Used In Seljuk Architecture On Spatial Perception: The Example Of Sivas Gök Medrese

The unique architectural style of the Anatolian Seljuk period emerged from the combination of pre-Islamic and Islamic artistic understandings. During this time, numerous structures such as madrasas, mosques, and libraries were built. The use of decorative elements and tiles was particularly notable in the 13th century. This study focuses on the tiles and their colors used in the Sivas Gök Madrasa, examining their impact on the space. Initially, a literature review was conducted, analyzing sources on Anatolian Seljuk history and tile art. Gök Madrasa was selected as a case study, and the use of tiles in its interior and exterior was identified. The research includes photographs, decorations, materials, and the meanings of colors in the madrasa. The findings highlight the importance of tiles, one of the key decorative elements of the Anatolian Seljuks, in educational structures, aiming to raise awareness of the effect of colors on spatial perception.

КАЗАХСКИЕ ИГРУШКИ-КУКЛЫ ИЗ ФОНДОВ МУЗЕЯ АНТРОПОЛОГИИ И ЭТНОГРАФИИ ИМ. ПЕТРА ВЕЛИКОГО (КУНСТКАМЕРА) РАН

St. Petersburg Kunstkamera item collections devoted to Kazakh traditional culture comprise 49 dolls. They are all dated late 19th — 1st half of the 20th centuries. Some of the dolls are, as it were, schematic, others, on the contrary, are made with care to detail, their miniature clothes reproducing not only the composition of the costume and its cut, but also its decorative elements, which allows to define who a certain doll represents: a maiden, a young married woman, a middle‑aged woman, a groom, or a child. The article aims to introduce these museum pieces as an ethnographic source for scientific use. The author describes the design features, the dolls' costumes, and their role in Kazakh every‑day and ritual culture.

Fu, Lu, Shou, Xi Theme in Architectural Decorations of Lingnan Guangfu during Qing Dynasty: An Iconological Analysis

Based on an iconological perspective, this study provides an in-depth interpretation of the unique regional characteristics of the Fu, Lu, Shou, Xi (Blessing, Prosperity, Longevity, Happiness) theme in Qing Dynasty architectural decorations within the Lingnan Guangfu region. This study selected 18 Lingnan Guangfu Qing Dynasty buildings from the 131 cultural relics protection units in the List of National Key Cultural Relics Protection Units in Guangdong Province as the research objects. Combining the cultural characteristics, geographical characteristics, religious beliefs, and folk customs of the Lingnan Guangfu region, this study summarizes its characteristics in four aspects: the expression of regional elements, the composition of narrative elements, the elements of cultural diversity, and the unity of function and decoration. By summarizing the unique regional expressions presented through the element combination features and modes used in the Fu, Lu, Shou, Xi theme in traditional Guangfu architecture, this study provides modern designers with a deeper understanding and more precise expressive pathways for Lingnan decorative elements of the Qing Dynasty, allowing traditional decorative motifs to showcase the charm and vitality of regional culture in modern design.

Analysis processes of the vaulted system of the cloister of the Monastery of San Juan de Los Reyes through photogrammetric surveying

Abstract. The article presents the results of the architectural survey campaigns and the subsequent graphic representation and modelling of the Monastery of San Juan de Los Reyes in Spain, with particular focus on the compositional elements of the cloistered vaulting system. The research focuses on documenting the geometric-proportional rules of the construction and decorative elements, which are essential for understanding the architecture analysed. Using integrated survey techniques, through terrestrial and aerial photogrammetry, point clouds and textured three-dimensional models were generated, derived from polygonal meshes, which were subsequently processed to generate representative plans and sections. Taking as a reference the methodology applied in the 17th century by the architect Guarino Guarini, who emphasised geometric simplification and synthesis analysis, the objective of the research is not only the collection of digital data, but also their interpretation through different interpretations, promoting an understanding and dissemination of the analysed architectural heritage that is based on the concept of discretization of the acquired data, according to both the theoretical and practical knowledge of the operator, in order to reduce occlusions and improve the graphic representation, communication and dissemination of the acquired information.

Review: <em>Beyond Nancy Drew: U.S. Girls’ Series Fiction in the Twentieth Century</em>

In lieu of an abstract: When I was asked to review Beyond Nancy Drew: U.S. Girls’ Series Fiction in the Twentieth Century, I had to pause and really consider whether I could be objective or whether my nostalgic love for the Nancy Drew series might cloud my judgement. Growing up, my grandparents’ home featured shelves and shelves of books, including a full shelf of Nancy Drew and Bobbsey Twins books. The books were bound in matching blue tweed covers with decorative details on the spine, in what my scholarly-trained mind’s eye now recognizes as a publisher’s play for middlebrow respectability. The uniform size, binding, and height of both book series offered a decorative element and fit in well with the shelves of encyclopedias, back issues of National Geographic (arranged in date order), and mass-produced copies of Western classics with faux leather bindings. When I was old enough, I devoured every copy of Nancy Drew on that shelf; The Mystery at Lilac Inn was and remains my favorite. As I got older, I read further in the series and moved into the slightly older and more contemporary (i.e. sexy and soap-opera-esque) Nancy Drew Files. I read other series fiction, namely The Baby-Sitters Club, and then eventually found YA dystopian trilogies. I certainly feel comfortable ascribing much of my professional interest in children’s and young adult literature to those copies of Nancy Drew. (I also harbor a deeply hidden desire to one day be described as ‘plucky’, but that is, perhaps, a different essay.)

Women's Jewelry set of the Northern Altai population in Pre-Turkic period (based on materials of the Choburak-I necropolis)

The article presents the results of an interdisciplinary study of the jewelry collection, discovered during excavations of the pre-Turkic period necropolis at the Choburak-I site. This burial ground, fully excavated by the archaeological expedition of the Altai State University, is located in the Chemal district of the Altai Republic. Decorations, found in three female burials (barrows No. 32a, 33, 34), are represented by the following items: metal earrings (5 copies), large (2 copies) and small (12 copies) sewn-on plates, plaques of various designs and shapes (7 copies), headdress (1 copy), iron (1 copy) and bone (3 copies) pendants. It has been established that these objects have a significant number of analogies in the sites of the Great Migration period, studied in Altai and adjacent territories. At the same time, certain types of earrings and sewn-on plates determine the dating of the Choburak-I necropolis by the time no earlier than the middle of the IV century AD. Based on location of metal artifacts in the burial of barrow No. 34, the possibility of women using two headdresses is substantiated – a frontlet (“diadem”) with a plaque and a cape with a fabric base. It was concluded that the variability of the composition of jewelry in the burials was determined by the different lifetime status of the deceased. The study of the mutual occurrence of decorative elements of headdresses and outer-clothes with other categories of accompaniments to a burial made it possible to assume that the woman buried in barrow No. 34 was a member of the local elite of the Northern Altai nomads of the pre-Turkic period.

The Characterization of Properties of Hard Historical Renders

Abstract Rendering materials combine two fundamental functions – create protective layers on a substrate and provide decorative and architectural appear of a building’s facade. In particular, many historical buildings are unique with their facades due to the incorporation of different decorative elements, such as plinths, lining cronies, reliefs etc. The composition of mortars used for renders contained many different components in view of binders and filler materials in the past. This fact in combination with conditions which are facades exhibited (weathering, increased moisture and others) effect their appear and overall durability. This paper is focused on the collection procedure of historical renders from two buildings located in the South bohemian region, and further the description and discussion of physical and mechanical properties of rendering materials samples are provided. These pilot data showed that one of examined buildings to some repairs were subjected historically, and for the second one partially different materials from the point of in their quality were used, although the outer facade layer (stucco) was uniform. The mapping of historical renders properties is essential for obtaining important data set for formulation of compatible composites intended for renovation interventions and local repairs.

The Decorative Art in Filipino Catholic Church Architecture and Its Representation of Spanish Colonial Culture

This paper explores the decorative art in Filipino Catholic church architecture as a reflection of Spanish colonial culture, highlighting the fusion of European and indigenous artistic traditions. During the Spanish colonial period (1565–1898), Catholic churches served not only as religious centers but also as symbols of Spanish authority and cultural dominance. Drawing on styles such as baroque, rococo, and neoclassical, these churches were meticulously adorned with intricate facades, grand altarpieces, elaborate woodwork, and vibrant ceiling paintings. Filipino artisans, trained under Spanish supervision, adapted these styles to local contexts, incorporating indigenous motifs and materials to create a unique architectural heritage. The paper examines key elements of church decoration, including facade ornamentation, retablos, and ceiling art, to demonstrate how these artistic expressions reinforced religious doctrine while preserving native craftsmanship. Furthermore, it explores the social and cultural impact of these churches, which served as focal points for community life and fostered a hybrid Filipino identity. By analyzing the artistic and cultural significance of these structures, this study underscores their role as enduring symbols of both colonial power and local resilience.

Integrating Textile Waste in Interior Design for Sustainable Furnishings: A Case Study of a Cafe Library

This paper explores the integration of textile waste in interior design, focusing on sustainable furniture and decorative elements. With growing environmental concerns, the demand for eco-friendly practices in the industry is increasing. This research investigates methods for repurposing textile waste and the role of eco-friendly resins in creating durable, aesthetic furniture pieces. A cafe library is the case study for developing design prototypes incorporating textile waste, presenting innovative, sustainable solutions for the interior design industry.

WAYS OF INTEGRATION OF TRADITIONAL CHINESE EMBROIDERY IN MODERN VISUAL DESIGN

Purpose of the study is to identify innovative ways to integrate elements of traditional Chinese embroidery into contemporary visual design and its significance for cultural heritage and design innovation. Methodology. The research is systematic and interdisciplinary. The research methodology is based on a combination of historical and cultural analysis and the case method. The historical and cultural background of Chinese embroidery is studied through the analysis of literature, art historical and cultural analysis. The article analyses examples of the use of embroidery in modern design fields, including fashion, graphics, industrial design and digital media, which allowed us to assess the possibilities of their innovative integration. Results. It has been found that the modern use of traditional embroidery elements in various areas of design not only enriches visual images, but also plays an important role in the dissemination of culture and the development of creative thinking. The innovative application of embroidery elements in fashion design (as a decorative element, as a digital print, as a formative element of clothing), graphic (as a means of communication) and industrial design (as a functional element), digital media (as an audio-visual and sensory experience) and interdisciplinary integration not only demonstrates a wide range of possibilities for combining tradition and modernity, but also provides designers with new sources of inspiration. Scientific novelty. The article presents a new perspective on the understanding and use of traditional Chinese artistic crafts in contemporary design. Combining the cultural and artistic values of traditional embroidery with the needs of modern visual design opens up wide opportunities for innovative applications and interdisciplinary collaborations, promoting deeper integration of traditional elements into various design fields. Practical significance. This research opens up new opportunities for using traditional culture in contemporary design to preserve national identity. It will not only stimulate the creative thinking of designers, but also increase public awareness and respect for traditional culture, and promote the prosperity and synthesis of national traditions and design innovation. By preserving national culture and developing contemporary national aesthetic concepts, it ensures that traditional artistic resources remain relevant and influential in a globalised world.

Community Empowerment and Symbolic Messages of the Pemung Bangen Lepa Ajau Traditional Ceremony in Teras Nawang Village

The tradition of traditional ceremonies that are always carried out in a society is an ancestral heritage that is given or transmitted from generation to generation. In this case, the community receives various messages from their ancestors through the traditional ceremony. As we can see in a traditional ceremony of a post-harvest party in Teras Nawang village, Bulungan district, North Kalimantan Province. Pemung Bangen Leppa Ajau is a traditional tradition of the Dayak Kenyah Lepu’ Tau tribe which is one of the indigenous tribes in Bulungan Regency, North Kalimantan Province. The Pemung Bangen Lepa’ Ajau Traditional Ceremony contains symbolic messages that are depicted in the 4 elements in the Traditional Ceremony. The decorative elements and ornaments in the Lamin Customary Hall of Uyau I’ot. These decorations and ornaments provide symbolic messages of life for the community. The second element is the Dance performed in the Pemung Bangen Lepa’ Ajau Traditional Ceremony. The third element is the Communal Pre-Event Activities and Traditional Food. The fourth element is the traditional clothing used in the Pemung Bangen Lepa’ Ajau Traditional Ceremony. These four elements are important points in Pemung Bangen Lepa’ Ajau. Through these elements, the community will gain a cultural experience that implies symbolic messages in the procession of the ceremony.

The Quran Manuscripts in Indonesia: A Historical Review

Codicology, the study of written manuscripts, plays a vital role in understanding the history of human civilization, particularly in the context of the development and preservation of Quranic manuscripts. The Nusantara region, which includes Indonesia and parts of Malaysia, boasts a rich tradition of Quranic manuscript production and copying. This research seeks to explore the codicological history of Quranic manuscripts in the Nusantara, focusing on their origins, evolution, regional differences, and significance in the religious and cultural lives of Muslim communities in the area. The research methodology includes analyzing various historical sources, such as existing Quranic manuscripts, historical records, academic studies, and other primary materials. The data collected is examined to identify patterns, trends, and regional distinctions. The findings reveal that the codicological history of Quranic manuscripts in the Nusantara mirrors the region's cultural diversity and the deep-rooted Islamic traditions. These manuscripts originate from various regions and showcase a wide range of writing styles, decorative elements, and materials, shaped by influences such as cultural interactions, technological progress, and local preferences. Understanding this history better can contribute to preserving the cultural and religious heritage of the Nusantara and enhance knowledge of Islamic civilization in the region.

The origin and typology of Tombstone in the South-Slavic areas with special reference to the village of Glisnica near Pljevlja

Medieval Bosnian tombstone are one of the greatest peculiarities of medieval Bosnia and Herzegovina. During the Ottoman conquests, medieval Bosnian tombstone were still being intensively built among the Bosnian Christians. However, at the moment when Christians became more acquainted with Islam and began to convert to it, the so-called transitional period began. In this period, significant changes occurred in the lives of Christians. As the religious beliefs of the population affected by the Ottoman conquests changed, so did the way gravestones were shaped. This period marks the beginning of different approaches by stone carvers to gravestones. During the transitional period, many places saw the emergence of Muslim cemeteries situated alongside medieval necropolises. Initially, the gravestones were laid horizontally, but soon they also underwent transformation, increasingly being built in the form of pillars with decorations (symbols) borrowed from medieval Bosnian tombstone, such as human figures, animals (eagle, dog, deer, horse, wolf, dragon, snake), weapons (sword, spear, shield, bow and arrow), astral motifs (sun, crescent moon, star), half-apple, hand, arcade, etc. These decorative elements were easily adopted by the new Muslims, who began carving them on their tombstone (Muslim gravestones), showing that the close proximity of medieval Bosnian tombstone had a significant influence on the final design of the tombstone. This led to the situation where the oldest tombstones actually emerged among paternal medieval Bosnian tombstone, i.e, new Muslims expressed a desire to be buried next to their fathers and grandfathers. Such cemeteries with both medieval Bosnian tombstone and tombstones are common in Bosnia and Herzegovina. When we studied this transitional period in the field, we concluded that it is logical to ask whether such examples also exist in Montenegro. Considering the old tombstones from the 15th and 16th centuries located in Tuzima, we found that they resemble those from Bosnia and Herzegovina, with the difference that the tombstone in Tuzima appeared somewhat later compared to the nearly identical tombstones in Bosnia and Herzegovina. When we were alerted to an old cemetery in the village of Glisnica near Pljevlja and visited it, finding medieval Bosnian tombstone among which was a pillar-like tombstone, we realized that this was the same phenomenon present in Bosnia and Herzegovina. We then decided to focus more on researching the mentioned cemetery in Glisnica. The tombstone we discovered in this cemetery is more commonly known as a medieval Bosnian tombstone and an Orthodox grave or Serbian monument, while some authors in specific works consider it a Celtic monument. After all these findings, we decided to present the history, i.e, the affiliation of this tombstone to the usual typology, in this paper, and subsequently explain its ornamentation. At the end of this paper, we have presented our opinion in the conclusion, and through the provided contributions, we have attempted to complete what could not be expressed in words.

Aversion to Human Intervention: Why Food in Complex Packaging Design Is Perceived as Less Healthy

ABSTRACTPackaging plays a crucial role in shaping individuals’ food choices. This research introduces the “visual complexity‐intervention inference effect” through five primary studies and two supplemental studies spanning diverse food categories. We demonstrate that complex packaging designs, characterized by more decorative elements, signal increased human intervention, which diminishes the perceived healthiness of the packaged food. This perception subsequently leads to decreased consumption, particularly among consumers with heightened health consciousness. The study advances the research on food packaging and design aesthetics, offering insights and recommendations for leveraging packaging design complexity to promote healthier food choices.

Rehabilitation and restoration of the historic church using the conventional method

Abstract This abstract outline the restoration process of St. Michael and All Angels Church, which was constructed in the Thoothukudi region of Tamil Nadu in 1883. The church is a significant landmark and an important example of local ecclesiastical architecture. The project aims to use a methodical restoration approach to preserve the building’s historical and architectural identity. The first step in the process is to identify any structural deficiencies, which will then be addressed using traditional techniques. Traditional materials will also be used to replace any damaged parts, such as timber fittings, stained glass windows, and decorative elements, to maintain authenticity. The building will be assessed using a standard penetration radar test (GPR). The restoration work will use lime mortar consisting of lime (CaO), sand (SiO2), and juice extract from gall nut and jaggery, similar to the existing structure. The roof will be restored using a 5-layer protective coating. Special measures will be taken to preserve the historic significance of the building.