Decorative Objects Research Articles

The Legacy of Fatima Dudija Hatun, Sarajevo Benefactor

In this paper based on the available Ottoman archival sources and accessible secondary literature, an attempt is made to reconstruct the life of a Sarajevo benefactor from the end of the 18th and the first half of the 19th century, who bequeathed part of her property for religious and educational purposes. Based on the inventory of the property remained after her death, we tried to get a closer picture of the private life of a woman benefactor, then to provide information about the way and style of her life, then on the type of household furniture, textile furniture, kitchen utensils, decorative objects and other things that adorned and filled the interior of her home. Likewise, we analyzed the jewelry she owned, the style of her daily clothing, the type and quality of the materials of the clothing, and information about the rest of her movable and immovable properties. The person in case was named Fatima Dudija hatun, daughter of Pehlivan Husejn-aga, from Sarajevo, resident of Careva Mahala.

Acanthus ornament generation using layout subdivisions with parameterized motifs

AbstractAcanthus ornaments frequently adorn Western architectural designs. The placement of these motifs varies according to the decorative object, with some having motifs arranged in a grid pattern. In this study, we propose a procedural modeling system aimed at generating acanthus ornaments on a planar surface. The proposed approach initially establishes the layout of boundary grids for acanthus motifs by subdividing the target surface into nonuniform grids. Subsequently, the medial axis line of the acanthus motif is generated to optimally conform to each boundary grid, employing a parameterized representation of deformable motifs. The three‐dimensional motif shapes are ultimately constructed from the medial axis, with the shape parameters adjusted to improve aesthetic appeal. The proposed system generates various acanthus ornaments through rule‐based layout subdivisions, offering users the option to select their preferred design while adjusting the motif shapes with a few manual parameters.

Terahertz time-domain spectro-imaging and hyperspectral imagery to investigate a historical Longwy glazed ceramic

In this paper, we present the potential of Terahertz Time-Domain Imaging (THz-TDI) as a tool to perform non-invasive 3D analysis of an ancient enamel plate manufactured by Longwy Company in France. The THz data collected in the reflection mode were processed using noise filtering procedures and an advanced imaging approach. The results validate the capability to identify glaze layers and the thickness of ceramic materials. To characterize the nature of the pigments, we also use with X-ray images, visible near-infrared hyperspectral imaging spectroscopy, and p-XRF (portable X-ray fluorescence) to qualitatively and quantitively identify the materials used. The obtained information enables a better understanding of the decoration chromogens nature and, thus, to determine the color palette of the artists who produced such decorative object. We also establish the efficiency of a focus, Z-tracker, which enables to perform THz imaging on non-flat samples and to attenuate artifacts obtained with a short focus lens. Then, 3D images are extracted and generated, providing a real vision. We also report the evaluation of the internal damage state through the detection of fractures.

Freddy Mamani’s Cholets for Export

The Bolivian Aymara architect Freddy Mamani has constructed more than sixty brightly colored cholets in El Alto, a migrant sister city to La Paz, Bolivia. These fantastical constructions are neither pure romantic manifestations of an Aymara cosmovision nor only superficial decorations that symbolize the Aymara Indigenous peoples’ entry into capitalism. Instead, they reflect the complexity and contradictions of dynamic urban Indigenous identity in a globalized world. The article is the first of its kind to consider cholets outside a Bolivian context. The article illustrates how cholets have been constructed out of imported products and, in turn, transformed into exportable objects for global consumption. Via analyzing a range of visual media—photography, documentary, and museum installations—I make the case that in the process of exportation, the cholets are converted into decorative objects that risk obfuscating the long class and racial struggles of the Aymara as they have resisted, and embraced, global capitalism’s imperatives.

Eastern Lanna Product Design for Guest room of Northern Hotel in Thailand

This research is integrated the architecture and art design creative work with community for developing local products of Eastern Lanna, by design the interior decoration prototype in 36 square meter guest room (price 600 - 800 baht per night) of Phayao university hotel to inform Kham Mok Luang flower as symbolic media or one element of identity. The objectives of study is to set research teamwork of interior designer, architect, artist- designer to design decorative objects or props with community craftmans to increase value added handicraft products and community can develop their products to commercial business by their competency. The method is qualitative research that 4 designers collaborate with 10 textile and basketry handicrafts in Ang Thong district, Phayao Province by sharing their knowledges and skills together, start from design the symbolic pattern of Kham Mok Luang of cloth weaving and basketry raw material process, design the guest room decoration, produce the decorative objects or props : curtain, bed runner, head of bed, lamp, basket. After finishing the props the researcher set them in the mock up room, and take the pictures of decorative room and objects to be survey tool of stakeholders satisfaction opinion about symbolic pattern design and all decorative products. The result is to the most satisfaction in symbolic pattern, the products or props satisfaction is more to the most.

Creative sustainability: gamifying the creative process and creating new possibilities for forgotten materials

Through the present paper, it is intended to share a synthesis of the elaboration, execution and results of the “Virtual Workshop of Creative Sustainability”, which was developed monthly through the social network Instagram, during eight (08) months of the year 2021. The workshop happened virtually due to the Covid-19 seclusion during the critical period of the pandemic. Aiming to expose and teach, in a simple, practical and objective way, the possible paths for transforming alternative materials, which would be discarded, into new possibilities for creation of decorative objects, furniture and other pieces with multiple purposes, created by the participants themselves, by encouragement of the use of creativity. The application methodology was through a challenging format and aimed to explore the potential of creations through a simple, intuitive and unique question, as a starting point to use the imagination in the most abstract way, questioning what could be done with the respective unused materials. At the end, it was handed to the participants files in multiple formats, in order to enable the inclusion of those who do not use civil construction creation software, to demonstrate the possibility of their projects becoming real. As the expected results of the experiment revealed, after the workshop, a rich perception of the possibility of the usage of creativity as a way to recycle materials, positively impacting the pillars of sustainability. The results contribute positively to the field of architecture and urbanism, with an innovative teaching typology and community of practice for students, families and community as a whole.

Plant-human entanglements in buildings: designing for care infrastructuring with office occupants and pot plants

The current outsourcing of maintenance and the use of technological devices to automatically care for plants in buildings change the spatial experience between human office occupants and plants. This caretaker system distances people from plants, inclining us to regard them more as decorative objects. The relationship between humans and plants in a building is often unidirectional, with plants providing humans multiple benefits such as improved health and well-being, and increased worker productivity. In our human-plant interaction study, we developed a layer of care infrastructure within an office building that gives agency to people as a collective to interact with and take care of other non-human beings; that is, plants. In re-imagining mediated human-building interaction, we employed technology as an ambient mediator where people, plants and technology comprised the plant care system in a typical office building. A year-long design intervention was introduced within a typical office floor using artifacts (pots, shelves, and digital system) which we fabricated for the plants. From the results of an 8 week participation experiment together with data from qualitative interviews of 6 study participants, we identified five themes: Technology, Object/Thing, Infrastructuring, Commoning, and Care. Our analysis of these themes informs a care infrastructuring approach where both humans and plants become interdependent office co-inhabitants. By entangling with technology, care, and others, we present an infrastructuring layer to mediate human-building interactions with plants.

Globalization and Diversification of Interior Decoration Styles and Their Impact on Pakistani Handicrafts

With the gradual advancement of globalization, cultural values and traditional decorative practices as well as people’s lifestyles have changed through digital awareness. This has seriously affected the interior decoration industry and brought challenges to the local handicraft industry. Pakistan’s traditional handicraft is famous in the world, but the flow of imported machine-made products in Pakistan has led to a decline of Pakistan’s handicraft industry. This research investigated which factors are involved in home decoration and to see if these factors are advantageous for the handicraft industry or not. The use of handicraft decoration objects varies among people when they design their houses. Thus, study conducted a survey, which found several factors that Pakistani people emphasize in relation to home decoration. Currently, these factors do not benefit the handicraft industry as people pursue a modern lifestyle and they consider handicraft objects without innovation and design outdated. Interior decoration is seen as a major aspect of traditional Pakistani life and culture, with distinct cultural characteristics. Inspired by the latest way of thinking, an interior design first exists as a concept and is then realized through careful planning. It is meant to evoke a specific mood through the strategic use of color, space, and style. In Pakistan, home accessories are generally and strongly influenced by the current fashion in the end market, with many changes brought about by consumers’ purchasing patterns, designers’ and decorators’ styles, and economic conditions. Keeping up with constantly changing trends is the main challenge faced by the traditional handicraft industry sector. In many cases, craftspeople are disconnected from the end market, which is a challenge for them to be able to profit from their work.

A multianalytical approach for the study of relief polychrome glazed ceramics (France, 19th century)

During the second half of the 19th century, the production of ceramic pieces decorated with relief polychrome glazes occupied a prominent place in French factories of white earthenware. It is through the example of the Vieillard and Co Manufactory (Bordeaux, France, 19th century) that we will approach the technical study of this ceramic decoration process. A corpus of seven fragments of glazed earthenware from archaeological excavations, that took place in the waste dumps of the Vieillard and Co manufactory, has been studied. A multianalytical study (SEM-EDS, PIXE-PIGE, and hyperspectral imaging) was carried out in order to characterize both the clay support and the colored glazes. A second part of this research concerns the development of optical techniques based on reflectance spectra and hyperspectral imaging. This non-invasive method is intended to characterize colored glazes and more specifically, to identify the type of pigments used. All the data obtained made it possible to better understand the nature of the decoration chromogens and thus, to establish the color palette of the artists who produced this type of decorative objects. Therefore, one of the aims is to build a preliminary database established on hyperspectral imaging, which will then be used when studying ceramic objects that can not be sampled.

Minero‐chemical and provenance analysis of Achaemenian lapis lazuli cylinders from Persepolis

AbstractFive archaeological plain cylinders made of lapis lazuli found in excavations at the Persepolis World Heritage Site (c.550–330 BCE) were analysed using wavelength‐dispersive X‐ray fluorescence spectroscopy, inductively coupled plasma‐mass spectroscopy, X‐ray powder diffraction, and scanning electron microscopy with energy‐dispersive X‐ray spectroscopy techniques with the goal of characterizing the chemical–mineralogical composition and identifying the possible provenance of raw materials. Results show that these objects are made of identical resources or mines. A comparison with available data from archaeological sites and ancient quarry sites shows that these finds may have been produced from lapis lazuli from east of the Iranian Plateau (Badakhshan in Afghanistan), as they resemble several ancient objects of Iran. The results of this study suggest that Persian artists also used the ancient East‐to‐West trade route for supplying raw material to produce decorative objects made of lapis lazuli.

Jagad Raya: Representation of Flora and Fauna in Wooden Craft From A Cosmological Perspective

The art of teak wood carving was one of the leading export commodities, especially wood carvings with flora and fauna motifs. Javanese culture and Hindu mythology influenced the flora and fauna motifs, so they had their meanings. This research aimed to develop carvings of flora and fauna motifs inspired by classic batik motifs using wood media. The results showed that the media used was teak wood with a finishing process without painting to produce a natural color. It was adjusted to its function and use in creating teak wood carvings. Wood carving did not only function to be enjoyed for its aesthetic value but as a decorative and sacred medium where each motif influences one's beliefs when creating artwork. In addition, teak wood carvings were used as symbols of a culture, and the designed motifs often contained the meaning of teachings to humans in carrying out life. Based on the economic aspect, the teak woodcarving industry strategically improved the community's income, especially for craftsmen in tourism centers. By making woodcarving crafts with flora and fauna motifs, it hoped that woodcarving crafts would not only use as decorative objects, but it used as an educational media for fine art, history, and Javanese culture, which were full of meaning to the broader community so that they could increase knowledge and encourage people to behave following the concept of cosmology.

The Vienna Room: A Melbourne Interior by Maggie Edmond, 2018

ABSTRACT The subject of this paper is a living-room designed by Melbourne architect Maggie Edmond for her own use. Labelled on the plan Vienna Room, it forms part of a 2018 renovation of Edmond’s inner-city house in the Melbourne suburb of Carlton. Contextualised within recent studies of Australian interiors that use innovative forms of research and publication – exhibition, house biography, illustration – and referencing the work of Edward Hollis and Mario Praz, the paper employs the methodology of thick description, with some reference to iconology. This mode of research foregrounds the writing of the author/viewer as a locus of meaning, rather than, say, an imposed theoretical proposition. The room is treated as a pictorial device in which, it is argued, the architect’s arrangement of paintings, furniture, books, and decorative objects can be understood as a “family album,” a staging of personal and family heritage. The approach suits the aims of the paper which are, on the one hand, to explore the application of thick description to architectural interiors and on the other, to suggest how the Vienna Room might reflect back on Edmond’s practice as a founding partner of one of Melbourne’s most celebrated architectural firms, Edmond and Corrigan.

Contemporary textile art in the Republic of Moldova

In the twentieth century, in the field of textile art there were exhibition events that caused major changes in the attitude of artists and the public towards the two-dimensional or three-dimensional textile art object. Throughout its evolution, the textile art has undergone transformations and turning points, in line with the dominant artistic trends and styles of the time. From the first manifestations in consecrated form, that of a two-dimensional decorative object made of textile fibers in specific weaving techniques, and until now it has oscillated one after the other between the status of first-rate art and applied art, being closely linked to the craft of weaving that preceded it.

Commodities and the Acting Profession: A Newly Discovered Inventory for William and Susanna Mountfort’s “India Shop” (1692)

ABSTRACT: The discovery of the postmortem inventory of the estate of William Mountfort sheds new light on how Restoration actors managed their incomes during the off-season. Mountfort was killed in 1692 by a teenaged Captain Richard Hill, who believed the actor was his rival for the attentions of the actor Anne Bracegirdle. William wrote his will on his deathbed, leaving everything to his actor-wife Susanna and their two-year-old daughter. The inventory, compiled two months later, reveals details of the Mountforts’ day-to-day domestic life in their new house on Norfolk Street in the parish of St Clement Danes, London. The second part of the document is the surprise: it contains a list of the “Trading Goods” found in the shop and storage rooms on the first two floors of the house, which suggests that the Mountforts not only engaged successfully in the acting trade, but also ran a retail business, selling luxury fabrics, decorative objects, and tableware. The first play the United Company (to which the Mountforts belonged) performed after the murder was Thomas Southerne’s Maid’s Last Prayer , a dark comedy that incidentally features an India shop, and provides a useful contemporary context for the Mountforts’ business.

The Flip-flop Toys of Saarenald T. S. Yaawaisan in the Bryn Mawr Art and Artifact Collections

The Flip-flop Toys of Saarenald T. S. Yaawaisan in the Bryn Mawr Art and Artifact Collections

Shell proteins and microstructural analysis identify the origin of shell arts with species resolution in pearl oysters

Molluscan shells are diverse, beautiful, and mechanically robust. They were commonly used by humans during ancient times as money, decorative objects, or functional tools. Luodian, a unique shell art in China dating back 3000 years, has served as a cultural carrier between China and Europe. To understand the production processes as well as underlying cultural contexts, it is important to identify the material origin of the art. This study combined proteomics and microstructural analysis to identify the raw material origins of three Luodian samples from the Qing Dynasty with species resolution and potential maturity levels. Shell proteomics and multiple sequence alignment have identified key shell matrix proteins (N66 and Pif) from Pinctada maxima, a pearl oyster distributed in the Indo-Pacific region. Although other factors (temperature, salinity, etc.) may contribute to the thickness of nacreous tablets in the shell, the thickness is inversely proportional to the shell size in the pearl oyster. We inferred the maturity of raw materials in different Luodian samples, which are tailored to different purposes. This study provides a framework and foundation for identifying the origin of various shell arts, especially those made from pearl oysters.

ІНФОРМАЦІЯ В УМОВАХ ЦИФРОВІЗАЦІЇ ПУБЛІЧНО-ПРАВОВОГО УПРАВЛІННЯ

The term "office" has long since become one of the most common characteristics of the 21st century economy. Everyone has offices, from a construction organization to an advertising company, from a huge factory with thousands of employees to a small firm with barely ten employees. The functioning of the office is one way or another expenses, and they are very diverse, which determines certain accounting features of them. The article reveals and highlights the specific features of office expenses that must be taken into account when forming an accounting policy, which will allow for the formation of a fairly rational accounting system. These features are: the specifics of regulatory regulation, the significant share of office expenses in total expenses, the variety of these expenses, special approaches to their qualification. It is noted that the office building can be accounted for as one object of fixed assets, or as a set of individual objects of fixed assets or low-value non-current material assets. It is emphasized that the office building can be divided into several objects during its operation. As for office stationery, here the order of displaying costs for its purchase in accounting depends on the term of its operation. Computers, printers, faxes, telephones and other equipment of a similar nature are usually integral attributes of any office. All of them belong to classic non-current assets, as they are operated for more than one year. Their accounting largely depends on their value and on the accounting policy of the business entity. Tax accounting of income tax for office expenses mostly does not contain special nuances. Differences with large payers can arise mostly, either in the case of fixed assets or intangible assets, or if there was an acquisition from risky counterparties. There is no doubt about the economic nature of office expenses. The exception is the so-called dual-purpose equipment, for example: refrigerators, kettles, microwave ovens, coffee makers, heaters, air conditioners, as well as various decorative objects, for example: flowers, trees, aquariums with fish, green spaces.

ОФІСНІ ВИТРАТИ В КОНТЕКСТІ СУЧАСНИХ ПІДХОДІВ ДО ОБЛІКУ ВИТРАТ

The term "office" has long since become one of the most common characteristics of the 21st century economy. Everyone has offices, from a construction organization to an advertising company, from a huge factory with thousands of employees to a small firm with barely ten employees. The functioning of the office is one way or another expenses, and they are very diverse, which determines certain accounting features of them. The article reveals and highlights the specific features of office expenses that must be taken into account when forming an accounting policy, which will allow for the formation of a fairly rational accounting system. These features are: the specifics of regulatory regulation, the significant share of office expenses in total expenses, the variety of these expenses, special approaches to their qualification. It is noted that the office building can be accounted for as one object of fixed assets, or as a set of individual objects of fixed assets or low-value non-current material assets. It is emphasized that the office building can be divided into several objects during its operation. As for office stationery, here the order of displaying costs for its purchase in accounting depends on the term of its operation. Computers, printers, faxes, telephones and other equipment of a similar nature are usually integral attributes of any office. All of them belong to classic non-current assets, as they are operated for more than one year. Their accounting largely depends on their value and on the accounting policy of the business entity. Tax accounting of income tax for office expenses mostly does not contain special nuances. Differences with large payers can arise mostly, either in the case of fixed assets or intangible assets, or if there was an acquisition from risky counterparties. There is no doubt about the economic nature of office expenses. The exception is the so-called dual-purpose equipment, for example: refrigerators, kettles, microwave ovens, coffee makers, heaters, air conditioners, as well as various decorative objects, for example: flowers, trees, aquariums with fish, green spaces.

A Taste for the Local

The artist, designer, and pedagogue Elena Izcue (1889–1970) was a pioneer in the field of Peruvian decorative arts and among the first to take inspiration from Peruvian pre-Hispanic motifs. Relying on those motifs, she designed an impressive collection of textiles for the famed House of Worth in Paris during the 1930s, to which she owes her international reputation. That can be considered the high point of her career; yet it nonetheless marked a retreat from the far more ambitious project that she undertook before her departure from Peru in 1927. This article aims to reconstruct that project. I argue that Izcue’s chief objective was to bring the appreciation of pre-Columbian themes and motifs out of the realm of public monumentality and into that of domestic consumption. Izcue sought, in other words, to produce decorative objects that might furnish the homes of a rising class of modest, urban, white-collar workers with both “national” designs and domestically produced materials. After analyzing Izcue’s approach to her sources of inspiration as well as the relatively limited opportunities that she had to present her vision, I discuss the prevailing social attitudes that prevented her project from being fully legible for her intended audience. In the article’s concluding section, I assess the significance of Izcue’s aesthetic recuperation of the pre-Columbian past against the backdrop of both the official and contestatory indigenisms that rose to prominence in Peru during the twenties.

The Interior as a Witness: Interwar Interiors in Flanders Captured by Forensic Files

The common resources for studying historic homes offer staged and idealized representations of interiors which reveal little about how these spaces were inhabited and by whom. With a rather limited scope of sources available for reliable images of “real,” vernacular home environments, I advocate for the use of forensic photography and files in interior design historical research to broaden our image and understanding of such modes of living. As a case study, I examine, by close inspection and visual analysis, 40 crime cases from the Belgian provinces of Antwerp and East–Flanders, recorded between 1929 and 1937, containing interior photographs, floor plans, and judicial reports. The sample spans different social strata and building types, living circumstances, and locations—urban, suburban, and rural, demonstrating how many of the people in that era lived in old(er) houses, deprived of the newest sanitary, heating, and lighting amenities. It attests to the passing down over generations of rugs, furniture, utensils and decorative objects, and the randomness of their presence, with traces of gradual modernization, from washing machines to radios, club seats, and fashionable wallpapers. Forensic photographs offer a nonstaged representation of reality. Thus, they provide a reality check, showing how mainstream interiors were really used and how they evolved over a period of time.