Academic literature on the topic 'Architecture Early works to 1800'
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Journal articles on the topic "Architecture Early works to 1800"
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Yuliya Ivanovna, Arutyunyan. "Interpretation of Medieval art in the scientific illustration of France in the 1820s – 1860s." Vestnik of Saint Petersburg State University of Culture, no. 2 (51) (2022): 154–61. http://dx.doi.org/10.30725/2619-0303-2022-2-154-161.
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In the XIX century, the importance of scientific illustration increases. Images of the Middle Ages appear in works on the history of art and material culture, reference books, periodicals, and guidebooks. The characteristic features of scientific illustration are the desire to observe the real proportions and composition of monuments of architecture and fine art, diligence, understanding the patterns of style and reflecting them in graphic reproductions. The publications combine detailed images of architectural monuments and schematically interpreted details of facades and interiors. In the work of Seroux d’Agencourt, separate tables reproduce the exteriors and plans of famous buildings of the Early Middle Ages, Romanesque and Gothic. The dictionary of E. E. Viollet le Duc includes a number of images of works of art; the graphic interpretation of structures and objects of visual arts is clear and concise. The magazines «Le Magasin pittoresque» and «Musée des familles» are widely attracted to landscape views, including architectural structures of the Middle Ages. In «Bulletin monumental» scientific graphics relate to texts and are focused on reliable and detailed interpretation of monuments. At the turn of the XIX–XX centuries, graphic images began to be replaced by photographs, and the genre gradually lost its significance. Over the course of a century, scientific graphics have evolved from a landscape «pictorial» interpretation of the form to a scientifically reliable statement of the appearance of medieval architecture and works of art.
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Kreizer, I. "MAGINARY OR EXPRESSIVE: XXI CENTURY ARCHITECTURE IN THE WORKS OF EXCELLENT MASTERS." Municipal economy of cities 1, no. 168 (March 25, 2022): 40–44. http://dx.doi.org/10.33042/2522-1809-2022-1-168-40-44.
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The article deals with the theme of the interaction of "expressiveness" and "pictoriality" in the work of the masters of architecture of the XXI century. Architects' methods of work with such concepts as "imagery" and "expressiveness" became the cornerstone in understanding the concept of "modern" in the late nineteenth and early twentieth centuries. The architecture of the twentieth century in the leading countries of Europe, the USA, then the USSR, trying to keep pace with scientific discoveries and technical capabilities, created a number of rationalist avant-garde trends, which later merged into modernism (international style), gradually abandoning decor and imagery in buildings. The architects of the late 19th and early 20th centuries urged to look for means of forming a new architecture without decor and ornaments. The architecture of rationalism, and then modernism, abandoned figurativeness in an effort to express the content of modernity. This approach has led to both practical and theoretical problems. Architecture as an art form began to “speak” with the user in a different language, instead of historically proven decorative and pictorial techniques, its language became an expression of abstract forms and dynamic solutions. Looking at the works of outstanding contemporary masters, the question arises what means and techniques they use in the process of creating architectural objects and whether there is a place for decor in their work. Whether decor in the architecture of the 21st century has lost its function as an informative and visual means, whether it has become an expressive component of the architectural form is a question that will be considered in the article using the examples of famous world-class architects, and the works of Ukrainian architects will also be involved. The article also discusses modern methods of work of architects with the form.
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Gella, О., and K. Didenko. "RESIDENTIAL BUILDINGS BUILT BEHIND THE STATE INDUSTRY BUILDING (DERZHPROM) IN THE LATE 1920S AND EARLY 1930S: BLOCKS EAST OF NAUKY AVENUE." Municipal economy of cities 1, no. 182 (April 5, 2024): 43–49. http://dx.doi.org/10.33042/2522-1809-2024-1-182-43-49.
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The article is devoted to residential buildings built in the late 1920s and early 1930s in the metropolitan Kharkiv, in the area behind the State Industry Building (Derzhprom) east of Nauky Avenue. The design andconstruction of these residential neighbourhoods, which took place between 1926 and the late 1930s and had their peculiarities and diversity, are not sufficiently covered in scientific works and require a dedicated study. The preservation, documentation, and restoration of modernist buildings and complexes in eastern Ukraine, especially in the Kharkiv region, require the creation of a periodisation and systematisation of buildings belonging to this glorious period of architectural development. Residential districts created in the 1920s and 1930s in Soviet Ukraine, particularly in the metropolitan Kharkiv, are objects of cultural and historical value subject to documentation and analysis. The tendency to highlight the most outstanding examples leaves out the contextual buildings, which formed the basis of the development of the residential area behind Derzhprom and created a coherent architectural and temporal background of the urban landscape of the new administrative centre of the metropolitan Kharkiv. Meanwhile, the contextual buildings created an architectural setting for more famous examples, such as the Slovo House. When studying the scientific works of Kharkiv architecture researchers, one can pay attention to the coverage of residential blocks to the west of Nauky Avenue, an area with a radial-ring structure, and the almost complete absence of research on residential blocks in the part of the district to the east of the avenue. This fact is quite unfortunate, as the architectural landscape of the blocks in this part of the residential area is notable in its spatial, functional, and stylistic structure. In addition, these blocks are rich in ‘red’ residential buildings, raised in the second half of the 1920s in various cities of Soviet Ukraine, which became a kind of visiting card of life in the Soviet Union then. Keywords: Kharkiv, Derzhprom, residential buildings, Chervonyi Donets, Slovo, KofOk, Chervonyi brodylnyk.
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Maslov, Konstantin. "In search of the lost tradition: towards a history of church painting of the 1830s — 1st half of the 1840s." St. Tikhons' University Review. Series V. Christian Art 48 (December 30, 2022): 74–94. http://dx.doi.org/10.15382/sturv202248.74-94.
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Fast moving Europeanisation of Russia, started by Peter the Great and continued by his successors, showed itself, among other things, in founding the Imperial Academy of Fine Arts and in the birth of Russian academic school, whose brilliant achievements were not in the least the legacy of Russian art tradition, especially that of icon-painting, for the latter was only allowed to exist as the arts of the commoners. This state of things was regarded as something to overcome during the reign of Nicholas I, when gradual re-establishment of the ties with tradition begins, seen in particular in the "Byzantine style" in Church architecture, invented by K.A. Ton in late 1820s - early 1830s at the behest of the emperor. Conservative ideology, expressed as it was in the so called theory of the official nationhood (narodnost'), starting from the times when S.S. Uvarov, the author of this theory, was appointed Minister of Public Instruction, was not reflected, however, in the academic Church painting and in the paintings which belonged to historic genre as a whole. This article is focused on the views on the academic Church paintings and traditional icon-paintings that were typical of the educated class of the 1830s and early 1840s. It is shown that the contemporaries of Russian "historical" painters, including those in the Church, saw their calling in commitment to the people (narodnost'), for "there is a need to assume... one's own character, which, while retaining its originality, would tend toward the general harmony with the European Art"; at least a part of the society has come to the opinion that at the time of the decline of famous schools of the West, it is in Russia that paintings show "life and development". (I.V. Kookolnik). In Church paintings of the 1830s the "Russian" style, oriented at the monuments of the past, originated not in the academic school itself, but in the adminicular activity, that is, as a by-product of the artistic and archaeological studies of F.G. Solntsev. A.N. Olenin, the President of the Academy of Arts, on whose intiative these studies were performed, envisaged their outcome as "the complete painting course of archaeology and ethnography for the artists". This course was born in the 1830s during two works of the artist: the making of Church calendar and the painting of Terem Palace and the churches in the Moscow Kremlin.
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Egorova, L. V. "Svetlov, I., Lukicheva, K. and Arias-Vikhil, M., eds. (2023). Paris around the 1900s. Joséphin Péladan’s Society of ‘Rose + Croix.’ St. Petersburg: Aleteya. (In Russ.)." Voprosy literatury, no. 2 (March 15, 2024): 174–77. http://dx.doi.org/10.31425/0042-8795-2024-2-174-177.
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The review discusses a collection of articles produced by a team of scholars under the supervision of professor Igor Svetlov. The book focuses on alternative experiments in late 1800s — early 1900s French art, which, although they failed to grow into independent movements, succeeded in producing several interesting concepts. The study is especially concerned with the Paris-based salon of ‘Rose + Croix’ and its founder Josephin Peladan — a writer, philosopher, occultist, and an able organizer. The book considers his artistic interests and views on the connection between art and religion, the role of symbolism in artistic thought, and the relationship between the modernity of his day and the previous epochs, including the esoteric and magical traditions. The collection covers a broad variety of subjects, such as the fantastic and the demonic in Paris, the mystical components in landscape paintings of the late 1800s, illustrations in the era of decadent art, intellectualism and intuition of the regulars of Peladan’s salons, esotericism and symbolism as a bridge into otherness, the existential and the universal in 1900s’ Parisian architecture, M. Voloshin’s turn-of-the-century spiritual and aesthetic experiments, the Parisian ‘imprint’ in Kandinsky’s early works, and Paris photographed at nighttime.
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Islam, Sk Zohirul. "Six-Pointed Star Motif in Muslim Architecture of Bangladesh (Past Bengal) and Turkish Influence: An Historical Study." Bangladesh Journal of Multidisciplinary Scientific Research 2, no. 1 (May 7, 2020): 40–47. http://dx.doi.org/10.46281/bjmsr.v2i1.565.
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With the rise of Islamic states as the dominant powers of India and Indian Sub- Continent (India, Pakistan and Bangladesh) and South Asia Sultanate and Mughal period (1200-1800 A.D.), by Turkish heroic figure (horsemen), Indian art was subjected to Islamic influence, resulting in a hybrid aesthetics as well as Indo- Islamic art which flourished to varying extends across south and southeast Asia. Bangladesh is world third largest Muslim majority country and situated in South Asia. So the main and primary identity of the notion is mosque architecture and then languages via culture in Bangladesh (past Bengal). Moreover, Traditional history called Mughal and ottoman was the center of all traders and referred as the “Middle Man” due to access to water routes between Asia and Europe. The Ottoman and Mughal Empires were all founded with art and architecture by members of the same ethnically Turkic tribe and originated from Oghuz tribe. Firstly, in the early 14th century, Osman Bey established a small principality in the northeast corner of Anatolia. Despite these many similarities, there are some key difference within the approach to Islamic Art and Architecture from Miniatures Illustrations in Indian Sub-Continent to Mosque architecture in Turkey and the Levant the Mughal and Ottoman empires left their indications.Turkish Military Ikhtiyar Uddin bin Muhammad Bhaktiyer Khilji and his Turkish followers captured Bengal in 1204 A.D. and after then ruled by Turkic. Besides these many Sufis saint-like Khan Jahan Ulugh Khan, Burhan Khan, Gharib Shah, came here and spread Islam and Turkish culture with languages too. The Ilyas Shahi dynasty was the first independent Turkic Muslim ruling dynasty in late medieval Bengal, which ruled from the 14th century to the 15th century. It was founded in 1342 by Shamsuddin Iliyas Shah. As follows still presence many Turkish words which used in the Bengali language as Barood, Nishan, Chaku, Bahadur, Begum, Chadar, Surma, bavarchi, kiyma, Korma, and so on. And then showed their power through art and architecture as Mosques and Tombs follows Adina Masjid at Pandua in 1368 A.D.; Eklakhi mausoleum, Pandua; Tomb of Shah Rukn-e Alam in Multan, Sixty Domed Mosque at Bagherhat of Bangladesh, etc. Based on all evidence present, it can be found that the Turks contributed significantly to Bengali languages and culture as well as art and architecture (Mosques and Tombs). Besides many Jewish people came in here through missionary and business purposes. And also we see that there have been found many designs in mosque architecture especially six-point stars which is mentioned as a David symbol. So my focus is the Connectivity between Turkish and Bangladesh through Islamic architecture and Jewish with six point star/hexagon/seal of Solomon. It is a historical study with a journalistic approach.
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Harris, Eileen. "Acquisition and use: British architectural books before 1800." Art Libraries Journal 17, no. 3 (1992): 7–11. http://dx.doi.org/10.1017/s0307472200007896.
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Architectural books in use in England – and specifically in the Royal Academy Library – in the second half of the 18th century included translations of the major Italian treatises; Sir William Chambers’ Treatise on civil architecture (the first work of its kind by an English author); volumes recording actual buildings by English architects; archaeological works documenting the remains of ancient buildings; and works by Fréart and Perrault on the classical orders. The latter were complemented by Henry Emlyn’s eccentric Proposition for a new order of architecture published in 1781. The contents of Sir John Soane’s private library included a number of works not available at the Royal Academy, which he criticised for providing only a “very limited collection of Works on Architecture”. Soane’s library can be seen to have anticipated the professional architectural library, including more practical books (intended in many cases for the use of builders and carpenters), which was founded at the Royal Institute of British Architects in 1834 — today’s British Architectural Library.
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Abdul Malik, Mohd Puaad, Faisal @. Ahmad Faisal Abdul Hamid, and Rahimin Affandi Abdul Rahim. "Analyse Malay Fiqh Works Writing 1600-1800." Al-Muqaddimah: Online journal of Islamic History and Civilization 6, no. 2 (December 31, 2018): 71–89. http://dx.doi.org/10.22452/muqaddimah.vol6no2.6.
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In essence, this article will focus on the subject classical Malay fiqh works 1600-1800. Classical Malay fiqh works are Malay intellectual works produced by Malay Muslim scholars in various topics of Islamic law including worship (ibadah), commercial transaction law (muamalah), family law (munakahat) and others. This fiqh Malay work played an important role in Malay society at the beginning of Islamic development in the Malay world. It is a means of communication, scientific knowledge or developmental science. The premise of this article analyzes the writing of fiqh works that developed in the early days of the great intellectual nature of the Malay world. There are features of fiqh writing in the year 1600 and it is different from the features of fiqh writing in 1700 and 1800. The discussion of this writing includes the difference between the writing text and the style of writing fiqh and being reviewed from various scopes, items and writing features. The method of analysis used is the method of historiography or historicalism which examines the development of an idea. Facts obtained will be thoroughly screened using the Malay induction history approach. Research shows that the earliest classic Malay fiqh writing has its own identity and superiority and is a Malay intellectual work.
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Špelda, Daniel. "Kepler in the Early Historiography of Astronomy (1615–1800)." Journal for the History of Astronomy 48, no. 4 (November 2017): 381–404. http://dx.doi.org/10.1177/0021828617740948.
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This article discusses the reception of Kepler’s work in the earliest interpretations of the history of astronomy, which appeared in the seventeenth and eighteenth centuries. The focus is not on the reception of Kepler’s work among astronomers themselves but instead on its significance for the history of science as seen by early historians of mathematics and astronomy. The first section discusses the evaluation of Kepler in the so-called “Prefatory Histories” of astronomy that appeared in various astronomical works during the seventeenth century. In these, Kepler was considered mainly to be the person who brought the work of Tycho Brahe to completion, rather than an original astronomer. The second section is devoted to the evaluation of Kepler in interpretations of the history of astronomy that appeared in the eighteenth century (often as part of the history of mathematics). In these works, Kepler is regarded as a genius who deserves tremendous credit for the advancement of the human spirit. Both sections also devote attention to Copernicus and Tycho Brahe because this facilitates the explanation of how Kepler’s contribution was judged. By studying the reception of Johannes Kepler’s work, we may gain greater insight into the transition from a cyclical perception of the history of science to the progressive model.
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Bowers, Katherine. "Ghost Writers: Radcliffiana and the Russian Gothic Wave." Victorian Popular Fictions Journal 3, no. 2 (December 17, 2021): 152–71. http://dx.doi.org/10.46911/tvct9530.
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Ann Radcliffe’s novels were extremely popular in early nineteenth-century Russia. Publication of her work in Russian translation propelled the so-called gothic wave of 1800-10. Yet, many of the works Radcliffe was known for in Russia were not written by her; rather, they were works by others that were attributed to Radcliffe. This article traces the publication and translation histories of Radcliffiana on the Russian book market of 1800-20. Building on JoEllen DeLucia’s concept of a “corporate Radcliffe” in the anglophone world, this article proposes a Russian corporate Radcliffe. Identifying, classifying, and analysing the provenance of Russian corporate Radcliffe works reveals insight into the transnational circulation of texts and the role of copyright law within it, the nature of the early nineteenth-century Russian book market, the rise of popular reading and advertising in Russia, and the gendered nature of critical discourse at this time. The Russian corporate Radcliffe assures the legacy and influence of Radcliffe in later Russian literature and culture, although a Radcliffe that represents much more than just the English author. Exploring the Russian corporate Radcliffe expands our understanding of early nineteenth-century Russian literary history through specific case studies that demonstrate the significant role played by both women writers and translation, an aspect of this history that is often overlooked.
Dissertations / Theses on the topic "Architecture Early works to 1800"
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Harrop, Patrick H. "Inseminate architecture : an archontological reading of Athanasius Kircher's Turris Babel." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56976.
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Among the vast assembly of Biblical mythology, the tower of Babel stands as an exclusive representation of the limits of human endeavor. As a paradigmatic extremity, it circumscribes the field of civic artifice. Babel is the absolute limit, and in that regard, its presence is enduring and timeless. The legacy of exegetic readings are textual shades, emanating from the point source of the paradigm. Athanasius Kircher's Turris Babel is an appropriate and intentional unfolding of this condition.Firstly, that in the awakening of the Baroque scholar to history, origin materializes as the sole legitimate chronological reference.
Secondly, that the paradigmatic extremities collapse into the empirical standard of the theoretical discourse.
This thesis is a speculative study of architecture, drawn through Turris Babel, in the shadow of the paradigmatic limits of Babel. Written in three parts, each dealing with the implications of artifice in confrontation with the post-Babel adversaries of dispersion, tyranny, and decay.
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Luscombe, Desley School of History UNSW. "Inscribing the architect :the depiction of the attributes of the architect in frontispieces to sixteenth century Italian architectural treatises." Awarded by:University of New South Wales. School of History, 2004. http://handle.unsw.edu.au/1959.4/31896.
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This study investigates the changing understanding of the role of the ???architect??? in Italy during the sixteenth century by examining frontispieces to published architectural treatises. From analysis of these illustrations four attributes emerge as important to new societal understandings of the role of ???architect.??? The first attribute is the desire to delineate the boundaries of knowledge for architecture as a discipline, relevant to sixteenth-century society. The second is the depiction of the ???architect,??? as an intellectual engaged in the resolution of practical, political, economic and philosophical considerations of his practice. The third represents the ???architect??? having a specific domain of activity in the design of civic spaces of magnificence not only for patrons but also for the city per se. The fourth represents the ???architect??? and society as perceiving a commonality of an architectural role beyond the boundary of individual locations and patrons. Five treatises meet the criteria set for this study: Sebastiano Serlio???s Regole generali di architetura sopra le Cinque maniere de gli edifici cio??, Toscano, Dorico, Ionico, Corinthio, et Composito, con gli essempi dell???antiquita, che, per la magior parte concordano con la dottrina di Vitruvio, 1537, his, Il Terzo libro nel qual si figurano, e descrivono le antichita di Roma, 1540, Cosimo Bartoli???s translation of Alberti???s De re aedificatoria titled L???architettura di Leonbattista Alberti, tradotta in lingua fiorentina da Cossimo Bartoli, Gentilhuomo, & Academico Fiorentino, 1550; Daniele Barbaro???s translation and commentary on Vitruvius??? De???architetura titled, I dieci libri dell???architettura di M. Vitruvio tradutti et commentati da monsignor Barbaro eletto Patriarca d???Aquileggia, 1556; and Andrea Palladio???s I quattro libri dell???architettura, 1570. A second aim for the study was to review the usefulness of frontispieces as an historical archive. It was found that frontispieces visually structure important ideas by providing a narrative with meaning as an integral part of the illustration. In this narrative frontispiece illustrations prioritise concepts found in the accompanying text and impose a hierarchical structure of importance for fundamental ideas.
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Mah, Kai Wood. "Architecture and domestic culture in eighteenth-century China." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19665.
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This thesis examines architectural discourse and spatial practices as manifestations and experiences of order in eighteenth-century Qing dynasty China. It reviews the development of the historiography of Chinese architectural history as an academic discipline, and proposes that in the Qing there was an unprecedented rupture between domestic architectural style from that of the court. An alternative design strategy in spatial planning and detailing was adopted. It is argued that the Qing architectural discourse, its intertextuality, was implicitly linked to the historical formation of the Qing self, and that it was pivotal to the rise of domestic culture. The study approaches architecture as historical statements and arguments, and focuses on the production of space, human agency, gender, and subject positioning in early modern China. The study analyzes the Yugong mansion, Beijing, the Rong mansion in the Qing novel The Dream of the Red Chamber, and the Manchu imperial city, as examples.
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Winterton, David E. (David Edward). "Toward a natural history of architecture : the vegetal culture of Viel de Saint-Maux." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22551.
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This thesis reflects on the Lettres sur l'Architechure of Viel de Saint-Maux, published in Paris in 1787. This period represents a crisis point at which classical architechure and a traditional means of relating-to-the-world had exhausted themselves. In the Lettres, St.-Maux privileges original agrarian societies who worship the natural force of fecundity and the agricultural bounty that results from it. He claims that this worship supplied the radical base for their iconographic and symbolic forms as applied to architecture. Viel de St.-Maux's privileging of the generative forces of nature as a site for sacred imagining and ritual constructions of the agricultural environment belie a relation to the methodology and epistemology of Natural History as formulated by the Comte de Buffon.Viel de Saint-Maux sought to resist the threat of an overweening rationality by valuing the wonderment cast by the discoveries of Science. He put his faith in natural science and applied this same compulsion to the ancient primitives who, he believed, knew divinely how to propitiate Nature and its fecundity. Fecundity and Agriculture become metaphors for cultural harmony, enlightenment and a re-fusion of the mystery of vitality into everyday life.
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Querard, Alexandra Eurith. "On the art of historia : the restoration and extension of the Casa del Mantegna." Thesis, Georgia Institute of Technology, 1997. http://hdl.handle.net/1853/23733.
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Orbay, İffet. "Istanbul viewed : the representation of the city in Ottoman maps of the sixteenth and seventeenth centuries." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/8630.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.Includes bibliographical references (p. 361-395).
Starting from the premise that maps are essentially about visualizing space, this dissertation examines what the Ottoman maps of Istanbul reveal about the city's perception, as it evolved in connection to urban development after the conquest. The maps that form the subject of this study appear as illustrations in three manuscript books. The Istanbul maps contained in Mecmu'-i Menazil (1537-8) and HiinernAme (1584) respectively mark the beginning and the accomplishment of the city's architectural elaboration. The other twenty maps, featuring in manuscript copies of Kitab-i Bahriye (1520s), roughly span the period between 1550 and 1700. The variants of a design fixed around 1570 offer an image that fulfills its topographic elaboration in the late-seventeenth century. While the making of this map's design relates to Istanbul's sixteenth century urban development, its topographical elaboration reflects a new perception of the city. These picture-maps, produced in the sixteenth and seventeenth centuries, form a unique group of documents as the only known Ottoman pictorial representations showing the city as a whole. As revealed by the context of the books containing them, their making relates both to Ottoman Empire's territorial expansion and to the appropriation of Constantinople as its new capital. Their cartographic language combines, in different manners, the familiar conventions of Islamic miniature painting with artistic forms encountered and assimilated during territorial expansion, particularly in contact with Venice.
(cont.) Especially the making of the Istanbul maps in Kitfb-i Bahriye copies illustrates the crucial role of the Mediterranean seafaring culture, its navigation manuals, nautical charts and island books. These images of Istanbul can be related to the development of the urban landscape and its symbolic function. Their study as cartographic representations pays attention to both accuracy and emphasis in their topographic contents. Supported by contemporary European visual sources and travel accounts as well as Ottoman topographic and poetic descriptions of Istanbul, the viewing directions, the depictions of buildings, and the overall cartographic composition in these maps are interpreted as features shaping a symbolic landscape that developed from an ideal vision to an actual garden-like urban environment, structured by land, water, and architecture.
by İffet Orbay.
Ph.D.
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McNally, Louis K. "The Weather of 1785: An Interdisciplinary Approach to Meteorological Reconstruction Using Forensic Synoptic Analysis." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/McNallyLK2004.pdf.
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Préfontaine, Jennifer. "Secrets des femmes." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98575.
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The goal of this thesis is a critical edition of the Secrets des femmes, a text attributed to Arnold de Vilanova. In the exegetic tradition, this attribution has been widely argued. Our preliminary findings lead to the same conclusions. The text composed in French couldn't have been written by Vilanova, who would have composed it in Latin, the language of the "clerks", or in Catalan, his first language. Critical tradition shows that the Secrets des femmes is based on three manuscripts. But we have demonstrated that the Mazarine's manuscript is not at the base of this work, but rather of a text entitled Les Termes et secrets des femmes. For the critical edition, which is the objective of our study, there is no doubt that the Arsenal's text is the basic manuscript, while the Vatican's manuscript is the Arsenal's metalanguage.
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Labriola, Daniele. "On Plato's conception of philosophy in the Republic and certain post-Republic dialogues." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/4497.
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This dissertation is generally concerned with Plato's conception of philosophy, as the conception is ascertainable from the Republic and certain ‘post-Republic' dialogues. It argues that philosophy, according to Plato, is multi-disciplinary; that ‘philosophy' does not mark off just one art or science; that there are various philosophers corresponding to various philosophical sciences, all of which come together under a common aim: betterment of self through intellectual activity. A major part of this dissertation is concerned with Plato's science par excellence, ‘the science of dialectic' (he epistêmê dialektikê). The science of dialectic is distinguished in Plato by being concerned with Forms or Kinds as such; the science of dialectic, alone amongst the philosophical sciences, fully understands what it means for Form X to be a Form. I track the science of dialectic, from its showcase in Republic VI and VII, and analyze its place in relation to the other philosophical sciences in certain post-Republic dialogues. Ultimately, I show that, whilst it is not the only science constituting philosophy, Plato's science of dialectic represents the intellectual zenith obtainable by man; the expert of this science is the topmost philosopher. In this dissertation I also argue that Socrates, as variously depicted in these dialogues, always falls short of being identified as the philosopher par excellence, as that expert with positive knowledge of Forms as such. Yet I also show that, far from being in conflict, the elenctic Socrates and the philosopher par excellence form a complementary relationship: the elenctic philosopher gets pupils to think about certain things in the right way prior to sending them off to work with the philosopher par excellence.
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蔡瑞珩. "《鍼經指南》之鍼刺手法研究." HKBU Institutional Repository, 2015. https://repository.hkbu.edu.hk/etd_oa/132.
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《鍼經指南》為元代竇默，字漢卿，所著。其所記載的鍼刺手法上承《黃帝內經》、《難經》，下啟《金鍼賦》、《玉龍歌》、《鍼灸大成》等，為鍼刺手法發展史上里程碑，亦是後世各種複式手法發展的啟蒙。 本文通過對《鍼經指南》相關鍼刺手法的篇章進行整理，從＂呼吸補瀉＂、＂燃轉補瀉＂、＂提插補瀉＂、＂迎隨補瀉＂、＂寒熱補瀉＂，及＂手指補瀉十四法＂等方面展開分析，分別探討《鍼經指南》的學術淵源和《鍼經指南》對元明時期鍼刺手法發展的影響。最後將相關醫家觀點與《鍼經指南》中鍼刺手法理論進行對比分析，討論其異同點。 通過資料整理，學術思想的對比分析，筆者總結《鍼經指南》對鍼刺手法理論主要貢獻是：1.提出調息治神法﹔ 2.熱補涼瀉復合補瀉手法﹔ 3.＂提鍼豆許＂手法技巧﹔ 4.＂瀉南補北＂迎隨補瀉理論。元代與明代主要鍼灸醫家的手法技巧和鍼刺理論均從《鍼經指南》的內容中發展與推衍出來。 根據研究結果顯示，鍼刺手法自《鍼經指南》后空前發展。鍼刺補瀉理論體系更加完善，手法操作更加繁複。符合由簡而繁的事物發展規律。此外，後世醫家在臨床實踐中將《鍼經指南》的鍼刺手法理論與當代文化思想結合并產生新的鍼刺手法及鍼刺理論，從另一方面體現了理論與實踐相結合的哲學思想。 關鍵詞：誠刺手法﹔《鍼經指南》﹔竇漢卿
Books on the topic "Architecture Early works to 1800"
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Serlio, Sebastiano. Sebastiano Serlio on architecture. New Haven, Conn: Yale University Press, 1996.
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1948-, Smith Thomas Gordon, ed. Vitruvius on architecture. New York: Monacelli Press, 2003.
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McEwen, Indra Kagis. Vitruvius: Writing the body of architecture. Cambridge, Mass: MIT Press, 2003.
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McEwen, Indra Kagis. Vitruvius: Writing the body of architecture. Cambridge, Mass: MIT Press, 2003.
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Serlio, Sebastiano. Sebastiano Serlio on architecture. New Haven, Conn: Yale University Press, 1996.
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D, Rowland Ingrid, Howe Thomas Noble 1949-, and Dewar Michael, eds. Vitruvius: Ten books on architecture. New York: Cambridge University Press, 1999.
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Serlio, Sebastiano. Sebastiano Serlio -- On domestic architecture. New York, N.Y: Columbia University Libraries, 2018.
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Pierre, Gros, Corso Antonio, and Romano Elisa, eds. De architectura. Torino: Giulio Einaudi, 1997.
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1476?-1560?, Caporali Gianbatista, ed. De Architectura libri I-V. Perugia, [Italy]: Grafiche Benucci, 1985.
Find full textBook chapters on the topic "Architecture Early works to 1800"
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Mondon, Jean-François, and Joseph F. Eska. "Forced to Force? Remarks on the Architecture of the Left Periphery of Early Irish and Absolute/Conjunct Morphology." In The Method Works, 179–94. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-48959-4_9.
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Rihua, Chen. "The Writing of County Histories in Early Modern England." In Connessioni. Studies in Transcultural History, 51–60. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0242-8.05.
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The writing of county history in England experienced its first boom from the 1570s to the 1650s, during which time a series of outstanding county histories were written, including William Lambarde’s Perambulation of Kent, William Burton’s Description of Leicestershire and William Dugdale’s Antiquities of Warwickshire. All these works are manifestations of the phenomenon of ‘county history writing by the gentry’. County histories are primarily about local place names and famous persons, but also give accounts related to rivers, mountains, land, architecture, real estate, family clans, regional customs and histories. This essay illustrates the sociocultural phenomenon of ‘county history writing by the gentry’ in the view of the formation of the nation state, and aims to demonstrate the significance and value of the writing of county histories by gentlemen, from the perspective of the ‘community of county gentry’.
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Prieto, Moisés. "Corrupt and Rapacious: Colonial Spanish-American Past Through the Eyes of Early Nineteenth-Century Contemporaries. A Contribution from the History of Emotions." In Palgrave Studies in Comparative Global History, 105–39. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-0255-9_5.
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AbstractAround 1800, merchants, scientists and adventurers travelled to Latin America with different purposes. Their multifaceted interests in a world region, experiencing a threshold of independence from Spanish colonial rule, inspired new historical and political works about the continent’s recent past. The Enlightenment provided not only the philosophical armamentarium against corruption, but it also paved the way to a new expression of sentiments and to the loss of fear when addressing injustice. Some examples of these are Hipólito Villaroel’s list of grievances and Humboldt’s Political essay. These two authors provide some thoughts on the political landscape of New Spain (now Mexico), while the two Swiss physicians Rengger and Longchamp describe the ruthless and odd dictator Francia of independent Paraguay as a champion of anti-corruption. Finally, Argentine dictator Rosas—and his robberies as described by Rivera Indarte, Sarmiento and other anonymous authors—represent the embodiment of corruption through pure larceny, for whose crimes the Spanish colonial past apparently no longer served as a comparison.
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Manninger, Sandra, and Matias del Campo. "Deep Mining Authorship." In Computational Design and Robotic Fabrication, 3–10. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-8405-3_1.
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AbstractConsidering the emerging field of architecture and artificial intelligence, it might be necessary to contemplate the remodeling of the concept of authorship entirely. The invention of authorship is a complex historical process that can be traced back to the emergence of print culture in Europe in the 15th century. Prior to this period, most literary and artistic works were created anonymously or attributed to collective or anonymous sources, such as folklore or religious traditions. However, with the rise of printing, texts became more easily reproducible and marketable, and there emerged a need for individual authors to take credit for their works. The notion of authorship was closely tied to the idea of originality and ownership, as authors sought to assert their exclusive rights to their works and to distinguish themselves from other writers. This was supported by the development of copyright law, which granted legal protection to authors and their works, and helped to establish a market for literary and artistic works. The idea of the author as a singular, autonomous figure gained further prominence in the 18th and 19th centuries, with the emergence of romanticism and the cult of the individual. This period saw the rise of the idea of the artist as a genius, whose works were the product of their own unique creativity and imagination. This idea was further reinforced by the rise of literary criticism, which focused on the interpretation and analysis of individual works and their authors. However, as Michel Foucault and other scholars have argued, the notion of authorship is not a universal or timeless concept, but rather a historically contingent and culturally specific one. Different societies ad cultures have different understandings of authorship, and these have shifted over time in response to changes in technology, culture, and social values. As it stands now, authorship in its traditional form can hardly be applied in a context where automated collaborations provide more than 50% of the generated material. This is true for multiple art fields. Visual Arts (Mario Klingemann, Sofia Crespo, Memo Atken, Ooouch, etc.), Music (Dadabots, YACHT, Holly Herndon), Literature, etc. Very soon this will also be true for Architecture. The consequence is also an entire rethinking of the concept of the sole genius. This notion, developed by German Romanticists in the early 19th century, is, in the current context of AI-assisted creativity, completely obsolete, as we are drawing from the genius of hundreds of thousands of artists and artworks in order to interrogate the latent space for unseen artistic opportunities. More akin to an archeological dig leading to the discovery of a next-generation jet fighter plane.
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Herold-Zanker, Katharina. "‘Ex septentrione lux’." In Decadence and Orientalism in England and Germany, 1880-1920, 179–228. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780191990489.003.0005.
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Abstract This chapter traces the development from the cosmopolitan decadence of the 1890s to a nationalist poetry negotiated through the inclusion and exclusion of the East, evident in the works of poet Stefan George. It compares unpublished archival material from the Stefan George Archiv in Stuttgart to George’s later poetry symptomatically referred to as ‘aesthetic fascism’ and situates his work in the larger context of international conservative modernism. As evident from his early letters to his London friend, George stylized himself as the cosmopolitan decadent dandy, embracing symbolist and Orientalist trends from France, Italy, Belgium, and England, which he gathered in his publication of his Blätter für die Kunst and his translation of Baudelaire, Ernest Dowson, and D’Annunzio. The chapter reads his early poetic masterwork Algabal (1892), dedicated to and modelled on King Ludwig II, as a companion piece to Wilde’s Salome in which George celebrates attributes of decadent Orientalism in the poem’s Byzantine splendour. Similar to the influence of ancient architecture on Wilde’s Orientalist writing, George imported pieces of ‘exotic’ architecture into his cycle of poetry. At the end of the 1900s, his ideology gravitated towards a purified poetry acting as a self-critique of his own former attachment to decadent literature. Exclusive of foreign influences and expressive of a messianic vision to reform German culture through a Nietzschean vitalist rather than decadent programme, his later poetic cycles are in dialogue with cultural anxieties of a decline of the West as expressed by contemporary authors Theodor Lessing and Oswald Spengler.
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Larsen, Kristin E. "Early Years and Architectural Training." In Community Architect. Cornell University Press, 2016. http://dx.doi.org/10.7591/cornell/9781501702464.003.0003.
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This chapter focuses on Clarence Samuel Stein's formative years, including the foundations of his work ethic, engagement in learning by doing, community design skills, and commitment to affordable housing. Born in Rochester, New York, on June 19, 1882, into an upwardly mobile Jewish family, Clarence Samuel Stein was the third child of Rose Rosenblatt and Leo Stein. When the Stein Manufacturing Company consolidated with two other firms in 1890 to form the National Casket Company, the Stein family moved to the Chelsea district in New York City. This chapter first provides an overview of New York City's Ethical Culture Society and its influence on Stein's early life before discussing his enrollment in 1905 at Paris's École des Beaux Arts, known for its strong tradition of architectural education with a focus on fostering excellence in design and drafting. It also considers Stein's employment in the office of Bertram Grosvenor Goodhue as well as his civic reform work in New York City.
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Fagan, Brian. "Greece Bespoiled." In From Stonehenge to Samarkand. Oxford University Press, 2006. http://dx.doi.org/10.1093/oso/9780195160918.003.0007.
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The grand tour took the young and wealthy to Rome and Naples, but not as far as Greece, which had sunk into oblivion under its Byzantine emperors, who began to rule in A.D. 527. For seven hundred years Greece remained masked in obscurity as Crusaders, Venetians, and then Turks established princedoms and trading posts there. The Turks entered Athens in 1455 and turned the Parthenon and Acropolis into a fortress, transforming Greece into a rundown province of the Ottoman Empire. Worse yet, the ravages of wind, rain, and earthquake, of villagers seeking building stone and mortar, buried and eroded the ancient Greek temples and sculptures. Only a handful of intrepid artists and antiquarians came from Europe to sketch and collect before 1800, for Greek art and architecture were still little known or admired in the West, overshadowed as they were by the fashion for things Roman that dominated eighteenth-century taste. A small group of English connoisseurs financed the artists James Stuart and Nicholas Revett on a mission to record Greek art and architecture in 1755, and the first book in their multivolume Antiquities of Athens appeared in 1762. This, and other works, stimulated antiquarian interest, but in spite of such publications, few travelers ventured far off the familiar Italian track. The Parthenon was, of course, well known, but places like the oracle at Delphi, the temple of Poseidon at Sounion—at the time a pirates’ nest— and Olympia were little visited. In 1766, however, Richard Chandler, an Oxford academic, did visit Olympia, under the sponsorship of the Society of Dilettanti. The journey took him through overgrown fields of cotton shrubs, thistles, and licorice. Chandler had high expectations, but found himself in an insect-infested field of ruins: Early in the morning we crossed a shallow brook, and commenced our survey of the spot before us with a degree of expectation from which our disappointment on finding it almost naked received a considerable addition. The ruin, which we had seen in evening, we found to be the walls of the cell of a very large temple, standing many feet high and well-built, its stones all injured . . .
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Klimasmith, Betsy. "Urban Illuminations in Ormond." In Urban Rehearsals and Novel Plots in the Early American City, 140–79. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192846211.003.0007.
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Concerned that the city’s water supply might have contributed to the devastating 1793 yellow fever outbreak, Philadelphia embarked on the nation’s first urban public works project, a waterworks that connected its citizens to one another even as it raised new fears about these links. Charles Brockden Brown dramatizes these fears in Ormond; his surprising connections to the waterworks shed new light on the novel and on the dirty work behind urban improvement. Chapter 4 explores whether a novel might play a role in shaping a city’s infrastructure. Five years after the 1793 epidemic, and after having suffered his own bout with yellow fever in New York, Brockden Brown published Ormond (1799), a novel that tracks its heroine Constantia’s emergence from enclosed domestic space to city streets of connection and contagion, characterized by deceptions, concealment, and architectural trompe l’oeil. Ormond straddles the worlds of the theatre and infrastructure, exposing a new urban ideology that covers the mechanics of urban engineering with illusionistic design, a dynamic especially visible in two Philadelphia buildings: Mathew Carey’s old haunt, the Chestnut Street Theatre, which Benjamin Henry Latrobe renovated between 1801 and 1805, and Latrobe’s neoclassical Centre Square pump house, which housed the steam engines that powered the city’s new municipal waterworks. In Ormond, urban connection takes on a threatening cast, but paradoxically offers the only hope for Philadelphia’s future. As he reflects on Philadelphia’s recovery, Brockden Brown reveals that the neighborliness the epidemic engenders is tenuous and fleeting.
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Triplett, Edward. "Exploring the Book of Fortresses." In Creating Place in Early Modern European Architecture. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463728027_ch010.
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Duarte de Armas’ Livro das fortalezas or Book of Fortresses illustrates 55 border fortresses in over 180 meticulous measured and annotated renderings. The book is even more impressive given that de Armas completed his on-site survey in a single year (1509) and finished annotating the book the following year. The book’s drawings, alluring in their combination of finite time and enormous space, are difficult to link together at an intra-site or inter-site scale. Consequently, while mapping the 55 border fortresses in the book provides a greater apprehension of a historical, liminal space, this alone does not solve the greater problem of reconstructing de Armas’ methods for rendering place on the Portuguese-Castilian border, nor does it acknowledge the historical moment in which it was produced. This article reconstructs the world of the Book of Fortresses through a novel, digital approach that acknowledges Duarte de Armas’ malleable sense of space rather than ‘rectifying’ his work to match modern geography.
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"10. Architecture and the Arts in Anatolia under the Beyliks and Early Ottomans." In The Art and Architecture of Islam: 1250–1800. Yale University Press, 1994. http://dx.doi.org/10.37862/aaeportal.00124.014.
Full textConference papers on the topic "Architecture Early works to 1800"
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Columbu, Stefano, Gian Matteo F. Picchizzolu, and Antonio Cazzani. "The construction materials and static-structural aspects of the Budello tower (Teulada, southwest Sardinia, Italy)." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11549.
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The Budello tower is located on a slight promontory from which it dominates the entire bay of Teulada and the towers of Sant’Isidoro, Pixinni, Malfatano and Porto Scudo. The tower, built in 1601 with irregular ashlars of local stones (mainly of magmatic-intrusive origin), has a truncated cone shape, an external diameter of 10,2 m and a height of 11,80 m. Inside it consists of a single room, with a domed vault and a central pillar, equipped with a embrasure, a fireplace, a trap door in the cistern, and a staircase, from which the square of arms was accessed. It was a torre de armas garrisoned by: 1 commander (in 1603), 1 artilleryman and 4 soldiers (1767), 1 artilleryman and 3 soldiers (1801), 1 artilleryman and 4 soldiers (1812). Although it underwent several restorations, documented as early as the years 1617-1619, the tower remained generally in good condition until the period 1763-1784, in which new restoration works were carried out including the closure of the parade ground with a classic parapet with gunboats and battlements. Other restoration works are carried out in 1808, 1819 and 1840. The tower remained in operation until 1843. Like all the other coastal fortifications, it was then definitively demilitarized with the Regio Decreto of 25 April 1867. Specific objectives of the research are the petrographic and physical-mechanical analysis of the stones and ancient mortars used in the construction of the tower, the structural analysis of the building and related geometric-constructive characteristics. The final intention is to understand the decay processes taking place on the tower both in terms of materials and static-structural aspects, and to envisage possible restoration interventions to be implemented aimed at its conservation.
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Chenoweth, Richard. "The Collaboration of B. Henry Latrobe and Giuseppe Franzoni to Create the Nation’s First Statue of Liberty (1807-1814)." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.76.
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When the U. S. Capitol burned on 24 August 1814, its principal chambers were gutted and an early masterpiece of American Neoclassical sculpture, a colossal personification of Liberty in the style of the times, was completely destroyed. The Liberty is not well known because in her brief lifetime, no artist stopped to record her - not even Latrobe himself, a prolific sketcher. Liberty presided over Latrobe’s majestic Hall of Representatives, a chamber that was, itself, a difficult collaboration of conflicting ideas between its client Thomas Jefferson and its architect Latrobe. Liberty was an integral part of the architecture and of the architectural sequence; upon entry into the chamber, the ten foot tall sitting Liberty established the chamber’s cross axis within the streaming diffusion of one hundred skylights, proffered entrants a carved copy of the Constitution, cradled a cap of liberty, and was heralded by a bald eagle. Latrobe’s drive to create the Liberty was essential to his concept for the Hall of Representatives. His collaboration with the artist Franzoni also is essential as it demonstrates the delicate dialectic between architectural concept and executed form in a public project. I will show for the first time a model of the colossal Liberty, carefully reconstructed based on all known facts, a single drawing, and the aesthetic proclivities of the principal designers. I have diligently reconstructed the entire Hall, with the Liberty, necessarily, being the most formidable aspect of the design. The making of the Liberty represents about twenty years of effort by various architects and artists to bring to fruition the confluence of a major public work of American architecture and an integral work of monumental American sculpture.
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Liu, Yun, and Lieve Watteeuw. "Characterising the degradation of green colourants on early hand-coloured works on paper using multispectral imaging and reflectance spectroscopy." In Optics for Arts, Architecture, and Archaeology (O3A) IX, edited by Roger Groves and Haida Liang. SPIE, 2023. http://dx.doi.org/10.1117/12.2673630.
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Bostenaru Dan, Maria. "Carol Cortobius Architecture." In World Lumen Congress 2021, May 26-30, 2021, Iasi, Romania. LUMEN Publishing House, 2022. http://dx.doi.org/10.18662/wlc2021/08.
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Carol Cortobius was an architect trained in Germany, with an initial practice at Otto Wagner in Vienna, who worked for the Hungarian community in Bucharest building churches. An introduction on the catholic Hungarian community in Bucharest will be given. Dănuț Doboș in a monograph of one catholic church in Bucharest offers an overview of all his works. For the three catholic churches on which he intervened (two built, one restored, but altered now) there are monographs showing archive images not available for the general public. Apart of the catholic churches (two of the Hungarian community) he also built the baptist seminar. Particularly the first built church, Saint Elena, is interesting as an early example of Art Deco and will be analysed in the context of the Secession in Vienna and Budapest, which will be introduced. With help of historic maps the places of the works were identified. Many of them do not exist today anymore because of demolitions either to build new streets or those of the Ceaușescu period (ex. the opereta theatre, a former pharmacy). Images of these were looked for in groups dedicated to he disappeared Uranus neighbourhood The paper will show where these were located. Some of the common buildings have an interesting history, such as the first chocolate factory. Another interesting early Art deco building is the pelican house. There are common details between this and the restored church. The research will be continued with archive research in public archives when the sanitary situation will permit.
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Negre, Joan, Ferran Falomir, Marta Pérez-Polo, and Gustau Aguilella. "Poliorcética, morfología edilicia y técnicas constructivas en el Tossal de la Vila, un recinto fortificado de época emiral en el extremo septentrional del Šarq al-Andalus." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11383.
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Poliorcetics, architectural morphology and construction techniques at Tossal de la Vila, a fortified enclosure from the Emirate period in the northernmost end of Šarq al-AndalusThis work focuses on the first results from the systematic excavation of the Tossal de la Vila (Serra d’en Galceran, Castelló) archaeological site. This is, a hillfort build during the Emirate of al-Andalus in the intersection between the territories of Tortosa, Valencia and the Iberian System mountain ranges. Our case study is framed within the historiographic discussion on the subject of rocky and castellated settlements in this area set forth thirty years ago by André Bazzana. A debate that was largely enriched by several works pending the last years on the subject of hilly occupations between Late Antiquity and Early Middle Ages. In that direction, we analyse here the architectural questions that have been raised by the recent archaeological works at the site. Specifically, we will try to systematise the different defensive solutions adopted on the design of the fort, as well as the diverse construction techniques used along the fortbuilding process.
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Dayem, Adam. "Instruments of Invention and Intent: Evolving Pedagogy for Early Architectural Drawing." In 112th ACSA Annual Meeting. ACSA Press, 2024. http://dx.doi.org/10.35483/acsa.am.112.78.
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In discipline and practice, architecture works with conventions of perspective and orthographic projection inherited from the Renaissance. Perspective projections produce illusions that simulate vision, orthographic projections set out measurable dimensions that allow three-dimensional buildings to be con-structed from scaled two-dimensional drawings. These two modes of projection may seem to be at odds with each other, one emphasizing the art of architecture in qualitative illusory effects, the other emphasizing the technology of architecture in quantitative measure. But of course, many of the most com-pelling architectural drawings incorporate both the ‘art’ and ‘technology’ of architecture. This type of hybrid drawing, that is partly illusionistic and partly measurable,1 is particularly useful in imagining what a building could be without losing track of the measurements of the physical world in which it must exist.
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Isgrò, Sara. "Le fortificazioni costiere austroungariche sulla frontiera italiana nell’Istria e Dalmazia dagli studi dello Scacchiere orientale." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11601.
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Austro-Hungarian coastal fortifications on the Italian border at Istria and Dalmatia from the studies on the eastern areaRight after the Unification of Italy, land’s topography, with landscape acquisition and restitution through explorations across borders, and in particular regarding Austro-Hungarian fortification on the Italian land and sea border, were immediately observed by Major State’s officials. In early 1900 the long and jagged stretch of Dalmatian coast between Pola and Cattaro, full of natural ports and coastal canals formed by many islands sometimes arranged in multiple orders along the coast, and in the past defended by many works which are now mostly radiated or abandoned (except for S. Nicolò fort, near Sebenico), can count on some works realized in Lussinpiccolo (Monte Asino): Ragusa wall has been entirely unarmed and defensive organization of Cattaro’s cannons is only maritime, in fact, for the part towards the land the Austrians provided to organize the defensive arming against neighboring Montenegro; Pola maritime square instead includes a sea front and a land front, so it can obtain protection by gulf, city’s arsenal and Fasana Canal. Archive’s material consulted in Kriegsarchiv of Vienna, historical cartography of Austro-Hungarian fortification system detected by Italian officers during Major State journeys on a side, together with many Memories on Austrian maritime fortifications between Cattaro and Pola, published by Major State Command, operations Division, allow to investigate and deepen Austro-Hungarian forts system along Italian coast, in Istria and Dalmatia.
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Starostenko, Yulia. "The J. Stübben’s Book “Der Städtebau” (“Town Planning”) and Its Influence on the Works of Russian Specialists in Cities Improvement of the Early 20th Century." In Proceedings of the 2019 International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ahti-19.2019.81.
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Cheuk, Alan N., Jacko T. Leung, and Peter W. Tse. "Effective Architecture for Web-Based Maintenance System and Its Security." In ASME 2005 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/detc2005-84645.
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Keeping machine running without failure is vital to maintain manufacturing productivity. Any loss in production and service due to equipment malfunction is unacceptable. The use of Web-based maintenance helps to detect defective machine in its early stage and thus avoid costly failure. It provides an easy way for the operator to evaluate the performance of the distant located machines. The architecture of our proposed Web-based maintenance has been redesigned to reduce the burden of the main server. The heavy loading situation which often occurs in the main server can be avoided. Beside architecture, several crypto mechanisms have been added to the system. With the aids of those crypto mechanisms, the security of the Web-based maintenance has been significantly enhanced. The data can be transferred safely and the accuracy of the results can be verified. Our Web-based maintenance is well equipped with Web-enabled and advanced fault diagnostic tools. It works more effectively and securely as compared to conventional Web-based maintenance.
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Baró Zarzo, José Luis, and Jovita Cortijo Ruiz. "Architecture and Music around the Alhambra. Reminiscences of a dreamlike world: La Puerta del Vino (Debussy)." In 3rd Valencia International Biennial of Research in Architecture, VIBRArch. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/vibrarch2022.2022.15464.
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Orientalism, as a variant of exoticism in the Romantic period, adopted a series of topics linked to distant countries and oriental cultures, including Spanish lands, especially Andalusian. This phenomenon was especially prolific in the world of the arts around the Alhambra, «doubly romantic for its medieval and oriental origin» (Raquejo, 1989).Alhambrism was developed by traveling writers in the early 19th century, eager for suggestive scenarios in which to recreate their poems and stories. Later it spread to the plastic arts, with painters such as François Antoine Bossuet, John Frederick Lewis, David Roberts, Gustave Doré or Jenaro Pérez Villaamil. In the case of architecture, Alhambrism was nourished by parallel sources. On the one hand, the awakening to the conservation of the Alhambra as a monument witness to a dreamy period in the history of Spain, and the first interventions by Rafael Contreras, still under babbling and unscientific criteria. On the other hand, the impulse to decorativism through the seminal studies of Owen Jones and Jules Goury, convinced that «in the Alhambra the exemplary paradigm of the most perfect ornamental and chromatic system of all historical styles had existed was hidden» (Villafranca).Music also found fertile ground for creativity in the Alhambra between the mid-19th and early 20th centuries, within the nationalist romantic movement. However, it was mainly the Spanish composers who chose the Alhambra to reflect the national identity: Tárrega, Turina, Albéniz, Bretón, De Monasterio, to which we should add a Debussy influenced by Falla.The communication aims ultimately to investigate through analysis the musical resources used by the last-mentioned composer, Claude Debussy, to evoke with sounds the architecture and the sensual atmosphere of the Alhambra in one of the most representative works of Alhambrism in music: La Puerta del Vino (The Wine Gate).