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Journal articles on the topic 'Byzantine architecture'
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1
Bogdanović, Jelena. "Evocations of Byzantium in Zenitist Avant-Garde Architecture." Journal of the Society of Architectural Historians 75, no. 3 (September 1, 2016): 299–317. http://dx.doi.org/10.1525/jsah.2016.75.3.299.
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Evocations of Byzantium in Zenitist Avant-Garde Architecture considers references to Byzantium in the architecture and philosophy of Zenitism, an Eastern European avant-garde movement founded by Ljubomir Micić in 1921. In this article, Jelena Bogdanović analyzes the visionary projects for the Zeniteum, designed by the only architect member of the Zenitist group, Jo Klek (Josip Seissel), as a singular example of Byzantine-modernist architecture, which incorporated aspects of Byzantine total design, spirituality, and aesthetics of dematerialization. She outlines the ways Zenitist theories and visionary drawings privileged the “Byzantine” dichotomy of a dome and a wall over Western European trabeated architecture while also deviating from the historicist, neo-Byzantine architectural style popular in Eastern Europe. Zenitism used indirect evocations of the Byzantine to create a dynamic Byzantine-modernist architecture, the study of which enriches discourse on tradition and the avant-garde in architecture.
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Jarak, Mirja. "ON THE HISTORY OF BYZANTINE DALMATIA IN VIEW OF EARLY MEDIEVAL CHURCH ARCHITECTURE." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 141 (2019): 55–60. http://dx.doi.org/10.17721/1728-2640.2019.141.11.
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The article presents examples of Byzantine church architecture, mostly in the towns of Dalmatia. After a short review of the Byzantine influence in the ecclesiastic architecture of the 6th century, the author shows its continuation during the early Middle Ages when the territory under Byzantine political authority was reduced to the coastal towns and northern Adriatic islands. Besides the famous rotunda of St. Donatus in Zadar, of the Byzantine influence in the medieval architecture speaks especially the cross in square church plan, which was accepted in several towns of Byzantine Dalmatia. The cross in square churches in Kotor and Dubrovnik were built in close connection with political and religious relationships with Byzantium, so the architecture can be seen in a broader historical frames.
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Milosevic, Predrag. "Foundations of Byzantine late middle ages architecture thoughtfulness." Facta universitatis - series: Architecture and Civil Engineering 2, no. 5 (2003): 395–404. http://dx.doi.org/10.2298/fuace0305395m.
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Only in the recent few years have a number of facsimile publications on architecture offered a possibility of studying the original texts from different time periods. Those, already rare studies on the theory of architecture in the western civilization, almost regularly completely omit the Byzantine achievements in the so-called entirety of thoughtfulness (enkyklios paideia), that was a main characteristic of Byzantine learning. This learning, based on the ancient Greek and Hellenistic foundations, in many ways concern architecture, especially the architectural theory. That is why writing a good account of the architectural theory of this, historically such an important country as Byzantium, in such a long historical period (since 312 till 1453), has been a difficult task (this contribution is just the initial part of the study). One should not be disregarded that the architectural theories are never completely independent of historical geographical or even personal prejudices of their authors. In this sense, a subject matter of this treatise is just one 1141 year long part of the architectural theory of the West (West - in civilizational terms, not a political West), the part that rests on Christian foundations that is the Orthodox, Roman Catholic and Protestant ones, mainly. It is all treated in order, from ancient pagan Greece and Rome, ancient and Middle Ages Orthodox Byzantium, until Middle Ages and New Age Europe, altogether, Orthodox, Roman Catholic and Protestant Europe, and then those parts of the world in which the said civilizational circle managed to take root in: parts of Asia, North and South America, parts of Africa and Australia.
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Mango, Cyril. "Approaches to Byzantine Architecture." Muqarnas 8 (1991): 40. http://dx.doi.org/10.2307/1523151.
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Mango, Cyril. "APPROACHES TO BYZANTINE ARCHITECTURE." Muqarnas Online 8, no. 1 (1990): 40–44. http://dx.doi.org/10.1163/22118993-90000262.
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Karydis, Nikolaos. "Discovering the Byzantine Art of Building: Lectures at the RIBA, the Royal Academy and the London Architectural Society, 1843–58." Architectural History 63 (2020): 171–90. http://dx.doi.org/10.1017/arh.2020.9.
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ABSTRACTAlthough British architects played a major role in the rediscovery of the Byzantine monuments of Greece in the late nineteenth and early twentieth centuries, earlier interest in the subject has remained obscure. Four lectures, read at the Royal Institute of British Architects, the Royal Academy and the London Architectural Society from 1843 to 1857, reflect a lively interest in Byzantine church architecture in the mid-nineteenth century. Delivered by Charles Robert Cockerell (1843), Edwin Nash (1847), Thomas Leverton Donaldson (1853) and John Louis Petit (1858), these lectures constitute some of the earliest attempts in England to explore both well-known monuments such as Hagia Sophia and lesser-known churches in Greece, Turkey and elsewhere. The manuscript records of these lectures show that influential British architects were not only familiar with Byzantine monuments, but were also able to look at them from the viewpoint of the designer and the builder. Emphasising the potential of Byzantine architecture to inform new design, they paved the way for the Byzantine revival, half a century later, and for the systematic investigation of Byzantine architecture from the late nineteenth century onwards.
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Ousterhout, Robert, and Dmitry Shvidkovsky. "Kievan Rus’." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (March 10, 2021): 51–67. http://dx.doi.org/10.36340/2071-6818-2021-17-1-51-67.
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Robert Ousterhout, the author of a magnificent book “Eastern Medieval Architecture. The Building Traditions of Bizantium and Neighboring Lands”, published by Oxford University Press in 2019, the remarkable scholar and generous friend, was so kind to mention in his C. V. on the sight of Penn University (Philadelphia, USA) that he had been the Visiting professor of the Moscow architectural Institute (State Academy), as well as simulteniously of the Hebrew University in Jerusalem, but he did not say that he had been awarded the degree of professor honoris causa by the academic council of MARHI. Unfortunately, his life in muscovite hostel, nevertheless we tried to do our best to provide the best possible accommodation in a “suit” with two rooms with a bathroom, had been radically different from the wonderful dwelling chosen for the visiting teaching stuff from MARHI in the University of Illinois. And Robert called our hostel “Gulag”. He had been joking probably. It is impossible to overestimate the role of professor Robert Ousterhaut in the studies of the history of Byzantine art. At the present day he is the leader in the world studies of the architecture of Byzantium, the real heir of the great Rihard Krauthaimer and Slobodan Curcic, whom he had left behind in his works. His books are known very well in Russia. R. Ousterhaut graduated in the history of art and architecture at the University of Oregon, the Institute of European Studies in Vienna, Universities of Cincinati and Illinois. Не worked at the department of history of art at the University of Oregon, department of history of architecture at the University of Illinois, had the chair of the history of architecture and preservation at the University of Illinois, which is considered, as we know, one of the twenty best American universities. He always worked hard and with success. When I had finished reading my course of the history of Russian architecture at Illinois, he said: “Yes, next term the students are to be treated well…” Now he is professor emeritus of the history of art in the famous Penn University. He taught the courses of the “History of architecture from Prehistory to 1400” and “Eastern medieval architecture” as well as led remarkable seminars devoted to the different problem of the history of architecture of the Eastern Meditarenian, including the art of Constantinopole, Cappadoce, meaning and identity in medieval art. His remarkable 4-years field work at Cappadoce, which he described in several books, and his efforts of the preservation of the architectural monuments of Constantinopole are very valuable, Among his books one certainly must cite Holy Apostels: Lost Monument and Forgotten Project, (Washingtone, D. C., 2020); Visualizing Community: Art Material Culture, and Settlement in Byzantine Cappadocia, Dumbarton Oaks Studies 46 (Washington, D. C., 2017); Carie Camii (Istambul, 2011); Architecture of the Sacred: Space, Ritual, and Experience from Classical Greece to Byzantium (Cambridge University Press, 2012), ed. with Bonna D. Wescoat; Palmyra 1885: The Wolfe Expedition and the Photographs of John Henry Haynes, with B. Anderson (Istanbul: Cornucopia, 2016) John Henry Haynes: Archaeologist and Photographer in the Ottoman Empire 1881–1900 (2nd revised edition, Istanbul: Cornucopia, 2016). Several of his books were reprinted. He edited Approaches to Architecture and Its Decoration: Festschrift for Slobodan Ćurčić (Aldershot: Ashgate, 2012), with M. Johnson and A. Papalexandrou. His outstanding book Мaster Builders of Byzantium (2nd paperback edition, University of Pennsylvania Museum Publications, 2008) was translated into Russian and Turkish. In this work Robert Ousterhaut for the first time in English speaking tradition is regarding the architecture of Bazantium from the point of view of building art and technology. On the base of the analysis of primary written sources, contemporary archeology data, and careful study of existing monuments the author concludes that the Byzantine architecture was not only exploiting the traditions, but was trying to find new ways of the development of typology and construction techniques, which led to transformation of artistique features. Professor R. Ousterhaut discusses the choice of building materials, structure from foundations to vaults, theoretical problems which solved the master masons of Byzantium. In his recent book Eastern Medieval Architecture: The Building Traditions of Byzantium and Neighboring Lands, (Oxford University Press, 2019) Robert Ousterhaut is going further. He writes in the introduction: “I succeded my mentor at the University of Illinois… I had the privilege and challenge of teaching “Early Christian and Byzantine Architecture” to generations of the architecture students inspired my 1999 book, Master Builders of Byzantium. The work of Robert Ousterhaut, published 2019, is the new and full interpretation of the architectural heritage of Byzantine Commonwealth. The author devoted the first part of his book to Late Antiquity (3–7 centuries), beginning with the relations of Domus Ecclesiastae and Church Basilica, then speaking of Konstantinopole and Jerusalem of the times of St. Constantine the Great, liturgy, inspiration, commemoration and pilgrimage, adoration of relics as ritual factors which influenced the formation of sacred space, methods and materials, chosen by the Bizantine builders with their interaction of the mentality of the East and West. Special attention is given to dwelling, urban planning and fortification Naturally a chapter is devoted to Hagia Sophia and the building programs of Emperor Justinian. The second part speaks of the transition to what is called Middle Byzantine architecture both in the capital and at the edges of the Empire. The third part tells the story of the 9th, 10th and 11th centuries and includes the rise of the monasteries, once more secular and urban architecture, the craft of church builders. Churches of Greece and Macedonia, Anatolia, Armenia and Georgia, as well as of the West of Byzantium – Venice, Southern Italy and Sicily. The chapter is devoted to Slavonic Balkans – Bulgaria and Serbia and Kievan Rus. The last fourth part of the book describes the times of the Latin Empire, difficult for Byzantium, to the novelty of the architecture of Palewologos and the development of Byzantine ideas in the Balkans and especially in the building programs of the great powers of the epoch Ottoman Empire and Russia. There is a lot more to say about the book of professor Robert Ousterhaut, but we have to leave this to the next issue of this magazine, and better give the space to the words of the author – his text on the architecture of Kievan Rus.
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Ousterhout, Robert. "An Apologia for Byzantine Architecture." Gesta 35, no. 1 (January 1996): 21–33. http://dx.doi.org/10.2307/767224.
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Piórecka, Agnieszka. "Stefan Uroš II Milutin – działalność fundacyjna serbskiego króla." Vox Patrum 66 (December 15, 2016): 459–76. http://dx.doi.org/10.31743/vp.3470.
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Biographer of Stefan Uroš II Milutin, Archbishop Danilo II, states in his book that about fifteen churches and monastery buildings, were erected under the auspices of the Serbian king. They were created in Serbia, Constantinople, Thessalonica, Athos, Jerusalem and Sinai. Similarly, as byzantine Emperor, the Serbian king not always founded new objects. Occasionally, as it was in the case of the church in Staro Nagoričino, he only resurrected run-down buildings. Probably, as the result of this activity there is such an architectural variety of his foundations. Since the moment of his marriage to the daughter of the Byzantine Emperor, Andronikos II Palaiologos, Simonis in 1299, started the specific spread of byzantine domination in Serbia, also in architecture. Erecting buildings in byzantine style, the king employed master builders from the area of Empire. In the case of churches in Prizren (Bogorodica Ljeviška) and in Staro Nagoričino, we can observe influence of Epirus architecture.
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Milosevic, Predrag. "Documents on early Christian and Byzantine architecture." Facta universitatis - series: Architecture and Civil Engineering 8, no. 3 (2010): 277–91. http://dx.doi.org/10.2298/fuace1003277m.
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There are many models in the entire history of architecture which have travelled across the world, from one to another part of the big world. For various reasons, very frequently not at all scientific or professional, in our part of the world, be it Serbian or Yugoslav, or south Slav, some like to remain silent, when it comes to the transition of a Byzantine model, which by nature is rooted in the Orthodox Christian faith at the south east of Europe and the outmost west of Asia, to their areas, pervaded to a great extent by the Roman Catholic Christian belief, or Islam. There are numerous evidences of the transition of a model, one of many which found their new home on the west-European soil after the fall of Byzantium, mostly after the Crusades, when looters, but also scientists and artists in Italy, came by new wealth, and new knowledge, in the capital of the fallen Empire, observing its magnificent edifices, and taking its parts to their boats and shipping them to Venice and other cities in Italy and placing them on their buildings and squares, as they have done with the columns of the Augusteion of Constantinople, the square dedicated to Justinian's mother Augusta, which now decorate the square near the famous Venetian church of Saint Marco. Some other, also numerous accounts, explain how the Ottoman Turkish architecture in almost the same way, adopted its mosque construction model at the same place, in the same manner, retaining the actual structures but changing the religious insignia, or by copying this Byzantine model in building the new mosques.
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Georgopoulou, Maria. "Vernacular Architecture in Venetian Crete: Urban and Rural Practices." Medieval Encounters 18, no. 4-5 (2012): 447–80. http://dx.doi.org/10.1163/15700674-12342115.
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Abstract The architecture built in Venice’s colony on Crete between its establishment in 1211 and the Ottoman conquest of the island in 1669 displays an intermingling of Western (Latin) architectural traditions with pre-Venetian Byzantine (Orthodox) forms and styles. Previous scholarship has explored the urban architecture of Venetian Crete, but less attention has been granted to the many rural Orthodox churches of the later medieval period that dot the Cretan countryside. While the official monuments of Cretan cities have been interpreted as employing architectural forms with a strong ideological—especially political—intent, the use of forms in rural buildings was not as ideologically charged. These more modest structures employed “Western” and “Byzantine” architectural styles in an ideologically neutral manner that reflected trends in fashion or taste rather than distinctions of cultural or political identity. By the fourteenth century, “Latin” and “Orthodox” architectural traditions had merged into a local style that expressed the cosmopolitan character of medieval Crete.
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Ousterhout, Robert. "Eastern Medieval Architecture. Russia." Scientific and analytical journal Burganov House. The space of culture 17, no. 2 (June 10, 2021): 10–27. http://dx.doi.org/10.36340/2071-6818-2021-17-2-10-27.
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We publish in this issue the continuation of the translation of the new book of the outstanding historian of the architecture of Byzantium professor of Penn University (USA) and professor honoris causa of the Moscow Institute for Architecture (State academy) “Eastern Medieval Architecture. The Building Traditions of Byzantium and Neibouring Lands (Oxford University Press, 2019). This part of the book of the scholar is devoted to the development of the Byzantine tradition in Russian postrenaissance architecture. The description of Robert Ousterhaut’s scholarly biography and his impact to the study of the history of architecture was published in the previous issue of this magazine in the article of Dmitry Shvidkovsky “Ousterhaut and the Byzantium”. Summary: It is impossible to overestimate the role of professor Robert Ousterhaut in the studies of the history of Byzantine art. At the present day he is the leader in the world studies of the architecture of Byzantium, the real heir of the great Rihard Krauthaimer and Slobodan Curcic, whom he had left behind in his works. His books are known very well in Russia. In his study of Russian architecture of the Middle Ages, the author analyses the artistic image and the design characteristics of church architecture. The author highlights the distinctive features of the largest centres of Moscow, Novgorod, Pskov, Chernigov, and other cities. Much attention is paid to the influence of Italian architecture on the development of Russian church construction, which is associated with the participation of Italian architects in the construction of the main churches in Moscow. The outstanding cathedrals of the Moscow Kremlin — the Assumption, the Annunciation, and the Archangel Michael cathedrals, created with the participation of Italian architects, are considered in detail The author considers St. Basil’s Cathedral, built by Ivan IV (the Terrible) in memory of his victory near Kazan in 1552, to be the most impressive building of this period. The church has a unique composition. It consists of nine adjoining chapels. In his research, the author also highlights one of the unresolved issues in the development of Russian architecture — the appearance of a characteristic onion dome. One of the assumptions put forward by the author is that the domes reflect the shape of the canopy over the Tomb of Christ. The influence of Islamic forms introduced into Russian architecture after the triumphant victory of the Russian troops in the Battle of Kazan, which brought significant territories of Mongolia under Russian control, is the author’s another hypothesis. The author cannot single out a priority version but rightly believes that whatever the initial meaning of domed forms in Russian architecture was, they quickly became popular and acquired their symbolism.
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Bintliff, John. "Charalambos Bouras, Byzantine Athens, 10th-12th Centuries / Nickephoros I. Tsougarakis et al. A Companion to Latin Greece / Joanita Vroom, Medieval and Post-Medieval Ceramics in the Eastern Mediterranean / Joanita Vroom et al., Medieval Masterchef." Journal of Greek Archaeology 6 (December 9, 2021): 431–35. http://dx.doi.org/10.32028/jga.v6i.1064.
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Both the Bouras and Tsougarakis books are splendid introductions to their respective periods, Bouras on Middle Byzantine Athens, and the Tsougarakis-Lock edited volume on Frankish Greece. But the prices surely rule out owning a hard-copy of either book for almost all interested readers. At least Routledge offers a cheap online-version as a reasonable alternative access. Brill’s policy of matching online price to hard copy is quite unfathomable.
Charalambos Bouras, who died in 2016 shortly before this volume on Athens appeared, was a giant in the field of Byzantine and Post-Byzantine Architecture, and this volume bears ample witness to his mastery of the monuments, and in particular of their historical context. It was first published by the Benaki Museum in 2010, but has been revised for this new Routledge edition. It is a fine accompaniment to his earlier excellent introduction to the architecture of Greece as a whole from Early Byzantine to the Early Modern era, published bilingually by the leading Athens publisher Melissa (Bouras 2006). This final work covers in immense detail the architectural record of Athens from the 6th through to the end of the 12th centuries AD, although very little indeed can be said of the first Byzantine period – the Early Byzantine, from the later 7th to the mid-9th centuries. At its core is a careful catalogue of some forty churches which can be assigned to the Middle Byzantine period (late 9th to the end of the 12th centuries).
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Pantelić, Bratislav. "Nationalism and Architecture: The Creation of a National Style in Serbian Architecture and Its Political Implications." Journal of the Society of Architectural Historians 56, no. 1 (March 1, 1997): 16–41. http://dx.doi.org/10.2307/991214.
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From the mid-nineteenth century until the late 1930s the dominant architectural mode in Serbia was a local historicist style termed Serbo-Byzantine. At first it was used only for churches but was soon extended to schools and then to all types of buildings. Although mostly based on academic revivalist forms, this idiom, which purportedly drew its inspiration from Balkan medieval architecture, did, on occasion, display distinctly local characteristics. Although part of a pan-European trend. Serbian historicism was detached from architectural developments elsewhere. Unlike other Romantic-era revivalist movements. Serbo-Byzantine architecture was not sponsored for its picturesque or romantic qualities but above all for its symbolism. It was widely believed that forms derived from the national monuments of the Middle Ages symbolized Serbian statehood and contained ethnic and religious attributes representative of the Serbian nation. Architecture in Serbia was thus primarily a means for articulating national policy and a powerful instrument for maintaining the national and religious unity of a widely separated group of people. Ideologists of the national program even believed that the definition of a style particular to the Serbs was a matter of national survival. Such political bias was conditioned by ethnic and territorial disputes among the various ethnic groups in the Balkan dominions of the Hapsburg and Ottoman empires. After 1945 the new Communist authorities proscribed historicism as nationalistic and promoted a utilitarian brand of nonornamental architecture which contained no national overtones. Serbian historicism, however, demonstrated unusual vitality; resurgence of nationalism in the 1980s was accompanied by a spate of church building in the Serbo-Byzantine style, which reasserted its position as the canonical style of the Orthodox church.
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Anthony Stewart, Charles. "Military Architecture in Early Byzantine Cyprus." Cahiers du Centre d'Etudes Chypriotes 43, no. 1 (2013): 287–306. http://dx.doi.org/10.3406/cchyp.2013.1068.
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Brubaker, Leslie. "Byzantine art and architecture, an introduction." Byzantine and Modern Greek Studies 20, no. 1 (January 1996): 292–95. http://dx.doi.org/10.1179/byz.1996.20.1.292.
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PATRICIOS, Nicholas Napoleon. "The Dome in Byzantine Church Architecture." Byzantina Symmeikta 30 (February 11, 2020): 85. http://dx.doi.org/10.12681/byzsym.20382.
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Ο τρούλλος ήταν ένα σημαντικό αρχιτεκτονικό χαρακτηριστικότόσο στη ρωμαϊκή όσο και στη βυζαντινή περίοδο. Υποστηρίζεται ότιυπήρξε συνεχιζόμενη ανάπτυξη της αρχιτεκτονικής μορφής και τουσυμβολισμού του τρούλλου μεταξύ των δύο περιόδων, αλλά με επέκτασητης τυπολογίας του και σημαντική ενίσχυση του συμβολισμού του στηνεκκλησιαστική αρχιτεκτονική της βυζαντινής εποχής. Στο ερώτημα τίδιακρίνει τον τρούλλο μεταξύ των δύο περιόδων, η απάντηση πρέπεινα αναζητηθεί κατά κύριο λόγο στην λειτουργία τους – στην χρήση τουτρούλλου στα κοσμικά κτήρια κατά την Ρωμαϊκή περίοδο σε σύγκριση μετα κατά κύριο λόγο θρησκευτικά κτήρια του Βυζαντίου. Ο τρούλλος δενείναι μόνο ένα σταθερό αρχιτεκτονικό χαρακτηριστικό των βυζαντινώνεκκλησιών διαφόρων αρχιτεκτονικών τύπων αλλά συγχρόνως φορτίστηκεμε συμβολικά και θεολογικά μηνύματα και θεωρήθηκε ότι συμβολίζει τονουρανό και τον παράδεισο, ενώ στον εσωτερικό διάκοσμο προσδόθηκε μυστικιστική σημασία
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ŠUPUT, Marica. "On the “Immutability” of Byzantine Architecture." Δελτίον Χριστιανικής Αρχαιολογικής Εταιρείας 38 (January 11, 1999): 105. http://dx.doi.org/10.12681/dchae.1199.
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Kadijevic, Aleksandar. "The church of Hagia Sophia in Constantinople as a model for Serbian architects in recent times." Zograf, no. 43 (2019): 215–30. http://dx.doi.org/10.2298/zog1943215k.
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Under the influence of Russian and Austrian neo-Byzantinism, as well as increasingly extensive historiographic research, evocations of Byzantine architectural achievements appeared in Serbian architecture in the early 1870s. Their merging with the layers of the national schools of medieval masonry, adapted to the use of modern materials and methods of composition, stemmed from the uncritical identification of these two historical traditions, a view that was also present in scholarship for far too long. Regardless of its theoretical underdevelopment, the emulation of Byzantine monuments became the dominant trend in monumental architecture, with the cult of Hagia Sophia in Constantinople culminating after World War I, a period when large-scale structures were designed.
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Roter-Blagojević, Mirjana, and Marko Nikolić. "Introduction of Vernacular Architecture studies at the Faculty of Architecture in Belgrade." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 191–212. http://dx.doi.org/10.5937/saj1901191r.
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The paper examines the work of Aleksandar Deroko at the University of Belgrade's Faculty of Architecture and the inclusion of his rich personal knowledge about the vernacular architecture in the study programme, which he gained from long-term field research. As an assistant professor, he introduced the interpretation of vernacular architecture in the course on Byzantine and Old Serbian Architecture in 1929. After the study programme reform in 1935, a new course - named Old Serbian Architecture - was established, with one semester dedicated to the medieval monumental architecture and the second to rural and urban houses. In 1945/46 academic year, the course was renamed Vernacular Architecture and it incorporated medieval and vernacular architecture of the former Yugoslavia. Practical assignments dealt more with vernacular architecture and, through them the student's discovered the fundamental principles and methods of the vernacular construction. The goal of the studies was for students to comprehend and adopt basic traditional canons of construction and apply them to their own projects of cooperative centers, countryside schools, monasteries, etc. Through illustrations the paper will present, till now unpublished, student projects from the archives of Belgrade's the Faculty of Architecture's office for the architectural heritage of Serbia.
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Kolomiiets, Oleksandra. "Constructive solution of window frames and the use of glass in middle and late Byzantine temple architecture." Scientific Papers of the Kamianets-Podilskyi National Ivan Ohiienko University. History 40 (July 3, 2023): 77–86. http://dx.doi.org/10.32626/2309-2254.2023-40.77-86.
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The purpose of the article is to investigate the constructive solutions of windows, window frames, production and use of glass (including stained glass) in temple buildings of the Middle and Late Byzantine periods on the basis of preserved, described in sources and found ar- tifacts. Th e research methodology is based on the principles of historicism, comparative analysis, induction and deduction. An interdisciplinary methodology is used – approaches of global history, which are based on data, fi rst of all, obtained from archaeological, geographical and chemical research, as well as a comparative method and a method of analysis. The scientifi c novelty is due to the need for a thorough study of all aspects of the temple architecture of Byzantium, since today there is a great need for the restoration/reconstruction of the monuments of Roman civilization, both from the point of view of the development of tourism in the region, and for the preservation of material cultural heritage for posterity. Conclusions. The development of window glass production technology actively infl uenced its shape, size and quality. Accordingly, the direction and degree of natural lighting in the Byzantine temple depended on this. Th e shape of the windows (as well as their size) diff ered by location in diff erent parts of a particular temple (gallery walls, dome drums, apses, stair towers, etc.). The traditional types of Byzantine windows, which were found in both temple and palace architecture, are arched, round and semi-round (as well as single, double and triple). Based on the preserved window openings, it can be understood that the glass was made of a small size. For the production of window glass, workshops-ergasterias were used, where glassware was made. Th e main raw material for glass making is silica, i.e. sand, and additional impurities are potash or sodium soda. They could also add lime, ground shells and oxides of various metals to colour the glass. In the Middle and Late Byzantine period, window glass is a very rare fi nd. Th e most common form of window glass was rounded oculi, or “crown glass.” Th e typical design of a Byzantine window consisted of a lattice frame “transene” (plaster, marble, wood or lead) and inserted into it 2 or 3 rows of paired small, round, fl at glasses of the oculi type. Both ordinary col- oured and stained glass were used in Byzantine architecture.
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Peers, Glenn. "Byzantine Art and Architecture: An Introduction.Lyn Rodley." Speculum 71, no. 2 (April 1996): 484–86. http://dx.doi.org/10.2307/2865473.
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Lamport, Leslie, and P. M. Melliar Smith. "Byzantine clock synchronization." ACM SIGOPS Operating Systems Review 20, no. 3 (July 1986): 10–16. http://dx.doi.org/10.1145/12476.12477.
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Lin, Yue, Ya Nan Gao, Song Tao Fan, and Chun Xu. "Design and Simulation of an Improved Five Redundancy GNC System Architecture." Applied Mechanics and Materials 543-547 (March 2014): 1423–27. http://dx.doi.org/10.4028/www.scientific.net/amm.543-547.1423.
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Aerospace plane, the next generation manned spacecraft has the characteristics of high reliability and high security. Therefore, a five modular redundancy byzantine fault tolerant architecture is propose for the guidance, navigation and control (GNC) system. This architecture can give the system characteristic of double fault resilience, and is also suitable for solving Byzantine general problem. A semi-physical simulation is done, which is based on 1553B data bus and VxWorks operating system. The simulation result has verified the fault tolerant architecture and feasibility of the system implementation.
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Peker, Nilüfer. "Agricultural production and installations in Byzantine Cappadocia: a case study focusing on Mavrucandere." Byzantine and Modern Greek Studies 44, no. 1 (February 19, 2020): 40–61. http://dx.doi.org/10.1017/byz.2019.23.
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While there has been extensive research conducted on Byzantine religious architecture in Cappadocia, little work has been done on agricultural installations there. The valley of Mavrucandere in Cappadocia contains a settlement which has a remarkable agrarian installation complex. Resembling a factory, this area highlights the architectural and the organizational structure of the wine-presses in Cappadocia. In the light of the new findings, this article aims to examine the organization of the wine-making process, the location of the installations in the settlement, and the importance of the installations for the region's trade activities during the Byzantine period.
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AlZain, Mohammed A., Alice S. Li, Ben Soh, and Mehedi Masud. "Byzantine Fault-Tolerant Architecture in Cloud Data Management." International Journal of Knowledge Society Research 7, no. 3 (July 2016): 86–98. http://dx.doi.org/10.4018/ijksr.2016070106.
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One of the main challenges in cloud computing is to build a healthy and efficient storage for securely managing and preserving data. This means a cloud service provider needs to make sure that its clients' outsourced data are stored securely and, data queries and retrievals are executed correctly and privately. On the other hand, it may also mean businesses are willing to outsource their data to a third party only if they trust their data are not accessible and visible to the service provider and other non-authorized parties. However, one of the major obstacles faced here for ensuring data reliability and security is Byzantine faults. While Byzantine fault tolerance (BFT) has received growing attention from the academic research community, the research done is generally from the distributed computing point of view, and hence finds little practical use in cloud computing. To that end, the focus of this paper is to discuss how these faults can be tolerated with the authors' proposed conceptualization of Byzantine data faults and fault-tolerant architecture in cloud data management.
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Caskey, Jill. "Steam and "Sanitas" in the Domestic Realm: Baths and Bathing in Southern Italy in the Middle Ages." Journal of the Society of Architectural Historians 58, no. 2 (June 1, 1999): 170–95. http://dx.doi.org/10.2307/991483.
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This study presents five little-known bathing chambers from the region of Amalfi in southern Italy. Dating from the thirteenth century, the baths define with remarkable consistency a type of structure that has not previously been identified or considered in histories of medieval architecture in the West. The study begins with an analysis of the five bathing chambers and their specific architectural features, technological remains, and domestic contexts. The diverse antecedents of the buildings, which appear in ancient Roman, medieval Italian, Byzantine, and Islamic architecture, are explored, along with the implications of this eclecticism for the history of southern Italy. Utilizing the rich array of surviving medieval documents for the region, including episcopal charters, royal decrees, and medical treatises, the study then reconstructs the economic, social, and scientific significance of the baths within medieval Amalfi. As monuments outside the traditional contexts of art production in southern Italy, the baths challenge long-standing characterizations of southern Italy's art and architecture, and point to the existence of a Mediterranean-wide balneal culture in which Byzantine, Islamic, and southern Italian communities participated.
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Zia, Sana, and Safya Noor. "The Evolution of Ottoman Architecture and its Distinct Characteristics." Journal of Islamic Civilization and Culture 3, no. 01 (July 17, 2020): 156–67. http://dx.doi.org/10.46896/jicc.v3i01.89.
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Architecture reflects and pinpoints its nation’s progress and mindset. Ottoman Empire, which ruled over three continents, is known for its unique and magnificent architecture represented by grand mosques, seminaries and imperial palaces .The so called Ottoman Architecture was created with in the domain of the Ottoman Empire and is known for its distinct characteristics. This architecture was initially influenced by Seljuk architecture. All Ottoman Sultans had special taste for architecture .Later on, the center was shifted to the capital of the fallen Byzantine Empire, and thus got inspirations from byzantine art .The most well۔known architect of that era was Sinan who revolutionized the art of architecture. He designed almost three hundred buildings distinguished for spacious courtyards surrounded by vast gardens. In the 18th century, Ottoman Sultanate came into contact with Europe, and therefore Baroque influences came to be seen in their architecture. Hence, internal decorations became prominent in the architecture.
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Djamali, Morteza, and Nicolas Faucherre. "Sasanian architecture as viewed by the 19th century French architect Pascal-Xavier Coste." DABIR 7, no. 1 (November 30, 2020): 91–100. http://dx.doi.org/10.1163/29497833-00701007.
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The 19th century French architect Pascal-Xavier Coste was one of the first European artists to recognize Sasanian architecture as a distinct and significant architectural style in Late Antiquity. He considered this style to be parallel to Byzantine and Romanesque architecture in the Eastern and Western Roman Empire, respectively. Sasanian architecture, according to Coste, belonged to a period of ‘decadence of the arts’ following the fall of the Roman Empire, during which small construction materials replaced large masonry blocks. Despite this general ‘decadence’, Coste attributed several architectural inventions to Sasanians and described their buildings as precursors to Arabic (Islamic) architecture which, in turn, played a fundamental role in the shaping of Gothic architecture. He saw Sasanian architecture as being characterized by the invention of ovoidal arches, domes, and use of small stones. The Palace of Ardashir in Firuzabad, the Khosrow Palace in Ctesiphon, and the Sarvestan monuments near Shiraz display the whole array of these architectural features according to Coste.
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Crow, James. "Rosa Bacile and John McNeill (eds). Romanesque and the Mediterranean, Points of contact across the Latin, Greek and Islamic Worlds, c.1000- c.1250." Journal of Greek Archaeology 1 (January 1, 2016): 465–66. http://dx.doi.org/10.32028/jga.v1i.672.
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This informative and well-presented volume is the result of papers presented in Palermo in 2012 at the British Architectural Association’s second international Romanesque conference. The Romanesque is essentially a Latin, central and western European expression of art and architecture and the papers identify and question those points of contact with the established traditions of Byzantium and Islam. Few places are better placed to see this interaction than Sicily and this is reflected in two of the main papers on the Cappella Palatina, Roger of Sicily’s new Norman palace in Palermo (it should be noted that the papers vary considerably in length). The first by Johns concerns Moslem Fatimid artists of the painted ceiling and how they were influenced by the Byzantine and Romanesque images they encountered in Palermo.
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Ince, Gillian E., Theodore Koukoulis, and David Smyth. "Paliochora: Survey of a Byzantine City on the Island of Kythera. Preliminary Report." Annual of the British School at Athens 82 (November 1987): 95–106. http://dx.doi.org/10.1017/s0068245400020347.
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This paper is a report of the 1985 and 1986 survey work conducted at the Byzantine citysite of Paliochora (Hagios Demetrios) on Kythera. The city was traditionally founded in the late twelfth century and destroyed by the pirate Barbarossa in 1537.The report begins with a brief historical summary of the island's history under the Byzantines and Venetians, and a description of the site. The rest of the paper is devoted to a discussion of the initial finds under the headings of domestic architecture and churches. In the conclusion the proposed future work on site is outlined.
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Vanni, Flavia. "Seeing the Unseen: Plaster Reliefs in Middle Byzantine Constantinople." Eurasian Studies 19, no. 1 (December 7, 2021): 106–28. http://dx.doi.org/10.1163/24685623-12340111.
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Abstract This paper discusses the scarce, but crucial evidence for plaster reliefs in Constantinople between the ninth and the thirteenth centuries. While many plaster reliefs survived in the Balkan peninsula, there is room to confirm that they were also used in the capital. Plaster reliefs were a quick substitution for marble, but could also answer aesthetic needs and architectural conventions that continued from Late Antiquity in to Middle and Late Byzantine architecture, even with some changes.
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Stewart, Charles Anthony. "Architectural Innovation in Early Byzantine Cyprus." Architectural History 57 (2014): 1–29. http://dx.doi.org/10.1017/s0066622x00001362.
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The monuments of the Byzantine Empire stand as a testimony to architectural ingenuity. The history and development of such ingenuity, however, may often be difficult to trace, since this requires investigating ruins, peeling away centuries of renovations, and searching for new documentary evidence. Nevertheless, identifying the origins of specific innovations can be crucial to an understanding of how they later came to be used. In fact, ‘creative “firsts” are often used to explain important steps in the history of art’, as Edson Armi noted, adding that ‘in the history of medieval architecture, the pointed arch [and] the flying buttress have receive this kind of landmark status’.Since the nineteenth century, scholars have observed both flying buttresses and pointed arches on Byzantine monuments. Such features were difficult to date without textual evidence, and so they were often assumed to reflect the influence of the subsequent Gothic period. Archaeological research in Cyprus carried out between 1950 and 1974, however, had the potential to overturn this assumption.
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Brownlee, David B. ""Neugriechisch/Néo-Grec:" The German Vocabulary of French Romantic Architecture." Journal of the Society of Architectural Historians 50, no. 1 (March 1, 1991): 18–21. http://dx.doi.org/10.2307/990543.
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The enigmatic term néo-grec, attached to the architecture and architectural thinking of mid-nineteenth-century France, seems to have been born in Germany. There, in the first years of the century, neugriechisch was used to describe the Byzantine-influenced Romanesque architecture of the Rhineland. Ludovic Vitet, soon to be named Inspecteur général des Monuments historiques, learned about this terminology in 1829, when he toured Germany and met with Sulpiz Boisserée, the antiquarian who had invented it. Vitet translated the term and took it home, along with the romantic view of history that it embodied.
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Boutros, Ramez. "Dimensions and Proportions in Egypt’s Byzantine Religious Architecture." Journal of the Canadian Society for Coptic Studies 12 (December 3, 2020): 35–57. http://dx.doi.org/10.5913/jcscs.2020.86435971.
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In the study of Egypt’s Byzantine religious architecture, modern scholarship has been focusing essentially on es- tablishing the typology of plans and their relative chronology. Church building activity has also been studied by using the written sources complimented by the archaeological evidence. is abundant Christian archaeological material shows an amazing variety and complexity in church designs. ere is a need of a rationalized analysis of the proportion ratios of the church buildings, and a necessity to focus on the dominant factors dictating its size, the type of its structure, and the quantities of materials used in its construction. e study of geometric shapes and the evolution of their sacred perceptions is yet another interesting facet of this type of architecture. e purpose of this paper is to explore new approaches in studying the proportion ratios and its correlation with the measuring units used in Byzantine church architecture and the existence of any symbolic concepts.
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Pülz, Andreas, and Ina Eichner. "Byzantine buildings: monumental architecture at Miletus and Resafa." Antiquity 91, no. 356 (April 2017): 529–32. http://dx.doi.org/10.15184/aqy.2016.275.
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Tiryaki Türkmenoğlu, Ayça, and Özgü Çömezoğlu Uzbek. "Byzantine Architecture in the Lower City of Perge." Art-Sanat, no. 21 (January 31, 2024): 683–720. http://dx.doi.org/10.26650/artsanat.2024.21.1312941.
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Yan, K. Q., and S. C. Wang. "Grouping Byzantine Agreement." Computer Standards & Interfaces 28, no. 1 (July 2005): 75–92. http://dx.doi.org/10.1016/j.csi.2004.09.001.
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ДАДИАНОВА, Т. В. "THE INFLUENCE OF BYZANTIUM ON CHURCH ARCHITECTURE AND ICON PAINTING." Kavkaz-forum, no. 11(18) (September 20, 2022): 38–51. http://dx.doi.org/10.46698/vnc.2022.18.11.003.
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В статье предпринимается попытка описания различных аспектов византийского влияния на средневековое церковное зодчество и изобразительное искусство (иконопись) аланских храмов, расположенных на территории Северного Кавказа. Анализируются проблемы сохранения этого уникального культурного наследия, а также работа художников-реставраторов, осуществляемая в этом направлении. Эта проблема актуализируется датой празднования 1100-летия Крещения Алании, к которой приурочена активизация исследований аланского христианского наследия. Поскольку учреждение Аланской митрополии осуществлялось Византией, то вполне логично искать в аланской христианской архитектуре черты византийского влияния. Основное внимание уделено состоянию Шоанинского и Сентинского храмов, расположенных на территории современной Карачаево-Черкесии. Упомянутым храмам наносится серьезный ущерб. Дело не только в недостаточном финансировании, выделяемом на поддержание их в должном состоянии, но и варварской деятельности «черных археологов», туристов, оставляющих граффити на средневековых стенах и т.д. Необходима более существенная работа с населением в целях пропаганды бережного отношения к своему наследию.Кроме того, в статье анализируется вклад молодых историков и художников в деле изучения элементов византийского наследия в области архитектуры и иконописи в средневековых храмах на территории Карачаево-Черкесии, в частности, в храме в селении Коста Хетагурова. Интересным представляется открытие, сделанное А. Виноградовым и Д. Белецким: ими были обнаружены изображения византийских крестов и тамг, спрятанных под слоями штукатурки в Архызском храме. Ценным источником, наведшим исследователей на упомянутые находки, является опубликованный в 1857 г. на иврите в «Записках Императорского Археологического общества» дневник караима А. Фирковича. The article attempts to describe various aspects of the Byzantine influence on medieval church architecture and fine art (icon painting) of Alanian temples located in the North Caucasus. The problems of preserving this unique cultural heritage, as well as the work of restoration artists carried out in this direction, are analyzed. This problem is updated by the date of the celebration of the 1100th anniversary of the Baptism of Alania, which is timed to intensify research on the Alanian Christian heritage. Since the establishment of the Alanian metropolis was carried out by Byzantium, it is quite logical to look for features of Byzantine influence in the Alanian Christian architecture. The main attention is paid to the state of the Shoanin and Sentin temples, located on the territory of modern Karachay-Cherkessia. The mentioned temples are seriously damaged. It is not only the lack of funding allocated to maintain them in proper condition, but also the barbaric activities of "black archaeologists", tourists leaving graffiti on medieval walls, etc. More instructing of the population is needed in order to promote respect for their heritage.In addition, the article analyzes the contribution of young historians and artists in the study of the elements of the Byzantine heritage in the field of architecture and icon painting in medieval churches in North Ossetia, in particular, in the church in the village of Kosta. The discovery made by A. Vinogradov and D. Beletsky is interesting: they discovered images of Byzantine crosses and tamgas hidden under layers of plaster in the Arkhyz temple. A valuable source that led researchers to the mentioned finds is the diary of Karaim A. Firkovich published in 1857 in Hebrew in the "Notes of the Imperial Archaeological Society".
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Gorbyk, Olena. "ARCHITECTURE OF ANCIENT PERSIA: SYNCRETISM OF THE ARCHETYPES OF THE OIKOUMENE." Current problems of architecture and urban planning, no. 62 (January 31, 2022): 29–39. http://dx.doi.org/10.32347/2077-3455.2022.62.29-39.
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The architecture of ancient Persia was an important component ecumenical development of culture and architecture of the ancient editerranean. Syncretism is confirmed in the forms of the order system and the porticos of Persia and Greco-Roman ancient architecture in the courtyards of Persian palaces and Roman court exedra in the form of a cross-domed temple of Persian Zoroastrianism and Byzantine Christianity. In the Achaemenid period of the history of ancient Persia, in the 6th century. B.C. in the Persian-occupied Anatolia and the Ionian Greeks took place an important event in ancient architecture - the birth of the order and the original architectural style. There is no reason to claim that the Persian marble column is a prototype of Greek Ionic marble or vice versa: they appeared synchronously and had common features (column with a developed base, flutes, with paired symmetrical sub-beam volutes) and methods of their monumental facade use (order portico). The archetype of the columned hall in the case of the Persian apadana, in solving its internal space, has certain features in comparison with ecumenical analogues – hypostyle halls of Egypt or Roman basilicas. The space of apadana, evenly marked by rows of slender columns of a unified order, had no difference in width or height nave, had neither deep nor centripetal spatial development. During the Sassanid dynasty in the 6th century. in the border provinces, which were the scene of the struggle between Rome- Byzantium and Sassanid Persia, the formation of the cross-domed system took place – parallel in the cross-domed Zoroastrian temples and Christian Roman-Byzantine. At the Persian University in Gondishapur, where an international team of scientists gathers, in the construction (involving Roman prisoners of war) of the Persian capital Bishapur the formula of ideal (centric, axial) architecture was realized. Zoroastrian temples of the Sassanid era receive a symmetrical shape, cross composition, centricity, trinity, that is, those archetypal themes that are characteristic of the traditions of sacred architecture of the Mediterranean ecumenism, in particular ancient Rome. The shape of the Persian courtyard is a variation of the Roman biaxial cross planning composition found in the architecture of Rome in the city plans, in the courtyards-perestilya with exedra, in the layout of the imperial baths). These examples show that the experience of ancient Persian architecture is not only the original oriental style, but is a variation of the Mediterranean ecumenical stylistic development.
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Wright, W. E., and J. C. Hall. "Advanced Aircraft Gas Turbine Engine Controls." Journal of Engineering for Gas Turbines and Power 112, no. 4 (October 1, 1990): 561–64. http://dx.doi.org/10.1115/1.2906205.
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With the advent of vectored thrust, vertical lift, and fly-by-wire aircraft, the complexity of aircraft gas turbine control systems has evolved to the point wherein they must approach or equal the reliability of current quad redundant flight control systems. To advance the technology of high-reliability engine controls, one solution to the Byzantine General’s problem (Lamport et al., 1982) is presented as the foundation for fault tolerant engine control architecture. In addition to creating a control architecture, an approach to managing the architecture’s redundancy is addressed.
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Ousterhout, Robert. "Review: Architecture as Icon: Perception and Representation of Architecture in Byzantine Art." Journal of the Society of Architectural Historians 70, no. 1 (March 1, 2011): 109–10. http://dx.doi.org/10.1525/jsah.2011.70.1.109.
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Tuerk-Stonberg, Jacquelyn. "Magical Amulets, Magical Thinking, and Semiotics in Early Byzantium." Old World: Journal of Ancient Africa and Eurasia 1, no. 1 (September 13, 2021): 1–23. http://dx.doi.org/10.1163/26670755-01010004.
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Abstract The term ‘magic’ is problematic. Magic studies have rapidly developed in recent decades and have suggested various ways of understanding the term, especially regarding objects from the medieval Roman Empire, Byzantium. Two early Byzantine amulets (as case studies) display conventional semiotic structures, which include persuasive analogy, speech-acts, and show-acts. Persuasive analogy, speech-acts, and show-acts – and how they organize information – operate also in religious, medical, and philosophical examples. Accordingly, art, archaeology, and texts of ritual power exemplify intersecting communities of thought and various types of social practices. Magic studies is interdisciplinary, and it encourages critique of modern assumptions regarding authority and of our intellectual colonization of times past. This essay is broad with several object examples across media, written as a conference presentation. Another approach to these semiotic structures on magical amulets – with examination of fewer objects and wider attention to the historiography of magic studies – will appear in the forthcoming Oxford Handbook on Byzantine Art and Architecture, ed. Ellen Schwartz.
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WEISS, Zeev. "Book review:Asaf Friedman, Art and Architecture of the Synagogue in Byzantine Palaestina, Cambridge: Cambridge Scholars Publishing, 2019." Byzantina Symmeikta 31 (November 23, 2021): 467. http://dx.doi.org/10.12681/byzsym.28094.
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Тарасенко, А. А., and Г. В. Акрідіна. "ІКОНОСТАСИ СПАСО-ПРЕОБРАЖЕНСЬКОГО КАФЕДРАЛЬНОГО СОБОРУ ОДЕСИ: ТЕМАТИКА І СТИЛІСТИКА." Art and Design, no. 2 (September 21, 2020): 114–28. http://dx.doi.org/10.30857/2617-0272.2020.2.10.
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The purpose is to study the themes and the stylistics of the upper and lower churches’ iconostases of the Transfiguration Cathedral in Odessa. The comparative method was used in order to study the topic and identify the artistic and stylistic features of Odessa Cathedral iconostases. It allows comparing the objects of study with analogues from the world art. Iconological, iconographic methods and figurative-stylistic analysis were also applied. The iconostases of the Transfiguration Cathedral upper and lower churches in Odessa are organically inscribed in the architectural environment, thanks to which the synthesis of arts is reached. Classical architecture and the original spatial architectonics of the upper temple altar barrier determined the theme and the style of the icon-painting. It was found out that the decoration and the icons in the Transfiguration Cathedral upper and lower churches’ iconostases combine the multi-temporal traditions of Christian art. The upper church central iconostasis reflects the influence of Renaissance architecture and art. The icon painting characteristic feature is a combination of the European art heritage, specifically Italian and Northern Renaissance, classicism, baroque and academicism of the XIX century. A three-dimensional style of painting based on the Western European tradition is observed. The decoration of the lower temple altar barrier contains architectural elements of Byzantium, Ancient Rus and baroque. The icon painting was created in the canonical Byzantine style of the Paleologue Renaissance period. By studying the features of the Transfiguration Cathedral iconostases, the main trends in church art of the second half of the XX–XXI centuries were identified: the application and combination of the renaissance-academic and the Byzantine-Ancient Rus styles. A detailed study of Odessa Cathedral iconostases was conducted for the first time. The features of the icon-painting themes and stylistics in the connection with the architectonics of the iconostases and the temple’s architecture were revealed. Practical significance is due to the possibility of using research materials in monographs on art history of Odessa, in the preparation of textbooks and methodological instructions with an in-depth study of icon-painting, monumental and decorative art, in the working-out of lectures’ and practical classes’ texts.
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Kalas, Veronica. "CAPPADOCIAS ROCK-CUT COURTYARD COMPLEXES: A CASE STUDY FOR DOMESTIC ARCHITECTURE IN BYZANTIUM." Late Antique Archaeology 3, no. 2 (2006): 393–414. http://dx.doi.org/10.1163/22134522-90000071.
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Until recently, our knowledge of the Byzantine house has been severely limited by the paucity of available evidence. In the last few years, however, surveys have been conducted in Cappadocia, central Turkey, where archaeologists and art historians working at separate sites recently realised that places formerly understood to be monasteries were actually domestic complexes of the rural elite.1 High above the Peristrema Valley in western Cappadocia, a medieval estate known as Selime Kalesi extends over 100 m in length along a cliff of volcanic rock. Once thought to be a monastery, this too is now recognised as one of a number of aristocratic domestic residences that provide our first extensive information about the Byzantine house. Selime Kalesi is the largest and most elaborate example in design and decoration of over a dozen similarly designed residences that belong to the same settlement. This especially prominent site offers an excellent case study for examining Byzantine domestic architecture and secular use of space.2
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ABORISADE, D. O., A. S. SODIYA, A. A. ODUMOSU, O. Y. ALOWOSILE, and A. A. ADEDEJI. "A SURVIVABLE DISTRIBUTED DATABASE AGAINST BYZANTINE FAILURE." Journal of Natural Sciences Engineering and Technology 15, no. 2 (November 22, 2017): 61–72. http://dx.doi.org/10.51406/jnset.v15i2.1684.
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Distributed Database Systems have been very useful technologies in making a wide range of information available to users across the World. However, there are now growing security concerns, arising from the use of distributed systems, particularly the ones attached to critical systems. More than ever before, data in distributed databases are more susceptible to attacks, failures or accidents owing to advanced knowledge explosions in network and database technologies. The imperfection of the existing security mechanisms coupled with the heightened and growing concerns for intrusion, attack, compromise or even failure owing to Byzantine failure are also contributing factors. The importance of survivable distributed databases in the face of byzantine failure, to other emerging technologies is the motivation for this research. Furthermore, It has been observed that most of the existing works on distributed database only dwelled on maintaining data integrity and availability in the face of attack. There exist few on availability or survibability of distributed databases owing to internal factors such as internal sabotage or storage defects. In this paper, an architecture for entrenching survivability of Distributed Databases occasioned by Byzantine failures is proposed. The proposed architecture concept is based on re-creating data on failing database server based on a set threshold value.The proposed architecture is tested and found to be capable of improving probability of survivability in distributed database where it is implemented to 99.6% from 99.2%.
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Waheeb, M. "Unique Byzantine Architecture in Southern Levant near Jordan River." Byzantinoslavica, T. 72, 1/2 (2014): 23–36.
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Galor, Katharina. "Domestic Architecture in Roman and Byzantine Galilee and Golan." Near Eastern Archaeology 66, no. 1-2 (March 2003): 44–57. http://dx.doi.org/10.2307/3210931.
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Ousterhout, Robert. "Originality in Byzantine Architecture: The Case of Nea Moni." Journal of the Society of Architectural Historians 51, no. 1 (March 1, 1992): 48–60. http://dx.doi.org/10.2307/990640.
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The katholikon (main church) of Nea Moni on Chios was constructed and lavishly decorated c. 1042-1055 under the patronage of the Byzantine emperor Constantine IX Monomachus. Although the church adheres to a conservative ground plan, the vaulting of the naos is unusual: the large dome is supported by an octaconch superimposed on a square naos. This unique structural and spatial solution may be best viewed as an example of experimentation, and I speculate that it was the result of a change in the design implemented during the process of construction. Whereas sources for the vaulting may be sought in Arab architecture, it would seem that the new forms were employed at Nea Moni specifically for the display of mosaic decoration.