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Journal articles on the topic 'Rococo Architecture'
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1
Ostrow, Steven F., and John Varriano. "Italian Baroque and Rococo Architecture." Art Bulletin 70, no. 3 (September 1988): 528. http://dx.doi.org/10.2307/3051184.
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Bédard, Jean-François. "La vitalité du décor : Fiske Kimball, du rococo au Colonial Revival." Zeitschrift für Kunstgeschichte 80, no. 4 (December 30, 2017): 515–27. http://dx.doi.org/10.1515/zkg-2017-0027.
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Abstract In 1943, the American historian of architecture Fiske Kimball (1888 – 1955) published The Creation of the Rococo, a milestone in the study of this movement. Thanks to a close examination of archival documents and drawings, Kimball sought to trace ‘objectively’ the evolution of the rocaille. Despite his claims to scholarly neutrality, however, Kimball multiplied value judgments in his writings. For Kimball, the rococo exhibited “vitality”, a quality he also found in the classical-inspired buildings of colonial America. Like other members of the conservative establishment, Kimball promoted these – and, more generally, the work of American Renaissance architects – as the only legitimate forms of contemporary architecture. The ‘vitality’ of Kimball’s rococo thus matched the one Anglo-Protestant elites celebrated in the Colonial Revival, a style they espoused to combat the ‘impurity’ of cosmopolitan Modernism.
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Cui, Enyu. "Chinoiserie in Eighteenth Century France: Francois Boucher’s Imagination of China." Journal of Education, Humanities and Social Sciences 24 (December 31, 2023): 682–89. http://dx.doi.org/10.54097/eadyv236.
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Through the eyes of Francois Boucher, one of the most prominent court painters of the Rococo period, this essay delves into the enthralling world of Rococo art. Through the analysis of several of Boucher's paintings, such as "The Portrait of Madame de Pompadour" and "The Chinese Garden", the author intends to determine how various aspects of Chinese culture and aesthetics, as interpreted by Boucher's active imagination, were fluidly incorporated into the Rococo aesthetic. This study examines how Boucher deftly incorporated Chinese design elements, such as porcelain and scent sachets, into his works of art. These components, which are frequently considered symbolic of the Orient, provide a one-of-a-kind glimpse into Europeans' fascination with Chinese culture during the Rococo period. This article demonstrates that the influence of Orientalism on the aesthetics of European art is not limited to paintings but rather encompasses architecture as well as everyday objects, like tapestries, by demonstrating how the fusion of Chinese culture and Rococo aesthetics led to this influence.
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Dymchenko, Marina. "Versailles: The phenomenology of architectural form." проект байкал, no. 78 (December 17, 2023): 85–89. http://dx.doi.org/10.51461/issn.2309-3072/78.2241.
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The article identifies and describes the evolution of the architectural form of the Versailles Palace and Park Ensemble as a single spatial artistic experience. The change in the layout and structure of the palace is considered from the point of view of the general trend of Western European architecture – the appearance and development of Rococo in the bosom of architectonics and composition created in the Baroque manner, which evolved from classical Baroque in the Italian style to the purely national tradition of Rococo and early classicism. This forms a unique semantic space of the subject’s experience. The author formulates conceptual understanding of the change in the content of architectural form-making as a process of the constitution of the unique spatial structure of the “court” type of society, socio-cultural ties and relations and its gradual evolution from the Baroque mythologized theatricality of absolutism to the private type of structuration of the dwelling of the pre-revolutionary decades.
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Bauer, George C. "Review: Italian Baroque and Rococo Architecture by John Varriano." Journal of the Society of Architectural Historians 46, no. 2 (June 1, 1987): 183–84. http://dx.doi.org/10.2307/990189.
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Гарин, V. Garin, Разиньков, Egor Razinkov, Чернышев, and Aleksandr Chernyshev. "History of furniture in the rococo style." Forestry Engineering Journal 4, no. 3 (December 8, 2014): 192–98. http://dx.doi.org/10.12737/6287.
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History of furniture in the rococo style
The architecture in this period finally loses all signs of monumentality and tectonics of form: there is no longer division by carrying and carried. Walls and ceilings are made into decorative planes dissected by various panels with a frame. Ornamental forms are asymmetric and always curvilinear; without being subject to any rules, they cover almost entirely the surface of walls and ceilings. The very walls, wood-paneled, are crumbled in choicest light blue, light green, pink and white colors, set off by a gilded ornamentation and hanged on with lots of mirrors in the lush frames.
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Spiller, Neil. "A Surrealist Rococo Master Kris Kuksi." Architectural Design 91, no. 3 (April 2, 2021): 128–33. http://dx.doi.org/10.1002/ad.2702.
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Solovyeva, Sofia N. "Vienna 18th Century Rococo Ceremonial Carriages." Observatory of Culture 20, no. 6 (December 21, 2023): 605–21. http://dx.doi.org/10.25281/2072-3156-2023-20-6-605-621.
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The aim of this paper is to describe and review 18th century Viennese parade carriages from the point of view of arts and crafts. Carriages are a small architectural form and are “programme works”, examples of the synthesis of arts, harmoniously combining the principles of architecture, sculpture, painting, decorative art, carpentry, as well as the skills of carvers, gilders, bronzers, embroiderers. At the same time, carriages were an integral part of ceremonies and participated in the most important state ceremonies (coronations, weddings, funerals, baptism of heirs). Certain types of carriages, such as carousel chariots and masquerade sleighs, were used for court entertainments, festivals and games. Imperial ceremonial carriages of the 17th—18th centuries served to represent the monarch’s power on a par with the throne and regalia and were created as true works of art, using expensive materials and sophisticated decoration techniques.The research is based on the study of natural material — original carriages from the collection of the Wagenburg Museum (Schoenbrunn Palace, Vienna) and the Armoury Chamber of the State Historical and Cultural Museum-Reserve “Moscow Kremlin”, its tasks include determining the model range of actual forms and designs, identifying the characteristic artistic methods, techniques of execution and decorative motifs of rococo. For the first time it is proposed to consider carriages from Russian museum collections in the context of the European carriage school that created them, combining the knowledge of foreign and domestic researchers about carriages of the 18th century. A separate research task is the integration of Viennese carriages from the Armoury Chamber of the Moscow Kremlin into a single analogue series with models from Wagenburg, which allows to expand the understanding of the Viennese carriage school of the 18 century.A review of the main models of rococo parade carriages created in the Viennese royal workshops from the 1720s to the 1760s is made. They are considered from the point of view of artistic value of the carriages, emphasis is made on the description of objects, decorative techniques and methods of artistic work. The material is divided into groups according to the statuses of the carriages: ceremonial official gala carriages of the emperor, retinue carriages and running holiday carriages. The specimens are arranged in chronological order, which illustrates the development of carriage-making from the model of the large carriage to the more technically advanced Berlines. It is shown that Viennese carriages are masterpieces of decorative and applied art, combining the highest level of skill of the creators of carriage projects (architects, decorators) and performers (carpenters, carvers, gilders, painters, weavers, embroiderers, blacksmiths and foundry workers).
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Clifford, H. "An Insular Rococo: Architecture, Politics and Society in Ireland and England, 1710 1770." Journal of Design History 14, no. 1 (January 1, 2001): 83–85. http://dx.doi.org/10.1093/jdh/14.1.83.
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Kim, Hyon-Sob. "The appearance of Korean architecture in the modern West." Architectural Research Quarterly 14, no. 4 (December 2010): 349–61. http://dx.doi.org/10.1017/s1359135511000145.
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Although the general influence of the architecture of East Asian countries on the formation and development of modern architecture has been widely recognised, detailed evidence about the extent and nature of this influence has been accruing through a growing body of research. This began with Chinoiserie, a Chinese-style fashion around the eighteenth century in Europe, which was imprinted in the Rococo interior as well as in the jardin anglo-chinois with its Chinese pavilions. Then in the late nineteenth century there was a European zeal for Japanese art, Japonisme, which appeared in the Arts and Crafts Movement and Art Nouveau. Consequently, East Asian influences came to be reflected in the concepts and designs of numerous modern architects. The representative figure is the American master Frank Lloyd Wright, who adopted the spatial concept of Laozi (or Lao-Tzu) and the organic characteristics of Japanese architecture. China and Japan had also appeared in various publications and architecture played a typical role in the interchange. Also, some notable Westerners had visited China and Japan.
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McCarthy, Michael. "Sir Robert Taylor: From Rococo to Neo-Classicism Marcus Binney." Journal of the Society of Architectural Historians 45, no. 3 (September 1986): 300–301. http://dx.doi.org/10.2307/990165.
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Slieptsov, Oleh, Mykola Dyomin, and Olena Kozakova. "THE INFLUENCE OF CHINA AND JAPAN ON EUROPEAN ARCHITECTURE AND ART AT THE END OF THE 19TH AND EARLY 20TH CENTURIES." Spatial development, no. 5 (November 24, 2023): 103–9. http://dx.doi.org/10.32347/2786-7269.2023.5.103-109.
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Europe turned to Eastern cultures at the stage of oversaturation with its own traditions or at the stage of finding ways out of the crisis in the cultural and artistic life of society. Obviously, the fascination with Chinese cultural traditions - first at the mundane level, and later at the level of art and architecture - during the Baroque and Rococo period testified to the oversaturation that gradually grew in the Baroque and Rococo styles, and therefore the appeal to China became a hidden attempt to find something fundamentally new, non-standard. It is quite clear that without a deep understanding of the foundations of ancient Chinese culture, such citation of Chinese motifs in art and in the architecture of country palaces and park pavilions turned them into simplified theatrical scenery.
In the same way, the same fascination with Japanese culture in the second half of the 19th and early 20th centuries took place against the background of increasing crisis phenomena in society, when the processes of secularization intensified against the background of the industrial revolutions and the rise to the forefront of the bourgeois class, and that is why Japanese culture with its philosophy of Taoism and Buddhism, which penetrated into all spheres of social life, into art and architecture, was perceived as a desirable way out of stagnation. At the same time, once again, external forms were copied, which were transformed on local soil without a deep understanding of the philosophical and religious background.
It should be noted the impact on European culture of the opening in 1897 of the unique temple complex of Dunhuang. As a result of the unstable situation in China during the reign of the Qing Dynasty, many unique artifacts from the Dunhuang sanctuaries were bought for nothing by Europeans and ended up in museums in Europe. This caused another stage of interest in Chinese culture and architecture. The use of aesthetic properties of traditional Chinese and Japanese culture made it possible to enrich the figurative concept of European Art Nouveau. The painting techniques of Art Nouveau period originate from the characteristic painting techniques of China and Japan. However, there is a difference in the influence of Eastern cultures on the art and architecture of Art Nouveau period: if in art such analogies can be traced quite clearly, in architecture at the end of the 19th and the beginning of the 20th centuries, this influence was a much more complex phenomenon than the "Chinoiserie" style of the 18th century: Art Nouveau architects did not literally reproduce Chinese and Japanese buildings, but instead creatively rethought the principles of their formation, layout, function and decoration.
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Mello, Magno. "Perspectiva Pictorum – um exercício de ilusionismo arquitetônico no Tempodo Barroco." Circumscribere: International Journal for the History of Science 20 (December 14, 2017): 61. http://dx.doi.org/10.23925/1980-7651.2017v20;p61-111.
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The presented study focuses on analysing the pictorial decoration of realistic forms of architecture named by quadrature, whose origin in Luso-Brazilian universe dates from the first half of the 18th century. This text approaches a theme scarcely studied and investigated in the historiography of Brazilian and Portuguese art, with the exception of stylistic studies of Baroque and Rococo as a whole, but, rarely, the false architecture painting has been examined isolatedly. This subject aims to link the study of the painting of Baroque period with the science of Perspective. The analysis of representations of false spaces in perspectic “break-ins” combined with the evolution of the theoretical conception inserted in foreign treatises diffused in Portugal is another important aspect, without, however, neglect the Portuguese writings. Beyond the particular attention devoted to the painting itself, another concern was the relation between the real and the falsely built space. It is well known that the illusionistic painting constitutes an essential modality in the creation of rich interiors, for it is presented as a type of formal contamination in which Painting and Architecture mutually interpenetrate and simulate in audacious scenographic effects.
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Schmidt, Freek H. "Expose Ignorance and Revive the "Bon Goût": Foreign Architects at Jacques-François Blondel's École des Arts." Journal of the Society of Architectural Historians 61, no. 1 (March 1, 2002): 4–29. http://dx.doi.org/10.2307/991809.
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This article focuses on four foreign architects who attended Blondel's school during the 1740s and 1750s: the Dutch architect Pieter de Swart, Sir William Chambers, and German architects Simon Louis du Ry and Karl Philipp Christian von Gontard. Through analysis of relatively unknown documentary evidence, the author reconstructs the actual content of Blondel's teachings. These sources underline Blondel's importance as a promoter of the study of architecture at all levels of society, a principal teacher of both theory and design, a master of spatial organization, a critic of contemporary architectural taste (Rococo and early neoclassicism), and an enthusiastic advocate of the interests of the architect as a professional in control of the entire building process. On the whole Blondel's views were heartily embraced by his foreign students. These facts suggest that, from an international perspective, Blondel should be regarded as a major propagator of the renewal and revival of the language of classicism and not merely as a traditionalist or as the last great theoretician of the Renaissance. Designs completed by his foreign students in their subsequent careers illustrate Blondel's efficacy in changing attitudes to classical architecture and theory, particularly outside France. After their schooling at Blondel's École des Arts, Chambers, de Swart, du Ry, and Gontard all rose to important positions in their homelands and, thanks to their acquired skills, used their education to redirect the practice of architecture. Moreover, their approaches to architectural education, theory, design, history, and contemporary taste clearly distinguished them as disciples of Blondel. To a large extent, they personified Blondel's new professionalism and were responsible for spreading his doctrine and renewed classicism throughout Europe during the second half of the eighteenth century and, at least in part, for carrying it well into the nineteenth century.
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Węgorowska, Katarzyna. "Kamienie Zielonej Góry i przestrzenie Zielonej Góry w edukacji uniwersyteckiej (z dydaktycznych doświadczeń lit(h)olingwistki)." Dydaktyka Polonistyczna 16, no. 7 (2021): 253–65. http://dx.doi.org/10.15584/dyd.pol.16.2021.19.
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The lit(h)olinguistics of educational reflection focuses on stones and names relating to stones present in various open and closed spaces of the City of Magpies. It is their specificity that the students of the University of Zielona Góra explore at the interdepartamental seminar known as „Kamień w kulturze” („Stone in Culture”). The relation of space -city-stones has become an inspiration to comment on multiple stones found in Zielona Góra , among others, in: a) the landscape (terminal moraine, brown coal, lapidarium), b) secular architecture (city walls made of field stones, sidewalk, stone foundations), c) sacral architecture (medieval stone chapel in the Vineyard – „Kaplica na Winnicy”, rococo stone baptismal font), d) the museum of Zielona Góra (“disgrace” heavy stones), or e) a jeweler company (amber, pearl, brilliant). Stones that the students learn about, which spatially embellish Zielona Góra, and their names were listed and interpreted in the paper. They make the City of Wine an urban phenomenonwith stone elements of nature and culture being part of its palimpsest layers.
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Noyes, Ruth Sargent, and Rūstis Kamuntavičius. "The Paracca Family of Architects and Druja Synagogue: Magnate Patrons and Jewish Clients of Eighteenth-century “Vilnius Baroque”." Ars Judaica The Bar Ilan Journal of Jewish Art: Volume 17, Issue 1 17, no. 1 (January 1, 2021): 25–59. http://dx.doi.org/10.3828/aj.2021.17.3.
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This article explores Jews’ role in mediating artistic exchange between Italy and the Polish-Lithuanian Commonwealth in the eighteenth century, through a case study examining the cultural and historical context surrounding the construction of the Druja synagogue (ca. 1765-1766) by the Paracca family of immigrant Italian architects and masons, for the burgeoning Jewish community affiliated with the region’s reigning noble families. The article explores the circumstances surrounding the Druja synagogue as a manifestation of the so-called “Vilnius Baroque” school of late Baroque-Rococo architecture in the Grand Duchy. The synagogue design reanimated the grandeur of the past and represented notions of Italy in honor of Baltic Catholic patrons and Jewish clients. Jews emerge as scions and mediators of the geopolitical, spiritual and cultural crossroads at Druja, a historical inflection point when emerging divisions of conceptual geography gave rise to the notion of an “eastern Europe.”
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Ziskin, Rochelle. "Review: The Rococo Interior: Decoration and Social Spaces in Early Eighteenth-Century Paris by Katie Scott." Journal of the Society of Architectural Historians 56, no. 1 (March 1, 1997): 105–6. http://dx.doi.org/10.2307/991224.
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Milecka, Małgorzata, and Seweryn Malawski. "Spatial and ideological transformation of the Abbots’ Garden in Oliwa in the 18th century." Roczniki Humanistyczne 71, no. 4 (June 23, 2023): 109–36. http://dx.doi.org/10.18290/rh23714.4.
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Ever since the Medieval era, Cistercian monasteries have been the centres of architecture, horticulture, art and craft. Their abbeys were also distinguished by a rich theological program. Within the larger monastic complexes, the abbot occupied a representative building, surrounded by an ornamental garden. In the 15th century, the Abbot’s Palace was erected at the Abbey in Oliwa, which had been founded in 1178. The abbot’s seat was repeatedly expanded by successive abbots, including Kasper Geschkau, Dawid Konarski, Jan Grabiński, Aleksander Kęsowski, and Franciszek Zaleski. Józef Jacek Rybiński in particular made some notable achievements, including building a new Rococo palace surrounded by a Baroque garden, which was characterised by a rich program referring to Christian symbolism. After 1772, Cistercian goods and properties were confiscated by Prussia. In 1782, Prince Karl von Hohenzollern-Hechingen, and then his nephew Prince Joseph, became the new abbots. With the help of the gardener Johann Georg Saltzmann, Prince Karl enlarged the garden with a new English- Chinese section with a rich Oriental program. The article presents the history of the garden, the evolution of its ideological program and layout, the landscape values of the former monastery complex as well as its contemporary resources.
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Seligman, Jon. "Between Yerushalayim DeLita and Jerusalem—The Memorial Inscription from the Bimah of the Great Synagogue of Vilna." Arts 9, no. 2 (April 1, 2020): 46. http://dx.doi.org/10.3390/arts9020046.
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During excavations of the bimah (the platform for reading the Torah) of the 17th-century Great Synagogue of Vilna (Vilnius, Lithuania), an important memorial inscription was exposed. This paper describes the new finds associated with the baroque-rococo architecture of the bimah and focuses on the inscription and its meaning. The Hebrew inscription, engraved on a large stone slab, is a complex rabbinic text filled with biblical allusions, symbolism, gematria, and abbreviations. The text describes the donation of a Torah reading table in 1796 in honour of R. Ḥayim ben Ḥayim and of Sarah by their sons, R. Eliezer and Shmuel. The inscription notes the aliyah (emigration) of Ḥayim and Sarah to Eretz Israel, the Land of Israel. The interpretation of the inscription shows the use of multiple messianic motifs. Historical analysis identifies the involvement of the Vilna community with the support of the Yishuv (the Jewish community in Ottoman Palestine) and the aliyah of senior scholars and community leaders at the end of the 18th and early 19th centuries. Amongst these figures were Ḥayim ben Ḥayim and Sarah, with Ḥayim ben Ḥayim going on to represent the Vilna community in the Land of Israel as its emissary, distributing charitable donations to the scholarly Ashkenazi community resident in Tiberias, Safed, and later Jerusalem.
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groft, tammis kane. "Cast with Style: Nineteenth-Century Cast-Iron Stoves." Gastronomica 5, no. 1 (2005): 19–24. http://dx.doi.org/10.1525/gfc.2005.5.1.19.
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Cast With Style: Nineteenth-Century Cast-Iron Stoves During the nineteenth century Albany and Troy, New York manufacturers were considered to be among the largest producers of cast-iron stoves in the world. Stoves made in these two upstate New York cities were renowned for their fine-quality castings and innovations in technology and design. The strategic location of Albany and Troy, located nine miles apart on opposite banks of the Hudson River, afforded easy and inexpensive transportation of raw materials to the foundries, and finished stoves to worldwide markets. Cast-iron stove making reached its highest artistic achievement and technological advancements between 1840 and 1870. Flask casting and the advent of the cupola furnace permitted more elaborate designs and finer-quality castings. Stove designers borrowed freely from architectural and cabinet-makers design books, a process that resulted in the use of Greek, Roman, Egyptian and Rococo revival motifs; patriotic symbols, and lavish floral designs, all reflecting current taste and sentiment Stove types produced included Franklin, box, dumb, base-burner, parlor, cook stoves and ranges and parlor cook stoves. However, the stoves that attracted the most attention and helped to secure the reputation of Albany and Troy, as innovators in technological and decorative designs were the column parlor stoves produced during the 1830s and 1840s. These stoves were a focal point for a Victorian parlor because the overall designs incorporated current tastes in architecture, furniture and other decorative arts. The decline of the stove industry in Albany and Troy began slowly after the Civil War, when companies went back into full production and glutted the market. Also, new deposits of iron ore were discovered in the Great Lakes region, and entrepreneurs were quick to see the potential of large western markets and began building foundries in Chicago and Detroit. As the century closed, the demands for iron were shifting toward steel.
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Shcheviova, Uliana. "Mural paintings in the decoration program of the residential buildings entrance spaces in Eastern Galicia at the end of the XIXth – first third of the XXth century." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 79–87. http://dx.doi.org/10.37131/2524-0943-2019-42-11.
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Background. Mural paintings occupy a special place in the ensemble decoration program of the residential buildings entrance spaces in Eastern Galicia at the end of the XIXth – first third of the XXth century. They are at the same level with decorative sculpture, exquisite staircase forging, ornamental floor decor, and polychrome stained glass. Not only do the decorative compositions in the entrance spaces mural paintings serve as a stylistic feature of decoration, but also are a component of owner's self-identification, testify to their aesthetic preferences and cultural level, demonstrate their material capacities. Practically all wealthy residential buildings and villas of the late XIXth – early XXth centuries contained murals as a necessary element of decoration. They were guided by the principle of uniqueness of each art piece. Preserved mural paintings are characterized by the high quality of execution, variety of scenes and color decisions. Many foreign and Ukrainian scholars look into the aesthetics of architecture and the interaction of the synthesis of arts in it: Y. Biryulov, T. Kazantseva, L. Polischuk, O. Silnyk, I. Zhuk, M. Studnytska and others. However, the authors do not analyze mural paintings of the residential buildings interior in Eastern Galicia, especially of the entrance spaces, which are a buffer zone between outside and inside of the building. Thus, at present, numerous design elements that are in the entrance spaces of residential buildings are at risk of extinction. That is why we need to stress the problem of preservation of the authentic artistic paintings within the program of lobbies and stairwells decoration in the residential buildings of Eastern Galicia at the end of the XIXth – first third of the XXth century. For this reason, our research is relevant and topical. The objectives of this article are to typologize artistic mural paintings in the decoration of the entrance spaces of residential buildings in Eastern Galicia at the end of the XIXth – first third of the XXth century according to the stylistic forms (neo-gothic, neo-renaissance, neo-baroque, neo-baroque, neo-rococo, in the empire style and modern) and to classify them into thematic (mythological and allegorical images) and ornamental compositions. Methods. The article uses a complex method of architectural-stylistic and art-study analysis, which covers traditional general scientific approaches to the solution of the tasks. Additionally, the method of field studies has been applied, through which we can obtain reliable information on the status of entrance spaces of living buildings in modern conditions. According to the results of the field studies, the mural paintings in the decoration of the entrance spaces of residential buildings in East Galicia of the late XIXth – first third of the XXth century have been analyzed. Types of paintings were typologies (neo-gothic, neo-renaissance, neo-baroque, neo-rococo, in the empire style and modern). The mural paintings are classified according to the motives (mythological and allegorical images) and ornamental compositions. The correlation between the adornment of ceilings and walls and other arts in the decoration of the entrance spaces of the Eastern Galician residential buildings at the end of the XIXth – first third of the XXth century has been traced. Conclusions. The architecture of each historical period is characterized by a certain color scheme. In the palette of paintings of the late XIXth – early XX centuries the pastel shades are dominant. They create a particularly elevated atmosphere in the interior of the entrance spaces due to the nuance of tone and color. The architectural and artistic themes on the facades of a building are often supported in the interior – entrance spaces. The stylish total ability of decoration does not interfere with their complex texture and color, which is used, all the elements highlight each other, transferring in the tonal emotionality of the system set by the paintings. Unfortunately, the number of mural paintings in the entrance spaces of residential buildings are often being fixed or non-professionally restored (like the mural paintings on 14 Kravchuk St. in Lviv). Because of these factors, the authentic colors fade away and their value significantly decreases. Moreover, mural paintings often crumble as time passes.
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Guidarelli, Gianmario. "Architecture and Charity. Paradoxes and Conflicts in the Construction of the Scuola Grande di San Rocco in Venice (1517–1560)." Confraternitas 21, no. 2 (July 1, 2010): 17–30. http://dx.doi.org/10.33137/confrat.v21i2.14705.
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This article examines the role of architectural patronage at the Scuola Grande di San Rocco and explores the relationship between building and charity. The San Rocco confraternity hall underwent many changes during its design and construction phases, suggesting that confraternity members were uncertain about the role it should play and the message it should send. Specific events point to a conflict during construction phases. One faction of members wanted a simple, sober building in accordance with evangelical austerity, while the other aspired to grandiloquent architecture. This article examines these conflicts in the relationship between architecture, ritual and institutional ideology.
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Tamburelli, Pier Paolo. "Fragments." Materia Arquitectura, no. 16 (December 28, 2017): 121. http://dx.doi.org/10.56255/ma.v0i16.362.
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San Rocco is a journal that publishes writing about buildings, drawings, projects, and built or drawn ideas from around the world. It is based on the idea that architecture is a collective knowledge and that this knowledge can take different forms within an architectural magazine – essays, illustrations, designs, etc. Each issue of the journal defines a field of interest through the presentation of a topic. This text reflects on the contents, means and methods of San Rocco. Structured as a series of short excerpts that cover different questions about the magazine, both practical and conceptual, it offers an overview of this journal’s position regarding the practice of architecture, its theory, its relation to history and the role of writing within the discipline.
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Hiiop, Hilkka, Alar Läänelaid, and Hannes Vinnal. "DATING THE NEWLY DISCOVERED CEILING PAINTING IN THE HOUSE OF ESTLAND’S NOBILITY IN TALLINN." Baltic Journal of Art History 25 (October 25, 2023): 9–41. http://dx.doi.org/10.12697/bjah.2023.25.02.
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In the course of renovating the Estonian Knighthood (Ritterschaft)House in the autumn of 2022, a magnificent find came to light in theceiling of a first floor room – a figural plafond painting on a canvasattached to the ceiling. This find is sensational since it adds to thenumber of rare and fragile canvas plafonds, only a few of whichsurvive in Estonia. This article demonstrates how archival researchand dendrochronology can work together hand in hand. Accordingto historical documents, this part of the Knighthood House was builtaround the year 1690, because it was described as nearly finishedin the spring of 1691. By applying dendrochronological dating, it
was possible to ascertain that the trees that form the main woodenstructures were felled after the growing season of 1689 and wereused in construction, probably in 1690. The Üxküll family of Vigalamanor sold their newly completed town palace to the Knighthood ofEstonia in 1694 for unknown reasons. The plafond painting probablyoriginates from the period between those two dates, 1690 and 1694.Thus, the Knighthood House’s plafond ceiling is the only firmlydated painting of this kind in Estonian architecture. It originatesfrom an earlier period than most other plafond paintings in Tallinn,which are assessed using stylistic comparison as dating from theperiod after the Great Northern War, specifically from 1721 to 1760.The nearly 60 m2 plafond is certainly the largest in Estonia. The useof distemper and oil paint techniques together makes this paintingremarkable. It is also the only known plafond with more than onepainting layer from different periods. At the time of writing, thepainting has not yet been exposed to view. Its thematic subject matterand the details of its technical realisation will be revealed onlyafter its restoration. The question of the authorship of the plafondpainting also remains unanswered at this stage. The overpaintingwith Rococo ornamentation covering the original painting can becautiously associated with the name of the guild painter, GotthardHolm, who was paid for work done in the Knighthood House inthe 1760s.
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Чекмарев, В. М. "ESTABLISHMENT OF ENGLISH NEO-GOTHIC AT THE TURN OF THE 18 CENTURY. ON THE PROBLEM DEFINITION." ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, no. 1(12) (February 17, 2020): 236–47. http://dx.doi.org/10.25995/niitiag.2019.12.1.011.
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Статья посвящена проблеме становления неоготической традиции в архитектуре Британии на рубеже XVII-XVIII вв. Вопрос о начале возрождения интереса к готическому наследию в Англии достаточно сложен. Однако само его рассмотрение приобретает особую актуальность в контексте пришедшегося на XVIII-XIX вв. общеевропейского интереса к возрождению национальных особенностей средневекового зодчества. Традиции готического строительства в Англии практически никогда не прекращали своего существования, однако следует различать их от сознательного воскрешения средневекового наследия, происходящего на рубеже эпохи Стюартов и георгианского времени. На примере как церковных, так и светских построек трех крупнейших британских архитекторов этого времени: К. Рена, Н. Хоксмура и Дж. Ванбру - прослеживаются пути интеграции готических элементов в художественную систему барокко. Важно отметить, что именно восприятие и интерпретация готической традиции, происходящая в рамках эстетики барокко, существенным образом отличает эти памятники от построек середины XVIII в., относящихся к так называемому периоду «рокайльной неоготики». Английское неоготическое движение рубежа XVII-XVIII вв. было вызвано к жизни всем спектром условий переломного в художественном отношении периода. Самый факт появления этого феномена свидетельствует о наличии своеобразного противоречия, когда еще новые, находящиеся в процессе становления эстетические идеи, будучи соответственно материализованы средствами архитектурной пластики, вынуждены изначально существовать в узких рамках уже сложившихся и признанных стилевых форм. Поначалу практически неотделимая от иных стилистических установок неоготика наиболее зримо заявляет о себе на завершающем этапе развития в Англии стиля барокко. Ее зарождение, по сути, пришлось на время стилистической неопределенности или неполной выраженности того или иного архитектурного направления в русле целостной национальной культуры. The article concerns the problem of the Neo-Gothic tradition establishment in Britatin at the turn of the 18th century. The question when the revival of the interest toward the Gothic heritage first took place is rather complicated. This phenomenon is a part of a more wide process of arising interest for the national medieval heritage in Europe. Traditions of Gothic architecture practically never stopped in England, but it is important to stress the difference between them and the revival of medieval heritage in Late Stuart epoch and at the turn of the Georgian era. As an example the works of three most important Britain architects of the period (C. Wren, N. Hawksmoor and J. Vanbrough) are chosen to show the ways how the Gothic elements were integrated in the artistic system of the Baroque. It is also important to stress that the reception and interpretation of Gothic tradition of this period differs from that seen in the buildings of the middle of the 18th century, the period of so called Rococo Gothic. English Gothic revival at the turn of the 18th century was inspired by the complicated conditions of this crucial period. The fact that this phenomenon emerges shows a certain contradiction between the new esthetic ideas that had to exist within the old stylistic system. Neo-Gothic first proclaims its existence in England at the end of the Baroque epoch. It establishes in the time of some stylistic uncertainty in the national architecture and culture in general.
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Haitsma Mulier, E. O. G. "L. Dhondt, 18de-eeuwse architectuur in België. Laatbarok rococo neoclassicisme." BMGN - Low Countries Historical Review 115, no. 3 (January 1, 2000): 455. http://dx.doi.org/10.18352/bmgn-lchr.5307.
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Vela Castillo, José. "Un jardín rocoso. Cinco estampas de Ryōan-ji." VLC arquitectura. Research Journal 7, no. 1 (April 30, 2020): 33. http://dx.doi.org/10.4995/vlc.2020.10901.
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<p>Five (woodblock) prints of Ryōan-ji presents five approaches to the famous dry garden located in the homonymous temple in Kyoto. The aim has been to explore through them different peculiarities of this garden, and by extension, of Japanese dry gardens of Zen inspiration. The fields explored include narrative (Kawabata), music (Cage and Takemitsu), cinema (Ozu, Iimura) and architecture (Isozaki and Mies, in passing). The main intention has not been to give a unitary vison of Ryōan-ji. Instead, like the dazzle at the end of a haiku, I tried to build a mechanism of partial enlightenments, to show, at least partially, its complex essence. A mechanism which, simultaneously, sheds light on the narrative, the music and the architecture presented. The real protagonist of the text is the particular spatiality that this garden brings to life and the temporality that goes along with it; but also the constant correspondences of the play of traces and possible meanings disseminated across the different media.</p>
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Butini, Riccardo. "Mario Botta. Chiesa di San Rocco a Sambuceto (Chieti)." Firenze Architettura 25, no. 1 (October 19, 2021): 56–67. http://dx.doi.org/10.36253/fia-13164.
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In the church of San Rocco in Sambuceto, Mario Botta reduces to their most concise expression all the elements of the architectural composition, which is thus stripped of everything that may be superfluous. The project gives a signal of order within the fragmented and fragile urban scene, pursuing a desire for the city that is present from the start.
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Belintseva, Irina V., Elena V. Baranova, Vyacheslav A. Vereshagin, and Vitaly N. Maslov. "VIRTUAL RECONSTRUCTION OF THE MARKET STREET OF 18th-CENTURY KÖNIGSBERG’S OLD TOWN: SOURCES, TECHNOLOGIES, BUILDING HISTORY AND MODELS." Vestnik of Immanuel Kant Baltic Federal University Series Humanities and social science, no. 1 (2024): 41–71. http://dx.doi.org/10.5922/sikbfu-2024-1-4.
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Ahead of the 300th anniversary of the philosopher Immanuel Kant’s birth, efforts are underway to digitally reconstruct the long-lost historical landscape of Königsberg, the birthplace of the ‘Prussian sage’. This article aims to recreate the architectural appearance of Altstädtischer Markt — the market street in the Old Town (Altstadt), one of the city’s districts. Three-dimensional models of the 18th-century public and residential buildings were constructed using surviving images of the market street-square alongside photographs, literature and research works, local history evidence, individual housing plans, design details and other data. Restoring the volumetric and spatial composition and external appearance of the facades is complicated by the absence of historical sources dating back to the study period when the aesthetic of buildings was dominated by the style features of late Baroque, Rococo and early Classicism. Although the houses retained their Medieval layout, the appearance of the street-square changed. The facades, predominantly retaining their medieval fachwerk structure, embraced contemporary architectural trends. Along this vibrant shopping street, houses adorned with sculptural embellishments and architectural elements characteristic of the late sixteenth, seventeenth, and eighteenth centuries lined the thoroughfare. It was during these periods that the street acquired its unique face. The presented three-dimensional models demonstrate the diversity and variability of Königsberg’s centuries-old street.
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Rogiest, Peter. "Historical dictionary of Baroque art and architecture, Lilian H. Zirpolo, Lanham, MD: Scarecrow Press, 2010 585 p. Ill. ISBN 9780810861558. $140.00 /£90.00 (hardcover) - Historical dictionary of Rococo art, Jennifer D. Milam, Lanham, MD: Scarecrow Press, 2011 307 p. Ill. ISBN 9780810861831. $80.00 /£49.95 (hardcover) - Historical dictionary of Neoclassical art and architecture, Allison Lee Palmer, Lanham, MD: Scarecrow Press, 2011 286 p. Ill. ISBN 9780810872226. $79.99 /£49.95 (hardcover) - Historical dictionary of Romantic art and architecture, Allison Lee Palmer, Lanham, MD: Scarecrow Press, 2011 286 p. Ill. ISBN 9780810872226. $80.00 /£49.95 (hardcover)." Art Libraries Journal 37, no. 4 (2012): 42–44. http://dx.doi.org/10.1017/s0307472200017764.
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Barbi, Simone. "Atelier Deshaus. Chiostro Superiore in Aranya, Jinshanling, Cina." Firenze Architettura 27, no. 1-2 (January 30, 2024): 116–27. http://dx.doi.org/10.36253/fia-15076.
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Questo Alto chiostro, un complesso architettonico di ispirazione Zen inserito tra le rocce e i boschi delle ‘montagne dorate’ del Luanping, offre ad Atelier Deshaus l’occasione per operare una ‘riflessione’ della tradizione architettonica cinese nel modus-hodiernus occidentale, attraverso una profonda e radicale riscrittura dell’esemplare monastero buddista Foguang Si, d’epoca Tang.
This Upper-Cloister, a Zen-inspired architectural complex set among the rocks and forests of the Golden Mountain in Luanping, offers Atelier Deshaus an opportunity to 'reflect' on the Chinese architectural tradition in the Western modus-hodiernus, through a profound and radical re-interpretation of the emblematic Buddhist Foguang Si monastery, from the Tang dynasty era.
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Prokop, Anna, Piotr Nazarko, and Leonard Ziemiański. "Digitalization of historic buildings using modern technologies and tools." Budownictwo i Architektura 20, no. 2 (July 23, 2021): 083–94. http://dx.doi.org/10.35784/bud-arch.2444.
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The aim of the paper is to present some experiences of using modern technologies to historical buildings digitalization. The emphasis is placed on the possibilities of spatial data collecting, as well as on subsequent 3D modelling. The paper describes the proposed survey techniques which are based on the Terrestrial Laser Scanning and photogrammetry. The authors obtained the point cloud by using the laser scanner Faro Focus 3D and dedicated software to combine scans (target based and cloud to cloud methods). The paper also provides an introduction to issues related to a method of building structure modelling based on a pointcloud. The authors proposed some computer software tools that could improve work with a point cloud and the modelling process. The resulting 3D model could be both a source of information about historical building and a sufficient base to create computational model with spatial finite elements. The subject of the case study is the St. Hubert Chapel located in Rzeszów (Poland) and built in the middle of the 18th century under the patronage of the Lubomirski family. This rococo chapel is one of the most valuable architectural monuments in the region. Historical Building Information Model (HBIM) could be helpful in analysis, visualisations and conservation practice of this precious monument. Diagnosing the current object state and assessing its technical condition could be the purpose of creating a computational FEM model.
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Balletti, C., B. Bertellini, C. Gottardi, and F. Guerra. "GEOMATICS TECHNIQUES FOR THE ENHANCEMENT AND PRESERVATION OF CULTURAL HERITAGE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (May 4, 2019): 133–40. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-133-2019.
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<p><strong>Abstract.</strong> The deep knowledge of Cultural Heritage, with historical research and interpretative analysis of materials, is fundamental to know the state of conservation and to plan potential restoration interventions. In the last years, thanks to the fast and continuous technological development, the metrical survey had a significant increase in this particular field: in fact, 3D digital acquisition allows to study some aspects otherwise difficult to investigate in a detailed way.</p><p>In this research, we will explain the methodology used for the ceiling’s survey of the <i>Sala Capitolare</i> of the <i>Scuola Grande di San Rocco</i> in Venice, focusing on the support structure of Tintoretto’s paintings, anchored to a wooden system of Palladian trusses. The complexity of this Venetian architecture, its considerable dimension, the richness of decorations and the particular lighting conditions provided the opportunity of thinking about unconventional choices to apply from time to time and they required the integration of different methodologies: the laser scanning survey and the photogrammetric acquisition, together with a topographic network, allowed to obtain an adequate metric result for the study of the structure in its entirety. Furthermore, it was also decided to test image acquisition with a spherical camera for the documentation of the analysed architecture: this type of information, more related to a viewable aspect than to a metric one, can be presented together with traditional 2D representations to ensure a better enhancement of the achieved results.</p>
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Dubrovskaya, Dinara V. "Xiyanglou – “Buildings of the Western Ocean”: Splendor, Poverty and Lessons of the Ruin." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 6 (2023): 73. http://dx.doi.org/10.31857/s086919080028232-2.
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The paper gives a complex analysis of the Xiyanglou palace and park complex (“Buildings of the Western Ocean”), located on the current northwestern outskirts of Beijing, designed, and built in 1747–1751 by European masters, led by the Italian Jesuit artist Giuseppe Castiglione (Lang Shining, 1688–1766). Castiglione, best known as a painter, acted in this case as a visionary architect and designer who skillfully integrated the “European part” into the already existing Yuanmingyuan palace complex and received for this his main recognition at the court of the Manchu Emperor Qianlong, who personally oversaw the project. Using the example of the syncretic Sino-European style of the Xiyanglou architectural complex, incorporating European Baroque and Rococo styles and classical Chinese construction principles, the paper demonstrates the European masters’ practical application of the adaptation principles developed by Matteo Ricci, the leader of the Jesuit mission in China when preaching Christianity in China. Separately, the innovative buildings in the Chinese style located in Yuanming Yuan, which incorporated Xiyanglou, are briefly analyzed, the background of the design and creation of Xiyanglou is considered, detailed descriptions of the buildings of the Western Quarter are given, and the fate of the palace and park complex is traced. The author concludes that the Western Quarter, which became a testing ground where were practiced the principles of Occidental art, acted as a focus of mutual influence of European and Chinese artistic trends.
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Buyukkurt, Betul, John Cortes, Jason Villarreal, and Walid A. Najjar. "Impact of high-level transformations within the ROCCC framework." ACM Transactions on Architecture and Code Optimization 7, no. 4 (December 2010): 1–36. http://dx.doi.org/10.1145/1880043.1880044.
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Mohamad, Hasmaini, Zuhaila Mat Yasin, Nur Ashida Salim, Bibi Norasiqin Sheikh Rahimullah, and Kanendra Naidu. "Hybrid islanding detection method based on the rate of change of frequency and load impedance." Bulletin of Electrical Engineering and Informatics 10, no. 6 (December 1, 2021): 2997–3006. http://dx.doi.org/10.11591/eei.v10i6.3246.
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Interconnection of distributed generation (DG) in distribution system will result in formation of islands in the event of loss of main supply. This scenario is harmful to the power system, hence quick detection is critical to halt the formation of islands. Among the common passive and active detection methods available, the hybrid detection method is identified as the most reliable method. This paper proposes a new hybrid method using the combination of passive and active technique which is the rate of change of frequency (ROCOF) and load impedance, respectively. The passive method works when the value of ROCOF exceeds the threshold value which is set at 0.3Hz/s. The active method works when it detects low value of ROCOF and immediately inject a pre-specified load into the system to increase the ROCOF value up to its threshold value. Simulation study on different case studies is carried out on distribution test system to evaluate the performance of the proposed method. Results show that this method is effective in detecting any events that could result in islanding.
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Lambert, Nick. "BCS AI Award for Artists." ITNOW 62, no. 1 (February 17, 2020): 22. http://dx.doi.org/10.1093/itnow/bwaa009.
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Abstract The eighth annual Lumen Prize, celebrating the very best in international digital art, took place at the Barbican Centre for Performing Arts in London on 24 October. Presenting the BCS AI Award to winners, Dave Murray-Rust and Rocio von Jungenfeld — for Lichtsuchende — was Computer Arts Society Chair, Dr Nick Lambert.
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Borshch, Elena V. "Depiction of Home Interiors in Illustrations of Molière’s Works in French 18th-Century Editions." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 2 (2021): 128–42. http://dx.doi.org/10.15826/izv2.2021.23.2.030.
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This article examines the problem of depicting a home interior as a setting with reference to the French literary illustration of the eighteenth century. Referring to the interior scenes from two different series of illustrations to the same literary texts, the author considers the role of the texts in the formation of visual images of a home interior; the methods of depicting a home interior by different artists; the visual prototypes of the image of the interior. The main sources of the research are illustrations of two French editions of Molière’s Works: a series of engravings based on drawings by F. Boucher (1734) and ones by J.-M. Moreau (Moreau le Jeune) (1773). The texts of some comedies are compared with illustrations from two different editions. The comparison demonstrates that the interior, schematically described by Molière, was arbitrarily depicted by the artists as the apartments of a noble house. They used typology, dйcor, and furnishings that are relevant to their time. Boucher chose the Rococo style (1730s), while Moreau preferred the Transition style (1760–1770s). The comparison of the illustrations with each other proves that the artists copied the details of similar illustrations by P. Brissart (1682). Also, Moreau used Boucher’s compositions as prototypes. The comparison of the illustrations with architectural engravings proves that the interior projects were also prototypes for the artists. As a result, the author notes the patterns of depicting a home interior as a setting: the image of visual interiors did not literally depend on the text; the interior model was determined by the illustrator’s creative credo and followed the fashionable design style; the artists created the image of the interior using analogous illustrations and projects of architects and decorators.
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Gonzalez-Longatt, Francisco, Juan Manuel Roldan-Fernandez, Harold R. Chamorro, Santiago Arnaltes, and Jose Luis Rodriguez-Amenedo. "Investigation of Inertia Response and Rate of Change of Frequency in Low Rotational Inertial Scenario of Synchronous Dominated System." Electronics 10, no. 18 (September 17, 2021): 2288. http://dx.doi.org/10.3390/electronics10182288.
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The shift to a sustainable energy future is becoming more reliant on large-scale deployment of renewable and distributed energy resources raising concerns about frequency stability. Rate of Change of Frequency (RoCoF) is necessary as a system inertia metric in order for network operators to perform control steps to preserve system operation. This paper presents in a straightforward and illustrative way several relevant aspects of the inertia response and RoCoF calculation that could help to understand and explain the implementation and results of inertial response controllers on power converter-based technologies. Qualitative explanations based on illustrative numerical experiments are used to cover the effects on the system frequency response of reduced rotational inertia in synchronous dominated power systems. One main contribution of this paper is making evident the importance of the governor action to avoid the synchronous machine taking active power from the system during the recovering period of kinetic energy in an under frequency event.
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Calisi, Daniele, Stefano Botta, and Alessandro Cannata. "Integrated Surveying, from Laser Scanning to UAV Systems, for Detailed Documentation of Architectural and Archeological Heritage." Drones 7, no. 9 (September 4, 2023): 568. http://dx.doi.org/10.3390/drones7090568.
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Nowadays, the study and digitization of historical, architectural, and archaeological heritage are extremely important, covering the creation of digital twins—virtual replicas of real spaces and environments. Such reconstructions can be achieved using technologies with passive or active light sensors: laser scanners as light emitters, or photogrammetry through the creation of photographic images. As for the latter case, a distinction must be made between terrestrial and aerial shots, increasingly facilitated by the spread of UAV systems. Point clouds are aligned using georeferenced points measured with a total station. To create a faithful virtual model of the subjects, dense point clouds from a laser scanner are used to generate meshes, which are textured in high resolution from aerial and terrestrial photographs. All techniques can be integrated with each other, as demonstrated through the experiences of two case studies, each serving different purposes. The first is a detailed survey conducted for CAD representation of certain areas of Rocca Farnese in Capodimonte. The second is an instrumental survey for the creation of a realistic digital twin, aimed at providing an immersive VR experience of the archaeological area of Santa Croce in Gerusalemme in Rome.
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Brocchini, D., F. Chiabrando, E. Colucci, G. Sammartano, A. Spanò, L. Teppati Losè, and A. Villa. "THE GEOMATICS CONTRIBUTION FOR THE VALORISATION PROJECT IN THE ROCCA OF SAN SILVESTRO LANDSCAPE SITE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-5/W1 (May 16, 2017): 495–502. http://dx.doi.org/10.5194/isprs-archives-xlii-5-w1-495-2017.
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This paper proposes an emblematic project where several multi-sensor strategies for spatial data acquisition and management, range based and image based, were combined to create a series of integrated territorial and architectural scale products characterized by a rich multi-content nature. The work presented here was finalized in a test site that is composed by an ensemble of diversified cultural deposits; the objects that were surveyed and modelled range from the landscape with its widespread mining sites, the main tower with its defensive role, the urban configuration of the settlement, the building systems and techniques, a medieval mine. For this reason, the <i>Rocca of San Silvestro</i> represented a perfect test case, due to its complex and multi-stratified character. This archaeological site is a medieval fortified village near the municipality of Campiglia Marittima (LI), Italy. The Rocca is part of an Archaeological Mines Park and is included in the <i>Parchi della Val di Cornia</i> (a system of archaeological parks, natural parks and museums in the south-west of Tuscany). The fundamental role of a deep knowledge about a cultural artefact before the planning of a restoration and valorisation project is globally recognized; the qualitative and quantitative knowledge provided by geomatics techniques is part of this process. The paper will present the different techniques that were used, the products that were obtained and will focus on some mapping and WEB GIS applications and analyses that were performed and considerations that were made.
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Santana, Yohanes Renaldi Rio, and Andi Wahju Rahardjo Emanuel. "Panduan Strategis untuk Migrasi ke Cloud Computing Studi Kasus Startup Marketplace khusus UMKM di Indonesia." KONSTELASI: Konvergensi Teknologi dan Sistem Informasi 4, no. 1 (June 27, 2024): 50–59. http://dx.doi.org/10.24002/konstelasi.v4i1.9005.
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Migrasi ke komputasi awan telah menjadi pertimbangan penting bagi organisasi di berbagai sektor, didorong oleh keinginan untuk memanfaatkan kemampuan transformatif cloud computing. Tidak adanya kerangka kerja standar yang selaras dengan strategi bisnis telah menggaris bawahi perlunya pendekatan perencanaan dan pelaksanaan yang menyeluruh. Penelitian ini berfokus pada perancangan arsitektur untuk membantu perusahaan dalam migrasi dan optimalisasi komputasi awan. Migrasinya menggunakan metode modifikasi model Roadmap for Cloud computing Adoption (ROCCA). Data diambil dari wawancara yang dilakukan dengan CTO dan dianalisis menggunakan analisis SWOT. Hasilnya adalah implementasi model cloud computingdengan Google Cloud Platform (GCP) IaaS menunjukkan proses yang diberikan merupakan panduan yang baik dan tepat untuk mendukung pendekatan strategis PT Merkha Teknologi Indonesia dalam menganalisis dan merencanakan solusi cloud secara efektif. The migration to cloud computing has emerged as a critical consideration for organizations across various sectors, driven by the desire to harness the transformative capabilities of cloud technology. The absence of a standardized framework that seamlessly aligns with business strategies has underscored the necessity for thorough planning and execution approaches. This research focuses on the design of architectural to assist company in the migration and optimize of cloud computing. The migration using method by modification Roadmap for Cloud computing Adoption (ROCCA) model. Data were taken from conducted interviews with CTO and analyzed using SWOT analysis. The result is that the implementation of the cloud computingmodel with Google Cloud Platform (GCP) IaaS showed the processes provided are a good guidance and appropriate to support strategic PT Merkha Teknologi Indonesia approach in analyzing and planning cloud solutions effectively.
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Fiorini, Andrea. "Rocca Savelli (Aventine Hill). Contribution to the knowledge on defence systems for family goods in Rome during the late Middle Ages." GROMA: Documenting Archaeology 6 (October 10, 2023): 47–61. http://dx.doi.org/10.32028/groma-issue-6-2021-1978.
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This paper concerns the results of the archaeological investigations at the Savelli fortress on the Aventine Hill in Rome. This fortification surrounds a well-known park of the city: the Giardino degli Aranci. The research has been addressed to improve the knowledge on a topic of great historical interest: the architectural typologies developed by Roman aristocratic families in order to defend their properties. Locating Rocca Savelli within a specific architectural typology is problematic, due to the lack of research on this site. The research team of the Department of History and Cultures of the University of Bologna has surveyed the remains, studied their building features and documented stratigraphic data. This paper summarises the preliminary results of such research effort. The structures still conserved above the ground level can be dated back to the second half of the 13th century and are the output of craftsmen specialised in building with local tuff. The fortification was most likely built by the Savelli family in order to defend its dwelling on the Aventine Hill. The next step of the research will be addressed to in-depth analyses of data collected during the fieldwork. The aim is to better specify the original features of the structure and its later modifications. At a later stage, it will be possible to understand the economic, cultural and ideological background of the people connected to the fortification (patrons, builders and inhabitants). Ultimately, the project will include geophysical prospections and small excavations across the park to investigate the presence of further structures conserved below the present ground level.
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Kishkinova, Evgenia M. "Fasad Sculpture of Provincial Eclectics on the Example of Rostov-on-Don: Iconography, Symbols, Stylistics." Vestnik of Saint Petersburg University. Arts 13, no. 3 (2023): 449–66. http://dx.doi.org/10.21638/spbu15.2023.304.
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The article is devoted to the study of eclectic facade sculpture in the historical center of Rostov-on-Don, considered in accordance with specific neo-styles. Sculpture plays an important compositional role in the design of the facades of Neo-Baroque monuments, emphasizing the rhythmic organization of facades, emphasizing the central and corner parts of buildings. Sculptural decor in the design of facades, designed within the neo-Greek and Neo-Renaissance, obeys the compositional rhythm set by architectural forms, is most often placed in architecturally limited fields, highlights the compositional axes of facades and more actively uses motifs of ancient origin. In general, the iconography of the sculptural decor includes plant motifs (laurel, flower, fruit garlands, flower baskets, acanthus, wreaths, rosettes), images of objects, including symbolic ones (shells, cartouches, caduceus, flowerpots, a cornucopia, a fountain, attributes of industry, trade, sciences and arts, armorial shields), zoomorphic images (mainly lion mascarons, griffins), mixanthropic and anthropomorphic images. Among the latest figurines are putti, mascarons of satyrs, Aphrodite, Hermes; belt herms of Hercules, Omphale, Deianira; sculptures of nymphs, Apollo, Ceres, goddesses of Glory; scenes from the history of Cupid and Psyche. The symbolism of the sculptural decor corresponds to the purpose of the building, expresses the ideas of prosperity and progress: Ceres, Apollo, the goddess of Glory — on the building of the City Duma; musical instruments and theatrical masks — on the theater building; plots symbolizing various types of activities — on the building of the Property Pledge Society; attributes of trade, industry, sciences, arts, mascarons of Hermes and his caduceus, cornucopia — on tenement houses; Hercules, Dejanira, Omphala, Aphrodite’s mascarons are on the mansions. There is a “universalization” of the mascarons of Hermes and his caduceus, which are used everywhere, regional motifs appear (bees, salting fish), the use of neo-style decor on the building, reproducing the type of kuren, is noted. Stylistically, the sculpture is focused mainly on classicism and the Renaissance, using the techniques of mannerism, baroque, rococo. The prototypes are the motifs of the sculptural decoration of famous buildings in St Petersburg, Vienna, Berlin, Brussels, chronologically close to the monuments under consideration.
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Shi, Qiaoming, Hongqing Liu, Kai Liu, Yongping Wang, Qingwu Zhang, Yu Lu, Haiying Li, and Qiang Zou. "Coordinated Sending-End Power System Frequency Regulation via UHVDC." Electronics 10, no. 16 (August 9, 2021): 1909. http://dx.doi.org/10.3390/electronics10161909.
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The continuous improvement of new energy penetration reduces the inertia of the system, which leads to the frequency deviation and the rate of change of frequency (RoCoF) being easily exceeded. To improve the frequency stability of sending-end power systems with large-scale renewable energy access via ultra-high voltage direct current (UHVDC), the coordinated frequency control for UHVDC participating in system frequency regulation (FR) including primary FR and system inertial response is presented. Based on the simplified system model, the mechanism of UHVDC participation in system frequency support and its influence on receiving-end system frequency response characteristics are analyzed. Compared with the inertia response and primary FR of traditional synchronous generators, the parameter calculating method of UHVDC coordinated frequency response control is proposed. Based on the system root trajectory analysis, the influence of the frequency response control parameters on the sending-end system’s stability is analyzed, and the constraints of UHVDC participating in the system frequency response control are analyzed. Then, based on the RTDS verification platform containing the Lingshao ±800 kV UHVDC control and protection system, the system frequency response characteristics under different control strategies, operating conditions and control parameters are verified and analyzed. The experimental results show that the UHVDC frequency coordinated control can effectively increase the equivalent inertia of the sending-end system, restrain the RoCoF and the frequency deviation, and increase the FR capability of the UHVDC system.
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Bugini, Roberto, and Luisa Folli. "Ubicazione delle cave di pietra da calce utilizzata come materia prima degli intonaci romani nella Lombardia occidentale." Arqueología de la Arquitectura, no. 13 (January 17, 2017): 049. http://dx.doi.org/10.3989/arq.arqt.2016.167.
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[it] La calce come materiale da costruzione ebbe larga diffusione nell’architettura romana della Lombardia occidentale. La presenza di carbonato di magnesio è stata per lo più riscontrata negli intonaci dipinti provenienti dai siti romani di Milano. Il carbonato di magnesio testimonia l’impiego di dolomia per la preparazione della calce e rocce di questa composizione affiorano per esteso nelle Prealpi lombarde: dolomie e calcari dolomitici grigio chiari (Dolomia del Salvatore, Ladinico-Anisico), dolomie grigie, talvolta con ciclotemi (Dolomia principale, Norico). Non sono conservate evidenze di cave o di forni romani in quest’area prealpina: i Romani sfruttarono gli stessi affioramenti dolomitici, situati lungo la sponda orientale del lago Maggiore, affioramenti da cui si produsse calce a partire dal Medio Evo in avanti.
I depositi fluvio-glaciali del medio corso del fiume Adda tra Brivio e Trezzo (massi, ciottoli di calcari marnosi, calcari e dolomie che affiorano nel bacino fluviale) furono un’altra fonte medievale e moderna di materia prima, soprattutto per produrre una calce debolmente idraulica (chiamata “calce forte”), ma questo tipo di calce è assente negli intonaci romani.
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Collins, Christiane Crasemann. "Review: The New Civic Art: Elements of Town Planning by Andrés Duany, Elizabeth Plater-Zyberk, Robert Alminana, Jean-Francois Lejeune, Stefanos Polyzoides, Rocco Ceo, Jaime Correa, Jorge Loynaz García, Tom Low, Galina Tahchieva." Journal of the Society of Architectural Historians 63, no. 4 (December 1, 2004): 550–52. http://dx.doi.org/10.2307/4128021.
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Pizzati, Mattia, Fabrizio Balsamo, Fabrizio Storti, and Paola Iacumin. "Physical and chemical strain-hardening during faulting in poorly lithified sandstone: The role of kinematic stress field and selective cementation." GSA Bulletin 132, no. 5-6 (October 25, 2019): 1183–200. http://dx.doi.org/10.1130/b35296.1.
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Abstract In this work, we report the results of a multidisciplinary study describing the structural architecture and diagenetic evolution of the Rocca di Neto extensional fault zone developed in poorly lithified sandstones of the Crotone Basin, Southern Italy. The studied fault zone has an estimated displacement of ∼90 m and consists of: (1) a low-deformation zone with subsidiary faults and widely spaced deformation bands; (2) an ∼10-m-wide damage zone, characterized by a dense network of conjugate deformation bands; (3) an ∼3-m-wide mixed zone produced by tectonic mixing of sediments with different grain size; (4) an ∼1-m-wide fault core with bedding transposed into foliation and ultra-comminute black gouge layers. Microstructural investigations indicate that particulate flow was the dominant early-stage deformation mechanism, while cataclasis became predominant after porosity loss, shallow burial, and selective calcite cementation. The combination of tectonic compaction and preferential cementation led to a strain-hardening behavior inducing the formation of “inclined conjugate deformation band sets” inside the damage zone, caused by the kinematic stress field associated with fault activity. Conversely, conjugate deformation band sets with a vertical bisector formed outside the damage zone in response to the regional extensional stress field. Stable isotope analysis helped in constraining the diagenetic environment of deformation, which is characterized by mixed marine-meteoric signature for cements hosted inside the damage zone, while it progressively becomes more meteoric moving outside the fault zone. This evidence supports the outward propagation of fault-related deformation structures in the footwall damage zone.
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Kucharzewska, Joanna. "Architektoniczny eksperyment u podnóża Chińskiego Muru." Art of the Orient 1, no. 1 (2012): 73–88. http://dx.doi.org/10.15804/aoto201204.
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At the foot of the Great Wall of China, near the town of Badaling, SOHO Small Office – Home Office in 2000 started constructing 59 detached guesthouses. Each of them was to be equipped with extensive cultural, entertainment, and business facilities. The creators of the project, the owner of the design office, Mr. Shiyi and his wife Mrs. Zhang Xin, invited 12 renowned architects to their endeavor, and gave them total freedom of creation. Although the project was charged with a high level of risk, and its final shape was difficult to predict, it became an unprecedented success, even though available only for a narrow group of affluent residents of the Middle Kingdom, as well as curious tourists from Western Europe and North America. The edifices, constructed over a period of 10 years, are probably more recognized in the western world than in China; it can be attributed to the exhibition of the design at the Venice Biennale in 2002, during which it was honored with a special prize. Additionally, the names of architects, brands in themselves, attracted the attention of critics and experts in architecture, who were particularly interested in the outcome of the encounter of great architectural individualities while creating Commune by the Great Wall. Three Japanese architects took part in the project. Kengo Kuma called his edifice Great Bamboo Wall (2000-2002), from the type of material employed for creating external-wall cladding as well as internal partitions; Shigeru Ban in his design, Bamboo Furniture House, used bamboo veneer lumber to create furniture to be prefabricated and used as the main component in addition to the exterior and interior walls. Finally, Nobuaki Furuya’s Forest House aimed at carrying out his own concept of architecture as a place of safety (asylum). Kanika R’kul, who carries out her designs mainly in Taiwan, presented Shared House that was its form similar to the practice of American modernism. A significant factor turned out to be the education in architecture that R’kul obtained at one of Californian universities, and her familiarity with American modernism as well as the activities of so-called “New York Five”. The motive behind the activities of another architect, Cui Kai, was primarily to obtain different views from inside the house, which was highlighted by the name of the project, See and Seen House. Antonio Ochoa Piccardo from Venezuela, the only author of non-Asian origin, though connected with Asian world for many years via designing edifices for SOHO office, also tried to provide variety of visual experience for the audiences of another guesthouse, Cantilever House. On the one hand, via employing raw concrete, Béton brut, it was homage to Le Corbusier, on the other hand, it expressed respect to the surrounding nature, articulated with using sienna pigment as wall dye. Rocco Yim from Hong Kong, the author of Distorted Courtyard, in a veiled mode drew from the traditions and practices of a typical house with a courtyard, and Kay Ngee Tan from Singapore subjected his design, The Twins, to surrounding nature, using local stone as his building material. The name of another guesthouse, Split House, contains the original design idea of a Chinese architect, Yung Ho Chang. The building was made with one piece that was cut and its parts were diagonally spaced. Two following projects were born from a desire to experiment in the field of mass solutions or the arrangement of the interior; they became an unique interjection of the local landscape and forced the audiences to change their habits. The first, Airport House by Chien Hsueh-Yi from Taiwan, resembled a section of an airport building. The second, the now famous Suitcase House by Gary Chang from Edge Design Institute, allowed for creating multiple spatial combinations with mobile walls and corners hidden under the floor. The crowning element of Commune by the Great Wall is a multi-functional clubhouse designed in 2001 by a world-renowned South Korean architect, Seung H-Sang of the Iroje Architects & Planners design office. As the concept of Commune by the Great Wall developed and new guesthouses were constructed, the clubrooms also enlarged. In 2005 Seung H-Sang returned to the project. The Commune by the Great Wall project supported by SOHO Studios combines pavilions that are extremely modern with more traditional ones; others constitute a subtle link between local color and a playful functionalism. The eleven edifices presented above constituted prototypical solutions, followed by numerous replicas across the land. Currently, Commune by the Great Wall is an exclusive leisure and entertainment area subject to the Kempinski hotel brand with appropriate promotion and an extensive marketing program, e.g. advertisements on websites and in prestigious journals, such as Business Week. A bold experiment from a Chinese developer has become an alternative for tourists from around the world, looking in China not only examples of centuries-old culture, but also the visual signs of a developing country that follows modern trends.
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Wang, Lei, Hao Zhou, Xuekai Hu, Xiaochao Hou, Can Su, and Kai Sun. "Adaptive Inertia and Damping Coordination (AIDC) Control for Grid-Forming VSG to Improve Transient Stability." Electronics 12, no. 9 (April 29, 2023): 2060. http://dx.doi.org/10.3390/electronics12092060.
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Different from the conventional synchronous generator, the virtual inertia and damping control parameters for the inverter-based virtual synchronous generator (VSG) provide more flexibility for stable operation and dynamic performance optimization. However, the operation control principle is still unclear regarding how to coordinate virtual inertia and damping considering both frequency stability and transient synchronization stability. In this paper, an Adaptive Inertia and Damping Coordination (AIDC) control strategy is proposed for grid-forming VSGs to improve transient stability. The proposed AIDC strategy adaptively adjusts the virtual inertia and damping coefficients based on real-time conditions of operation frequency deviation and its rate of change of frequency (RoCoF). The virtual inertia is designed to dynamically increase in the accelerated area and decrease in the decelerated are, and the virtual damping coefficient is designed to increase and enlarge the positive virtual damping effect during the whole accelerated/decelerated transient process. In addition, the proposed AIDC strategy is realized through the practical arctan-function control method with limited boundaries, which can assist engineers. The effectiveness of the proposed AIDC strategy is validated through hardware-in-the-loop experiments.