scholarly journals LE PRIME DISPUTE TRA ARCHITETTI LOMBARDI E FORESTIERI NEL CANTIERE DEL DUOMO

2013 ◽  
pp. 51-68
Author(s):  
Luciano Patetta
Keyword(s):  
Fourteenth Century ◽  
Building Materials ◽  
The Other ◽  
Gothic Cathedral ◽  
Local Tradition ◽  
The Town

Riassunto. – Dai Libri Mandatorum (poi trascritti negli Annali della Fabbrica del Duomo, Milano 1877-1885) abbiamo una grande quantità di notizie sui magistri e sugli inzignierii lombardi, francesi e tedeschi chiamati, alla fine del Trecento, da Galeazzo Visconti e dai Deputati cittadini a progettare una cattedrale gotica, degna di quelle europee. Le discussioni e le dispute hanno riguardato la planimetria del Duomo e gli schemi della sua sezione, per una scelta della tradizione locale o di una imitazione delle grandi cattedrali di Francia. Soprattutto con l’arrivo da Parigi dell’architetto Jean Mignot (1400 ca.) si scontrarono due teorie che si fondavano, rispettivamente, una sui principi della geometria e della matematica, l’altra sulle esperienze costruttive delle maestranze con l’uso dei materiali locali. Le polemiche si fondavano su due affermazioni contradditorie, rimaste poi emblematiche: ars sine scientia nihil est e scientia sine arte nihil est.***Abstract. – From the Libri Mandatorum (later on in the Annali della Fabbrica del Duomo, Milan 1877-85) we have a great quantity of news about the magistri of yard and about Lombard, French and German inzignierii, called at the end of Fourteenth Century, by Gian Galeazzo Visconti and by the Delegates of the town to built a gothic cathedral, whorty of whose of Europe. The discussions and the disputations were about the plan of the Duomo and the pattern of his section, for the choise of local tradition or imitation of great French cathedrals. Above all the arrival from Paris of the architect Jean Mignot (approximately 1400) clashed two theories well-grounded, one on principles of the geometry and the mathematic, and the other on the building experience of the workers on the use of local building materials. The controversies founded on two opposite assertions: ars sine scientia nihil est and scientia sine arte nihil est.

Tughluqabad, the earliest surviving town of the Delhi sultanate

1994 ◽  
Vol 57 (3) ◽  
pp. 516-550 ◽  
Author(s):  
Mehrdad Shokoohy ◽  
Natalie H. Shokoohy
Keyword(s):  
Fourteenth Century ◽  
The Other ◽  
The Third ◽  
Other Hand ◽  
Short Period ◽  
Town Centre ◽  
Time Capsule ◽  
The Town

Tughluqabad is the first of many sultanate and Mughul towns which were purposely planned and constructed on previously uninhabited sites. Built early in the fourteenth century, Tughluqabad was to serve as the capital of the newly established Tughluq dynasty. There were, of course, three earlier Muslim capitals in the vicinity, the first the Delhi of Rāi Pithūrā, converted to an Islamic town after the Ghurid conquest in 588/1192–3; the second Jalāl al-dīn Khahīs Shahr-i naw, which was founded by Muՙiẓẓ al-dīn Kai Qubād (685–8/1286–9) at Kīlukharī (or Kīlugharī) but left incomplete at the time of his death, and the third Sīrī, built by Alՙ al-dīn Khaljī between 698/1298–9 and 700/1300–1 in the fields outside the walls of the older Delhi, but nothing has remained from these towns except parts of the fortification walls and some isolated monuments. The ruins of Tughluqabad, on the other hand, are enshrined in a time capsule. Built between 1320 and 1325 by Ghiyāth al-dīn Tughluq, the town had a brief life, and within a generation was abandoned and its population reduced to the size of a small village. As a result, most of its remains are datable to the short period of its duration in the first half of the fourteenth century. The only exception, as we shall see, are the remains of a small settlement which continued to exist around the old town centre, and in the late Mughal period also occupied the citadel.

RECYCLED BRICK SOUNDPROOF TEST AS AN ALTERNATIVE SUSTAINABLE MATERIAL

2020 ◽  
Vol 13 (2) ◽  
pp. 44-54
Author(s):  
Hendrico Firzandy Latupeirissa ◽  
Gierlang Bhakti Putra ◽  
Niki Prastomo
Keyword(s):  
Waste Disposal ◽  
Sound Source ◽  
Building Material ◽  
Building Materials ◽  
Negative Impact ◽  
The Other ◽  
Human Comfort ◽  
Construction Waste ◽  
Coarse Grains ◽  
Made In

Brick debris that makes up the majority of construction waste has not received proper waste disposal in Indonesia. On the other hand, brick debris could be potentially reused as non-structural building materials to reduce its negative impact on the environment. This study aims to test the effectiveness of soundproofing on recycled brick debris. The soundproof test was carried out on brick debris in the form of fine and coarse grains. The simulation box is then used as a support for the brickwork material and then the box is exposed to a sound source with a certain level of noise that is considered disturbing human comfort. Noise level measurements are made in the outside and inside the box. These measurements are tabulated and then analyzed to see the success of the two aggregates in reducing noise. Basically, the brickwork material has succeeded in becoming a recycled building material that can absorb noise, although further research must be carried out to be able to state that this material is truly ready to be used as an alternative building material with good acoustic capabilities.

scholarly journals Research on Planning and Design of Urban Architectural Color in Changchun

2020 ◽  
Vol 165 ◽  
pp. 04029
Author(s):  
Zhang Cui
Keyword(s):  
Creative Thinking ◽  
Building Materials ◽  
Design Guidelines ◽  
The Other ◽  
New Era ◽  
Color Design ◽  
Planning And Design ◽  
Surrounding Environment ◽  
The Aesthetic

Architecture is the soul of city color. The planning focus of city color is city architecture, especially the planning control of the main wall color of street buildings. The design of architectural color should not only consider the surrounding environment of the building, the content of the building and the building materials, but also proceed from the aesthetic needs and conform to the principle of color engineering. On this basis, the plan proposes color design guidelines and relies on scientific and standardized “urban building color design guidelines” to achieve the purpose of maintaining the original appearance of history and creating a new era style. Besides the traditional buildings, the other “architectural color guidelines” should leave more room for manoeuvre and not restrict the creative thinking of architects.

Over de betekenis van het werk van Jan van Scorel omstreeks 1530 voor oudere en jongere tijdgenoten (4)

1984 ◽  
Vol 98 (2) ◽  
pp. 98-109 ◽  
Author(s):  
J. Bruyn
Keyword(s):  
New York ◽  
18Th Century ◽  
The Other ◽  
Parish Church ◽  
Stylistic Development ◽  
To Come ◽  
The One ◽  
The Town ◽  
Coats Of Arms ◽  
Early Training

AbstractFrom 1911 to 1961 Félix Chrétien, secretary to François de Dinteville II, Bishop of Auxerre in Burgundy, and from 1542 onwards a canon in that town, was thought to be the author of three remarkable paintings. Two of these were mentioned by an 18th-century local historian as passing for his work: a tripych dated 1535 on the central panel with scenes from the legend of St. Eugenia, which is now in the parish church at Varzy (Figs. 1-3, cf. Note 10), and a panel dated 1550 with the Martyrdom of St. Stephen in the ambulatory of Auxerre Cathedral. To these was added a third work, a panel dated 1537 with Moses and Aaron before Pharaoh, which is now in New York (Figs. 4-5, cf. Notes I and 3). All three works contain a portrait of François de Dinteville, who is accompanied in the Varzy triptych and the New York panel (where he figures as Aaron) by other portrait figures. In the last-named picture these include his brothers) one of whom , Jean de Dinteville, is well-known as the man who commissioned Holbein's Ambassadors in 1533. Both the Holbein and Moses and Aaron remained in the family's possession until 1787. In order to account for the striking affinity between the style of this artist and that of Netherlandish Renaissance painters, Jan van Scorel in particular, Anthony Blunt posited a common debt to Italy, assuming that the painter accompanied François de Dinteville on a mission to Rome in 1531-3 (Note 4). Charles Sterling) on the other hand, thought of Netherlandish influence on him (Note 5). In 1961 Jacques Thuillier not only stressed the Northern features in the artist's style, especially in his portraits and landscape, but also deciphered Dutch words in the text on a tablet depicted in the Varzy triptych (Fig. I) . He concluded that the artist was a Northerner himself and could not possibly have been identical with Félix Chrétien (Note 7). Thuillier's conclusion is borne out by the occurrence of two coats of arms on the church depicted in the Varzy triptych (Fig. 2), one of which is that of a Guild of St. Luke, the other that of the town of Haarlem. The artist obviously wanted it to be known that he was a master in the Haarlem guild. Unfortunately, the Haarlem guild archives provide no definite clue as to his identity. He may conceivably have been Bartholomeus Pons, a painter from Haarlem, who appears to have visited Rome and departed again before 22 June 15 18, when the Cardinal of S. Maria in Aracoeli addressed a letter of indulgence to him (without calling him a master) care of a master at 'Tornis'-possibly Tournus in Burgundy (Note 11). The name of Bartholomeus Pons is further to be found in a list of masters in the Haarlem guild (which starts in 1502, but gives no further dates, Note 12), while one Bartholomeus received a commission for painting two altarpiece wings and a predella for Egmond Abbey in 1523 - 4 (Note 13). An identification of the so-called Félix Chrétien with Batholomeus Pons must remain hypothetical, though there are a number of correspondences between the reconstructed career of the one and the fragmentary biography of the other. The painter's work seems to betray an early training in a somewhat old-fashioned Haarlem workshop, presumably around 1510. He appears to have known Raphael's work in its classical phase of about 1515 - 6 and to have been influenced mainly by the style of the cartoons for the Sistine tapestries (although later he obviously also knew the Master of the Die's engravings of the story of Psyche of about 1532, cf .Note 8). His stylistic development would seem to parallel that of Jan van Scorel, who was mainly influenced by the slightly later Raphael of the Loggie. This may explain the absence of any direct borrowings from Scorel' work. It would also mean that a more or less Renaissance style of painting was already being practised in Haarlem before Scorel's arrival there in 1527. Thuillier added to the artist's oeuvre a panel dated 1537 in Frankfurt- with the intriguing scene of wine barrels being lowered into a cellar - which seems almost too sophisticated to be attributed to the same hand as the works in Varzy and New York, although it does appear to come from the same workshop (Fig. 6, Note 21). A portrait of a man, now in the Louvre, was identified in 197 1 as a fragment of a work by the so-called Félix Chrétien himself (Fig. 8, Note 22). The Martyrdom of St. Stephen of 1550 was rejected by Thuillier because of its barren composition and coarse execution. Yet it seems to have too much in common with the other works to be totally separated, from them and may be taken as evidence that the workshop was still active at Auxerre in 1550.

scholarly journals Observations upon the Natural History of Epidemic Diarrhoea

1910 ◽  
Vol 10 (4) ◽  
pp. 602-777 ◽  
Author(s):  
O. H. Peters
Keyword(s):  
Natural History ◽  
Special Interest ◽  
Health Department ◽  
The Other ◽  
History Of ◽  
The Town ◽  
Made In

The following observations upon the Natural History of Epidemic Diarrhoea were made in Mansfield during the summer and autumn of 1908. The fact that at the time the writer was engaged in preparing a paper—to which the present paper is to some extent complementary—upon the epidemiological relations of season and disease, lent special interest to the enquiries regularly made from the Health Department of this town into the circumstances attending fatal attacks of diarrhoea. Early in the season a more than usually extensive enquiry was made into one of these fatal attacks in an area where an outbreak of diarrhoea appeared to be spreading outwards from a group of old privy-middens. To test how far the condemnation of the latter was justifiable another area was taken on the other side of the town, where the houses were newly built and provided exclusively with water-closets; and records, collected by house-to-house visitation, were obtained of all cases of epidemic diarrhoea, whether non-fatal or otherwise, occurring in these localities. The enquiries thus begun were afterwards extended so as to embrace two fairly large districts, a chance of doing this being provided by the opportune postponement of the addition to the department of certain work of inspection which had been impending at the beginning of the summer. These districts were several times revisited and scattered observations were also made throughout the other parts of the town. During 1909, while there was no opportunity of making extended observations, there were valuable opportunities during the course of the routine inspections of the summer of testing and re-testing the principal results obtained during 1908.

scholarly journals THE RISKS AND LIABILITY OF PARTICIPANTS OF A CONSTRUCTION PROCESS FOR DEFECTS OF BUILDING PRODUCTS

2004 ◽  
Vol 10 (3) ◽  
pp. 109-115 ◽  
Author(s):  
Sigitas Mitkus
Keyword(s):  
Construction Projects ◽  
Building Materials ◽  
Legal Regulation ◽  
The Other ◽  
Construction Process ◽  
Building Products ◽  
Construction Contracts ◽  
And Behavior ◽  
Mutual Agreement

Sharing of the risk and liability is one of the most important functions of construction contracts. Proper sharing of the risks and liability between the parties of construction contract has a rather big influence on efficiency, quality, and probability of arising disputes between the parties of construction contract in construction projects. A lot of risk exists during the fulfillment of construction projects. One of those risks is the risk of defects of building products. The question of the liability of the parties of construction contract for inappropriate quality of the construction production caused by a bad quality of building products mainly depends on sharing of the risk of defects of building materials in the construction contract. Some aspects of the mentioned risk and liability of the parties of the construction contract might be set by mutual agreement in the construction contract. The other aspects are regulated by imperative norms of the law and the parties of construction contract have not a right to change those imperative conditions of sharing of risks and liability. The article deals with sharing of risk and liability for supplying building products of an improper quality for construction, taking in to account conditions of construction contract, legal regulation and behavior of parties of a construction contract. A tree of forming the alternatives of liability is presented in the article. Liability for supply of defected building products arises not only for parties of a construction contract. The producer (supplier) of building products is responsible for this as well. Variations of liability of the producer (supplier) depending on construction contract conditions are analyzed. A matrix of liability of the producer (supplier) of building products is presented in the article.

scholarly journals PEMETAAN LOKASI KELUARGA PENERIMA MANFAAT PKH DI KECAMATAN PRAYA TENGAH MENGUNAKAN EXTENTION GEOPROCESSING

2018 ◽  
Vol 1 (2) ◽  
pp. 33
Author(s):  
Sofiansyah Fadli ◽  
Fitri Rohyatul Aini
Keyword(s):  
Information System ◽  
Spatial Data ◽  
Geographic Information ◽  
The Other ◽  
Government Programs ◽  
Government Program ◽  
Family Expectations ◽  
The Government ◽  
System Mapping ◽  
The Town

Based on data from UPPKH sub-district of Central Praya Year in 2017. The number of beneficiaries from the Government Program namely the Program Family expectations (PKH) and Beneficiary Families (KPM) is 3,425 which are spread throughout the villages in the Central Praya. The existence of the problems and constraints that have emerged is the difficulty the other escorts who are outside of the town would like to know the location and development of recipient PKH KPM. Extention Geoprocessing is a tool for processing spatial data in ArcView. The use of extension geoprocessing on the geographic information syste is one tool that can be used to assist in analyzing the condition and whereabouts of beneficiaries of government programs, especially the PKH KPM Program, especially in the Central Praya sub-district.The method used in analyzing data is the model SPIRAL method, the programming language used is PHP / MapScript, and criteria used are sourced from BPS. With the building of a geographic information system mapping the PKH KPM location, the community and the government will find it easier to know the development of poverty and can facilitate outside sub-district facilitators to find the location of PKH KPM in the central Praya sub-district.

scholarly journals DRUSKININKŲ MIESTO PLANINĖS ERDVINĖS KOMPOZICIJOS YPATUMAI

2009 ◽  
Vol 33 (1) ◽  
pp. 20-27
Author(s):  
Algimantas Mačiulis
Keyword(s):  
The Other ◽  
Urban Spaces ◽  
Health Resort ◽  
High Rise ◽  
The Town

An unsustainable and resolved plan structure has been formed in Druskininkai. Completed urban spaces can be found only in the old town. The other parts of Druskininkai are dominated by chaotic, uncomplete spaces, which should be improved or formed again. New urban formations, especially high-rise buildings, which were built in the eighth and nineth decades, look aggressive and have changed the silhouette and panoramas of the town. When the Lithuanian independence was restored, Druskininkai, because of its beautiful surroundings, became not only a health resort but a recreational one as well. Santrauka Druskininkuose susiformavo nevientisa, išskaidyta plano struktūra. Senoje miesto dalyje yra daugiau susiformavusių, užbaigtų miesto erdvių, kitose miesto dalyse vyrauja nevisiškai suformuotos ar tiesiog chaotiškos miesto erdvės, kurias būtina tobulinti arba formuoti iš naujo. Aštuntajame devintajame dešimtmečiuose statyti naujieji miesto urbanistiniai dariniai, ypač aukštybiniai pastatai, pasižymintys agresyvia invazija į aplinką, iš pagrindų keitė miesto siluetą, panoramas, labai pažeidė gamtos ir architektūros santykį. Atkūrus Lietuvos nepriklausomybę, šalia gydomosios reabilitacinės funkcijos, išnaudojant dėkingą gamtinę apylinkių situaciją, kurorte kuriama nauja perspektyva – pramoginių paslaugų, turizmo programa.

VICTORIAN CARNIVALESQUE

2002 ◽  
Vol 30 (1) ◽  
pp. 365-381 ◽  
Author(s):  
Mark M. Hennelly
Keyword(s):  
Cultural History ◽  
Victorian Literature ◽  
Charlotte Bronte ◽  
The Other ◽  
Double Step ◽  
Vanity Fair ◽  
War Games ◽  
Martin Chuzzlewit ◽  
The Town

The Carnival is just over, and we have entered upon the gloom and abstinence of Lent. The first day of Lent we had coffee without milk for breakfast; vinegar and vegetables, with a very little salt fish, for dinner; and bread for supper. The Carnival was nothing but masking and mummery. M. Héger took me and one of the pupils into the town to see the masks. It was animating to see the immense crowds, and the general gaiety, but the masks were nothing.—Charlotte Brontë, letter, March 6, 1843. . . Humble as I [Pecksniff] am, I am an honest man, seeking to do my duty in this carnal universe, and setting my face against all the vice and treachery.—Dickens, Martin Chuzzlewit (1843–44)Women were playing [at cards and roulette]; they were masked, some of them; this licence was allowed in these wild times of carnival.—Thackeray, Vanity Fair (1847–48)OVER FIFTEEN YEARS AGO, Allon White acknowledged “the small army of literary critics now regularly describing modern cultural phenomena as ‘carnivalesque’” (109). Surprisingly, though, only advance scouting parties of carnivalesque critics have infiltrated the various war games, love feasts, slanging matches, “blood” sports, food fights, drinking bouts, carnal appetites, funferalls, body cultures, ludic acts of toasting, roasting, masking, mumming, and other folk and fair festivities — besides the recurring clowns, fools, rogues, tricksters, killjoys, and spoilsports — that significantly enliven and inform Victorian literature. When such critical forays have occurred, the role of the carnivalesque has often been contested, reflecting perhaps what White’s liminal reading of cultural history calls the nineteenth-century’s initial “‘disowning’ of carnival, and the gradual reconstruction of the concept of carnival as the culture of the Other” (102). And yet Robert Browning’s Fra Lippo Lippi still speaks eloquently for various Renaissance and Victorian writers when he proclaims that he is but “one” of many who “makes up bands/To roam the town and sing out carnival” (ll.45–46). Indeed, his double-voiced, pantagruelian aesthetic is to “go a double step,/Make his flesh liker and his soul more like,/Both in their order” (ll.206–08), for

On Displayed Writing. Bronze Inscriptions from Napoca

2021 ◽  
Vol 65 (1) ◽  
pp. 87-98
Author(s):  
Sorin Nemeti ◽  
Eugenia Beu-Dachin ◽  
Sorin Cociş
Keyword(s):  
19Th Century ◽  
The Other ◽  
Legal Text ◽  
Bronze Inscriptions ◽  
The 19Th Century ◽  
The Town

"Abstract: We present below two fragmentary texts carved in aere from Napoca, one known from the 19th century and the other novel, yielded by recent rescue excavations. The first inscription (Napoca-1) was carved on a bronze tablet discovered in Piaţa Muzeului no. 4. The document here might correspond to an imperial response (subscriptio), delivered by emperor Hadrian upon a request that might have been made for instance by the representatives of the town at Napoca. A second fragmentary inscription in bronze (Napoca-2) originating still from Napoca was discovered in the area of hill Feleac. The preserved words formis and ratio / procuratio are indicative of an administrative taxation type text. Keywords: bronze inscriptions, legal text, imperial rescript, Napoca Rezumat: Prezentăm aici două texte fragmentare incizate in aere din Napoca, unul cunoscut din secolul al XIX-lea şi altul nou, provenit din cercetări de salvare recente. Prima inscripţie (Napoca-1) a fost incizată pe o tablă de bronz descoperită în Piaţa Muzeului nr. 4. Aceste documente poate fi un răspuns imperial (subscriptio) dat de împăratul Hadrian unei cereri făcute de reprezentanţii oraşului Napoca. A doua inscripţie fragmentară din bronz (Napoca-2), provenită tot din Napoca, a fost descoperită în zona dealului Feleac. Cuvintele păstrate - formis şi ratio/procuratio – indică un text administrativ în legătură cu impozitele. Cuvinte cheie: inscripţii de bronz, texte legale, rescript imperial, Napoca "

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