SYSTEMATIC INVENTORY FOR HERITAGE SHOPHOUSE FACADES IN IPOH, PERAK, MALAYSIA

Nowadays, many heritage shophouses remain intact in major urban areas in Malaysia, including Ipoh, Perak. These architectural assets are significant as they portray the glory and achievements of Ipoh over the centuries. However, some shophouses face inappropriate façade changes due to improper conservation activities performed on the heritage properties. These situations have resulted in the phenomenon of inconsistency elements of building facades. Therefore, this paper focuses on two aspects regarding heritage shophouse facades; first, developing the taxonomy of architectural styles according to the tangible elements, and second, classifying and grading the architectural styles. Then, an inventory form named eFakad was developed as a tool to evaluate 65 shophouses at Jalan Sultan Iskandar, Ipoh. The result shows that 49% of facades are in excellent condition, but the rest of the facades need to be conserved and maintained, particularly roof finishes, windows and doors. By applying eFakad inventory form, the documentation and conservation management of the heritage shophouses can be done systematically. Consequently, the stakeholders will be aware of the main problems faced by the heritage shophouses through the inventory record and appropriate actions can be taken in preserving the integrity of the facades. Additionally, the local authority may use the information to improve the existing conservation guidelines.

Art Nouveau and Neoclassicism of buildings in Tyumen financed by merchants late in the 19th and early 20th centuries

The problem of preservation of the historical and architectural environment in Russian cities is currently rather relevant. Research and popularization of the different architectural styles play an important role in preservation of the unique historical environment of the city. Architectural styles of buildings in Tyumen are from Siberian Baroque to large-scale buildings of neoclassicism, which is characteristic of the architecture of this period.The paper describes the buildings the construction of which is financed by the merchants. The building architecture belongs to a particular stye typical for the period of Art Nouveau and neoclassicism. The architecture of Tyumen buildings is of regional color scheme represented by the decoration of window trimmers and other architectural details.The research implications include a study of historical and modern photographs of buildings of various types, namely from educational institutions to residential buildings. The paper utilizes historical and archival and bibliographic data and field research.Research findings: the significance of the studied buildings is preserved in the modern urban environment and architecture of Tyumen. At the turn of the 19–20th centuries and today, these objects retain their role in urban planning and function.

The Maghrib and the Medieval Mediterranean

According to traditional medieval histories—those that focus on the European West as a distinct civilization from North Africa and the Middle East—the advent of Islam in the 7th century was the final blow to the hope of a restored Rome, one that split the Mediterranean in two. In this version of the past, the Muslim conquests of the 7th century permanently divided Islamic North Africa and the Maghrib from the culture, society, and thinking of Christian Western Europe. In fact, the Maghrib was a major port of the culture, architecture, society, religious development, commerce, and politics of a common, medieval western Mediterranean zone. It is true that Christian and Muslim dynasties and states on both sides of the Mediterranean regularly saw themselves as enemies and rivals. The dogmatic and violent use of religion to justify enslavement, forced conversion, and conquest was common practice throughout this period. It is also true, however, that infidel Christian kings and unholy Muslim warriors formed alliances with one another, both across the sea and across faiths.1 The existence of a “convenient enemy” was often used as a means of gaining political or military advantage within Muslim or Christian lands. Popes and kings signed agreements with Muslim caliphs and Muslim sultans sought protection of Christian kings. In addition to high-level political alliances, ties between the Maghrib and Western Europe ran deep through the medieval economy. Commerce and business partnerships prospered and the 12th-century Commercial Renaissance lifted all boats. Christian, Muslim, and Jewish merchants took advantage of flows of trade and gold from Africa to the Mediterranean and into Europe. Dreams of conversion fostered unintended cultural interactions and exchanges, as was the case with the Franciscans and Christian mercenaries who journeyed deep into the Maghrib during this period. More than religion or politics, common artistic and architectural styles make perhaps the most compelling argument for a common, trans-Mediterranean culture.

Before Bagan: Using Archaeological Data Sets to Assess the Traditional Historical Narrative | ပုဂံမတိုင်မီကာလ၏အစဉ်အလာသမိုင်းအဆိုအမိန့်များကို ရှေးရောင်းသုရတသ နပညာှပ်ဆိုင်ှာအချက်အလက်များအသုံးပပု၍ဆန်းစစ်ပခင်း

What we know about Bagan derives almost exclusively from historical sources – namely retrospective chronicles, inscriptions, and changing architectural styles. To date, archaeological excavations have played a limited role in augmenting or challenging this traditional narrative. This is unfortunate, because small scale excavations within Bagan’s peri-urban settlement zone, and within the walled and moated “royal city,” have demonstrated considerable knowledge about the city’s past. This is especially true for the Pre-Bagan phase (600-1044 CE). This presentation documents what we think we know about the time “before Bagan,” using the established sources, and assesses this narrative using information from contemporaneous excavation levels. ပုဂံခေတ်ယဉ်ချေးမှုအခြျာင်းျို သမိုင်းအေေျ်လျ်မေားဖြစ်သည့် အစဉ်အလာရာဇဝင်မှတ်တမ်းမေား၊ ချောျ်စာမေား၊ နှင့် ခဖပာင်းလဲလာေဲ့သည့်ဗိသုျာပုံ စံမေားမှသာလေင် သိြျရသည်။ နှစ်သျ်တမ်း သတ်မှတ်ရန်အတွျ် ခရှးခောင်းသုခတ သနဆိုင်ရာတူးခြာ်ခလ့လာမှုမေားသည်အစဉ်အလာအဆိုအမိန့် မေားျို ခဝြန်စစ်ခဆးရန် (သို့) ဖပင်ဆင်ြျရန် လုံခလာျ်မှုမရှိြျခသးခေေ။ ပုဂံမမို့ရိုး၊ ျေုံးဧရိယာနှင့် မမို့အစွန်အြေ ားခနရာမေားတွင်ခလ့လာေဲ့သည့် အနည်းငယ်မျှခသာ စမ်းသပ်တူးခြာ်ခလ့လာမှုမေားျ ပုဂံမမို့၏အတိတ်ျာလျို သိရှိနိုင်ခစရန် ရုပ်လုံးခြာ်ြပခနြျသည်။ ပုဂံမမို့ဖပမတိုင်မီျာလ (၆၀၀-၁၀၄၄ စီအီး)နှစ်သျ်တမ်းတွျ်ေေျ်မှုအခဖြမေားရရှိေဲ့သည်။ ယေုတင်ဖပမည့် စာတမ်းမှာ ပုဂံခေတ် မတိုင်မီျာလအခြျာင်းအရာမေားျို ခရှးခောင်းသုခတသနပ ညာရပ်ဆိုင်ရာတူးခြာ်မှုရလဒ်မေားနှင့် အစဉ်အလာအဆိုအမိန့်အေေျ်အလျ်မေားျို စစ်ခဆးအသုံးဖပုလေျ် မည်ျဲ့သို့ခတွးခတာသိရှိလာနိုင် ခြျာင်းျို တင်ဖပမည်ဖြစ်ပါသည်။

ARCHITECTURE OF RURAL HOUSES OF CLERGYMEN OF THE 19TH AND EARLY 20TH CENTURIES IN THE MIDDLE VOLGA REGION AND THE SOUTHERN URALS

The article for the fi rst time carried out a comprehensive analysis of the architecture of rural houses of clergymen in the middle Volga region and the Southern Urals in the 19th - early 20th century. The materials of construction, planning, composition and stylistic features of the architecture of these buildings in the region have been studied. Houses made by local carpenters and designed in St. Petersburg are considered. Changes in the architecture of such buildings over time have been revealed. Examples and descriptions of the architecture of diff erent types of wooden houses of clergymen are given. The most detailed complex of buildings at the church of Nicholas the Wonderworker in the village of Epifanovka. The features of the interweaving of “red-brick” and neo-Russian architectural styles in the decoration of the buildings of this complex have been analyzed.

Architektura nowego stylu zakopiańskiego. Odrodzenie stylowe czy popkulturowy kicz i historyczne niezrozumienie?

Abstrakt: Tekst porusza kwestie współczesnego budownictwa inspirowanego stylem zakopiańskim, szukając odpowiedzi na pytanie, czy wykazuje ono właściwe cechy, pozwalające określić je mianem rewiwalizmu historycznych wzorów. Wychodząc od założeń Stanisława Witkiewicza oraz teorii architektonicznego odrodzenia i neowernakularyzmu, artykuł przybliża i analizuje przykłady budowli tzw. nowego stylu zakopiańskiego. Komparatystyka obiektów i teorii estetycznych Witkiewicza w zestawieniu z rozszerzonymi definicjami wernakularyzmu stanowi trzon rozważań o możliwej próbie usytuowania rozwijających się obecnie tendencji stylowych na mapie architektury czerpiącej z dziedzictwa przeszłości. Na podstawie reprezentatywnych przykładów architektury powstałej po roku 2000 poddaje analizie słuszność popkulturowo ukonstytuowanego terminu nowy styl zakopiański. Summary: The text addresses the questions of contemporary architecture inspired by the Zakopane Style, examining whether or not they present the appropriate features that would predispose them to be described as the revivalism of historical patterns. Beginning with the aesthetic writings of Stanisław Witkiewicz and the theory of architectural revival and neo-vernacularism, the article introduces and analyzes examples of the so-called New Zakopane Style. The comparison of selected buildings with Witkiewicz's aesthetic theories, in combination with extended definitions of vernacularism, is the core of considerations about an attempt to situate the currently developing trends on the map of architectural styles drawing from the late 19th century heritage. On the basis of representative examples of architecture created after 2000, the text aims to analyze the validity of the pop-culturally constituted term of the New Zakopane Style.

Aotearoa Architecture Interwoven Abroad

<p>In an era of globalization and technological revolution, concurrent shifts in architectural styles are visually apparent. With endeavors to accommodate globalized cultural diversity, multi-cultural exploration in architecture capitalizes on new innovative construction methods. The architectural outcomes of these cross-cultural modernized, buildings often enough, neglect local culture and local heritage, where the architecture dominates its environment, where foreign customs replace local, and where ‘local identity’ is lost. I have experienced this in my own country, Aotearoa (New Zealand), a nation enriched with Māori culture that is progressively becoming more neglected within its own environment, where foreign influences are replacing, or have little consideration of local culture and the local context. This dishearteningly made me wonder on a global scale, whether different culture’s ‘local identities’ have been neglected and/or replaced by foreign cultures. Within this thought, I hypothetically situated my-self in a foreign context with the aim to establish my own nation’s culture. Now how do I do so without neglecting the local culture and removing a sense of their ‘local identity’? How do I establish a sense of Aotearoa Māori culture abroad, that sympathetically interweaves local and foreign customs with respect to the physical environment and surrounding context? This design-led research aims to establish a cross-cultural theory of architecture that is expressive of two cultures. Exploration of multi-cultural practice within the discipline of architecture will be explored to unify a dialogue between two nation’s traditional architectures, that does not neglect or remove the ‘local identity’ of the local culture.</p>

Aotearoa Architecture Interwoven Abroad

<p>In an era of globalization and technological revolution, concurrent shifts in architectural styles are visually apparent. With endeavors to accommodate globalized cultural diversity, multi-cultural exploration in architecture capitalizes on new innovative construction methods. The architectural outcomes of these cross-cultural modernized, buildings often enough, neglect local culture and local heritage, where the architecture dominates its environment, where foreign customs replace local, and where ‘local identity’ is lost. I have experienced this in my own country, Aotearoa (New Zealand), a nation enriched with Māori culture that is progressively becoming more neglected within its own environment, where foreign influences are replacing, or have little consideration of local culture and the local context. This dishearteningly made me wonder on a global scale, whether different culture’s ‘local identities’ have been neglected and/or replaced by foreign cultures. Within this thought, I hypothetically situated my-self in a foreign context with the aim to establish my own nation’s culture. Now how do I do so without neglecting the local culture and removing a sense of their ‘local identity’? How do I establish a sense of Aotearoa Māori culture abroad, that sympathetically interweaves local and foreign customs with respect to the physical environment and surrounding context? This design-led research aims to establish a cross-cultural theory of architecture that is expressive of two cultures. Exploration of multi-cultural practice within the discipline of architecture will be explored to unify a dialogue between two nation’s traditional architectures, that does not neglect or remove the ‘local identity’ of the local culture.</p>

Public space transformation in the case of “Skopje 2014″

The politics of the post-socialist era, during the transitional period in the Republic of North Macedonia, left dark marks in the city morphology and deeply influenced urban planning. This paper explores the most notable example of this particular trend - the project named “Skopje 2014”. The paper analyses the project’s underlying feature, which can be described as an attempt to recast a national profile, affecting public space and built heritage, without any awareness of the gap between nationalistic theory and the desperate economic realities. In hindsight, the paper argues that, unfortunately, this project was brought to life without any public participation or by taking into consideration the expert-based evaluation. Therefore, many new buildings were built and much more covered in new architectural styles, which led to uncontrolled city growth and a vague makeover of the city.

CULTURAL, ARCHITECTURAL, ‘SENSE OF PLACE’ AND SUFISTIC BELIEFS IN MOSQUE TOURISM CASE STUDY: MASJID AR-RAHMAN, PULAU GAJAH, KELANTAN

The mosque is a sacred important religious symbol for bringing Muslims together as demonstrated during the time of Prophet Muhammad (PBUH). This paper investigates the potential of Masjid Ar-Rahman of Pulau Gajah, Kelantan as a spot for mosque tourism. Although this mosque was constructed in 2016, it has demonstrated a simplicity in its scale and traditional image. It has value as a hybrid assimilation of HinduBuddhist syncretism and tolerance, and has coined the term Nusantara to denote its hybridised Malay and Javanese architectural styles. The typology of this humble Malay Mosque architecture is of medium-scale and reflects the Sufistic contextual value beliefs of encouraging religious and architectural tourism alike. The conceptual framework capitalises on the research gap found in mosque cultural, architectural and Sufistic beliefs. Research by further delving into constructing the “Sense of Place” in relation to the “Sacred Places”. This research employs qualitative methods of interviewing visitors, applying phenomenological and case study approaches supported by architectural documentation in emphasising the symbolic and semiotic aesthetics aspects in constructing the “Sense of Place” bonded by Sufistic symbolic aesthetics. The theory is constructed in the deeply rooted Islamic Mosque architecture via Sufistic beliefs that provides a platform for mosque tourism activities.