Suchergebnisse

In this article, a brief look at the history of ancient Iranian art before Islam, its characteristics during the Parthian rule, and the study of the monuments left over from that period, especially the palaces and the influence of ancient Greek architecture on them. Parthian period, due to the succession of the Seleucids, the Greek and Iranian domination over the Greek culture and architecture were widespread in Iran, one of the most important periods of the history of Iran. The Parthian era culture is a culture that tries to dominate the remains of Greek civilization and culture to bring Iran to re-establish. Parthian win this battle and inspiring inventions and innovations of the Sassanid civilization and Islamic culture of Iran. Overall, what is interesting is the dramatic Parthian architecture are among the Porticoes wide open courtyard surrounded by columns attached to the wall. Plaster Vonda colored object of interesting architectural elements farthest era of special features. The use of materials and the use of adobe bricks with mortar gained sharply. Perhaps one of the advantages of this new material, creating massive arch of the dome is first and then create a new architectural style were the architects of the Sassanid indebted. City maps with Hypoderm been carried out in some cities. But the main feature of the Parthian city circular design in cities such as Marv, Ctesiphon and Hart seen.

Abstract
Ayvalık town is a traditional and urban formation that is of the outcome of centuries of optimization of material use, construction techniques and climate considerations, that the traces of the Greek architecture is seen. In this study, traditional building designs having various typology is evaluated. It is concerned with the layout of the buildings (orientation, climate, aspect ratio). This study is concerned with the layout of the buildings, such as building orientation, climate, aspect ratio, the proximity of houses (site planning), the air movement, the size-position of building openings, and the building facade (walls, construction materials, thickness, roof construction detailing).
This paper evaluates specific vernacular dwelling types and their response to climate, based on passive design principles that could be adapted to current architectural practice in the area, in order to optimize the relationship between site, building and climate, in Ayvalık.

The prime minister of Greece discusses the causes, dimensions, character, and contributing factors to the current global financial turmoil and points to lessons to be learned from the crisis in his own country. The essay underscores the potential consequences of inattention to emerging threats to financial stability, and warns that no economy is too small to have huge implications for broader economic stability. The author offers concrete recommendations for a new, transparent, and global financial architecture.

This seal features a monogram of a personal name at the center, enclosed by a circle. The monogram is formed by five or six Greek letters arranged in the shape of a cross. Three crosses with flared arms are incised in the interstitial areas of the design. These crosses are incised at a shallower depth than the monogram, meaning that the impression would result in a monogram in higher relief and the crosses in lower relief. The design of the seal is in reverse, so when it was pressed into wax, it would leave behind a positive relief impression of the design in the correct rotation, so as to be legible. The back of the seal is equipped with a small ring that would allow the seal to be worn on a chain or strap for ease of access while carrying it. This would imply to us that the seal would have been used multiple times, therefore needing a method to access it easily throughout their daily life. We can estimate that this seal was worn at the side of the owner's body, or at their chest with the chain or strap going around their neck. In the Byzantine era, seals such as this were usually used for high ranking officials or government workers who would need to attach their names to official documents. Seals were not just used to sign documents, but were also used for locking household items and securing personal property. In the Late Roman period, wax seals might be enclosed within seal-boxes that secured cords around the item that needed to be locked. A broken seal would indicate the the item had been opened. While the name on this seal has not yet been deciphered, we can recognize letters that would suggest it was for a man. Its unusually large size and portability may suggest that it could have emphasized the masculinity of a male owner and the status that he would have. Sources Consulted Alexis Castor, "Etruscan Jewelry and Identity," in A Companion to the Etruscans, eds. Sinclair Bell, and Alexandra A. Carpino (Malden, MA: Wiley, 2016), 275–292. Gary Vikan and John Nesbitt, Security in Byzantium: Locking, Sealing, and Weighing (Washington, DC: Dumbarton Oaks, 1980). Fred Pardue ('24) for ARHS 110 Introduction to Western Art (Spring 2021). ; https://digital.kenyon.edu/arthistorystudycollection/2286/thumbnail.jpg

European culture is rooted in Greek art, philosophy, drama, architecture, & other domains of human activity. These domains shaped European thought & provided the foundation for modern science & technology. The empires of the Middle East at the time were not the models for European culture, because they did not support freedom or equality, the two bases for democracy. The sense of freedom & equality in Greek politics, religion, & moral life motivated learning & critical thinking, leading to science. Many instances of Greek culture in contemporary Europe illustrate. Adapted from the source document.

The intersections between traditional and modern culture and the current the ""network society"" produce hybrids and heterogeneity. What will eventually survive defines the prospect of architectural evolution and architectural heritage to ensuing generations. Greek rural architecture presents architectural elements distinct even between neighboring settlements documenting the evolution of the phenomenon. Heterogeneity reflects diversity that exists in time and space and demands respect from current culture and values. Contemporary Greek culture is rooted and continues to elaborate the cultural intersection between East and West. The diversity of architectural heritage in settlements created before 1923 (chronology of the constitution of the contemporary Greek territory) is an irreplaceable source of spiritual and intellectual richness for study. In every micro-region is recorded a spectacular variety of rural architectural elements originated from a specific historical period and culture. Indeed in most cases, where due to a crisis (earthquake or other) the interval of history is clearly perceived, there is visible appearance of the diverse phases of heterogeneity and hybrids survival. Architectural heritage is constructed in historical periods of the past and as it was decided, it should be conserved by virtue of a particular legislative framework implemented in Europe since 1985 and applied by Public authorities. Some architectural representations with a particular beginning, duration and end (such as neo-classicism) constitute architectural heritage and are consequently governed by the legislation of architectural heritage conservation. Nonetheless, (re)constructions and neo-traditional representations - just for tourism consumption - do not constitute architectural heritage but an image making, a new simulacrum. For now simulacra deconstructs the intentions of the in-set culture (tourism) in rural areas and in this sense reflects the defense of a society to an invasion. The hybrids and what will evolve in future time perhaps will constitute architectural heritage. In the etymological sense of architectural heritage, however, the representations and (re)constructions - with all the deconstructing hybridity - are an architectural product that will be transferred to the coming generations and their duration and end are to determine whether they will be fertile or sterile chapters of the history of architecture.

Orthodox architecture: honoring the past -- St. Katherine Ukrainian Orthodox Church -- St. Matthew Orthodox Church -- Holy Virgin Cathedral -- Annunciation Greek Orthodox Church -- St. Vladimir's Seminary and New Skete Monastery -- Joy of All Who Sorrow Orthodox Church (Joy) Mission

While the established histories of architectural theory generally focus upon the discourse produced by eminent architects and/or famous scholars, there is another counter-discourse that has developed gradually in the background. This is a discourse against architectural theory, in an effort to undermine theory's importance, even to eliminate its value, scope and use altogether. Yet this implicit anti-theory – which has slowly but steadily become embedded in the international architectural scene over the last decades – is usually ignored or underestimated by architectural historians.Drawing upon the recent literature on populism (e.g. Arditi, Moffitt, Taggart, Laclau), and also taking into consideration the few, but valuable, recent texts about populism within architecture (e.g. Fausch, Fowler, Shamiyeh, Lootsma), I will argue that a populist trend against theoretical inquiry is nowadays dispersed horizontally, thereby legitimizing particular, even if diverging, research methods and design practices. The fight against intellectualism and the elites, the promoting of a new sense of architectural 'morality', the use of simplistic procedures, forms and slogans, are among the many symptoms of a populist mentality that traverses ideological boundaries, social contexts and conflicting political identities, linking dreams of radical communal utopias to fantasies of limitless post-capitalist markets.This essay discusses in particular the ways in which such a counter-theoretical discourse has re-emerged in the last decades among architects in Greece. By examining the publications about twentieth-century Greek architects (notably Dimitris Pikionis and Aris Konstantinidis), as well as looking at the informal talks and interviews being spread today through the internet (such as greekarchitects.gr on the Vimeo channel), I will comment on how, in the case of Greece, a long established populist architectural rhetoric was, and still is, disguised behind various anti-theoretical façades.

The phenomenon that has intensively been recorded in contemporary Greek urban reality is the observed deviation between built urban environment and the process of teaching urban planning in universities. The particularities of local architecture, products of the effort of adapting the peculiar urban landscape combined with the existing climatic conditions, are often ignored in order to create impressive elements (most times copies of international corresponding) aiming at superficial impressions than to function and duration. "Impression of the moment "often restricts urban formations to smoothly integrate within existing urban terrain and prohibits project to adequately adjust the existing environmental conditions. As soon as young students from architectural schools begin their profession as licensed architects, they realise the amount of legislative restrictions they have to face in order to adjust their practices to contemporary Greek urban status. Consequently, they are "trapped" between inspiration and reality. Our paper aims to reveal the way traditional urban design, as developed through years of adaptive function, operates in local urban tissues (Greek islands, town centres etc.) and how new projects have failed to adjust its qualities, neglecting to take into active consideration the existing reality. In light of the research, a few important conclusions have been reached as to propose ways of connecting theory with practice in Greek urban reality.