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The author sees it appropriate to apply the concept of "tectonics" according to the requirements, imposed on the creation of an artistic image of packages. One should draw an analogy in using of the term "tectonics" in architecture and in the packaging design.The term "tectonics" borrowed from architects is powerfully maintained in the artistic design, although people use it much less in the design than in the architectural design. According to the dictionary-directory "Architecture", the term "tectonics" has several definitions. It refers to the building structure, and to the correlation between supporting structures and features of the materials and the method of distribution of the load on them; it also refers to the principle of the physical structuring of architectural forms depending on the nature of the system design[2, 284]. In our opinion the most appropriate for the design packages, the concept of "tectonics" fits the process of formation packages.Formula that was derived by ancient Roman architect Vitruvius: benefit, reliability, beauty, never better suits to the requirements imposed on packaging design.Set of successfully visualized characteristics, provides more persuasive influence on the consumer than everyday advertising messages. Hence, we get the opportunity to see the process of forming as a powerful and original way of presenting and promoting products on the consumer market. Thus, using the concept of aesthetic-constructive-technological system is logical and appropriate for the understanding the concept of "tectonics" in designing packages. It will clearly define the factors influencing the organization of packaging design work. This has methodological importance.Based on the analysis of existing packages on the market, select and combine them into groups according to the tectonic characteristics. In packaging design tectonics finds its expression through the characteristics of the material, rational design, efficiency and newness, through artistic and graphical visualization of objects in the package, i.e., color, graphical techniques, text and other components.We take into account the tectonic principle as a required item in the design process that serves as additional proof in favor of creating additional classification of the packaging according to tectonic characteristics . It is tectonics structure that confirms the unity of form, design and functionality.In a broad sense, such unity determines the ratio of major and minor elements of the overall composition in any work of art. As it is in architecture, the quality of tectonic solutions is based upon common methodological principles, which ensure the implementation of complex social, technical, technological, environmental, economic, aesthetic, and other requirements. Perfection in the packaging design is achieved by the harmonious combination of structure, by optimal use of the material, by manufacturing technology, its economy (including recycling) and artistic solutions. The study identified four tectonic type of packaging designs: unified, shell, expositional and imaginative types. Each type has its own characteristics and differences, both technical and aesthetic design and visual design. We propose the classification of packaging designs on tectonic features based on the character of creation three-dimensional structure due process of interaction with material goods, which is inside the package.Analysis of samples of packages and division them by tectonic types demonstrates an example of successful solutions for design problems by modifying the functional characteristics due to tectonic features material. One can strengthen the overall impression of the package, by offering to use multiple types of materials simultaneously in a single package, although this is not for each of introduced types.We defined tectonic types of the packages. This will help to predict the future path for the introduction of volumetric-spatial structures. This indicates the dependence of the development of communicative function of the packages on the material-technical base and printing facilities, as well as the level of training of graphic designers. Deeper study of the packaging design mechanism with observing the tectonics of materials and construction will be useful for the creative development and for the project developments.
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The present article shows the political situation in NorthwesternCroatia in the first half of the 13th century, to be more precisely its secondquarter. That period is marked by one of the most fascinating phenomena inthe Continental Croatian culture of the Middle Ages when this part of Croatiaunderwent a true local Renaissance in political, economic and cultural spheres.That happened under the aegis of two most capable leaders, Coloman, the sonof Andrew II and brother to King Bela IV, and Bishop Stephen II of Zagreb,the former royal Chancellor of Andrew II. Although this rise was cut short bythe Tartar invasion of 1241-1242, the little traces that have survived, representa totally new quality in the Croatian medieval culture. That parts of artproduction can be seen not only as quality pieces of art, but also as adocument, hard evidence that can show the strength and the power of thepolitical and economic programs of Coloman and Stephen II.
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The article deals with the examples of a syncretism of thetraditional believes and Christianity in the Middle Ages. There is arepresentation of the bull’s head in the architectural decoration of some ofthe medieval churches (f. i. Svetitskhoveli in Mtskheta, XI c., Georgia;the Holy Cross Cathedral on the Island of Akdamar, X c., Turkey;monasteries of Geghard, XIII c. and Sanain, XII c., Armenia); it isobviously connected with an ancient cult of the bull wide-spread in theMediterranean world from the Neolithic period until modern time.
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The main focus of this article is to provide information about the architectural typology and the construction techniques of Byzantine churches in Berat, Albania. The article discusses the architectural peculiarities of churches in Berat and their possible connections with churches built during the same period in Ohrid in FYROM and several Epirote examples.
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With Bolle’s moving to the Kingdom of Croatia, Central European understanding of neo styles, especially Gothic revival, on whose sources he builds his education, makes a breakthrough. It can be seen in entire Serbia, not only in his personal works in Srem, but also on neo-gothic buildings across Vojvodina. Besides architectural works, Bole’s work made a contribution to applied art as well by Craft school in Zagreb, from whose workshops numerous works for furnishing churches and monuments expired. Especially in this works it can be seen that Bole did not remain immune to the influences of new stylistic tendencies, like secessionist ones, which became popular at the end of the 20th and the beginning of the 21st century. Despite being present, secession had never gained a place of specific importance in Bole’s opus, so he remains an architect in whose architectural works historical styles dominate. The fact that every single work of his is on the list of Republic Institute for Protection of Cultural Monuments further demonstrates the importance of works that Bole left in the territory of Serbia, whether by restorations or by buildings that are entirely built according to his projects. The monastery Grgeteg as a single unit with other monasteries of Fruška Gora is one of the cultural heritages. Church of St. Stefan (Dimitrija) in Sremska Mitrovica, St. Mihail in Erdevik, the Descent of Holi Spirit in Ruma and the pilgrimage church of Our Lady of the Snow in Tekije are cultural monuments of high importance, while the cross of Prince Eugene Savojski on Vezirac near Petrovaradin has a status of an immovable cultural property, that is to say, place of the key importance.
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Organizers: National Heritage Institute, Central Office in Prague; National Heritage Institute, territorial expert office in Josefov; Hradec Králové Region - Krajský Office of the Hradec Králové Region; Trutnov Town - Trutnov Municipal Office; Village Horní Maršov; Administration of the Giant Mountains National Park; A cheerful trip. Date and place: 12.-14. September 2012, Horní Maršov
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Sjećam se kako smo u doba teološkoga studija (pedesetih godina prošloga stoljeća) živjeli u skučenim prostorima i razgovarali o tome kako je prethodnome naraštaju studenata bilo lijepo u prostranim prostorima novoga samostana na Kovačićima. Spominjali smo to znajući kako nema ni pomisli o povratku na Kovačiće kao ni o gradnji nove zgrade za Bogosloviju. Povećani priljev novih kandidata 1961. godine primorao je Provincijsku upravu na razmišljanje gdje ih i kako smjestiti. Prva pomisao bijaše pronaći u gradu zgradu za provincijalat i tako u Bogosloviji (smještenoj u samostanu sv. Ante na Bistriku) dobiti tri velike prostorije za studente. Prijedlog je prihvaćen, ali se pokazalo kako to nije cjelovito rješenje. Naime, i tako povećan prostor ne bijašeni izdaleka dostatan za povećan broj studenata. Zbog toga je odlučeno: tražiti zgradu za provincijalat, a istodobno u Visokom, u sjemenišnoj zgradi, smjestiti studente prvoga godišta teologije, što je i učinjeno.
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The impetus to take up this subject are three organ galleries, which exist to this day in church in Binarowa. is disquisition attempts to resolve this question. is article is about Catholics in Binarowa and their ways of nding them- selves in 1st half of XVII century in a village, which was managed by Calvinist tenantry. e village, founded by the king Casimir III the Great, was inhabited by German settlers, so the Reformation di used easily. e chapel “for polish sermons“, built next to the Corpus Christi Church in Biecz, was stimulus to similar actions in Binarowa. Originally, for this reason, prepared vestry for the purposes of cult. Inside built organ gallery for congregation. Probably in 20s of XVII w., the chapel also with organ gallery was added to existing church. In 1634 it was took over by Fraternity of St. Guardian Angels and to this day it is called ‘Chapel of Guardian Angels’. Original organ gallery raises up in the nave of the church, over the western entrance.
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Catholics have settled in the north part of the Szczytno district since the beginning of the 19th century. In the 1860s, the number of Catholics who lived in Pasym and surrounding areas was 500. The first Catholic religious service in the town was conducted in 1862 by the parish priest of Purda Wielka, Joseph Osinski. In 1868, Rudolph Steffen was appointed for the vicar of Pasym. He celebrated Masses in a small oratory. A year later, it was decided that funds would be raised for the construction of a church, whose area would be sufficient for the increasing number of the Catholic population. In 1873, sketches of the church were prepared by Matthias Toffel, a master builder. Most of the foundations were laid that year. A year later, walls were erected for the height of 10 feet. The foundation stone was blessed on 28th September 1874. With the agreement of the diocese authorities, the church was blessed by Rudolph Steffen on 8th December 1876. The church was dedicated to the Most Sacred Heart of Jesus on 22nd June 1884 by the Bishop of Warmia, Filip Krementz. The costs of the construction amounted to 75,000 marks. It was financed by voluntary contributions collected in the whole area of Germany, as well as from the funds of Church organisations, particularly the Boniface and Adalbert Association. However, the construction debt had to be paid for many years afterwards.
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A large decorative tile stolen from a medieval mausoleum will be going home, thanks to an Oxford scholar and the British Museum.
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Arhitektonski oblik najdrevnijeg pozorišta nerazlučivi je deo (antičkog) pejzaža označenog izdankom flore, kao što je njegova suština u jezgru mediteranske dijalektike: „prazan prostor” obrednog, svetog mesta, Polikletove orhestre u Epidaurusu, scena-kutija iz Serlijeve Arhitekture, i svi ostali tlocrti koji iz ovih najrasprostranjenijih formi proizilaze. Knjiga, ali i pozornica, poput beskonačnog svetskog arhiva sadrži sve: čoveka kao meru svih stvari, ali i Prokrustovu postelju, Orfeja i Sizifa, lavirint i ogledalo, božanstva i faunu, školjku i raskrsnicu („kružnu raskrsnicu” kako španski pesnik naziva otvor gitare ugođene za svaki zvuk). Na tim pozornicama je već odigrana cela istorija sveta natkriljena poezijom, upravo kako je Aristotel predvideo.
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Rat u Bosni ostavio je za sobom veliku pustoš. Pored užasnih brojki nestalih ljudskih života, pored gubitaka tjelesnog i duševnog zdravija, beskrajnih ponižavanja i patnja, pored golemog uništenja našeg nepokretnog i pokretnog imetka, on je velikom dijelu našeg naroda, barem privremeno, oduzeo i zavičaj, protjerao ga iz rodnoga kraja. Čitavo to stradanje odrazilo se i na Crkvu. Deseci župnih i područnih crkava sravnjeni su sa zemljom, drugi deseci pretrpjeli su tako teška oštećenja da su od njih ostali samo razdrmani zidovi, za koje ne znamo hoće li se ikad više moći upotrijebiti. Velik broj crkava bio je, barem u nekoj mjeri, ozlijeđen, opljačkan, oskvrnut, ostao bez svojih oltara, kipova, reljefa i slika, vitraja, orgulja, klupa, zvona, crkvenog ruha i odijela te svetog posuđa. Ovo je pustošenje u sličnoj mjeri zadesilo i župne stanove, učionice, pastoralna središta i pripadne gospodarske zgrade s njihovim inventarom. U Bosni smo donedavno bili ponosni na to koliko se lijepih zgrada s kvalitetnom opremom, vrijednom milijune maraka, izgradilo u vremenu nakon II. Svjetskog rata, točnije tijekom zadnjih tridesetak godina: u ovom vremenu Bosna je donekle prednjačila drugim hrvatskim pokrajinama.
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The article concerns with still not well-known part of the artistic work of Zdzisław Beksiński (a famous photographer, painter and graphic designer). In the 1960s the artist was occupied with literature as well. He wrote short prose which reflected many modern literary fashions and trends, and even anticipated some of them. In his literary works Beksiński was especially influenced by the suggestive aesthetics of the onirism, geometric architecture, and anti-Utopian novels. Sometimes, his narration refers to modern pop culture: the technique of film or the convention of comic strips; what is more, he applies the style of commercials and propaganda slogans. The artist from Sanokalso adored writing different variations of the same story which let him play with various genres and plots. But, whatever he did, it was all about the construction, the form. His literary texts record their narrator’s consciousness in a minimalist way, without any traditional literary frills. Therefore Beksiński unconsciously realized the idea postulated at the same time by Cortázar: each prose work should not be a “sum”, but rather a kind of “difference”. This prose substantially complements our knowledge of the whole art of Beksiński, a natural genius, and remains another alternative part of his creative activities.
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Old factories lure and disturb. They have been transformed into museums, galleries, cafes, meadows, tourist paths, golf courses, lofts, sports and cultural areas, and finally abandoned and lost in space industrial architecture. Dawne fabryki wabią i niepokoją. Uległy transformacji, stając się muzeum, galerią, kawiarnią, łąką, ścieżką na trasie turystycznej, polami golfowymi, loftami, terenem aktywności sportowej i kulturalnej, wreszcie opuszczoną i zagubioną w przestrzeni architekturą przemysłową.
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Watching postcards of the Upper Silesia from the early decades of the 20th century, we can’t help a sigh of nostalgia for what has gone. Beautiful tenement houses, neat parks and squares, wide streets and busy industrial plants – all that composed with piety and attention to detail. Oglądając górnośląskie pocztówki z pierwszych dekad XX wieku, wzdychamy z nostalgią za tym, co odeszło. Przepiękne kamienice, uporządkowane parki i skwery, szerokie ulice i tętniące pracą zakłady przemysłowe. A wszystko skomponowane z pietyzmem i dbałością o szczegóły.
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While writing this article, the author was inspired by “Między chwilą a pięknem. O sztuce w rozpędzonym świecie” by Zygmunt Bauman. Following Baumanian diagnosis of the contemporary art we are faced with the condition of our contemporary world. The main feature we can observe in both areas seems to be their ‘liquidity’. In this liquid context the author of the article focuses on contemporary architecture, which was omitted by Zygmunt Bauman. It appears that the most fixed, palpable and sturdy type of art also may assume a kind of liquid form – as in the case of so called ‘folding’, ‘downy’, or ‘pleated’ architecture proposed by Bernard Tschumi or Peter Eisenman who are strongly inspired by philosophical thoughts of Friedrich Nietzsche, Gilles Deleuze, or Jacques Derrida.
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The paper analyzes the problem of synthesis of traditional and modern using examples of selected architectural solutions of the academician Zlatko Ugljen. It explores the way in which the author recontextualizes universal values of traditional architecture to form spaces of contemporary visual identity. The idea of building on continuity is constant. It is present from the beginning in the early finished and preliminary projects, as well as in the recent architectural solutions. The language of modern and contemporary architecture is dominant in architectural solutions, such as the hotel Rose in Mostar and Šerefudin White Mosque in Visoko. The poetics of modernism and postmodernism is enriched with emotional note, which is recognized as a reminiscence of the traditional forms. Through a comparison with contemporary trends in world architecture, the work of the author is put in a wider context. Special attention is dedicated to the author’s recent projects (Administrative building of Riyaset in Sarajevo, project of revitalization of the White Bastion in Sarajevo), where modern architectural forms have been successfully interpolated in the existing multilayered urban structure. The aim is to highlight the importance of this approach in architecture and the ability to create humanized space by reinterpretation of traditional forms with contemporary architectural vocabulary.
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The system of foundation plays an important role and a function in ensuring social and national solidarity in Turkish society in the lifetime of more than six hundred years of the Ottoman Empire. Since public works, education and culture, health and welfare services of the Ottoman settlements were met largely by foundations. In this context, in almost all cities of the Ottoman Empire the works of the foundations that were built by Ottoman statesmen and benevolent citizens can be found. Among the cities of Ottoman, Istanbul has several military, civil and religious works as it was the capital of the State for many years A portion of these works have survived resisting for many years. These structures are subjected to different studies from historical, architectural and cultural aspects. One of the historic structures that has survived from the Ottoman Empire in Istanbul is Mahmud Ağa Mosque. The work was built by Suleiman the Magnificent’s Babüssaade, Mahmûd Ağa, it is also referred to as a work of Architect Sinan. The mosque is still open to worship in Sutluce District- Damar Street in Istanbul. The mosque is not much known as paled in comparison with other works of Architect Sinan in Istanbul, and there is not much information and document about it. In this study, it was aimed to give an information about this less known work of Architect Sinan and the founder of the mosque's foundation with the existing knowledge and the data contained in the book belonging to the year Hijri 1020 (1611 A.D.) of Mahmud Ağa Mosque. Since, there has been no other foundation books than the examined one found about the mosque and its builder in the document scanning of Ottoman Archives in Prime Ministry. The emergence of new documents in the following years will contribute to the subject.
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In this study, with the understanding of the value of Kastamonu mansions in terms of tourism, it has been investigated to what extent the tourism potential of the mansions in Kastamonu can be transformed into reality. In order to be able to answer the research questions, the four open questions prepared by the interview technique structured to nine host owners or their heirs in Şeyh Şaban-ı Veli Street in Kastamonu have been directed. The data have been collected by face-to-face in-depth interview technique. Collected data has been analyzed by content analysis method. As a result of the research, it was found that the participants who were interviewed did not have the necessary resources, more than half had knowledge of the institutions and institutions providing the fund and support in a possible change of function, but did not want to turn it into a touristic commercial operation.
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