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THE AMERICAN UNIVERSITY in CAIRO School of Humanities And
1 THE AMERICAN UNIVERSITY IN CAIRO School of Humanities and Social Sciences Department of Arab and Islamic Civilizations Islamic Art and Architecture A thesis on the subject of Revival of Mamluk Architecture in the 19th & 20th centuries by Laila Kamal Marei under the supervision of Dr. Bernard O’Kane 2 Dedications and Acknowledgments I would like to dedicate this thesis for my late father; I hope I am making you proud. I am sure you would have enjoyed this field of study as much as I do. I would also like to dedicate this for my mother, whose endless support allowed me to pursue a field of study that I love. Thank you for listening to my complains and proofreads from day one. Thank you for your patience, understanding and endless love. I am forever, indebted to you. I would like to thank my family and friends whose interest in the field and questions pushed me to find out more. Aziz, my brother, thank you for your questions and criticism, they only pushed me to be better at something I love to do. Zeina, we will explore this world of architecture together some day, thank you for listening and asking questions that only pushed me forward I love you. Alya’a and the Friday morning tours, best mornings of my adult life. Iman, thank you for listening to me ranting and complaining when I thought I’d never finish, thank you for pushing me. Salma, with me every step of the way, thank you for encouraging me always. Adham abu-elenin, thank you for your time and photography. -
Discover the Styles and Techniques of French Master Carvers and Gilders
LOUIS STYLE rench rames F 1610–1792F SEPTEMBER 15, 2015–JANUARY 3, 2016 What makes a frame French? Discover the styles and techniques of French master carvers and gilders. This magnificent frame, a work of art in its own right, weighing 297 pounds, exemplifies French style under Louis XV (reigned 1723–1774). Fashioned by an unknown designer, perhaps after designs by Juste-Aurèle Meissonnier (French, 1695–1750), and several specialist craftsmen in Paris about 1740, it was commissioned by Gabriel Bernard de Rieux, a powerful French legal official, to accentuate his exceptionally large pastel portrait and its heavy sheet of protective glass. On this grand scale, the sweeping contours and luxuriously carved ornaments in the corners and at the center of each side achieve the thrilling effect of sculpture. At the top, a spectacular cartouche between festoons of flowers surmounted by a plume of foliage contains attributes symbolizing the fair judgment of the sitter: justice (represented by a scale and a book of laws) and prudence (a snake and a mirror). PA.205 The J. Paul Getty Museum © 2015 J. Paul Getty Trust LOUIS STYLE rench rames F 1610–1792F Frames are essential to the presentation of paintings. They protect the image and permit its attachment to the wall. Through the powerful combination of form and finish, frames profoundly enhance (or detract) from a painting’s visual impact. The early 1600s through the 1700s was a golden age for frame making in Paris during which functional surrounds for paintings became expressions of artistry, innovation, taste, and wealth. The primary stylistic trendsetter was the sovereign, whose desire for increas- ingly opulent forms of display spurred the creative Fig. -
The Two-Piece Corinthian Capital and the Working Practice of Greek and Roman Masons
The two-piece Corinthian capital and the working practice of Greek and Roman masons Seth G. Bernard This paper is a first attempt to understand a particular feature of the Corinthian order: the fashioning of a single capital out of two separate blocks of stone (fig. 1).1 This is a detail of a detail, a single element of one of the most richly decorated of all Classical architec- tural orders. Indeed, the Corinthian order and the capitals in particular have been a mod- ern topic of interest since Palladio, which is to say, for a very long time. Already prior to the Second World War, Luigi Crema (1938) sug- gested the utility of the creation of a scholarly corpus of capitals in the Greco-Roman Mediter- ranean, and especially since the 1970s, the out- flow of scholarly articles and monographs on the subject has continued without pause. The basis for the majority of this work has beenformal criteria: discussion of the Corinthian capital has restedabove all onstyle and carving technique, on the mathematical proportional relationships of the capital’s design, and on analysis of the various carved components. Much of this work carries on the tradition of the Italian art critic Giovanni Morelli whereby a class of object may be reduced to an aggregation of details and elements of Fig. 1: A two-piece Corinthian capital. which, once collected and sorted, can help to de- Flavian period repairs to structures related to termine workshop attributions, regional varia- it on the west side of the Forum in Rome, tions,and ultimatelychronological progressions.2 second half of the first century CE (photo by author). -
Illumination Underfoot the Design Origins of Mamluk Carpets by Peter Samsel
Illumination Underfoot The Design Origins of Mamluk Carpets by Peter Samsel Sophia: The Journal of Traditional Studies 10:2 (2004), pp.135-61. Mamluk carpets, woven in Cairo during the period of Mamluk rule, are widely considered to be the most exquisitely beautiful carpets ever created; they are also perhaps the most enigmatic and mysterious. Characterized by an intricate play of geometrical forms, woven from a limited but shimmering palette of colors, they are utterly unique in design and near perfect in execution.1 The question of the origin of their design and occasion of their manufacture has been a source of considerable, if inconclusive, speculation among carpet scholars;2 in what follows, we explore the outstanding issues surrounding these carpets, as well as possible sources of inspiration for their design aesthetic. Character and Materials The lustrous wool used in Mamluk carpets is of remarkably high quality, and is distinct from that of other known Egyptian textiles, whether earlier Coptic textiles or garments woven of wool from the Fayyum.3 The manner in which the wool is spun, however – “S” spun, rather than “Z” spun – is unique to Egypt and certain parts of North Africa.4,5 The carpets are knotted using the asymmetrical Persian knot, rather than the symmetrical Turkish knot or the Spanish single warp knot.6,7,8 The technical consistency and quality of weaving is exceptionally high, more so perhaps than any carpet group prior to mechanized carpet production. In particular, the knot counts in the warp and weft directions maintain a 1:1 proportion with a high degree of regularity, enabling the formation of polygonal shapes that are the most characteristic basis of Mamluk carpet design.9 The red dye used in Mamluk carpets is also unusual: lac, an insect dye most likely imported from India, is employed, rather than the madder dye used in most other carpet groups.10,11 Despite the high degree of technical sophistication, most Mamluks are woven from just three colors: crimson, medium blue and emerald green. -
The Five Orders of Architecture
BY GìAGOMO F5ARe)ZZji OF 2o ^0 THE FIVE ORDERS OF AECHITECTURE BY GIACOMO BAROZZI OF TIGNOLA TRANSLATED BY TOMMASO JUGLARIS and WARREN LOCKE CorYRIGHT, 1889 GEHY CENTER UK^^i Digitized by the Internet Archive in 2013 http://archive.org/details/fiveordersofarchOOvign A SKETCH OF THE LIFE OF GIACOMO BAEOZZI OF TIGNOLA. Giacomo Barozzi was born on the 1st of October, 1507, in Vignola, near Modena, Italy. He was orphaned at an early age. His mother's family, seeing his talents, sent him to an art school in Bologna, where he distinguished himself in drawing and by the invention of a method of perspective. To perfect himself in his art he went to Eome, studying and measuring all the ancient monuments there. For this achievement he received the honors of the Academy of Architecture in Eome, then under the direction of Marcello Cervini, afterward Pope. In 1537 he went to France with Abbé Primaticcio, who was in the service of Francis I. Barozzi was presented to this magnificent monarch and received a commission to build a palace, which, however, on account of war, was not built. At this time he de- signed the plan and perspective of Fontainebleau castle, a room of which was decorated by Primaticcio. He also reproduced in metal, with his own hands, several antique statues. Called back to Bologna by Count Pepoli, president of St. Petronio, he was given charge of the construction of that cathedral until 1550. During this time he designed many GIACOMO BAROZZr OF VIGNOLA. 3 other buildings, among which we name the palace of Count Isolani in Minerbio, the porch and front of the custom house, and the completion of the locks of the canal to Bologna. -
Wspó£Czesne Metody Opracowania Baz Danych
Pawlicki, B. M., Czechowicz, J., Drabowski, M. (2001). Modern methods of data processing of old historical structure for the needs of the Polish Information System About Monuments following the example of Cracow in Cultural Heritage Protection. In: D. Kereković, E. Nowak (ed.). GIS Polonia 2001. Hrvatski Informatički Zbor – GIS Forum, Croatia, 367-378. MODERN METHODS OF DATA PROCESSING OF OLD HISTORICAL STRUCTURE FOR THE NEEEDS OF THE POLISH INFORMATION SYSTEM ABOUT MONUMENTS FOLLOWING THE EXAMPLE OF CRACOW IN CULTURAL HERITAGE PROTECTION Bonawentura Maciej PAWLICKI Jacek CZECHOWICZ Mieczysław DRABOWSKI Politechnika Krakowska Cracow University Of Technology Cracow University of Technology, Institute of History of Architecture and Monuments Preservation, Center of Education and Research in the Range of Application of Informatic Systems, Cracow ABSTRACT Presented works were made from 1999 to 2001 years in the Division of Conservatory Studies and Researches, of the Institute of History of Architecture and Monument Preservation - Faculty of Architecture of the Cracow University of Technology. The software, methods and models of the data base systems were laboratory experimented in the Computer Information Systems Center of the Cracow University of Technology. The works (laboratories, terain exercises and student practises) which have been doing so far, concerned of geodesy-cataloguing registration and using computer technology give an optimal possibilities of monitoring of the historical environment for preservation of the cultural heritage. The data used in computer modelling make applying of multiply materials as a basis of data warehouse, among other: geodesy foundations, their newest actualisation, digital camera photography’s and space visualisations. In works students used following graphical programs: GIS, 3D Studio Max, AutoCAD – Architectural Desktop, ArchiCAD 6.5, Adobe Photo Shop, Land Development, Corel Draw, Picture Publisher. -
‐ Classicism of Mies -‐
- Classicism of Mies - Attachment Student: Oguzhan Atrek St. no.: 4108671 Studio: Explore Lab Arch. mentor: Robert Nottrot Research mentor: Peter Koorstra Tech. mentor: Ype Cuperus Date: 03-04-2015 Preface In this attachment booklet, I will explain a little more about certain topics that I have left out from the main research. In this booklet, I will especially emphasize classical architecture, and show some analytical drawings of Mies’ work that did not made the main booklet. 2 Index 1. Classical architecture………………..………………………………………………………. 4 1.1 . Taxis…………..………………………………………………………………………………….. 5 1.2 . Genera…………..……………………………………………………………………………….. 7 1.3 . Symmetry…………..…………………………………………………………………………... 12 2. Case studies…………………………..……………………………………………...…………... 16 2.1 . Mies van der Rohe…………………………………………………………………………... 17 2.2 . Palladio………………………………………………………………………………………….. 23 2.3 . Ancient Greek temple……………………………………………………………………… 29 3 1. Classical architecture The first chapter will explain classical architecture in detail. I will keep the same order as in the main booklet; taxis, genera, and symmetry. Fig. 1. Overview of classical architecture Source: own image 4 1.1. Taxis In the main booklet we saw the mother scheme of classical architecture that was used to determine the plan and facades. Fig. 2. Mother scheme Source: own image. However, this scheme is only a point of departure. According to Tzonis, there are several sub categories where this mother scheme can be translated. Fig. 3. Deletion of parts Source: own image into into into Fig. 4. Fusion of parts Source: own image 5 Fig. 5. Addition of parts Source: own image into Fig. 6. Substitution of parts Source: own image Into Fig. 7. Translation of the Cesariano mother formula Source: own image 6 1.2. -
Development of Form Making of Door Knockers in Italy in the Xv-Xvii Centuries
Man In India, 96 (12) : 5677-5697 © Serials Publications DEVELOPMENT OF FORM MAKING OF DOOR KNOCKERS IN ITALY IN THE XV-XVII CENTURIES Tatiana Evgenievna Trofimova* Abstract: Decorative art items - door knockers - combine practical and esthetic features. At the same time they are a part of everyday and art culture, and can tell much about the ideology, lifestyle of the society, and the level of the artistic crafts development at the time when they were created. The goal of this research is to study the role and purpose of door knockers in the Italian culture of the XV-XVII centuries, to research door knockers that continue decorating doors of various Italian cities and towns, to study in details Italian door knockers of the golden age of the bronze-casting art through the samples from the Hermitage in Saint-Petersburg. For this research it was necessary to solve the following tasks: to put the generalized illustrative material in the historical succession, to consider form making of door knockers in accordance with the architectural styles, and symbolic meaning, to define characteristic features of the artistic expression, to reveal regularities in form making and decorating of door knockers, as well as to study and describe samples from the Hermitage in Saint-Petersburg as the best examples of Italian door knockers of the XV-XVII centuries. The following methods were used during the research: - References and analytical: reproduction of the general picture of the development of various forms of door knockers, searching for and systematization -
Acanthus a Stylized Leaf Pattern Used to Decorate Corinthian Or
Historical and Architectural Elements Represented in the Weld County Court House The Weld County Court House blends a wide variety of historical and architectural elements. Words such as metope, dentil or frieze might only be familiar to those in the architectural field; however, this glossary will assist the rest of us to more fully comprehend the design components used throughout the building and where examples can be found. Without Mr. Bowman’s records, we can only guess at the interpretations of the more interesting symbols used at the entrances of the courtrooms and surrounding each of the clocks in Divisions 3 and 1. A stylized leaf pattern used to decorate Acanthus Corinthian or Composite capitals. They also are used in friezes and modillions and can be found in classical Greek and Roman architecture. Amphora A form of Greek pottery that appears on pediments above doorways. Examples of the use of amphora in the Court House are in Division 1 on the fourth floor. Atrium Inner court of a Roman-style building. A top-lit covered opening rising through all stories of a building. Arcade A series of arches on pillars. In the Middle Ages, the arches were ornamentally applied to walls. Arcades would have housed statues in Roman or Greek buildings. A row of small posts that support the upper Balustrade railing, joined by a handrail, serving as an enclosure for balconies, terraces, etc. Examples in the Court House include the area over the staircase leading to the second floor and surrounding the atria on the third and fourth floors. -
Abacus the Uppermost Member of a Capital
FINAL CRA SUBMITTAL GLOSSARY Arcade (fig. g.1) A series of arches supported on piers or columns and attached or detached from the wall. Americans with Disabilities Act (ADA) (fig. g.2) Law prohibiting discrimination to persons with disabilities, by requiring, among other things, that places generally open to the public, such as restaurants and hotels is made accessible. Special rules apply to historic buildings and facilities. Balloon Framing A method of wood frame construction, referring to the skeletal framework of a building. Studs or uprights run from sills to eaves, and horizontal bracing members are nailed to them. Balustrade A series of balusters with a top and bottom rail. Bracket A decorative support element located under eaves or overhangs. Base Flood Elevation The computed elevation to which floodwater is anticipated to rise during the base flood. Base Flood Elevations (BFEs) are shown on Flood Insurance Rate Maps (FIRMs) and on the flood profiles. CRA Design Guidelines Glossary Glossary Page 1 FINAL CRA SUBMITTAL Bay The division of a face of a building, defined by structural spacing, window, and door openings. Beltcourse A flat, horizontal member of relatively slight projection, marking the division in a wall plane. Belvedere (fig. g.3) A rooftop pavilion that affords a view of the landscape or waterscape (see also Roof Deck and Widow’s Walk). Braced Frame A wooden structural system, consisting of heavy corner posts and heavy horizontal timbers and light, closely spaced studs, nailed between the horizontal timbers. Building Envelope-planning (fig.g.4) The building envelope is the remaining volume of space where a principle structure may built after setbacks, height limits, and view corridors are subtracted. -
Ornament and European Modernism: from Art Practice to Art History
Ornament and European Modernism: from art practice to art history Review of: Ornament and European Modernism. From Art Practice to Art History, by Loretta Vandi (ed.), New York and London: Routledge, 2018, 198 pp., 38 colour & b/w illus. £110,00, ISBN: 978-1-138-74340-3 Ariane Varela Braga After a rejection that lasted almost one century, ornament has made a comeback that is no longer possible to ignore. This renewed interest in ornamental and richer decorative forms has spread from architecture to design, fashion and the visual arts in general. Ornament seems to have finally regained its place among the arts and has become once again a matter of reflection and experimentation, involving various materials and media. Adolf Loos’ aggressive condemnation in Ornament und Verbrechen (1910) appears now a long way off. This renewed interest has not left untouched the field of art and architectural history. Since the 1990s, and even more so since the beginning of this new century, studies have multiplied all over the world, involving an ever broader temporal and cultural panorama. This has led to numerous publications on the use, function and history of ornament, as well as the promotion of new editions of historical treatises, drawings and pattern books, in both printed and digital versions.1 These studies, which seem to increase every year,2 have not been limited to the Western arts, but 1 A recent example in this sense is Sabina de Cavi, ed, Giacomo Amato. I disegni di Palazzo Abatellis. Architettura, arredi e decorazione nella Sicilia Barocca, Roma: De Luca Editori d’Arte, 2017. -
Balustersareavital You Areshoppingforpanelsandspiral Remember Thisbalustersectionwhen Panel Orspiralstairrailing
Balusters, pickets, spindles … these are the bones of a stair railing system. At Custom Iron, we commonly refer to these as “balusters”. And, uncommonly, we invent new balusters all the time. Often driven by customer requests, Custom Iron has created balusters that embellish beautiful homes throughout the United States. ph 800.732.7699 • fax 507.732.7837 Balusters are available in standard heights of 36 and 42 inches. The additional 6" on 42" balusters is added on the bottom, unless you specify otherwise. Steel, aluminum, stainless, brass, or copper in round or square bars. Straight or ovals or waves. Baskets and leaves. Ornamentation of steel, brass, or copper. Offered in many shapes and sizes. You can use our balusters with the standard railing method or you can use them to invent your own distinctive panel or spiral stair railing. Remember this Baluster section when you are shopping for panels and spiral www.customiron.com stairs. Custom Iron balusters are a vital component in stair railing customization. Our balusters are grouped in Round, Forged, and Cast categories and are identified by part number and price point. You are welcome to mix balusters of your choice from one price point to another to get the design you want, within your budget. Custom Iron Balusters 1 ph 800.732.7699 • fax 507.732.7837 10277 Round balusters and End size: 1⁄2" newels have in common Round, Smooth round bars at the ends. Height: 36 & 42" Material: Steel, You will find baskets, polished brass rings twists, scrolls, waves, and bows accented by leaves, collars, and rings.