History of Architecture: Chapters I-XIX
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NEW YORK TIMES BUILDING, 41 Park Row (Aka 39-43 Park Row and 147-151 Nassau Street), Manhattan
Landmarks Preservation Commission March 16, 1999, Designation List 303 LP-2031 (FORMER) NEW YORK TIMES BUILDING, 41 Park Row (aka 39-43 Park Row and 147-151 Nassau Street), Manhattan. Built 1888-89; George B. Post, architect; enlarged 1903-05, Robert Maynicke, architect. Landmark Site: Borough of Manhattan Tax Map Block 101 , Lot 2. On December 15, 1998, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the (former) New York Times Bu ilding and the proposed designation of the related Landmark Site (Item No. 3). The hearing had been duly advertised in accordance with the provisions of law. Three witnesses, representing the New York Landmarks Conservancy, the Municipal Art Society, and the Historic Districts Council , spoke in favor of the designation. The hearing was re-opened on February 23 , 1999 for additional testimony from the owner, Pace University. Two representatives of Pace spoke, indicating that the university was not opposed to designation and looked forward to working with the Commission staff in regard to future plans for the building. The Commission has also received letters from Dr. Sarah Bradford Landau and Robert A.M. Stern in support of designation. This item had previously been heard for designation as an individual Landmark in 1966 (LP-0550) and in 1980 as part of the proposed Civic Center Hi storic District (LP-1125). Summary This sixteen-story office building, constructed as the home of the New York Times , is one of the last survivors of Newspaper Row, the center of newspaper publishing in New York City from the 1830s to the 1920s. -
The Neonian Baptistery in Ravenna 359
Ritual and ReconstructedMeaning: The Neonian Baptisteryin Ravenna Annabel Jane Wharton The pre-modern work of art, which gained authority through its extension in ritual action, could function as a social integrator. This essay investigates the figural decoration of the Orthodox Baptistery in Ravenna, in an effort to explain certain features of the mosaic program. If the initiation ritual is reenacted and the civic centrality of the rite and its executant, the bishop, is restored, the apparent "icon- ographic mistakes" in the mosaics reveal themselves as signs of the mimetic re- sponsiveness of the icon. By acknowledging their unmediated character, it may be possible to re-empower both pre-modern images and our own interpretative strategy. The Neonian (or "Orthodox") Baptistery in Ravenna is the preciated, despite the sizable secondary literature generated most impressive baptistery to survive from the Early Chris- by the monument. Because the artistic achievement of the tian period (Figs. 1-5).1 It is a construction of the late fourth Neonian Baptistery lies in its eloquent embodiment of a or early fifth century, set to the north of the basilican ca- new participatory functioning of art, a deeper comprehen- thedral of Bishop Ursus (3897-96?) (Fig. 1).2 The whole of sion of the monument is possible only through a more thor- the ecclesiastical complex, including both the five-aisled ba- ough understanding of its liturgical and social context. The silica and the niched, octagonal baptistery, appears to have first section of this essay therefore attempts to reconstruct been modeled after a similar complex built in the late fourth the baptismal liturgy as it may have taken place in the century in Milan.3 Within two or three generations of its Neonian Baptistery. -
Dreamitaly0709:Layout 1
INSIDE: The Artistic Village of Dozza 3 Private Guides in Ravenna 5 Bicycling Through Ferrara 6 Where to Stay in Bologna 8 Giorgio Benni Giorgio giasco, flickr.com giasco, Basilica di San Vitale MAMbo SPECIAL REPORT: EMILIA-ROMAGNA Bologna: dream of City of Art ith its appetite for art, Bologna’s ® Wcontributions to the good life are more than gustatory. Though known as the “Red City” for its architecture and politics, I found a brilliant palette of museums, galleries, churches and markets, with mouth-watering visuals for every taste. ITALYVolume 8, Issue 6 www.dreamofitaly.com July/August 2009 City Museums For a splash of Ravcnna’s Ravishing Mosaics 14th-century sculp- ture start at the fter 15 centuries, Ravenna’s lumi- across the region of Emilia-Romagna. Fontana del Nettuno A nous mosaics still shine with the With only a day to explore, I’m grate- in Piazza Maggiore. golden brilliance of the empires that ful that local guide Verdiana Conti Gianbologna’s endowed them. These shimmering Baioni promises to weave art and bronze god — Fontana Nettuno sacred images reveal both familiar and history into every step. locals call him “the giant” — shares the unexpected chapters in Italian history water with dolphins, mermaids and while affirming an artistic climate that We meet at San Apollinaire Nuovo on cherubs. Close by, Palazzo Comunale’s thrives today. Via di Roma. A soaring upper floors contain the Collezioni basilica, its narrow side Comunale d’Arte, which includes opu- Ravenna attracted con- aisles open to a broad lent period rooms and works from the querors from the north nave where three tiers 14th through 19th centuries. -
Ashton Family World Travels Photograph Collection
http://oac.cdlib.org/findaid/ark:/13030/kt7779s1v2 No online items Preliminary Guide to the Ashton Family World Travels Photograph Collection Preliminary arrangement and description by D. Tambo Department of Special Collections Davidson Library University of California, Santa Barbara Santa Barbara, CA 93106 Phone: (805) 893-3062 Fax: (805) 893-5749 Email: [email protected] URL: http://www.library.ucsb.edu/speccoll/speccoll.html © 2012 The Regents of the University of California. All rights reserved. Preliminary Guide to the Ashton Bernath Mss 115 1 Family World Travels Photograph Collection Preliminary Guide to the Ashton Family World Travels Photograph Collection, ca. 1892-1913 Collection number: Bernath Mss 115 Department of Special Collections Davidson Library University of California, Santa Barbara Processed by: D. Tambo Date Completed: March 18, 2011 Encoded by: A. Demeter © 2012 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Ashton Family World Travels Photograph Collection Dates: ca. 1892-1913 Collection number: Bernath Mss 115 Collection Size: 6 linear feet (6 cartons). Repository: University of California, Santa Barbara. Library. Dept. of Special Collections Santa Barbara, CA 93106 Abstract: 2500+ black and white photographs in 53 Kodak albums, from numerous trips to far flung parts of the world, including India and Ceylon, Europe, West Indies, Latin America, the Middle East, Egypt, and the U.S. Physical location: Del Norte. Languages: English Access Restrictions None. Publication Rights Copyright has not been assigned to the Department of Special Collections, UCSB. All requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections. -
Indiana Theatre ' HABS No. IN-101 ;13^ West" Washington Street '
Indiana Theatre ' HABS No. IN-101 ;13^ West" Washington Street '. " . • "Indianapolis '.•••-■ ■Marion .County ■" Indiana- J- i PHOTOGRAPHS -WRITTEN HISTORICAL AHD DESCRIPTIVE DATA • Historic American Buildings Survey Heritage Conservation and Recreation Service Department of the Interior Washington, D.C. 202*10 HAB5,lND.H<MNk/2<? m HISTORIC AMERICAN BUILDINGS SURVEY HABS No. IN-101 INDIANA THEATRE Location: 134 West Washington Street, Indianapolis, Marion County, Indiana. Present Owner: Lincoln Square Associates. Present Use: Closed for renovation to repertory theatre. Statement of Significance: The Indiana Theatre is an outstanding example of the Spanish-style architecture in vogue in America during the 1920s. It is particularly noteworthy for its terra-cotta facade and its auditorium details, both in the Churrigueresque manner, and its top-floor "atmospheric" ballroom designed to imitate a Spanish town plaza. Leading jazz dance bands played there frequently. PART I. HISTORIC INFORMATION A. Physical History Date of erection: The theatre opened on June 18, 1927> the m ballroom on September 2, 1927. The original seating capacity was reported as 3,500, the cost as $995,000. Original and subsequent owners: The theatre occupies portions of lots 7, 8, and 9, Square 54, the Donation Lands, City of Indianapolis, Marion County, State of Indiana. Prior to the erection of the theatre a portion of the land was owned jointly by Gustave A. Schnull, Bertha S. Fauvre, Francis M. Fauvre, Edna S. Glossbrenner and Daniel I. Glossbrenner, a remainder being owned by Josephine M. Scharf. The land was leased by the above parties for 99 years, beginning April 3» 1926 (recorded June 28, misc. -
Periodic Report 2006
State of Conservation of World Heritage Properties in Europe SECTION II Recommendation: That this property be inscribed on the World Heritage List on the basis of criteria ITALY (i), (ii), (iii), and (iv): The complex of Early Christian religious Early Christian Monuments of monuments in Ravenna are of outstanding Ravenna Significance by virtue of the supreme artistry of the mosaic art that they contain, and also because of the crucial evidence that they provide of artistic and Brief description religious relationships and contacts at an important Ravenna was the seat of the Roman Empire in the period of European cultural history. 5th century and then of Byzantine Italy until the 8th century. It has a unique collection of early Christian Committee Decision mosaics and monuments. All eight buildings – the Mausoleum of Galla Placidia, the Neonian Bureau (June 1996): The Bureau recommended the Baptistery, the Basilica of Sant'Apollinare Nuovo, Committee to inscribe the nominated property on the Arian Baptistery, the Archiepiscopal Chapel, the the basis of criteria (i), (ii), (iii) and (iv) considering Mausoleum of Theodoric, the Church of San Vitale that the site is of outstanding universal value being and the Basilica of Sant'Apollinare in Classe – were of remarkable significance by virtue of the supreme constructed in the 5th and 6th centuries. They show artistry of the mosaic art that the monuments great artistic skill, including a wonderful blend of contain, and also because of the crucial evidence Graeco-Roman tradition, Christian iconography and that they provide of artistic and religious oriental and Western styles. relationships and contacts at an important period of European cultural history. -
Egyptian Architecture
EGYPTIAN ARCHITECTURE Character: simplicity, massiveness, monumentality Material: stone and brick System: columnar and trabaeted Comparative analysis: Plans- irregular and asymmetrical Wall- no windows (batter wall) Openings- doors are square headed Roof- flat roof Columns- interior only, 6d - bud & bell, palm, foliated, hatthor head, osiris, polygonal Mouldings- torus and gorge Principal buildings: Egyptian Tombs: Mastaba- stairway, halfshrunk, elaborate structure elements: offering chapel w/ stele (slab) serdab (statue chamber) sarcophagus Pyramid- square in plan, oriented in cardinal sides elements: offering chapel mortuary chapel elevated causeway (passageway)) valley building (embalmment) types: step (zoser) slope blunt (seneferu) Rock-cut- mountain side tombs elements: passages sepultural chamber Egyptian Temples: Cult temple- worship of the gods Mortuary Temple- to honor the pharos elements: pylon (entrance or gateway) hypaethral court (open to the sky court) hypostyle hall (pillard or columnar hall) sanctuary Minor temple- mammisi temple (carved along mountain) obelisk temple (monumental pillars, square in plan) Sphinx: (mythical monsters) Mastaba of Thi, Sakkara- Pyramid of Gizeh- Cheops, Chepren, Mykerinos Tombs of the Kings, Thebes The Great Temple of Arnak (greatest example of Egyptian temple) Great Sphinx at Gizeh (god horus) Egyptian Architects: Senusurets- built the earliest known obelisk at Heliopolis Amenemhat I- founded the great temple at Karnak Thothmes I- began the additions to the temple of Amnon Karnak Amenophis -
Hispano-Moresque Pottery
H I S P AN O -M O R E S "U E P OTTE RY IN THE COL L E CTION OF THE H I S PAN I C SO CI ETY OF AM ERI CA B Y EDWIN ATLEE BARBE R , PH . D . D i re c to r o f th e P e nns y lv a ni a Mus e u m a nd S c h o ol o f Ind u s tri a l A rt P h ila d e lp h i a , P a . < “ S 4 / I, 1/ T H E H I S PA N I C S O C I E T Y O F A M E R I CA I T S6 H STREET , WEST OF B ROADWAY N EW YO RK, 19 15 Co r h t 1 15 b p y ig , 9 , y T H E H I S P AN I C S OCI E T Y OF AM E R I CA HI SPAN O -M O RES"UE POTTERY HI SPAN O-M OR ES"U E P OTTERY I NTRODUCT ORY NOT E S M ETALLI C LUSTERS AND STANNI FEROUS ENAM E L HE o f to origin metallic luster , as applied the - l surface Of tin ename ed earthenware , is a prob lem which has occupied the attention o f ceramic stu to dents for many years . Various theories as the source ff O f this art have been advanced by di erent writers , some Of which have proved fallacious , while others have failed to be convincing . -
Ravenna Tourist Information 1
refinedcomposition that decorates the Neonian RAVENNA UNIQUE CITY, Baptistery is inspired by cultured Greek tradition, resumed also in the Arian Baptistery WORLD HERITAGE ; the majesty of the Basilica of Sant’Apollinare Ravenna is a showcase of art, history and culture of the Nuovo reveals its origins as a palatine church, first order. The city has ancient origins and a glorious built by Theodoric the Great, king of the Ostrogoths; past; from the 5th to the 8th centuries it was the capital more than one hundred charming little birds lead of the Western Roman Empire, of King Theodoric of the you into the intimate atmosphere of the Chapel Goths and of the Byzantine empire in Europe. of Sant’Andrea , where a triumphant Christ is A considerable patrimony has been passed down to us celebrated; the majestic Mausoleum of Theodoric from that magnificent period. Ravenna is, above all, a , with its enormous monolithic roof covering; the city of mosaics. Its ancient walls conserve mankind’s Basilica of San Vitale , the greatest treasure of the richest heritage of mosaics dating from the 5th and early Christian era, contains a portrait of the imperial 6th centuries. For this reason its early Christian and Byzantine court; outside the city the elegant Basilica Byzantine buildings have been recognised by Unesco of Sant’Apollinare in Classe exalts Christ and TUTTIFRUTTI as world heritage. Sant’Apollinare, the first bishop and church father, in The simple external shell of the Mausoleum of Galla the mosaic of the apse. RAVENNA Placidia conceals an infinite sky of stars; the WORLD HERITAGE Assessorato al Turismo Servizio Turismo e Attività Culturali Comune di Ravenna Tourist Information Office Piazza San Francesco / Piazza Caduti per la Libertà 48121 Ravenna - Italy tel. -
Wheathampstead, No. 3.—Westmill
No. I.—ALDENHAM. NO. 2.—WHEATHAMPSTEAD, NO. 3.—WESTMILL. 5 SOME ORNAMENTAL CARVING IN HERTS CHURCHES. BY A. WHITFORD ANDERSON, A.R.I.B.A. No one who makes a serious study of archaeology can afford to ignore the carvings of stone and wood which adorn our old churches. The type of carving is as sure a criterion of date as the moulding, and the examples I shall shOW you to-night were selected with a view of comparing them with carvings in other churches in different counties, and are a fair sample of the work to be found in Hertfordshire, though they must not necessarily be taken as the best types of the different periods, as in making the slides I was bound by the limits of my own collection. I shall begin with the Norman period, extending, roughly, from 1066 to 1189. In dealing with this style it is well to remember its origin. It appears to have arisen in Italy during the eleventh century, under an impulse from Byzantium, and was influenced by existing Roman remains ; thence it passed through France. On reaching our shores it became blended, to a certain extent, varying in different districts with the native Anglo- Saxon and Celtic. Nearly all our Norman capitals are based on what is called the " cushion" type, which is merely a square block with the lower part rounded off to fit a circular shaft, but the ornament carved on them varies. I have examples of three types of ornament. First, the Celtic, which luxuriated in interlacing ornament and imagery; second, caps with volutes at the angles or in the centre, evidently a sur- vival of the u caulicoli" of the old Corinthian capital ; and thirdly, scolloped ornament. -
The Grotesque in Art and Literature; Tr
WOLFGANG KAYSER Grotesque IN ART AND LITERATURE Translated by Ulrich Weis stein INDIANA UNIVERSITY PRESS Bloomington This book was originally published under the title Das Groteske: seine Gestaltung in Malerei und Dichtung © 1957 by Gerhard Stalling Verlag, Oldenburg (Oldb) und Ham¬ burg DEDICATED TO MAX RYCHNER WITH SINCERE APPRECIATION Copyright © 1963 by Indiana University Press All rights reserved Manufactured in the United States of America Library of Congress catalog card number: 63-9719 Trans lators Note Wolfgang Kayser’s untimely death deprived me of the possibility of consulting him while the translation was in progress. Although on the whole his German is clear and unexceptional, minor difficul¬ ties arose in connection with such pseudo-philosophical phrases as Offenheit fur ein Waltend.es; and occasionally I thought it best to add the original German word or phrase in parentheses. A special problem was posed by the inconsistency in the use of komisch on the part of the writers quoted by Kayser, whereas the rendering of the nouns Humor and Komik gave no trouble. The translations of literary and critical passages incorporated in the text are my own unless otherwise indicated. I am grateful to Holt, Rinehart and Winston, Inc., for their permission to use an 5 TRANSLATOR’S NOTE excerpt from Bernard Guilbert Guemey’s translation of Gogol’s Dead Souls. The English equivalents of German titles, where ap¬ plicable, are those found in B. Q. Morgan’s invaluable Critical Bib¬ liography of German Literature in English Translation, 1481- 1935 (Stanford, 1938). I should also like to thank Alfred A. Knopf, Inc., for allowing me to quote from H. -
Exploration of Arabesque As an Element of Decoration in Islamic Heritage Buildings: the Case of Indian and Persian Architecture
Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930 Exploration of Arabesque as an Element of Decoration in Islamic Heritage Buildings: The Case of Indian and Persian Architecture Mohammad Arif Kamal Architecture Section Aligarh Muslim University, Aligarh, India Saima Gulzar School of Architecture and Planning University of Management and Technology, Lahore, Pakistan Sadia Farooq Dept. of Family and Consumer Sciences University of Home Economics, Lahore, Pakistan Abstract - The decoration is a vital element in Islamic art and architecture. The Muslim designers finished various art, artifacts, religious objects, and buildings with many types of ornamentation such as geometry, epigraphy, calligraphy, arabesque, and sometimes animal figures. Among them, the most universal motif in ornamentation which was extensively used is the arabesque. The arabesque is an abstract and rhythmic vegetal ornamentation pattern in Islamic decoration. It is found in a wide variety of media such as book art, stucco, stonework, ceramics, tiles, metalwork, textiles, carpets, etc.. The paper discusses the fact that arabesque is a unique, universal, and vital element of ornamentation within the framework of Islamic Architecture. In this paper, the etymological roots of the term ‘Arabesque’, its evolution and development have been explored. The general characteristics as well as different modes of arabesque are discussed. This paper also analyses the presentation of arabesque with specific reference to Indian and Persian Islamic heritage buildings. Keywords – Arabesque, Islamic Architecture, Decoration, Heritage, India, Iran I. INTRODUCTION The term ‘Arabesque’ is an obsolete European form of rebesk (or rebesco), not an Arabic word dating perhaps from the 15th or 16th century when Renaissance artists used Islamic Designs for book ornament and decorative bookbinding [1].