Search results for: ornament

Authors: Eni Puji Astuti

Abstract:

Yogyakarta has a rich and various form of traditional ornament which can be found on many media. Traditional Ornament has a classical form and being a local identity that can be easily recognized. The retention of traditional ornament can be done in many ways, one of them is aplicating tradisional ornament on modern architecture. This paper is aimed at identifiying the representation of traditional ornament on modern architecture in Yogyakarta. Kawung, parang, tumpal are some of Javaness motifs which often implemented on modern architecture because of their simple and welknown form. The motifs that actually aplicate on textiles ornament, recently often applied on modern architecture as aesthetical element on the facade, interior walls and furniture. The application of traditional ornaments as aesthetic architectural elements provide a strong local identity of Yogyakarta. Traditional ornaments that are applied, no longer refers to the origin local values, norms, and traditions. The form previously be simplified and adapted to the shape of minimalist style of modern architecture.

Keywords: traditional ornament, representation, Yogyakarta, modern architecture

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Authors: Lin Ji

Abstract:

The 1923 HSBC Building is one of the landmarks of Shanghai's Bund complex and is described as "one of the finest buildings from the Suez Canal to the Bering Strait". Mr George Leopold Wilson of Palmer&Turner and his design team combine the latest British design taste with Chinese elements and bring the high standard of London manufacturing to Shanghai. This paper reviews the establishment background and construction process of the Hongkong and Shanghai Bank Corporation in Shanghai, and analyzes the characteristics of various styles and ornament of HSBC. At the same time, using the research method of iconography, compared with Britain's exploration of modern design mode in the early 20th century, we can deeply understand how this "monument of world commerce and prosperity" realizes the identity construction of its financial empire in the Far East in the perfect combination of practicality and artistry.

Keywords: early 20-century Shanghai, the bund, the HSBC building, classical styles, ornament, identity construction

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Authors: Indarti, Li-Hsun Peng

Abstract:

Batik is one of the most prominent expressions of cultural identity in Indonesia. On October 2009, UNESCO designated Indonesian batik as “a masterpiece of oral and intangible heritage of humanity”. The center of batik Indonesia is in middle of Java where there is center of Javanese royalty in the 17th century (known as classic batik). The development of batik spread to wide range of area in Indonesia, including in Sidoarjo city, East Java - Indonesia. Sidoarjo batik actually has long been around long time and is known as batik using bright colors, very different from classic batik. The aims of this study is to determine the kinds of ornament of Sidoarjo batik currently as one of the locally-based creative industry and to figure out how the attempt to sustainability of Sidoarjo batik from owner and government. The research is conducted in Jetis Village in Sidoarjo city known as village of batik. There is some batik business and batik maker in there. The research method used in-depth interview to search information about ornament of Sidoarjo batik and to analyze the attempt of business owner and government to sustainability of Sidoarjo Batik. In-depth interviews to batik business owners are used to determine the kinds of ornament of Sidoarjo Batik currently and how their attempt to maintain the existence of Sidoarjo Batik. In-depth interviews are also conducted to government to figure out how the support the sustainability of Sidoarjo batik. The result or research will introduce local products of Sidoarjo community to global market and increase knowledge about traditional textile design in one part of the world.

Keywords: Sidoarjo Batik, Traditional Textile, Ornament, Creative Design.

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Authors: Jenna Pyorala

Abstract:

This research looks at the principles and purposes ornamental design has served in the field of textile design. Ornamental designs are characterized by richness of details, abundance of elements, vegetative motifs and organic forms that flow harmoniously in complex compositions. Research on ornamental design is significant, because ornaments have been overlooked and considered as less meaningful and aesthetically pleasing than minimalistic, modern designs. This is despite the fact that in many parts of the world ornaments have been an important part of the cultural identification and expression for centuries. Ornament has been claimed to be superficial and merely used as a decorative way to hide the faults of designs. Such generalization is an incorrect interpretation of the real purposes of ornament. Many ornamental patterns tell stories, present mythological scenes or convey symbolistic meanings. Historically, ornamental decorations have been representing ideas and characteristics such as abundance, wealth, power and personal magnificence. The production of fine ornaments required refined skill, eye for intricate detail and perseverance while compiling complex elements into harmonious compositions. For this reason, ornaments have played an important role in the advancement of craftsmanship. Even though it has been claimed that people in the western design world have lost the relationship to ornament, the relation to it has merely changed from the practice of a craftsman to conceptualisation of a designer. With the help of new technological tools the production of ornaments has become faster and more efficient, demanding less manual labour. Designers who commit to this style of organic forms and vegetative motifs embrace and respect nature by representing its organically growing forms and by following its principles. The complexity of the designs is used as a way to evoke a sense of extraordinary beauty and stimulate intellect by freeing the mind from the predetermined interpretations. Through the study of these purposes it can be demonstrated that complex and richer design styles are as valuable a part of the world of design as more modern design approaches. The study highlights the meaning of ornaments by presenting visual examples and literature research findings. The practice based part of the project is the visual analysis of historical and cultural ornamental traditions such as Indian Chikan embroidery, Persian carpets, Art Nouveau and Rococo according to the rubric created for the purpose. The next step is the creation of ornamental designs based on the key elements in different styles. Theoretical and practical parts are woven together in this study that respects respect the long traditions of ornaments and highlight the importance of these design approaches to the field, in contrast to the more commonly preferred styles.

Keywords: cultural design traditions, ornamental design, organic forms from nature, textile design

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Authors: Solopova Olga

Abstract:

The present paper briefly recalls theoretical preconditions for investigating cognitive-discursive models of future in political discourse. The author reviews theories and methods used for strengthening a future focus in this discourse working out two main tools – a model of future and a metaphorical scenario. The paper examines the implications of metaphorical analogies for modeling future in mass media. It argues that metaphor is not merely a rhetorical ornament in the political discourse of media regulation but a conceptual model that legislates and regulates our understanding of future.

Keywords: cognitive approach, future research, political discourse, model, scenario, metaphor

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Authors: Mehwish Shahzadi

Abstract:

Sunflower is cultivated all over the world not only as an ornament plant but also for the purpose of getting oil. It is the third most cultivated plant in the history because its oil considered best for health. The present study deals with the preparation of sunflower oil from commercial seed sample which was obtained from local market. The physicochemical properties of the oil were determined which included saponification value, acid value and ester value. Results showed that saponification value of the oil was 191.675, acid value was 0.64 and ester value to be 191.035 for the sample under observation. GC-MS analysis of sunflower oil was carried out to check its composition. Oleic acid was determined with linoleic acid and isopropyl palmitate. It represents the presence of three major components of sunflower oil. Other compounds detected were, p-toluylic acid, butylated hydroxytoluene, 1,2-benzenedicarboxylic acid, benzoic acid, 2,4,6-trimethyl-, 2,4,6-trimethylphenyl ester and 2,4-decadienal, (E,E).

Keywords: GC-MS, oleic acid, saponification value, sunflower oil

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Authors: Tajuddin Mohamad Rasdi, Chung Ming Zhe, Nurul Anida Mohamad

Abstract:

This research paper aims to examine the lack of the idea of democracy and its concept among Malaysia’s citizens. In fact, all civil servants, whether federal or state departments, are the machinery of citizens. The objective of this research is to evaluate the administrative buildings in Selangor from the perspective of democratic architecture. The methodology used in this research is by reviewing and evaluating the selected administrative building, Majlis Bandaraya Petaling Jaya, as a case study, and the interview was conducted. The data collection was recorded based on a few criteria of the following architectural characteristic and management principles (public square, town hall, meeting rooms, convenient parking space, humanitarian spaces, public spaces) and architectural design elements (scale and massing, ornament, elevational language, accessibility, and spatial hierarchy). The analysis result shows that the administrative building elements which show the idea of democracy are not reflected well in some of the criteria that restrict the public, but those setbacks could be improved.

Keywords: democratic architecture, case study, design elements, administrative buildings

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Authors: D. Pugazhendhi

Abstract:

The ancient Greeks were forerunners in many fields than other societies. So, the Greeks were well connected with all the countries which were well developed during that time through trade route. In this connection, trading of goods from the ancient Greece to Tamil Nadu which is presently in India, though they are geographically far away, played an important role. In that way, the word and the goods related with kos and kare got exchanged between these two societies. So, it is necessary to compare the phonology and the morphological occurrences of these words that are found common both in the ancient Greek and Tamil literatures of the contemporary period. The results show that there were many words derived from the root kos with the basic meaning of ‘arrange’ in the ancient Greek language, but this is not the case in the usage of the word kare. In the ancient Tamil literature, the word ‘kos’ does not have any root and also had rare occurrences. But it was just the opposite in the case of the word ‘kare’. One of all the meanings of the word, which was derived from the root ‘kos’ in ancient Greek literature, is related with costly ornaments. This meaning seems to have close resemblance with the usage of word ‘kos’ in ancient Tamil literature. Also, the meaning of the word ‘kare’ in ancient Tamil literature is related with spices whereas, in the ancient Greek literature, its meaning is related to that of the cooking of meat using spices. Hence, the similarity seen in the meanings of these words ‘kos’ and ‘kare’ in both these languages provides lead for further study. More than that, the ancient literary resources which are available in both these languages ensure the export and import of gold and spices from the ancient Greek land to Tamil land.

Keywords: arrange, kare, Kos, ornament, Tamil

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Authors: Witthaya Mekhum, Waleerak Sittisom

Abstract:

This research investigated the effect on occupational health safety and environment at work from metal handicraft using Rattanakosin local wisdom focusing on pollution, accidents, and injuries from work. The sample group in this study included 48 metal handicraft workers in 5 communities by using questionnaires and interview to collect data. The evaluation form TISI 18001 was used to analyze job safety analysis (JSA). The results showed that risk at work reduced after applying the developed model. Banbu Community produces alloy bowl rubbed with stone. The high risk process is melting and hitting process. Before the application, the work risk was 82.71%. After the application of the developed model, the work risk was reduced to 50.61%. Banbart Community produces monk’s food bowl. The high risk process is blow pipe welding. Before the application, the work risk was 93.59%. After the application of the developed model, the work risk was reduced to 48.14%. Bannoen Community produces circle gong. The high risk process is milling process. Before the application, the work risk was 85.18%. After the application of the developed model, the work risk was reduced to 46.91%. Teethong Community produces gold leaf. The high risk process is hitting and spreading process. Before the application, the work risk was 86.42%. After the application of the developed model, the work risk was reduced to 64.19%. Ban Changthong Community produces gold ornament. The high risk process is gold melting process. Before the application, the work risk was 67.90%. After the application of the developed model, the work risk was reduced to 37.03%. It can be concluded that with the application of the developed model, the work risk of 5 communities was reduced in the 3 main groups: (1) Work illness reduced by 16.77%; (2) Pollution from work reduced by 10.31%; (3) Accidents and injuries from work reduced by 15.62%.

Keywords: occupational health, safety, local wisdom, Rattanakosin

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Authors: Turkan Harmanbasi, Zeliha Busra Eryigit

Abstract:

The Anatolian Seljuk State was established in Anatolia by the Seljuks and continued its existence between the 11th and 14th centuries. Iznik was the first capital of Anatolian Seljuks. With the conquest of Konya in 1086, this place was declared as the capital. The Anatolian Seljuk State, with its numerous cultural elements, has produced valuable and permanent works for more than two centuries. Most of the important and monumental works were built in Konya. Anatolian Seljuk Art that makes unique; the technique in his works is the difference in material and style. It has gained an important place in Islamic architecture with this feature. In this period, rich embellishment programs emerged with the use of geometrical ornaments, floral motifs and calligraphy belts. In the Anatolian Seljuks, decoration was mainly applied with façade, crown gates, doors, windows, mihrab, mimbar, cover, transition elements and minarets; built with stone, brick and wooden materials. The minarets are located adjacent to the mosques or outside, as a high place that can be reached by stairs, which is made to invite people to worship and to announce this to people. They are architectural elements that have always been important in Islamic architecture with their compositions, construction techniques and ornaments. In different countries where Islam has spread, it has gained different appearances with the influence of local traditions. In the Seljuk art, minarets have become indispensable architectural elements of mosques and masjids. Stone and brick are generally used as a material in the minarets, and in some examples it can be seen that the tile was accompanied by the material. Ornamental motifs are formed by bringing these materials side by side vertically or horizontally. The scope of this study, the decoration details of the minarets built during the Anatolian Seljuk period will be examined. As a study area, samples from various Anatolian cities, especially Konya, were selected. Aim of studying the decoration of the Anatolian Seljuk minaret can shed some light on one of the most important aspects of the Islamic architecture in Anatolia and the development of the minaret in the Islamic World.

Keywords: Anatolian Seljuk, decoration, Islamic architecture, minaret, ornament

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