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The architectural style depends heavily on culture and tradition. Owo people's language, songs, festivals, folktales, lore, chants, history, and literature are all influenced by their vibrant cultural activities. Cultural diversity is important because it brings members of a given culture together and fosters cultural awareness and avenues. The traditional architecture of the Owo people in the Yoruba south-western region of Nigeria is fully integrated with the notion of art and culture. Using the Olowo palace in Owo, Ondo state as a case study. This study examined how cultural variation and morphology impact palace building in Nigeria. Data was sourced from field work, through oral interviews and relevant scoped literature. Purposively selected photographs of palaces 'Agbofen' are used in discussing the state of the architecture and sculpture objects, therefore raises the enquiry of their connotation for upcoming generations. Findings, showed that the courtyards ('ugha') and other structures within the old palace ('Agbofen'), were built when the city was created. It ends with characteristics of the owo palace's adornment, providing clear guidance on the major functions of particular elements in the palace's cultural beliefs and customs. There were as many as 100 courtyards in the Olowo castle (Ugha). Each courtyard served a special purpose and was devoted to a distinct deity. For public gatherings and festivals, the largest, which is believed to have been twice the size of an American football field, was used. This study concluded on how cultural distinctiveness, which was reflected in the vernacular design of Olowo's palace in Owo, one of Africa's largest palaces, affected the urban form as well as people's sense of self-worth, interpersonal relationships, and self-identity in Owo town, Ondo state. [ABSTRACT FROM AUTHOR]

Using a database of about 375,000 individual observations, which represent over two million days worked, this article studies building workers' remunerations and how labour markets functioned in eighteenth‐century Madrid. We present new wage series that correct and improve the evidence existing in the literature and provide an explanation for the long‐run wage stickiness found in the city. Economic factors, rather than customs or guild regulations, explain why wage rates remained unaltered for about 100 years. The reconstruction of the working lives of 100 of the workers who took part in the construction of the Royal Palace of Madrid provides the first evidence of wage profiles for pre‐industrial times. They demonstrate that every wage rate was attached to a certain level of skill. Craftsmen's wages increased as they gained abilities, as human capital theory predicts, while returns to age or experience were negligible in the case of unskilled workers. This points to the existence of segmented labour markets in the building sector in early modern Spain. [ABSTRACT FROM AUTHOR]

Novgorod as a Hanseatic town took part in cross-cultural interaction in the Baltic region. The so-called Faceted Palace is a unique example of cooperation between German and local builders. The vaults generally receive little attention in the historiography on Brick Gothic architecture in the Baltics. This article introduces new data about the construction technique obtained during recent restoration of the Faceted Palace and proposes reconstruction of the vaults. Comparison with analogues in the Baltic region highlights the local interpretation of the complicated rib vaults and provides information on the origins of the builders. [ABSTRACT FROM AUTHOR]

Frederiksborg Palace was built by King Christian IV of Denmark from 1603 as a showpiece, and as a representative of the monarchy and of the kingdom. Recent studies of kingship have emphasized ritual, performance, and notions of sacrality in describing royalness. Drawing on contemporary accounts, including visitors' descriptions, sumptuary regulations, and an early guide to the palace, this essay locates the royal quality of the building largely in the materials from which it was built. This emphasis downplays questions of authorship and design, which have long preoccupied art historians, and which have yielded fragmentary and sometimes contradictory results. With some exceptions, these issues appear to have been of limited concern both to the court and to visitors, and were subsumed within a larger attention to royal representation located more broadly within the material richness of the palace. [ABSTRACT FROM AUTHOR]

Balai Besar Kedah is a royal audience hall built within the complex of Kota Setar Palace. The grand hall has witnessed coronations of The Sultans of Kedah as well as a number of highly ranked social events throughout its existence since the year 1735. The architecture of this majestic structure is portraying the traditional Malay style, featuring some influences from Siam and the western world. The arrangements of spaces and ornamentations of Balai Besar signifying the high status of the Sultan, primarily as a host of the social events. The Sultan being well travelled, were said to be inspired by buildings in his journey and decided to build his own mixed style building as part of the royal complex. This study aims to reassess the architectural style of Balai Besar, focusing to explore the traditional Malay architecture of Kedah Tua. The methodology of the research is site visits, observation and interview. The architectural elements of Balai Besar were analysed and compared with the local traditional architecture to trace the underlying local and borrowed styles. The styles found is based on two major influence which is British colonial and Siamese. The Malay architectural element would fuse with these foreign styles and create a totally new form of Malay architecture. [ABSTRACT FROM AUTHOR]

The article explores Italian slave labor particularly the employment of slaves in the construction of the Royal Palace of Caserta in Italy. Topics discussed include the accidental death of a slave named Robis of Tripoli during the construction, the religious and political aspects of slavery in the region, and brief details about the work conditions, housing, and conversion of Muslim slaves at Caserta to Christianity.

Between 1834 and 1860 the British government mobilised the latest scientific knowledge in the construction of the new Palace of Westminster, home to the nation's Houses of Parliament. Built in a Gothic style, this legislative building embodied the latest experimental techniques and expertise from geology, mathematics, engineering, chemistry, and optics. By exploring the narrative of this architectural project, it becomes clear just how central scientific values were to Victorian politics. At the same time, this article shows how the experience of constructing Britain's nineteenth-century parliament building has implications and lessons for parliamentary architecture today. [ABSTRACT FROM AUTHOR]

Palaces are immovable cultural assets reflecting not only the cultural characteristics of the periods they belong to but also the lifestyles of the people who use them and the artistic understanding and techniques of the period. Beylerbeyi Palace, our research subject, is a field where western influences are clearly observed from the design of the gardens, the design features and ornaments of the buildings and spaces that form the palace. The gardens within the perimeter walls of Beylerbeyi Palace and the structures with different functions were not able to protect the original character of their design era. The purpose of this research was to scrutinize the changes that Beylerbeyi Palace gardens went through during the historical process, and to determine the changes that the location of the New Beylerbeyi Palace, the mansions in the palace complex, and the palace gardens went through during different periods in terms of their plant design characteristics, to carry out the restitution work to determine the original status by putting forward the change in the design principles, location organization, structural components and the used plant material. In conclusion, the usage characteristics of the plant and structural components of Beylerbeyi Palace gardens and the changes that they sustained during the process were determined; and the restitution work was carried out by evaluating the structural and plant components of the gardens during the period when the gardens were designed. [ABSTRACT FROM AUTHOR]

The Bassegli-Gozze Palace in Dubrovnik is one of the most representative examples of residential architecture of the 18th and 19th centuries located in the historical core of the city. With its numerous historical layers, some believed to be dating even from the late antiquity, the palace is deeply embedded in the urban evolution of its residential block. This paper presents the previously unknown spatial genealogy of the palace, its urban and cultural significance, and rich architectural features. [ABSTRACT FROM AUTHOR]

Copyright of Studi Piemontesi is the property of Centro Studi Piemontesi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper, with the Potala Palace Square as the object of study, uses the post occupancy method to carry out a field investigation in a joint manner of questionnaire survey, interviews and behavioral trails observation, so as to analyze the landscape destruction behavior of the Potala Palace Square. The results show that the existing problems in design and management of that square as well as the public are responsible for the destruction; male foreign tourists in all ages, who mosdy are the unemployed, students and service employees, prove to be destructors. The Potala Palace Square is characterized by regionalism. Opinions on green effect, management and other options of inland public and local residents vary fiom one to another. Designers and the administrative department of the square are required to come up with countermeasures to avoid the destruction. In practical design, designers must comply with the thinking of "Design Must be for People" and natural ecological principles and the administrative department should scientifically manage and maintain the square. [ABSTRACT FROM AUTHOR]

Nim li Punit is a small Classic Maya (ca.a.d. 150–830) center of Toledo District, Belize. Here I describe excavations of two buildings within the royal palace group: Structures 7 and 8. Structure 8 was built in four stages all dating to the Early to Late/Terminal Classic period. It probably served as a council house. Structure 7 was the residential palace and was built in two stages. An Early Classic burial demonstrates indirect interaction with Teotihuacan. During the Terminal Classic period, the shape of Structure 7 was altered, numerous caches were placed there, and Tomb 5 was dedicated. It contained many important artifacts including a modeled effigy vase displaying the wind god, a chert eccentric, and the second largest piece of carved jade excavated legally in Belize. This, the Nim li Punit “wind jewel,” contains a long historical text and was worn by Late Classic kings. I argue that the pectoral tied Maya kings through ritual performance to breath, winds, rain, agriculture, and life. [ABSTRACT FROM AUTHOR]

Copyright of Acta Humanitarica Universitatis Saulensis is the property of Acta Humanitarica Universitatis Saulensis and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ceiling paintings in the great hall of the former Goedel-Lannoy palace in Maribor, commissioned by Hermann Baron Goedel-Lannoy and painted by Francesco Barazzutti, are a rare example of profane historical ceiling paintings in Slovenia. The paper discusses historical, formal and iconographic sources for the paintings. Based on the career of the commissioner and his recent elevation to baronial ranks, the author argues that he wanted to expose to view his new social status by imitation of the imagery developed by participants in the Ottoman wars. The reportage style of painted battles is put in connection with the ceiling paintings of Counts Khisl and Brandis in Maribor and of Count Gaisruck in Jelšingrad which are interpreted from a novel perspective. Regarding the equestrian portraits, commissioned by Marchese Gravisi in Koper and Count Ragogna Torre in Pordenone, depicting four victors of the Relief of Vienna, a new identification of one of the victors is proposed. [ABSTRACT FROM AUTHOR]

This article examines the historical architecture and elite palace sites of the nineteenth-century Sultanate of Zanzibar. Archaeological coastal survey and historical research is used to discuss the way in which these built structures demonstrate the changing forces of mercantile control in the Western Indian Ocean. On moving his court to Zanzibar from Oman in 1828, Seyyid Said bin Sultan set about consolidating his authority. This consolidation and subsequent demise is reflected, it is argued, in the structural remains along Zanzibar's western coast. [ABSTRACT FROM AUTHOR]

The article discusses the history of Florentine architect Giuliano da Sangallo's design of the royal palace for the king of Naples, Ferrante of Aragon, which was commissioned by Lorenzo de' Medici in 1488. Topics discussed include the cultural exchanges and diplomatic relationships between Naples and Florence, the role of architecture in Italian Renaissance states' diplomatic activity, and the survival of three autograph drawings of the palace. Also mentioned are the rebuilding of Castel Nuovo, da Sangallo's study and use of antiquities of Naples, and the Neopolitan design of the palace.

An essay is presented on the representation of the Armenian merchants Khoja Sefer in a frescoes paintings located at Sala Regia vatican in Quirinal Palace in Rome. Topics discussed include the exploration of the works of various painters such as Carlo Saraceni, Giovanni Lanfranco, and Agostino Tassi, the representation of the aspects of the balcony scene of the Sala Regia, the feature of the construction and design of the vatican including the royal reception hall, walls, and interior.

This article is largely concerned with history, art, design and decoration of architectural surfaces of the building 'Faiz Mahal' at Khairpur Mir's in the Talpur period. The research is designed to collect and analyze the references of surface decoration; geometry, motifs, floral designs and the figurative images of human, bird & animals. The study is based upon the conceptual development behind art of surface decoration on the building erected in Talpur period at Khairpur Mir's. [ABSTRACT FROM AUTHOR]

The Nebuchadnezzar II prism EŞ 7834 (Istanbul Archaeological Museum) is an unusual royal inscription. It refers to the building works to enlarge the Old Palace at Babylon, and it is stylistically related to the Nebuchadnezzar building inscription preserved on cylinder C34. But EŞ 7834 also contains long lists of provincial and imperial officials, which can be used as a base to study the administrative structures of the Neo-Babylonian state. [ABSTRACT FROM AUTHOR]

Copyright of Art History & Theory / Mākslas Vēsture un Teorija is the property of Institute of Art History of the Latvian Academy of Art and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Author-supplied Abstracts.)

An essay is presented which discusses history of the design and construction of the palace the Palazzo Tolomei in Siena, Italy from the mid 13th century through the early 14th century. The article offers several photographs of Siena's architecture, including of the Palazzo Vecchio, north façade of the Palazzo Pubblico and the Piazza San Cristoforo. An overview of the use of the Palazzo Tolomei for public and private purposes is provided.

The article offers a translation and commentary of the description of the Grand Palace of Ayutthaya, Thailand as presented in a document entitled "Description of Ayutthaya," probably compiled by residents of Bangkok, Thailand prior to the city's attack by the Burmese in 1767. Topics include phases of construction, visits of the French embassy to the palace, and the essay "Phraratchawang boran" by Prathip Phentako. Also discussed are its audience, enclosure, and spectacle with elephants.

Empress Dowager Cixi ( 1835-1908) is one of the most significant and controversial political figures in modern Chinese history, yet her comprehensive engagement with court art, a symbolic realm of sovereignty in China, remains understudied and is therefore deserving of close analysis. To examine her patronage of art, this paper scrutinizes Cixi's involvement in the Wanchun yuan (Garden of ten thousand springs) reconstruction project and argues that it not only exemplifies her strategy of asserting political power through art but also provides a rare glimpse of how a patrons creation and decoration of space can be read as a self-portrait. The author contends that, on the one hand, Cixi utilized the location and scale of her own palace the Tiandi yijiachun (Spring united between Heaven and Earth) as a symbol of her continuous power struggle with Qing imperial tradition; and, on the other hand, that the palaces layout and interior décor also suggest Cixi's feminine and religious identities. [ABSTRACT FROM AUTHOR]

The article focuses on influence of Roman architecture on the designs and construction methods of Herod's building projects. According to the findings of Ehud Netzer, Herod's palaces particularly the one in Jerusalem features pavilions that are linked by open courts with gardens. It also mentions Herod's palace in Masada, which features attributes that are similar with Italian villas.

In the Aztec period and in colonial times different natural stones originating in the Valley of Mexico were used for building construction. Stone weathering was investigated onsite at various historical buildings within the old quarter of Mexico City. In this study, different aspects of weathering and deterioration at three significant historical buildings will be presented, the Aztec excavation site Templo Mayor, the Metropolitan Cathedral, and the colonial palace of the dukes of Heras Soto. Petrophysical properties of the main building stones of these structures were investigated like density, porosity, pore radii distribution, water uptake rate and coefficient, thermal and hygric expansion, and the mechanical properties of uniaxial compressive strength. A relationship between single critical property values, according to anisotropy fabric characteristics, and specific weathering forms could be deduced. [ABSTRACT FROM AUTHOR]

The article discusses the efforts of Italian aristocrat Paolo Francesco Spinola, member of the noble Spinola family of Genoa, Italy, in renovating the Spinola palace in Pellicceria, Italy. The author is more broadly concerned with the Genovese aristocracy's taste concerning furnishings. Such palace decorations are analyzed as pieces of Genovese aristocratic material culture. The author describes the stipulations surrounding Spinola's patrimonial inheritance of the palace, its contents, and its surrounding property.

This study provides an analytical historical and architectural account of the Musafirkhana Palace. The architectural configuration of this palace represented a rare and complete specimen of the upper-middle class homes in Mamluk and Ottoman Cairo (thirteenth to eighteenth centuries). This architectural treasure was burnt to the ground in 1998. The purpose of this study is to develop preliminary guidelines for the potential reconstruction of the Musafirkhana Palace or house. It includes a rich photographic catalogue of the house's different spaces before they were destroyed by fire. The study also contextualises the Musafirkhana within a broader typological framework that encompasses a range of elite and bourgeois houses which developed over several centuries in pre-modern Cairo. The study finally examines the house's concept of space and its relationship to the surrounding urban context. It questions the prevalent religious and climatic arguments that explain the introverted character of the Cairene house. This study argues that the courtyard configuration of the Cairene house was as much the result of cultural and urban form dynamics as religious and social traditions. [ABSTRACT FROM AUTHOR]

The practice of colonialism in Indonesia brought in a cultural encounter that affected the vernacular architecture. This can be seen obviously in the case of Javanese palaces. Claiming as the main sources of Javanese culture, they adapt the European style into their palaces rather than strictly hold on to the 'traditional' Javanese house-from which the architecture of the palaces was derived. However, there are some patterns in adapting the European into the architecture of the palaces. These patterns deal with the placement of the European related to spatial hierarchy and the hybrid-ornament formation. However, as this study is conducted in two main kingdoms of Java, there are differences in the way each kingdom adapts the European. Those differences seem to relate to the identity each kingdom needs to obtain, regarding their closely located kingdoms and the history in which they are the fractions of the former Mataram kingdom. [ABSTRACT FROM AUTHOR]

The article offers news briefs related to Belgium. Charles of Lorraine, governor of the Austrian Netherlands, had a marked interest in art, science and technology for the establishment of his palace and castle. Henry van de Velde has founded the Hoger Instituut voor Sierkunsten in Brussels. Chiefly French children's books and illustrated magazines from a private collection were exhibited.

The article seeks to describe the architectural design and decoration of Hetman Ivan Mazepa's palace in Baturyn, Ukraine, which was destroyed by the Russian Army in 1709. Focus is given to the influence of Western baroque architecture, particularly Italian and Lithuanian, on the structure's design and 17th-century Ukrainian architecture in general. Focus is given to the archaeological excavations of the palace that began in 2003 as well as its use of stone, Roman baroque church architecture, and a lack of ceramic rosettes.

The article focuses on the accuracy of Willem Frederik Stutterheim's reconstruction of kraton and his mystification of the site identifications in the monumental work of Javanese author Mpu Prapañca. Because Stutterheim did not reveal his surveys on the site, the authors were able to assign one pair of geographical coordinates to his plan in verification of the archaeological identification of the kraton and to situate his entire reconstruction in the context of the built landscape. Evidence from the surveys suggests the existence of an extensive grid of very wide medieval canals in the area of the vanished Majapahit capital and that Stutterheim correctly situated the crossroads near the northeastern corner of the palace.

The article presents an examination of literary representations of the Chinese palace Epanggong of the Qin dynasty that was located just outside the capital city of Xianyang, China. The author discusses how details on the palace have been difficult to uncover and that most commonly it is simply noted for being very large, extravagant and that is was destroyed in a fire. The author examines accounts of the palace in history and in poetry and notes that during the Tang dynasty accounts of the palace became more exaggerated than previous descriptions. The author also discusses what contemporary archaeological research reveals and explores how exaggerated accounts of the palace likely developed.

The article examines Cardinal Giovanni Battista Pamphilj's use of architecture as a means of self-representation. He commissioned a palace that doubled the size of his ancestral home in the Piazza Navona in Rome, Italy. The palace offered more space to accommodate separate households for the cardinal and his brother. According to the article, the palace represented a culminating moment in the efforts of the Pamphilj to forge and articulate an identity in Rome. It adds that Pamphilj's palace embodied the aspiration of several generations of the family to gain a visible and impressive presence in the Piazza Navona.