Abstract The Ti3+ self-doping B-TiO2/g-C3N4 hollow core-shell nano-heterojunction is synthesized via the continuous hydrothermal deposition and sculpture-reduction processes. The results of SEM, XRD, TEM, XPS and FT-IR imply that the B-TiO2/g-C3N4 hollow core-shell nanospheres have been prepared successfully. The photocatalytic activity of the B-TiO2/g-C3N4 nano-heterojunctions remarkably exhibits an enhancement of 18 times and 65 times than that of normal TiO2 and g-C3N4, respectively. Further, the photocatalytic process and the mechanism of the photocatalytic hydrogen production enhancement have been studied, which could be ascribed to the Ov-Ti3+ in the B-TiO2 and interface nano-heterojunction, that have been proved by the transient photocurrent, PL, EIS and Mott-Schottky plots.
Projeto de pesquisa em arte, extensão acadêmica e cultural em rede internacional, atua junto à zonas marítimas e portuárias em países Latino-americanos e europeus, como Itália/Veneza (Santa Marta), Valência (Espanha), Lisboa (Portugal), assim como Florianópolis (SC) e Santos SP (Valongo) e baixada santista, Vitória (ES) no Brasil, ampliando a construção partilhada de conhecimento por meio de ações de co-pesquisa em rede, co-criação artística, mostras e publicações internacionais que recebem a contribuição intelectual e poética dos pesquisadores-criadores participantes deste seminário nômade e ativações. Propõe pensar a partir das diversas cosmovisões e culturas, das profundas mutações climáticas em curso, das relações de apropriação, formas de pertencimento, promoção da memória e proposição criativa para o habitar as cidades contemporâneas. Considera as aboradagens propostas pelo filósofo da tecnologia chinês Huk Hui acerca da tecnodiversidade, aliada às proposições de Maura Reilly em torno da curadoria ativista como perspectivas para incidir no campo ampliado da arte pública transnacional na contemporaneidade glocal.
Giasemi G. Frantzi, Georgios P. Mastrotheodoros, Panayiotis Theoulakis
et al.
The Gigantomachy depicted on the west pediment of the Late Archaic temple of Apollo at Delphi marks a significant milestone in early Greek architectural sculpture. Crafted from porous stone and enhanced with plaster and paint, the surviving fragments differ markedly from the marble figures of the east pediment of the same temple. Among the preserved figures of the Gigantomachy are a standing male figure, possibly representing Apollo or Dionysos, a warrior female identified as Athena, and a recumbent male, likely symbolizing the Giant Enkelados. This study aims to investigate the polychromy of the west pediment through a thorough investigation of the remnants of the original decoration. The adopted methodology includes exclusively non-destructive techniques and advanced imaging methods, such as portable X-ray fluorescence spectrometry, visible-induced luminescence (VIL), and 3D microscope observation. Analytical results confirmed the presence of extensive traces of once-vibrant colors on the plaster’s surface, which were often invisible to the naked eye. Specifically, our data support the employment of pigments like Egyptian blue, cinnabar, ochre-based reds and yellows, as well as copper-based green. Notably, these pigments were applied over a white calcium-rich layer, which served as a primer for the porous stone. Ongoing research on the Gigantomachy promises to deepen our understanding of color usage and painting techniques in Archaic Greek art.
With the modern scientific changes and the accompanying progress in the various industrial fields, the thought of the contemporary sculptor was affected by the discoveries and scientific theories reached by scientists in various fields that had a clear impact on changing the traditional and previous theory about life, so they used new raw materials that were not used before. In the field of sculpture, such as plastics, plastics, vinyl, acrylic, polyester, fiberglass, glass and some other industrial materials that were created thanks to modern technology.
So the sculptor has a lot of new materials that differ in their characteristics and shapes, in addition to other natural materials that allow him to experiment with raw materials, as the art of sculpture is one of the fertile fields for practicing experimentation in raw materials, due to the diversity of the aesthetics of this art that accepts development and the development of new and diverse materials, as it A very spacious art that can accommodate everything that is new.
Therefore, the research deals with the possibility of benefiting from the newly developed raw materials and their plastic potentials to enrich the sculptural works of the students. The art of sculpture is one of the fertile fields for practicing experimentation in raw materials. All the restrictions that impede his creativity, so he expresses what is inside him as he sees it without restrictions, and as a result of technological progress and the tremendous development of new tools and materials, it was necessary to keep pace with the spirit of the times, respond to raw materials, and liberate from traditional patterns.
This paper wants to introduce Leonardo Ricci’s project for the integrated town identifiable on two kinds of archival series: the pictures of a three-dimensional model titled MODEL I: Harbor-center with water-sea-earth communication routes kept in Casa Studio Ricci in Florence and the bidimensional drawings kept in CSAC (Centro Studi e Archivio della Comunicazione) Archive, by framing it in his architectural work and research of the Sixties, which saw an intense exchange with the United States. It will be outlined in its fundamental aspects by explaining firstly the theoretical then the applied research Ricci dedicated to the elaboration of the model, as he maybe would have presented it according to its strong belief in the intertwining between these two layers. The final part will deal with a comparison of the analyzed project to the coeval model for the “Casa Abitata” exhibition, presented one year before in Florence. Both models show the same purposes and final similar morphological results, the first elaborated in the United States, the second one in Italy, as a consequence of Ricci’s research for a synthesis between architecture and sculpture and as a necessary melting between the physical and the social structures, thus the search for the most livable and useful spaces for the best development of modern life.
The era after World War II witnessed a remarkable transformation in the formal structure of contemporary sculpture and demonstration techniques, with its new intellectual and cognitive frameworks full of rapid and successive changes of new artistic movements and trends that provided forms, formats, new relationships and different compositional systems that included simplifications, some of which tend towards complexity, so the current study aimed to identify the aesthetics of simplification and complexity in contemporary sculpture according to postmodern concepts, The problem of the research was to answer the following question: What is the aesthetics of simplification and complexity in contemporary sculpture, this research relied on the descriptive analytical approach being the most appropriate approach to achieve the goal of the research, the research sample (3 samples) were deliberately selected to suit the privacy of the current research, and the researchers have designed (analysis form) and the most important results reached by the researchers:
Problem Definition: Part of our current information about the lives of Qajar women is obtained from the Oriental travelogues. Women-centered illustrated works, including pictorial rugs as a visual document, can be helpful in this regard. For this purpose, two Qajar rugs have been selected better to understand the role of women in this era. The present study addresses how women are illustrated in two pictorial rugs, namely "Bahram Gur in Haft Gonbad (Seven Domes)". Based on Goffman's dramaturgical social theory, this research tries to remove the literary mask of the story and explore the simulated realities of women in two rugs.Objective: This study aims to compare the various dimensions of how the identity of Qajar women appears in the two rugs of "Bahram Gur in Haft Gonbad (Seven Domes)".Research Method: Data collection is a library-based approach, and the method includes descriptions, miniature paintings analysis, and elements' comparison. The instrument is reliable, and non-probable samples are selected.Results: Given its urban texture and literary background, this type of rug seeks intentionally to illustrate powerful women from different social classes. It also intends to move upward in the strata of society to show the unreal position of women in the Qajar society.
Este texto crítico oferece uma descrição de uma actividade artística colaborativa entre pares, o workshop Olho no Dedo, realizado no âmbito do programa Centro Mutável em Montemor-o-Novo. Pretende-se reflectir sobre a produção artística emergente de materialidades transitórias, em particular da água, observando-se o processo de trabalho, os comportamentos das matérias e resultados. O workshop desenvolve-se em dois momentos de encontro, um dia de prática artística em torno do Rio Almansor e uma experimentação em atelier com técnicas líquidas. Valorizando a importância da mediação entre o homem e o mundo a partir de um modelo de visão subjectivo, estabelecem-se considerações sobre o reflexo da água e o acto de observação. A partir da experiência colectiva dos participantes, questionam-se os papéis entre o sujeito e o objecto no acto de observação, propondo posições não fixas nas relações entre as imagens da água e a produção artística. Através da observação das experiências com a técnica de papel marmoreado, estabelecem-se paralelismos entre a imagem visual obtida através dos desenhos com água e a formação instável da imagem. Registos do comportamento da matéria em interação com o corpo do artista - lugar de encontro de trocas e transversalidade, já que a manipulação das matérias pelo toque e pele se traduz numa performatividade efémera da água.
Problem Definition:While universities are keeping their classrooms virtual because of the outbreak of COVID-19, it is not yet clear when they will be able to return to the "normal" status. Developing virtual lectures has become a solution for many fields. However, the teacher-centered lecture-style classes are not responsive to design studios, which rely on dynamic, collaborative, and creative processes. Providing similar platforms to instructors for online teaching in different disciplines, from theoretical to practical courses, in Iran has become a challenge for design courses that require studio spaces. Objective: The aim is to share lessons learned in applying parallel approaches and tools to restore active, collaborative, and creative learning processes into design studio classes. Research Method: Drawing on Design-Based Research (DBR) approach, which is a qualitative methodology to refine and improve learning practices in iterative cycles of designing, evaluating, and re-designing, this paper aims at sharing some learned lessons from developing virtual design studios using the potentials of the existing digital tools that can bring dynamic learning spaces to design education in the virtual world. Results: The emerged themes included collaboration and group work, ability to upload and download multiple formats, possibility of student-centered asynchronous time management leading towards improving students’ learning experiences, observation of learning and thinking process with the possibility of refinement and improvement, and necessity of digital literacy. Codes and themes were extracted from data as units of analysis using Thematic Analysis in this qualitative research. This paper includes the lessons learned from two different design studios: a Basic Design studio for undergraduate Architecture students, and a participatory design studio for non-designer Ph.D. students. In both studios, Padlet platform was used a virtual space to collaborate and share ideas.
Camila M. B. Machado, Nathalia B. D. Lima, Sóstenes L. S. Lins
et al.
Abstract We address the use of Euler's theorem and topological algorithms to design 18 polyhedral hydrocarbons of general formula CnHn that exist up to 28 vertexes containing four- and six-membered rings only; compounds we call “nuggets”. Subsequently, we evaluated their energies to verify the likelihood of their chemical existence. Among these compounds, 13 are novel systems, of which 3 exhibit chirality. Further, the ability of all nuggets to perform fusion reactions either through their square faces, or through their hexagonal faces was evaluated. Indeed, they are potentially able to form bottom-up derived molecular hyperstructures with great potential for several applications. By considering these fusion abilities, the growth of the nuggets into 1D, 2D, and 3D-scaffolds was studied. The results indicate that nugget24a (C24H24) is predicted to be capable of carrying out fusion reactions. From nugget24a, we then designed 1D, 2D, and 3D-scaffolds that are predicted to be formed by favorable fusion reactions. Finally, a 3D-scaffold generated from nugget24a exhibited potential to be employed as a voxel with a chemical structure remarkably similar to that of MOF ZIF-8. And, such a voxel, could in principle be employed to generate any 3D sculpture with nugget24a as its level of finest granularity.
In this article, considering as a theoretical-methodological reference the discourse studies based on Michel Foucault (2004, 2005, 2007) and the definitions of colonial dispositive and ethniCity (NEVES, 2015) to understand the visual statements spread in the landscapes of Belém in the second decade of the 21st century, representing different places of enunciation about the history of the city and the indigenous peoples.I analyze the frontal of the most famous catholic church of the city and a bronze sculpture to mark the discourse of the colonization and, in contrast, I analyze graffiti of two local contemporary artists that retake the indigenous memory of Belém in their productions.In a way, update the ancient metaphor coined by Fr. Antonio Vieira, but now, as opposed to marble, not the myrtle but graffiti and its transience.
Based on the newly found archival material, the author supplements earlier research on the furnishing of the Royal University Library in Zagreb (1911-1913). The article mentions the contractors, professors of the Temporary Higher School of Arts and Crafts, Rudolf Valdec and Robert Frangeš, and attributes other contractors ‒ students of the Sculpture Course Temporary Higher School: Vojta Braniš, Ferdo Ćus, Davorin Hotko, Robert Jean, Milorad Jovanović, Hinko Juhn, Antonija Koščević, Rudolf Spiegler, Antun Štefić, Mila Wodsedalek. The paper also discusses the contribution of the school’s bronze foundry to the construction of the library, which performed decorative works from bronze.
In the article, an approach to the analysis of the artwork that represented the image of the great ballerina, A. Pavlova in the choreographic miniature The Dying Swan was implemented for the first time. The article contains the solution of the problem of understanding and comprehension of all artistic components of visual characteristics of the created works, which can be used in reconstructions and modern interpretations of a choreographic performance. The main iconographic motives of The Dying Swan by different artists have been illustrated on the materials of fine art, and their comparative analysis has been given.
The author aims at tracing the way the idea and mechanisms of interpretation of A. Pavlova’s role are transformed into the structure of a still image. Based on the definitions considered, specific author's solutions are analysed, and their ideological-artistic originality (features of composition construction, mise en scene lighting plot of the performance, acting nuances) is revealed about the stage representation and perception of classical choreography. In the article, a significant place is given to the work of sculpture created by A. Pavlova on a topic of The Dying Swan, which has been scarcely examined, in which the specificity of the ballerina’s performing art has been interpreted as a secondary relatively independent actor's activity and her creativity has been revealed in the format of the figurative interpretation as the individual performing interpretation of a stage of primary (author's) scenic activities. The article concludes that the presented sculptural-plastic interpretation of A. Pavlova's dance as a performer of the act is further superimposed on the interpretation of the choreographic image and manifested in the expressiveness of the movements set by the ballet-master, resulting in a new semantic variant based on the previous one.
История проектирования и строительства высотных зданий Москвы 1940-1950-х годов – это настоящий ящик Пандоры как для искусствоведов и историков, так и для широкой общественности. Несмотря на то, что ансамбль высотных зданий формирует облик Москвы уже более полувека, ответы на многие вопросы об истории их создания до сих пор не найдены. Например, до сих пор не существует точного списка имен тех, кто работал над скульптурно-декоративным оформлением высотных сооружений. Проведенное интервью со скульптором Н.Б. Никогосяном – одним из авторов пластического оформления высотного дома на Кудринской площади – проливает свет на процесс проектирования и оформления ансамбля высотных зданий Москвы.