This contribution analyses the link between architectural representation models and the cultural context using as an example the Hwaseong seongyeok uigwe (1801), an illustrated register of the construction of the Hwaseong fortress in South Korea. After brief ly analysing the contents, the critical reception of the document is reinterpreted based on the persistence of Neo-Confucian philosophy in Korean culture, highlighting the deep-rooted and unique relationship between this cultural paradigm and the interpretation of the register.
This paper offers a critical reinterpretation of the concept of HBIM, questioning its growing identification with standardized computational tools. The authors highlights that HBIM should not be viewed as a merely extension of BIM applied to historical heritage. Through an analysis ranging from Palladio to the early digital experiments at the CNRS and MIT, the essay shows that information modelling should be considered an epistemological tool capable of representing the complexity, history, and diversity of built heritage. From this perspective, HBIM is not a predictive design model but rather an interpretative knowledge system based on semantic relationships and cognitive structures. The text denounces the limitations imposed by commercial software and advocates an open, networked, and critical approach to digital representation, in which modeling becomes a tool for inquiry rather than simplification. 'Ceci n'est pas unHBIM' is thus an invitationto radically rethink digital practices in architectural conservation.
Starting from Bernice Davidson's 1967 study on the Orsini Chapel in the Roman church of Trinit & agrave; dei Monti, the stucco frame of the altar fresco with the Depacation by Daniele da Volurra has emerged, compared to that of his master Perin del Vaga. Subsequent studies to those of Davidson analysis have substantially confirmed her interpretation of the perverse conceit of the frame as a conspicuous gesture of independence by Bonaccorsi. In this article, by briefly retracing the initial stages of Ricciarelli's activity, who was in contact with Perino del Vaga and his cincle, in particular with Guglielmo Della Porta, connections and analogies with the graphic-drawing work have been highlighted. It concerns the decorative and formal solutions applied to frames for altarpieces and reliefs, which could be used to acknowledge and contextualise the lost Orsini frame.
This essay seeks to broaden our knowledge of Mario Loreti as a furniture and furnishings designer. Apart from the brief biographical entry 'Loreti' in the volume Il mobile D & eacute;co italiano [De Guttry, Maino1988; Engl. ed.2006, Italian Art Deco Furniture), which includes a few photographs of furniture he designed, Loreti's oeuvre remains entirely to be studied and explored. The method of this investigation consisted in selecting a small group of drawings that are significant both for the clients who commissioned them and the quality of the furnishings. These drawings reveal Loreti's mastery in conveying the materiality of different grains and grades of wood through refined pencil techniques and shading.
This study explores the empirical integration of Chinese ink painting elements into urban brand visual design using a dual-method approach grounded in brand double helix theory. Prototypes were developed and tested across three cities using semiotic and behavioural methods with 720 participants and 15 experts. Results confirmed high recognizability, cultural resonance, and symbolic coherence, offering a validated model for culturally grounded branding across civic contexts.
