#historic-tile-preservation

#historic-tile-preservation

The designation prohibits the sites from being targeted or used for military purposes, with violations potentially constituting serious breaches of the 1954 Hague Convention and grounds for criminal responsibility.

Textiles are a window into the communities that created them, with every motif and line signalling a different memory, tradition or identity. Often seen as folk art, these pieces of embroidery and weaving bring together dozens of narrative threads, from Japan to South America. But nowhere is it more fraught with meaning than in Palestine.

From unassuming hunks of Carrara marble and limestone, Matthew Simmonds carves realistic, miniature gothic cathedral arches, stairwells, and colonnades. Often based on architectural details of real places, such as cities around Tuscany and Germany's Bamberg Cathedral, the sculptures portray intimate details of corners, vaulted ceilings, arcades, and stairwells that can sometimes be peeked through additional apertures.

The intervention 'restored the perception of the monument's original scale and pavement level,' while enabling visitors to approach the structure more directly and understand the sequence of the ambulatory and its arches. This recalibration of levels, based on archaeological findings and geometric studies, also enabled the reorganization of the stormwater drainage system, integrating surface slopes and transitions into the paving design while maintaining coherence with the monument's historical configuration.

The contemporary technology museum has emerged as a performative participant in the systems it seeks to document. The architecture of these institutions has become increasingly fluid and bold, often mirroring the velocity and complexity of the systems it houses. They operate as mediators between the human, the ecological, and the technological realms, transforming from encyclopedic warehouses into active educational engines.

The design by 1Y Architects approaches this silence as material rather than absence. Instead of clearing the debris scattered across the site, the team gathered bricks, concrete fragments, and broken tiles from former factory buildings. These remnants form the structural fabric of the sound museum itself.

Rather than representing a simple return to the past, this renewed interest reflects a broader reconsideration of how architecture engages with materials, local resources, and environmental conditions.

It is not about reproducing the past but about engaging in dialogue with it. We apply the same level of care and rigor to all pieces. Many of our utilitarian pieces have a strong sculptural quality, and several of the more artistic works originate from everyday forms and functions. We do not establish rigid boundaries between these categories; all are part of the same vision.

The Irish government will give 2,000 artists unrestricted weekly stipends in a program officials described as a "recognition, at government level, of the important role of the arts in Irish society." After a successful three-year pilot, the Irish government made its basic income program for artists permanent. Similar pilots have been launched here in the United States, but they're supported primarily by the nonprofit sector.

In the UK and the US, it is often crystal clear when your new home is classified as a heritage home or period property, but in France it can be less obvious. You could be breaking the rules simply by installing new windows. So how can you check that your big plans aren't going to upset anyone - or worse, break the law?

Ba-rro: "Our starting point is always the context and what already exists." We are interested in recognizing the value of things simply because they are there, without assuming that everything must be preserved as a matter of principle. The question isn't what can be kept, but what deserves to be kept in each specific project. The decision to preserve, reveal, or remove doesn't stem from universal values or a nostalgic impulse, but from a situated interpretation:

What makes this canopy special isn't just that it uses 3D printing technology, though that's certainly impressive. It's the way the designers thought about the entire system. Rather than simply throwing a roof over the tombs and calling it a day, they created what's essentially a climate-control system disguised as architecture. The canopy features a double-layer envelope that does way more than keep rain off ancient stone. Built into this roof are ventilation and air extraction components that actively regulate temperature and humidity.

Picture this: you're knee-deep in renovation dust, crowbar in hand, when something unexpected tumbles from behind century-old plaster. A yellowed envelope? A strange metal box? That moment when your heart skips because you realize you might have just found something extraordinary. For some lucky homeowners, these discoveries turn out to be worth thousands of dollars, transforming a simple home improvement project into an unexpected treasure hunt.

Qingshan Wu "Ay" () is a type of black-glazed ceramic indigenous to the mountainous region of northeastern Fujian, positioned between pottery and porcelain.

An intact mosaic from Late Antiquity discovered during restoration of a historic municipal building in Istanbul is now a floor again, covered in plexiglass and welcoming visitors to the new Zeytinburnu Mosaic Museum. Visitors of Turkey's newest museum move across elevated glass walkways, suspended right above the original floors themselves. The mosaics are not relocated fragments mounted on walls, but surfaces that remain exactly where they were first laid, preserving their context for all to see.

Wild Souls is a clean-eating venue designed by studiomateriality and located at the corner of two busy streets in the Kolonaki district of . Positioned within a dense urban context, the project integrates into the city's daily movement while establishing a clear architectural identity at the street corner. The exterior is fully clad in terracotta tiles, giving the building a consistent material presence on all visible .

An extraordinary archaeological discovery in eastern Germany has reunited a medieval bronze cross with the mould used to cast it-more than four decades after the mould itself was found. The object, a so-called wheel cross dating to the 10th or 11th century, offers rare and tangible evidence of early Christianisation among the Slavic populations of the region between the Elbe and Oder rivers.

Heritage sites constitute complex spatial archives in which architecture, history, and collective memory converge. They encompass a wide spectrum of contexts-from archaeological remains, ancient and historic townscapes, UNESCO-listed landscapes, to early modern civic structures and industrial infrastructures. Yet these environments confront challenges: climate change, urban transformation, disaster, shifting social needs, and the gradual erosion of material fabric. Revitalization and restoration projects respond to these conditions by positioning architectural and spatial practice as an active mediator between preservation and the contemporary topologies.

It is approximately 10 by 13 feet in dimension and features two main sections consisting of a central hexagonal panel bordered on each side with five square panels and one rectangle. The space between the squares is filled with triangular panels. Each panel contains different geometric and abstract botanical designs. The hexagonal panel in the center contains a Solomon's Knot (two interlocked ovals). The square panels contain flowers with four pointed petals. The triangular panels contain small solid triangles.

The only building known to have been designed by Vitruvius himself was found under Piazza Andrea Costa in a preventative archaeology excavation before redevelopment. Unlike the ancient public building found in 2023 which was speculated to be the long-sought basilica, the newly-discovered structure matches the detailed description in Vitruvius' De Architectura. The accuracy with which the remains found coincided with Vitruvian descriptions left experts astonished.

In Manisa, western Turkey, the Liberation Museum by Yalin Architectural Design is a memory space shaped by absence, loss, and collective resilience. Developed for the Greater City Municipality of Manisa, the 3,800-square-meter project narrates the local civil resistance movement that emerged independently of central authority between 1918 and 1923, during and after the First World War. The museum is conceived as an experiential landscape, guiding visitors through a spatial narrative of occupation, destruction, liberation, and rebuilding.