#arete construction

[areteconstructionservices]

Brick Chimney Repair in Winchester

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[twilightprince101]

FIRE EMBLEM CONQUEST REWRITTEN IS COMPLETE

After over a year of editing, re-formatting and fighting against Google Docs, my developmental editing project "Fire Emblem Conquest Rewritten" is finally done!

For those who don't know, this project is my love letter to the game and to the franchise as a whole. Taking the story of Fire Emblem Conquest, I put it under a microscope to analyze the pieces of story left on the cutting room floor from its rushed development cycle, and help improve the story without changing any of its core story beats. Rather than changing plot events entirely such as Lilith's death, I include her in more scenes beforehand to give her death a stronger impact. The outcome stays the same, the buildup and framing is brand new!

If you're interested, check out the link below! Not convinced yet? Take a look under the "Read More" to get a rundown of everything new!

STREAMLINED PAGE LAYOUTS

I've spent an entire week re-formatting all of the google docs to make them more cohesive. The reading experience is now much more streamlined for fans of Fire Emblem, or those who may be unfamiliar with the story entirely.

FULL ISOLATED ORIGINAL SCRIPTS

Frustrated in getting the scripts from a wiki? Not interested in the rewrites? No problem! This project provides full scripts of the original Conquest storyline in one consistent format, free to use!

A CONSTRUCTIVE DISSECTION OF THE CONQUEST STORYLINE

Do you wish that Lilith had a more significant role in the story? That the Nohrian royals could all have unique dialogue against Garon in Chapter 27? That Garon was less blatantly evil and more of an abusive father? This project builds upon all of these things and more! Including but not limited to:

-Camilla learning basic empathy and becoming the older sister that her family needs -The Kitsune Tribe's massacre gaining genuine story significance and not being forgotten after the chapter ends -Characters like Katarina and Arete, though still off screen, gaining more prominent significance in the story as late mothers -The protagonist realizing that her paragon mentality of "no murder" isn't healthy, developing into a responsible leader for Nohr -Complete removal of "Revelation-Bait," which causes Conquest's storyline to be deliberately unsatisfying so people will pay twenty dollars for other routes, allowing Conquest to stand on its own as a wholly satisfying story.

Still interested? Great! Here's another link to the project here so you don't need to scroll all the way back up. Thanks for reading this far, I hope you have a lovely day!

[konigsberg]

would you consider (if you havent already) making a rec list for books/authors/poets/etc? your breadth of classics knowledge and the source material you draw inspiration from always intrigues me.

I'd be happy to, but I think I might (accidentally) give the impression of being more familiar with a lot of these things than I actually am haha.

I'll focus on classics or classics-related recs, but there are some things I'll throw in here because, even though they aren't classics (or classics in the sense I think you probably mean, as in directly related to ancient Greece etc.), they've influenced what I’ve written in some way. I should also be clear, I haven’t read all of these things, sometimes only pieces, or they’re things I’ve been meaning to read and keep putting off but people might be interested in. And I’m definitely not an expert. I’m not properly educated on these topics, so I’m not sure if anything I include might be considered a bad resource by someone with a background in this field.

Also, as I was putting together this list… I was gawking at the prices of so many of these. Like 90% I grabbed at my local secondhand bookstore and I would encourage anyone interested to try to get these used (Thriftbooks is an online store to look at if you don’t have a good local store, though I’m not sure where all it ships to) or from a site like Project Gutenberg etc. Libraries are always good too, of course (some might be on Archive.org, which is a place where you can check out books online). I may be able to help you find ways to get your hands on some of these sources if you’re struggling to find it.

Fiction

Aethiopica by Heliodorus (tr. Moses Hadas) - An ancient Greek novel. “The Aethiopica tells the story of an Ethiopian princess and a Thessalian prince who undergo a series of perils (battles, voyages, piracy, abductions, robbery, and torture) before their eventual happy marriage in the heroine’s homeland.” Summary from here.

An Oresteia (tr. Anne Carson) - Carson’s translations of Aiskhylos' Agamemnon, Sophokles' Elektra, and Euripides' Orestes. Literally anything Carson touches is gold, please just read everything translated or written by her here, even if you’ve read other translations. “After the murder of her daughter Iphigeneia by her husband, Agamemnon, Klytaimestra exacts a mother's revenge, murdering Agamemnon and his mistress, Kassandra. Displeased with Klytaimestra's actions, Apollo calls on her son, Orestes, to avenge his father's death with the help of his sister Elektra. In the end, Orestes is driven mad by the Furies for his bloody betrayal of family. Condemned to death by the people of Argos, he and Elektra must justify their actions ― or flout society, justice and the gods.”

Arete: Greek Sports from Ancient Sources by Stephen G. Miller - All about the concept of arete. Exactly what it says on the tin.

The Constraints of Desire: The Anthropology of Sex and Gender in Ancient Greece by John J. Winkler - Another that’s exactly what it says on the tin. “For centuries, classical scholars have intensely debated the "position of women" in classical Athens. Did women have a vast but informal power, or were they little better than slaves? Using methods developed from feminist anthropology, Winkler steps back from this narrowly framed question and puts it in the larger context of how sex and gender in ancient Greece were culturally constructed. His innovative approach uncovers the very real possibilities for female autonomy that existed in Greek society.” (My friend has another book from this collection (?) called The New Ancient World, which I want to get if I ever actually… finish reading this one. But that one is called One Hundred Years of Sexuality, I think, and there’s another called Games of Venus, which also looks very interesting so I want to mention them.)

The Golden Ass (Metamorphoses) by Apuleius (tr. E.J. Kenney) - This is another that feels like it might go without saying, but whatever. This is where the story of Cupid & Psyche is told. If I understand correctly, this is the oldest (surviving, and possibly only?) extended account of Eros & Psyche’s myth, though art of the two appears much earlier so I assume Apuleius was drawing from older sources. “Written towards the end of the second century AD, The Golden Ass tells the story of the many adventures of a young man whose fascination with witchcraft leads him to be transformed into a donkey. The bewitched Lucius passes from owner to owner - encountering a desperate gang of robbers and being forced to perform lewd 'human' tricks on stage - until the Goddess Isis finally breaks the spell and initiates Lucius into her cult.” Actually, this is the physical copy I have and I got it just because I really wanted a physical copy, but I haven’t read it. I read a version for free online years ago when my obsession with Cupid & Psyche first took shape and I… have no clue who translated that one. But, well, here we are. You can definitely find this on Project Gutenberg, probably by a different translator, though.

Greek Fictional Letters (edited by C.D.N. Costa) - “This book explores a relatively unfamiliar and under-appreciated area of Greek literature: imaginary letters written between about 100 BC and 500 AD. Many of them are light-hearted and funny, and describe the lives of ordinary people--fisherman, farmers, courtesans. Others look at more serious and philosophical aspects of life. All the letters are translated, and the notes offer help to both expert and less informed readers.”

Grief Lessons: Four Plays by Euripides (tr. Anne Carson) - Carson’s translations of the plays Herakles, Hekabe, Hippolytos, and Alkestis. “Herakles, in which the hero swaggers home to destroy his own family; Hekabe, set after the Trojan War, in which Hektor’s widow takes vengeance on her Greek captors; Hippolytos, about love and the horror of love; and the strange tragic-comedy fable Alkestis, which tells of a husband who arranges for his wife to die in his place.”

The Iliad by Homer (tr. Robert Fagles) - Do I need to include this? I’m including this, if only to say this is the translation I have.

Medea by Euripides - This is, of course, the play depicting what happens when Jason attempts to remarry, betraying Medea. I can’t find my copy right now to specify which translation, but I didn’t particularly enjoy it anyway (the translation, not the play to be clear). Here’s a copy on Gutenberg.

The Odyssey by Homer (tr. Emily Wilson) - Again, just noting this is the translation I have more than anything.

The Voyage of Argo: The Argonautica by Apollonius of Rhodes (tr. E.V. Rieu) - Covers Jason’s quest. You can find various translations for free on Project Gutenberg.

Nonfiction

The Black Andromeda by Elizabeth McGrath - This is a paper about Princess Andromeda’s race and how it has been depicted throughout art and literature. It’s relevant to the Aethiopica and how it handles or fails to handle race.

Burial customs, the afterlife and the pollution of death in ancient Greece by Francois Pieter and Louise Cilliers - A research paper covering exactly what it says it does. I haven’t read much of this even though I really should and the parts I have read are so, so interesting.

The Encyclopedia of Ancient Greece by Carlos Gómez - General history.

Eros the Bittersweet: An Essay by Anne Carson - All about love as the ancient Greeks conceptualized it. I beg you all to read this. This is the one I’ve posted a bunch of my notes on to twitter. “A book about romantic love, Eros the Bittersweet is Anne Carson's exploration of the concept of "eros" in both classical philosophy and literature. Beginning with, "It was Sappho who first called eros 'bittersweet.' No one who has been in love disputes her," Carson examines her subject from numerous points of view, creating a lyrical meditation in the tradition of William Carlos Williams's Spring and All and William H. Gass's On Being Blue.”

The Gardens of Adonis: Spices in Greek Mythology by Marcel Detienne (tr. Janet Lloyd) - I haven’t read much of this, but I know I need to. “Rich with implications for the history of sexuality, gender issues, and patterns of Hellenic literary imagining, Marcel Detienne's landmark book recasts long-standing ideas about the fertility myth of Adonis.”

Granddaughter of the Sun: A Study of Euripides' Medea by C.A.E. Luschnig - I’ve also been posting screenshots from this as I read it because it makes me super unhinged. All about Her… “By looking at aspects of Medea that are largely overlooked in the criticism, this book aims at an open and multiple reading. It shows that stories presented in the drama of 5th century Athens are not unrelated to human beings who actually exist.”

Magika Hiera: Ancient Greek Magic and Religion - “This collection challenges the tendency among scholars of ancient Greece to see magical and religious ritual as mutually exclusive and to ignore ‘magical’ practices in Greek religion.”

Portraits of Grief: Death, Mourning and the Expression of Sorrow on White-Ground Lêkythoi by Molly Evangeline Allen - Someone’s research on funerary vases. I haven’t read much of it, but I came across it while trying to find other info and it looked interesting.

Poetry

Ovid: The Erotic Poems (tr. Peter Green) - Ovid is a Roman poet, but I think his work might be of interest. “This collection of Ovid's poems deals with the whole spectrum of sexual desire, ranging from deeply emotional declarations of eternal devotion to flippant arguments for promiscuity.”

Ovid’s Poetry of Exile (tr. David R. Slavitt) - More of Ovid’s work.

Sappho: A New Translation of the Complete Works (tr. Diane J. Rayor) - Please… Please… any translations of Sappho you can get… read them…

Miscellaneous

Desire, Discord and Death: Approaches to Near Eastern Myth by Neal H. Walls - Obviously not Greek, but I feel like anyone interested in ancient mythology about queerness, love, death, and sex would find this really interesting. “The three essays presented in this volume reveal the symbolic complexity and poetic visions of ancient Near Eastern mythology. The author explores the interrelated themes of erotic desire, divine conflict, and death's realm in selected ancient Mesopotamian and Egyptian mythological narratives using contemporary methods of literary analysis. Topics include the construction of desire in the Gilgamesh epic, a psychoanalytic approach to 'The Contendings of Horus and Seth', and gender and the exercise of power in the stormy romance of Nergal and Ereshkigal.”

Erotism: Death and Sensuality by Georges Bataille (tr. Mary Dalwood) - I haven’t read much of this and I know based on Bataille’s fiction (my man was really on some shit)… this is sure to be really unhinged. But it’s all about life, death, religion, and sex. “Bataille challenges any single discourse on the erotic. The scope of his inquiry ranges from Emily Bronte to Sade,from St. Therese to Claude Levi-Strauss and Dr. Kinsey.  The subjects he covers include prostitution, mythical ecstasy, cruelty, and organized war. Investigating desire prior to and extending beyond the realm of sexuality, he argues that eroticism is ‘a psychological quest not alien to death.’” I feel like… there probably needs to be trigger warnings for this one, but who knows what lol. This is actually the main book I’ve been using to help me learn French too, which is… a choice on my part for real, but that’s getting really off topic.

[germanpostwarmodern]

Between the second half of the 1920s and the 1960s Frits Peutz lay the foundation for the town of Heerlen’s modern architectural character through buildings like the ultra-modern Schunck department store (1933), the Royal Cinema (1937) or the Stadsschouwburg (1959). But Peutz’s magnum opus in the city undoubtedly was the town hall completed in 1942, a very interesting building oscillating between modernism and historic echoes that came about under the aegis of long-term mayor Marcel van Grunsven. Recently the town hall’s renovation as well as the construction of an adjacent municipal office building were completed by Mecanoo, a welcome occasion for the release of the present book: Emile Hollman’s “Frits Peutz 1896-1974. Beeldbepalend architect”, published by nai010 publishers, which offers a very diverting, multifocal perspective on the life and work of architect Fritz Peutz through the eyes of his children, contemporary architects like Jo Coenen, Francine Houben, Wiel Arets and Wim van den Bergh (who published an essential monograph on the architect during their student days). While Peutz’s children Netty and Jan reflect on their upbringing and, in Jan’s case, the rather short-noticed continuation of his father’s architectural firm, the aforementioned architects in interviews with the book’s author discuss their touching points with Peutz. Coenen, Arets and Houben were all born in Heerlen and sooner or later in their (professional) lives dealt with Peutz buildings. Jo Coenen in particular, through his commission for the Heerlen municipal library, deeply discussed the architecture of the nearby town hall and intimately got to know Peutz’s references to historic order and composition principles.

The latter also come up in Hollman’s introduction which recounts the town hall’s genesis as well as it sheds light on the cultural environment and urban society that helped modern architecture thrive in Heerlen.

With the present publication Emile Hollman offers a very personal but nonetheless in-depth account of Frits Peutz’s life and work and the particular qualities of his architecture that is exceptionally diverting and beautifully illustrated. Warmly recommended!

[toshodai]

A photo of Izumi-san's capturing what remains of the façade to the Library of Celsus, an ancient Roman building constructed in the second century, considered one of the great libraries of the ancient world.

To the webmaster's recollection, there doesn't seem to be any architecture in Magus's international releases where the Library of Celsus' influence is visible at the time of posting.

Some excerpts from an article about the Library on worldhistory.org:

The Library of Celsus in ancient Ephesus, located in western Turkey, was a repository of over 12,000 scrolls and one of the most impressive buildings in the Roman Empire. Constructed in the 2nd century CE, it was named after the city's former Roman governor. Today, only the library's impressive facade remains of this once great building and is a silent witness to the city's stature as a great centre of learning and early Christian scholarship during the Roman period. The library had three entrance doorways, each with elaborately decorated frames, with the central doorway being greater in height than the other two. The doorways each have a window above them, and they are flanked by four statues set back in niches. These figures with inscribed bases represented four qualities associated with the late governor: • wisdom (sophia) • intelligence (ennoia) • knowledge (episteme) • virtue (arete) The interior of the library measured 16.72 m by 10.92 m (54.8 x 35.8 ft) giving some 180 square metres (2,000 square feet) of floor space, and it was paved with decorated marble. Part of the western wall is curved to form an apse. The walls were lined with niches for storage of the scrolls. There may have been around 12,000 scrolls which were intended to be consulted on the spot and not removed from the library, although some borrowing may have been permitted by a privileged few. Unfortunately, in 262 CE the library was destroyed by fire during a Gothic invasion. However, the facade survived and repairs were made to the library in the late-4th century CE and a small fountain added next to the steps in front. [...] In the 10th century CE, an earthquake caused the facade to collapse. The library was excavated in 1904 CE and the sarcophagus of Celsus discovered. The facade was reassembled and then partially restored. The great statues of the building's facade were taken to Vienna after their discovery and so today they have been replaced by faithful copies.

[ligiaonwlz]

Mes del orgullo de la discapacidad 2024

En observación del cumpleaños de la hermosa y muy talentosa Frida Kahlo.

(D: el imágen es de ella con una diadema de flores en la cabeza, los labios pintados rojos, las mejillas pintadas, Frida lleva aretes colgando de las orejas, collares en el cuello, una blusa negra con un chal en los hombros. La foto lleva las palabras, "pies, ¿para que los quiero si tengo alas para volar?)

¡Feliz cumpleaños Frida Kahlo!

https://disabilityhorizons.com/2015/12/disabled-icons-painter-frida-kahlo-and-pushing-boundaries/

https://www.famsf.org/stories/frida-kahlos-construction-of-identity-disability-ethnicity-and-dress

https://groups.io/g/Deniseslist/topic/fw_reminder_new_podcast/99757267

https://www.studiogallerydc.com/jlkblog/2020/8/6/celebrating-disability-pride-month-through-the-lens-of-art-history

Disability Pride Month 2024

Today would have been Frida Kahlo's birthday.

(Frida with a headband of flowers on the top of her head, long dangly earrings, necklaces on her neck, makeup on her cheeks and red lipstick on her lips, a black blouse with a floral detail at the top, and a shawl around her shoulders. The picture also says, "feet, why do I want them if I have wings to fly?)

Happy birthday Frida Kahlo!

#HappyBirthdayFrida

#FelicidadesFrida

#July6th1907

#6deJulio1907

[atlantisgrand]

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Exclusivity Redefined With only four towers and a limited inventory of 140 dual-core flats, Atlantis Grand offers an unmatched level of exclusivity and privacy. Each meticulously designed apartment exudes style, spaciousness, and an unbeatable lifestyle.

Luxury Amenities Galore At Atlantis Grand, luxury is not just a feature; it's a way of life. From the moment you enter, you're greeted by a plethora of amenities tailored to your every need. Indulge in the clubhouse, stay fit at the gymnasium, or let your little ones enjoy the playground. Unwind in the all-weather swimming pool or host elegant events in the party hall.

Sustainable Living Krishna Buildtech is not just about luxury, its about being environmentally responsible too. These features range from covered basement parking, rainwater harvesting technology to the tons of greenery around.Get ready to fall in love with Atlantis Grand and its architectural wonder. Elegant timeless European architecture inspired by Spanish design, each elevation offers stylish and sophisticated living. Views which on East balcony one can witness the greenery around, all high and low to give you serene backdrop for your quiet moments daily. Made using Mivan Construction Technique these Ultra Luxury Homes have Full Covered Basement Parking for an easy access. The clubhouse is an epitome of luxury which is outfitted with modern amenities like a gymnasium, children play area, party hall & much more, thus ensuring plentiful avenues of recreation & entertainment. and commercial spaces within the society, Atlantis Grand represents a commitment to environmental consciousness while providing its residents with a seamless living experience.

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Seize the Opportunity Be the first to experience the luxury life at Atlantis Grand. Own your spot within this architectural gem and elevate your lifestyle. And with the soon to be fully completed Atlantis Heights and Atlantis 360, the possibilities of luxury living are beyond limit.

Our latest architectural masterpiece redefines luxury living. This stunning high-rise residence blends elegant architecture with long-lasting quality, sure to impress even the most recognising residents. Our tower which rises 14 stories above the cityscape, features:

Apartments are spacious and bathed in light and have private balconies. A striking exterior with golden highlights and vertical design elements. Ground floor retail spaces for maximum convenience. Lush landscaping can create an urban oasis.

Developed by a prestigious team of professionals:

Ar. Tripat Girdhar from Arete Design Studio created the visionary design, while Ashwani Duggal curated the exquisite interiors. IIT Roorkee offers cutting-edge structural engineering.

Every little thing has been designed to ensure an amazing stay. Spanning from the grand lobby to citywide panoramas, The Address redefines modern city life. Experience the architecture of domicile live in a place where luxury meets comfort & style. Residences are limited, so visit us to set up a private tour and secure your place at this architectural icon today.

Don't miss out on this opportunity. Atlantis Grand offers luxury living with unparalleled elegance and comfort. Welcome to your new home of opulence.

[studyatorange]

10 Things you did not know about Greek Architecture

Greek design extends from c. 900 B.C.E. to the first century C.E. (with the earliest surviving stone engineering dating to the seventh century B.C.E.). Ancient Greek draftsmen took a stab at the accuracy and greatness of workmanship that are the signs of Greek craftsmanship overall. The equations they imagined as right on time as the 6th century B.C. have impacted the design of the previous two centuries. The two chief orders in Archaic and Classical Greek design are the Doric and the Ionic.

The way into the evergreen allure of the design style is in its ‘logic and order’, which radiates amiability and excellence in the structures. The point was to accomplish and depict the Greek Principle of ‘Arete’, which signifies ‘accomplishing one’s finished potential.

1. Greek Architecture was influenced by various cultures

Image : https://diplomaofbuildingandconstruction.blogspot.com/2022/05/construction-and-architects-faq.html

2. Oriental societies influenced the Greek settlements along the shore of Asia Minor (Turkey)

The beginnings of Greek compositional plan are not to be found in the different strands of Aegean workmanship that showed up in the eastern Mediterranean, strikingly Minoan or Mycenaean craftsmanship, yet in the Oriental societies that emptied their persuasions into the Greek settlements along the shore of Asia Minor (Turkey) and from that point to Hellas itself. Since the time of the Geometric Period (900–725 BCE), the principal undertaking of the Greek draftsman was to plan sanctuaries respecting at least one Greek divinities. Truth be told until the fifth century BCE it was his lone concern. The sanctuary was only a house (Oikos) for the god, who was addressed there by his clique sculpture, and most Geometric-period establishments show that they were developed by a straightforward square shape. As indicated by fired models (like the eighth-century model found in the Sanctuary of Hera close to Argos), they were made out of rubble and mud block with wood radiates and a covered or level earth rooftop. By 700 BCE, the last was superseded by a slanting rooftop produced using terminated mud rooftop tiles. Their insides utilized a standard arrangement adjusted from the Mycenean castle megaron. The sanctuary’s principal room, which contained the sculpture of the god, or divine beings, to whom the structure was devoted, was known as the cella or naos.

Generally, Greek Architecture is associated with Temple-Architecture or Other Public Buildings

Greek city-states put significant assets in sanctuary working — as they rivaled each other in key and financial terms, yet in addition in their engineering. For instance, Athens committed colossal assets to the development of the acropolis in the fifth century B.C.E. — to a limited extent so Athenians could be sure that the sanctuaries worked to respect their divine beings outperformed anything that their opponent states could offer.

Ancient Greek sanctuaries highlighted relative proportional design, sections, friezes, and pediments generally adorned with sculpture in help. These components give old Greek Architecture its unmistakable person. The ancient Greek planners fabricated sanctuaries to be seen from an external perspective. Individuals were by and large not permitted inside them.

Layout development in ancient Greek Architecture

The Old Greek underlying style that energetically influenced later architecture is the colonnade. A Colonnade is a line of sections supporting an entablature. It will in general be joined to a design (as in a porch) or detached. Sanctuaries with a peripheral plan (from the Greek πτερον (pteron) meaning “wing”) have a single line of section organized all around the outside of the building. Dipteral sanctuaries simply have a twofold line of sections including the design. One of the additional astonishing plans is the tholos, a sanctuary with an indirect ground plan; well known models are confirmed at the place of refuge of Apollo in Delphi and the place of refuge of Asclepius at Epidauros. The configuration of the internal heavenly spot, various burdens (expecting to be any), and including segments, generally, followed one of five fundamental plans, named as follows.

In the event that the entry to the cella combined two or three areas, the construction was known as a “templum in antis”. [“in antis” means “between the divider pillars”] (Example: Siphnian Treasury, Delphi, 525 BCE; or Temple of Hera, Olympia, 590 BCE.)

· In the event that the path was gone before by a porch of areas across its front, the construction was known as a prostyle asylum. (Model: Temple B, Selinunte, Sicily, c.600–550 BCE.)

· Assuming the patio of areas at the front, there was a passage of fragments at the back outside of the cella, the design was known as an amphiprostyle safe-haven. (Model: Temple of Athena Nike, Athens, 425 BCE. Then again see the later Temple of Venus and Roma, Rome, 141 CE.)

· In the event that the passage enveloped the entire design, it was known as a fringe asylum. (Model: The Parthenon, Athens, 447–437 BCE)

· In the event that the passageway including the construction contained a twofold line of sections, it was known as a dipteral asylum. (Model: The Heraion of Samos, 550 BCE; or Temple of Apollo, Didyma, Asia Minor, 313 BCE.)

Use of geometry in Greek Architecture

It is most plausible that the antiquated Greek architects proportioned their sanctuary plans by utilizing straightforward mathematical developments to decide the essential generally speaking extents of the structure. (Leonardis, 2016). The main mathematical strategy is multiplying the space of a square, an extremely antiquated technique discovered currently in Babylonian earth tablets (Wilson Jones 2000b: 90–93).

The headway of sensible and speculative math by the old Greeks was an immense social accomplishment, and it showed the essentials for the advancement of the Greek plan. The second basic numerical technique is a relative extent, which moreover has common sense work. The plan cycle was probably refined by drawing traces. These graphs were, in light of everything, comparing and supporting the affirmation of areas.

The modelers of old-style Greece considered numerous cutting edge strategies to make their constructions look totally even. They made symmetrical planes with an outstandingly slight vertical U-shape and areas that were fatter in the middle than at the terminations. Without these progressions, the designs would appear to list; with them, they looked perfect and radiant.

Deriving a Formula and its Order of architecture

The change from block and wood to more lasting stone invigorated Greek modelers to plan an essential compositional “format” for sanctuaries and other comparable public structures. This first “format”, known as the “Doric Order” of engineering, set out a progression of rules concerning the qualities and measurements of sections, upper veneers, and enhancing works. The resulting “layouts” incorporated the Ionic Order (from 600) and the Corinthian Order (from 450).

Ancient Greek design concocted three principles, “orders” or “layouts”: the Doric Order, the Ionic Order, and the Corinthian Order. These Orders set out a wide arrangement of rules concerning the plan and development of sanctuaries and comparative structures. These guidelines directed the shape, subtleties, extents, and corresponding connections of the sections, capitals, entablature, pediments, and stylobate.

Development of Stone Architecture

From the get-go in Greek history sanctuaries were made of wood. Stone, particularly marble, turned into the material of decision in the seventh century BC. Marble was exceptionally abundant in Greece.

Until about 650 BCE, mid-way through the Orientalizing Period (725–600 BCE), no sanctuaries were built in completed stone. Be that as it may, from 650 BCE onwards, or somewhere around there, there was recharging of contacts and exchange joins among Greece and the Middle East, including Egypt, the home of stone engineering. (See: Ancient Egyptian Architecture.) Subsequently, Greek originators and bricklayers got comfortable with Egypt’s stone structures and development methods, including those of Imhotep, which prepared for fantastic engineering and models in Greece. This cycle — known as “petrification” — included the supplanting of wooden designs with stone ones. Limestone was normally utilized for columns and dividers, while earthenware was utilized for rooftop tiles and marble for ornamentation. It was a progressive cycle, which started in the last piece of the seventh century, and a few designs, similar to the sanctuary at Thermum, consisted of wood and terminated mud, just as stone.

The structure development of Stone in Greek Architecture

The mystery that keeps the architecture standing pleased, without the smallest harm from the seismic tremors that have occurred over a load of years, effectively goes against the hypothesis of present-day structural designing because without having an establishment, it is triple seismically protected. This triple protection is situated in various pieces of the structure. The principal point is situated on the layers of enormous flat and amazingly smooth marbles on which the Parthenon steps. The second is seen in the metal versatile joints which associate the plates of each layer and in the focal point of which are found little iron heaps around which lead has been poured. Also, the third is situated in the segments of the structure, which were not put in one piece, since the antiquated Greeks realized that to withstand the vibrations of the earth, they must be set in cuts of marble, consummately applied to one another. The segments — at long last — in the manner they were set, permitted the entire structure to sway however not breakdown!

Colors were striking bold to emphasize the buildings in Greek Architecture

Every one of the information that students of history and archeologists have available to them shows that the Parthenon didn’t have the white shading we see today. All things considered, it was painted in numerous splendid tones! Until the start of the nineteenth century, the deliberate uncovering of old Greek locales had brought to the front plenty of models, some of which had noticeable hints of brilliant surfaces. Utilizing focused energy lights, bright light, and exceptionally planned cameras, it is demonstrated that the entirety of the Parthenon Images was painted.

The Greeks consistently painted their marble sanctuaries. Truth be told they appear to be not exclusively to have painted them, however, to have utilized pretentious tones for the reason, revealing liberally in red, blue, and gold. There probably has been some endeavor to associate tone and construction, with the primary individuals kept clear and remarkable, the lower parts minimal hued, and the upper parts alone blooming in tone as they did in sculptural embellishment, however, all proof has since a long time ago disappeared.

Legacy Of Greek Architecture

The Romans were huge manufacturers, designers, and draftsmen by their own doing, however throughout vanquishing the western world, they were exceptionally impacted by Greek aesthetics. The enormous utilization of the Ionic, Doric, and Corinthian Orders is the clearest model. One common kind of building was a basilica, which was created from the Greek Stoa, yet was completely encased instead of enclosed on one side. The lobby contained corridors within, which assisted with getting sorted out and partitioning the inside space.

Read more About: certificate iv in building and construction

[selwlsa]

New Plus Nostalgia Equals NewStalgia

At Arete Renovators, Inc., their experienced professionals perform full gut rehabs, and a combination of condo units, commercial storefront and lobby renovations, additions, and new construction.

[ashishaggarwalacubeventures]

The real estate sector's major challenges in 2023

Real estate experts predict that 2023 will be a pivotal year for the Indian real estate market as the country continues its steady march towards prosperity, propelled by government spending, private investments in manufacturing, and the advantage India enjoys on the global stage. The cooling effect of the US recession will be one of the biggest  issues facing the real estate market in 2023, according to Vishal  Raheja, MD, InvestoXpert.com. Handling the consequences of decreased income flows in the IT/ITES sector will be one of the main problems. We anticipate it will be a significant hurdle for us to overcome because it takes up a substantial portion. But that does not mean that all market demand will suffer significantly, he continued. It might be challenging to pinpoint the major effects of geopolitical concerns related to real estate, according to Aman Gupta, Director, RPS Group. Because it is unclear how these risks may affect certain economic and financial sectors in the future, they frequently take the form of volatility. According to Aman Gupta, "it is challenging to isolate and measure a conflict like the war in Ukraine, further production halts brought on by increased COVID infection rates in China, or local politics including rent controls and sustainable development and restoration  standards." The cost of construction materials, particularly essential input materials like cement and steel, has increased significantly, according to  Ashish Aggarwal, Director of SpaceMantra. They will be obliged to hike pricing and pass the expense on to end customers as construction costs grow. He noted that it is anticipated that rising property values will also raise rental rates. "Because it is already clear that the economy will be strong, local activity will pick up, and the government will take steps to support Tier 2 cities' further expansion, the real estate market will do well in 2023. Due to rising economic activity and employment opportunities, Tier-2 cities are predicted to become even more popular as desirable places to live in the future year. The government's proposed sector-specific actions should benefit all market participants, including homebuyers, developers, landowners, and tenants, as consumer confidence is still high "the Arete Group's director Siraj Saiyed stated. Source biggest challenges for the real estate industry in 2023

[areteconstructionservices]

Residential Construction Services Winchester

At Arete Masonry, we specialize in residential construction services in Winchester, combining craftsmanship with innovation to bring your vision to life. Whether it’s a new build, a remodel, or an addition, our skilled team is committed to delivering quality and attention to detail. From planning to execution, we work closely with our clients to ensure each project meets their unique needs and exceeds expectations, turning houses into homes that are both beautiful and functional.

[newnewz]

Biggest challenges for the real estate industry in 2023

As the nation continues its steady march toward progress, fueled by government spending, private investments in manufacturing, and the geopolitical edge for India, real estate industry experts anticipate that 2023 will be a crucial year for the Indian real estate market.

One of the major challenges being faced for the real estate market in the upcoming year of 2023 is going to be the cooldown effect of the US recession, said Vishal Raheja, MD, InvestoXpert.com.

One of the major challenges will be handling the fallout from reduced income flows in the IT/ITES sector. Since it makes up a sizable chunk, we expect it to be a major challenge that we’ll be facing. However, it’s not to say that the entire demand in the market will take a huge hit, he added.

Aman Gupta, Director, RPS Group said that acknowledging the major ramifications of geopolitical risks associated with real estate can be difficult to pin down. These global and domestic risks usually manifest as volatility as a result of uncertainty about the future impact on sectors of the economy and financial industry.

“It is difficult to isolate and measure a dispute like the war in Ukraine, additional production shutdowns due to rising COVID rates of infection in China, or local politics covering rent regulations and sustainable development and restoration criteria,” said Aman Gupta.

According to Ashish Aggarwal, Director, SpaceMantra, the cost of construction materials has risen dramatically, including key input materials such as cement and steel.

As construction costs rise, they will be forced to raise prices and pass the cost on to end users. The increased property prices are expected to lead to an increase in rental prices as well, he added.

“The real estate market will do well in 2023 since we can already see that the economy will be robust, local activity will resume, and the government will take action to help Tier 2 cities expand even more. Tier-2 cities are anticipated to gain even more traction as desirable places to reside in the upcoming year as a result of increasing economic activity and employment prospects. Consumer confidence is still high, and we anticipate that the government’s proposed sector-specific initiatives will benefit all market participants, including homebuyers, developers, landowners, and tenants,” said Siraj Saiyed, Director, Arete Group.

[elucubrare]

ugh unfortunately my ethics DO require me to complicate this joke answer with a Disclaimer about ancient greek masculinity and the construction thereof - i joke about fully participating in the toxic masculinity of warrior culture (because i believe arete is gender neutral :)) but like. i don't know if there's a right answer to the Choice of Paris but I know that the ancient view on his choice was that it was wrong, and that it was wrong because he was doing masculinity wrong - he's not a warrior. he's a lover - a "dancer," Hector calls him, and therefore he picked luxury, not wisdom or power, the way a "real man" would have. Paris can't stand up to Menelaus in a duel without Aphrodite's help, which shows his lack of virtue, and, cyclically, shows that he's not worthy of the most beautiful woman in the world - because a Real Man could have won her by force of arms and definitely could have kept her once he had her.

idk man, it's complicated & i am willing to dunk on Paris - but he's so dunkable because of - in part - Greek gender construction.

im sure youve read the illiad but the idea of paris actually doing anything for the war let alone run it is sending me. doesnt he literally get babygirlified and just hangs out with the women

yeah that's why i could do it better

[fandomsandfeminism]

I apologize for falling down this rabbit hole about that "Lies We Sing to the Sea" book, and I'm trying to not get too rabid because it's like...not even out yet. So this is all speculative, I guess.

But the point of "She just read the parts that were relevant/she didn't NEED to read the whole book to understand the part with the girls" I keep seeing people make.

When *yes you do.* the hanging of the girls is a culmination of one of the major conflicts of the poem, ESPECIALLY if you are analyzing it from a gender perspective.

The whole first half of the story is essentially the trials and tribulations of Odysseus being routinely shit on by the universe (sometimes because of his own hubris, but more often by the disloyalty of his crew) until he is completely emasculated. He loses his spoils of war, his ships, his crew. He ends up trapped with Calypso- where he essentially is held in sexual slavery for 7 years. And when he escapes, he washes up completely naked and helpless, only to be rescued by the kindness of Princess Nausicaa and Queen Arete. It's a story of how he is, bit by bit, brought low.

The second half- when he returns to Ithaca, he has to assess the loyalty of those around him in secret- his son, the swine herd, the suitors, and most importantly Penelope. His wife's choices here (especially her sexual choices) are his greatest threat- if she has taken a new lower (as Clytemnestra had)- Odysseus is screwed.

Those final chapters, when Odysseus regains his bow, slaughters the suitors as they beg for mercy, tortures the disloyal goatherd- that's Odysseus regaining his power, regaining his masculinity, reclaiming lordship over Ithaca. It's violent and bloody and if THIS is how manhood and masculinity is constructed in the text? Like, damn.

Hanging the girls is part of that. They are disloyal. Their sexual choices (to sleep with the suitors) make them dishonor Odysseus, Penelope, and Telemachus. His killing them is the final act in him retaking his throne. Being a powerful man again.

It's also a big moment for Telemachus- too young to take the throne himself and a cry baby up to then, Telemachus helps in the massacre. The only time he disagrees with his father is to suggest that the girls be hanged, not given a clean death by sword, and has it done. It's a moment for him to be seen as more of a man as well.

That's why the hanging of the girls has been so haunting for so long- it's a real sticking point for a modern reader. We can often excuse violence against men and monsters. But using the slaughter of the girls as a way to assert masculine dominance feels... thorny even with historical context.

You have to understand that Odysseus has *lost* his power and been emasculated in the first half in order to understand WHY the girls are hanged at the end. They are connected.

And if your whole FEMINIST book that is tackling the issue of the hanged girls is written without that context... what exactly is it trying to comment on? What is it trying to say if it is removed from that context?

I don't know! Maybe it will have something to say, maybe it will be fine. 🤷‍♀️

But... would it be meaningfully different if you changed all the names and it had no connection at all to the Odyssey? What conversation is it trying to have with that text? Or is it just using that name recognition as a marketing ploy to bring in readers?

Regardless, it is *mind boggling* to me that anyone thinks that they could read, what, just Book 22 out of 24? And think they have the context they need to say something interesting here.

And I've said it before, but this is a whole issue with Greek Mythology YA. These stories are compelling because they are thorny and complicated and whether it be the Romans, the Renaissance, or American writers, our own cultural lenses often butt up against these ancient texts in ways that ask fundamentally challenging questions about sex and gender and violence and power and love and fate. And that can be...not a great fit for someone writing YA unless they really want to push the bounds of those genre conventions pretty far.

[themotifeye]

The construction in Zürich of Europaallee 'Site D' project by Wiel Arets Architects

[studyatorange]

Greek design extends from c. 900 B.C.E. to the first century C.E. (with the earliest surviving stone engineering dating to the seventh century B.C.E.). Ancient Greek draftsmen took a stab at the accuracy and greatness of workmanship that are the signs of Greek craftsmanship overall. The equations they imagined as right on time as the 6th century B.C. have impacted the design of the previous two centuries. The two chief orders in Archaic and Classical Greek design are the Doric and the Ionic.

The way into the evergreen allure of the design style is in its ‘logic and order’, which radiates amiability and excellence in the structures. The point was to accomplish and depict the Greek Principle of ‘Arete’, which signifies ‘accomplishing one’s finished potential.

1. Greek Architecture was influenced by various cultures

Image: https://diplomaofbuildingandconstruction.blogspot.com/2022/05/construction-and-architects-faq.html

2. Oriental societies influenced the Greek settlements along the shore of Asia Minor (Turkey)

The beginnings of Greek compositional plan are not to be found in the different strands of Aegean workmanship that showed up in the eastern Mediterranean, strikingly Minoan or Mycenaean craftsmanship, yet in the Oriental societies that emptied their persuasions into the Greek settlements along the shore of Asia Minor (Turkey) and from that point to Hellas itself. Since the time of the Geometric Period (900–725 BCE), the principal undertaking of the Greek draftsman was to plan sanctuaries respecting at least one Greek divinities. Truth be told until the fifth century BCE it was his lone concern. The sanctuary was only a house (Oikos) for the god, who was addressed there by his clique sculpture, and most Geometric-period establishments show that they were developed by a straightforward square shape. As indicated by fired models (like the eighth-century model found in the Sanctuary of Hera close to Argos), they were made out of rubble and mud blocks with wood radiates and a covered or level earth rooftop. By 700 BCE, the last was superseded by a slanting rooftop produced using terminated mud rooftop tiles. Their insides utilized a standard arrangement adjusted from the Mycenean castle megaron. The sanctuary’s principal room, which contained the sculpture of the god, or divine beings, to whom the structure was devoted, was known as the cella or naos.

Generally, Greek Architecture is associated with Temple-Architecture or Other Public Buildings

Greek city-states put significant assets in sanctuary working — as they rivalled each other in key and financial terms, yet in addition in their engineering. For instance, Athens committed colossal assets to the development of the Acropolis in the fifth century B.C.E. — to a limited extent so Athenians could be sure that the sanctuaries worked to respect their divine beings outperformed anything that their opponent states could offer.

Ancient Greek sanctuaries highlighted relatively proportional design, sections, friezes, and pediments generally adorned with sculpture in help. These components give old Greek Architecture its unmistakable person. The ancient Greek planners fabricated sanctuaries to be seen from an external perspective. Individuals were by and large not permitted inside them.

Layout development in Ancient Greek Architecture

The Old Greek underlying style that energetically influenced later architecture is the colonnade. A Colonnade is a line of sections supporting an entablature. It will in general be joined to a design (as in a porch) or detached. Sanctuaries with a peripheral plan (from the Greek πτερον (pteron) meaning “wing”) have a single line of sections organized all around the outside of the building. Dipteral sanctuaries simply have a twofold line of sections including the design. One of the additional astonishing plans is the tholos, a sanctuary with an indirect ground plan; well-known models are confirmed at the place of refuge of Apollo in Delphi and the place of refuge of Asclepius at Epidauros. The configuration of the internal heavenly spot, various burdens (expecting to be any), and including segments, generally, followed one of five fundamental plans, named as follows.

If the entry to the cella combined two or three areas, the construction was known as a “templum in antis”. [“in antis” means “between the divider pillars”] (Example: Siphnian Treasury, Delphi, 525 BCE; or Temple of Hera, Olympia, 590 BCE.)

 If the path was gone before by a porch of areas across its front, the construction was known as a prostyle asylum. (Model: Temple B, Selinunte, Sicily, c.600–550 BCE.)

Assuming the patio of areas at the front, there was a passage of fragments at the back outside of the cella, the design was known as an amphiprostyle safe-haven. (Model: Temple of Athena Nike, Athens, 425 BCE. Then again see the later Temple of Venus and Roma, Rome, 141 CE.).

 If the passage enveloped the entire design, it was known as a fringe asylum. (Model: The Parthenon, Athens, 447–437 BCE).

If the passageway including the construction contained a twofold line of sections, it was known as a dipteral asylum. (Model: The Heraion of Samos, 550 BCE; or Temple of Apollo, Didyma, Asia Minor, 313 BCE.)

Use of Geometry in Greek Architecture

It is most plausible that the antiquated Greek architects proportioned their sanctuary plans by utilizing straightforward mathematical developments to decide the essential generally speaking extent of the structure. (Leonardis, 2016). The main mathematical strategy is multiplying the space of a square, an extremely antiquated technique discovered currently in Babylonian earth tablets (Wilson Jones 2000b: 90–93).

The headway of sensible and speculative math by the old Greeks was an immense social accomplishment, and it showed the essentials for the advancement of the Greek plan. The second basic numerical technique is a relative extent, which moreover has common sense work. The plan cycle was probably refined by drawing traces. These graphs were, in light of everything, comparing and supporting the affirmation of areas.

The modellers of old-style Greece considered numerous cutting-edge strategies to make their constructions look totally even. They made symmetrical planes with an outstandingly slight vertical U-shape and areas that were fatter in the middle than at the terminations. Without these progressions, the designs would appear to list; with them, they looked perfect and radiant.

Deriving a Formula and its Order of Architecture

The change from block and wood to more lasting stone invigorated Greek modellers to plan an essential compositional “format” for sanctuaries and other comparable public structures. This first “format”, known as the “Doric Order” of engineering, set out a progression of rules concerning the qualities and measurements of sections, upper veneers, and enhancing works. The resulting “layouts” incorporated the Ionic Order (from 600) and the Corinthian Order (from 450).

Ancient Greek design concocted three principles, “orders” or “layouts”: the Doric Order, the Ionic Order, and the Corinthian Order. These Orders set out a wide arrangement of rules concerning the plan and development of sanctuaries and comparative structures. These guidelines directed the shape, subtleties, extents, and corresponding connections of the sections, capitals, entablature, pediments, and stylobate.

Development of Stone Architecture

From the get-go in Greek history, sanctuaries were made of wood. Stone, particularly marble, turned into the material of decision in the seventh century BC. Marble was exceptionally abundant in Greece.

Until about 650 BCE, mid-way through the Orientalizing Period (725–600 BCE), no sanctuaries were built in complete stone. Be that as it may, from 650 BCE onwards, or somewhere around there, there was a recharging of contacts and exchange joins among Greece and the Middle East, including Egypt, the home of stone engineering. (See: Ancient Egyptian Architecture.) Subsequently, Greek originators and bricklayers got comfortable with Egypt’s stone structures and development methods, including those of Imhotep, which prepared for fantastic engineering and models in Greece. This cycle — known as “petrification” — included the supplanting of wooden designs with stone ones. Limestone was normally utilized for columns and dividers, while earthenware was utilized for rooftop tiles and marble for ornamentation. It was a progressive cycle, which started in the last piece of the seventh century, and a few designs, similar to the sanctuary at Thermum, consisted of wood and terminated mud, just as stone.

The Structure Development of Stone in Greek Architecture

The mystery that keeps the architecture standing pleased, without the smallest harm from the seismic tremors that have occurred over a load of years, effectively goes against the hypothesis of present-day structural designing because without having an establishment, it is triple seismically protected. This triple protection is situated in various pieces of the structure. The principal point is situated on the layers of enormous flat and amazingly smooth marble on which the Parthenon steps. The second is seen in the metal versatile joints which associate the plates of each layer and in the focal point of which are found little iron heaps around which lead has been poured. Also, the third is situated in the segments of the structure, which were not put in one piece, since the antiquated Greeks realized that to withstand the vibrations of the earth, they must be set in cuts of marble, consummately applied to one another. The segments — at long last — in the manner they were set, permitted the entire structure to sway however not break!

Colors were striking and bold to emphasize the buildings in Greek Architecture

Every one of the information that students of history and archaeologists have available to them shows that the Parthenon didn’t have the white shading we see today. All things considered, it was painted in numerous splendid tones! Until the start of the nineteenth century, the deliberate uncovering of old Greek locales had brought to the front plenty of models, some of which had noticeable hints of brilliant surfaces. Utilizing focused energy lights, bright light, and exceptionally planned cameras, it is demonstrated that the entirety of the Parthenon Images was painted.

The Greeks consistently painted their marble sanctuaries. They appear to be not exclusively to have painted them, however, to have utilized pretentious tones for the reason, revealing liberally in red, blue, and gold. There probably has been some endeavour to associate tone and construction, with the primary individuals kept clear and remarkable, the lower parts minimal hued, and the upper parts alone blooming in tone as they did in sculptural embellishment, however, all proof has since a long time ago disappeared.

Legacy Of Greek Architecture

The Romans were huge manufacturers, designers, and draftsmen by their own doing, however throughout vanquishing the Western world, they were exceptionally impacted by Greek aesthetics. The enormous utilization of the Ionic, Doric, and Corinthian Orders is the clearest model. One common kind of building was a basilica, which was created from the Greek Stoa, yet was completely encased instead of enclosed on one side. The lobby contained corridors within, which assisted with getting sorted out and partitioning the inside space.