No description available.

The ancient Maya adorned themselves with ornamental objects. This study investigates a type of polishing tool used by the ancient Maya to manufacture certain types of ornaments. Five stone polishing tools used by the ancient Maya are presented and analyzed. Relevant artifact forms are examined to establish which types of artifacts were being polished with these tools. An extensive discussion of the archaeological record and artistic representations of miniature earflares and buttons, which were polished with many of these stone polishing tools, is also included because the terminology used to refer to these objects has varied throughout the academic literature and is in need of clarification.

A realização do trabalho efetuado a seguir, consiste na coleta de informações e a montagem da história da lapidação desde o que o homem primitivo começou a trabalhar os minerais, seu desenvolvimento na Europa até a atual situação da lapidação brasileira. No caráter científico, a identificação e utilização de propriedades físicas e ópticas para determinação do mineral, correlacionando itens como seu melhor aproveitamento na lapidação, como a utilização principalmente do ângulo crítico especifico de cada mineral e sua correta utilização na lapidação de gemas coradas e lapidação de diamantes. Pois o significado da lapidação é transformar o mineral em uma gema aceita pela indústria joalheira, valorizando sua cor, brilho, formato e simetria. No panorama tecnológico a análise de maquinários antigos e tradicionais, juntamente com a inovação de máquinas CNC. Neste trabalho foi presenciado que a fundamentação bibliográfica é restrita para a indústria de lapidação no Brasil. / This work started with a compilation of informations, written and of oral means, to unravel the history of gem cutting from his earliest time to the present situation in Brasil. The scientific part stresses the identification and the use of the physical and optical properties to increase the yield by gemstone cutting. It is shown that the critical angle is the most important property for each branch, the diamond as well the colored gemstone cutting.Gem cutting is the transformation of the rough to a form accepted by the jeweler, showing his best in color, brilliance, form and symmetry. The development of cutting tools is shown from very early times to the present CNC equipment. It could be shown that there exists a quite good data base for an initial description of the gem cutting industry in Brazil.

A realização do trabalho efetuado a seguir, consiste na coleta de informações e a montagem da história da lapidação desde o que o homem primitivo começou a trabalhar os minerais, seu desenvolvimento na Europa até a atual situação da lapidação brasileira. No caráter científico, a identificação e utilização de propriedades físicas e ópticas para determinação do mineral, correlacionando itens como seu melhor aproveitamento na lapidação, como a utilização principalmente do ângulo crítico especifico de cada mineral e sua correta utilização na lapidação de gemas coradas e lapidação de diamantes. Pois o significado da lapidação é transformar o mineral em uma gema aceita pela indústria joalheira, valorizando sua cor, brilho, formato e simetria. No panorama tecnológico a análise de maquinários antigos e tradicionais, juntamente com a inovação de máquinas CNC. Neste trabalho foi presenciado que a fundamentação bibliográfica é restrita para a indústria de lapidação no Brasil. / This work started with a compilation of informations, written and of oral means, to unravel the history of gem cutting from his earliest time to the present situation in Brasil. The scientific part stresses the identification and the use of the physical and optical properties to increase the yield by gemstone cutting. It is shown that the critical angle is the most important property for each branch, the diamond as well the colored gemstone cutting.Gem cutting is the transformation of the rough to a form accepted by the jeweler, showing his best in color, brilliance, form and symmetry. The development of cutting tools is shown from very early times to the present CNC equipment. It could be shown that there exists a quite good data base for an initial description of the gem cutting industry in Brazil.

Classé sur la première liste des monuments historiques et premier édifice civil à bénéficier d’une restauration ordonnée et financée par l’État, le château de Blois voit se succéder, dès 1843, deux chantiers de réhabilitation respectivement dirigés par Félix Duban (1797-1870) et Anatole de Baudot (1834-1915). Remarquable synthèse de l’histoire de l’architecture française, le château est aussi le terrain d’expérimentation de diverses conceptions, méthodes et techniques de restauration qui, apparaissant au XIXe siècle, animent le débat national au centre duquel se place Viollet-le-Duc. L’inventaire et l’analyse inédits du fonds lapidaire du château de Blois, collection à laquelle sont associés les études, modèles avant exécution et moulages en plâtre des motifs décoratifs avant restauration, permettent de renouveler les connaissances sur le décor sculpté des ailes Louis XII et François Ier. Grâce à la mise en perspective des plâtres, des pierres déposées, des façades actuelles, des sources manuscrites et iconographiques, cette étude révèle les spécificités de chacune des deux restaurations, leur opposition et leur complémentarité. Elle met en évidence deux perceptions différentes de la Renaissance et la façon dont elles sont traduites dans la pierre par les architectes du XIXe siècle. Le château de Blois est ainsi un chantier-modèle, tant par l’exemplarité des restaurations dont il est l’objet que par l’intégration, assumée, du XIXe siècle à son histoire / Classified on the first list of “Historic Monuments” and the first civil building to have its restoration requested and funded by the French State, the Chateau of Blois was the object of two renovation programmes starting in 1843 and respectively supervised by Félix Duban (1797-1870) and Anatole de Baudot (1834-1915). An outstanding synthesis of the history of French architecture, the chateau was also the experimenting field for various techniques, methods and approaches of restoration appearing in the 19th century and stimulating the national debate, in which Viollet-le-Duc played a major role. These unique inventory and analysis of the lapidary collection of the Chateau of Blois, to which are added the studies, the mock models, and the plaster casts of the decorative patterns before their restoration, allow to renew the knowledge about the carved décor of the Louis XII’s and the Francis I’s wings. This study puts into perspective the plaster casts, the stones taken off the facades, the present facades, the manuscript and iconographic sources, and it hereby brings to light the specificities of each restoration campaign, their differences and their complementarity. It highlights two different perceptions of the Renaissance and the way they were expressed in the stone by the 19th-century architects. Thus, thanks to its exemplary restoration and the way it integrated the 19th century into its own history, the Chateau of Blois acts as a true model for restoration campaigns

The submission of this thesis was preceded by a specialised studio „Brněnské nábřeží a kulturní čtvrť Ponava“. This work focused on a complex urban architectural solution to the area around the former “Jaselská kasárna”, the urban context, transport services, the field configuration etc. The thesis follows this project in a section defined by streets U Červeného mlýna, Staňkova and Střední. The goal of the thesis lies in the creation of an intensive goal – a cultural area, which will offer a high-quality space for intergenerational communication and new social experiences and activities. It newly connects the urban part Ponava with the town center of Brno by a high-quality axis for pedestrian and cycling transport. The project of this cultural area arose after a thorough analysis of surrounding, intercity and global relations as a combination of aims: for children – the elementary art school with graphic and dancing fields, for seniors – leisure time center, and for all together - a multifunctional concert hall and a revitalized area of the former industrial zone of furniture production to a multipurpose intergenerational area with a modern art gallery, offices for young businessmen, architects and artists, and a music club in the basement of the gallery.