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DECOR is the first series that considers decorative phenomena in a comprehensive way. It moves away from the study of single decorative elements in isolation, focusing instead upon their spatial-architectural and visual correlation and integration. This means that the individual studies analyse not only images, but also ornamental forms of decor. As such, they discuss the visual relationship between decorative elements with differing levels of associated semantics. These elements are assessed precisely with regard to their spatial setting. Thus, the series provides new analyses of image-spaces, or rather ‘decor-spaces’, while bringing the perceptual attitudes of the viewer to the fore, as well.
The geographical focus is on Italy, the chronological framework ranges from the 2nd century B.C. to the late 1st century A.D. This period saw profound political and social upheaval but also fundamental changes in decorative principles, providing an ideal starting point for analyses of the relationships between shifting forms of action and experience, as well as variations in strategies of decor.
The book examines the interplay of ancient and new decor elements on Insula IX 5 in Pompeii during the final phase of the city between AD 62-79 . This is the first time that an attempt has been made to grasp the construction and equipment phases of the houses. However, the décor is not only classified chronologically, but analyzed both in terms of the décor decisions made for it and the effect of the décor.
Experiencing towns means feeling atmospheres. This impact made by urban spaces depends largely on their architecture and its decorative and visual features – including its design. In this sense, this volume is about aesthetic, semantic, and functional design strategies in ancient Pompeii and the impact they had on urban actors.
In this book everyday household objects (instrumenta domestica) from the Pompeian Insula del Menandro were used to examine decorative principles, their correlation and interaction. Against a design-theoretical and perception-psychological background, various questions are discussed: How does form support/prevent an easy use? What role plays the material? Where are ornaments and images detectable? Which ornaments and images has been chosen and what is their semantics? Consequently, the focus lies on ancient object design as an expression and part of visual culture. These objects of Roman everyday life reflect cultural knowledge, social norms, values and lifestyles.
The focus of this volume is on the aesthetics, semantics and function of materials in Roman antiquity between the 2nd century B.C. and the 2nd century A.D. It includes contributions on both architectural spaces (and their material design) and objects – types of 'artefacts' that differ greatly in the way they were used, perceived and loaded with cultural significance. With respect to architecture, the analysis of material aesthetics leads to a new understanding of the performance, imitation and transformation of surfaces, including the social meaning of such strategies. In the case of objects, surface treatments are equally important. However, object form (a specific design category), which can enter into tension with materiality, comes into particular focus. Only when materials are shaped do their various qualities emerge, and these qualities are, to a greater or lesser extent, transferred to objects. With a focus primarily on Roman Italy, the papers in this volume underscore the importance of material design and highlight the awareness of this matter in the ancient world.
The book examines the decorative principles taking effect in the houses of Pompeii between the end of the 2nd century BCE and the early Imperial period. For the first time, individual decor phenomena are not only considered in isolation, but also in terms of their spatial and social relationship.