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Openwork

Openwork is a decorative technique in art and craft that involves creating patterns of openings, perforations, or gaps within a solid material, resulting in a lacy, translucent effect that allows light to pass through.^[1] This method produces intricate motifs by removing or leaving interstices around designs, sometimes filling them with contrasting materials for added visual depth.^[1] Commonly applied to metals, wood, stone, ceramics, and textiles, openwork enhances the aesthetic appeal of objects and structures across various cultural traditions.^[2] The technique traces its origins to ancient civilizations, with notable examples including openwork bronzes from the ancient Near East dating to the early second millennium B.C., crafted during the Isin-Larsa and Old Babylonian periods using lost-wax casting to form three-dimensional objects like harness fittings and clasps.^[3] These artifacts, often mold-made and unique due to the destructive molding process, circulated widely across Mesopotamia, Anatolia, and Iran, highlighting early international artistic exchanges.^[3] In later periods, openwork evolved in diverse applications, such as piercing techniques in jewelry to cut away metal bands for light-permeable motifs, a practice prominent in antique pieces like rose gold lockets.^[4] Openwork also features prominently in architecture and sculpture, where it creates airy screens, windows, and ornamental elements; for instance, in Japanese art, sukashibori involves cutting designs from metal or wood using tools like piercing burins or scroll saws, applied to sword guards, lanterns, and Buddhist statue halos from the Asuka and Nara periods onward.^[5] In textiles, it manifests as lace, an openwork web first developed in Europe during the sixteenth century through needle and bobbin methods, used for sumptuous garments and furnishings.^[6] Across these fields, openwork not only serves decorative purposes but also emphasizes negative space and lightness, influencing designs from ancient bronzes to modern crafts.^[7]

Definition and History

Definition

Openwork is a decorative technique that creates intentional holes, piercings, or gaps within a solid material to form patterns, often by cutting, carving, or puncturing the surface. This method is applied across diverse materials, including metal, wood, stone, pottery, cloth, leather, and ivory, allowing for the revelation of underlying layers or the incorporation of contrasting elements.^[8]^[9]^[10] The defining characteristics of openwork lie in its emphasis on the interplay between solid forms and void spaces, producing effects of transparency, lightness, and intricate shadow play. By strategically removing material, the technique transforms dense substances into airy, latticed structures that highlight negative space as an essential design element, distinguishing it from fully solid constructions where mass predominates over absence.^[11]^[12]^[1] Openwork serves aesthetic purposes through ornamentation, where patterns evoke elegance and complexity, as well as functional ones such as facilitating light diffusion or ventilation in crafted objects. It can also carry symbolic meaning, representing concepts like openness or transience by mirroring the balance of presence and absence in the material.^[8]^[11]^[13]

Historical Development

The earliest known examples of openwork appear in ancient civilizations, where artisans pierced or carved materials to create decorative voids. Finely crafted small openwork bronzes from the ancient Near East, dating to the early second millennium B.C. (c. 2000 B.C.), represent some of the earliest instances, produced during periods like Isin-Larsa and Old Babylonian using lost-wax casting for objects such as harness fittings.^[3] In Shang dynasty China (c. 1600–1046 BC), bronze vessels such as the gu type featured openwork carvings at the base, allowing intricate patterns to emerge through negative space in ritual artifacts used for offerings.^[14] Similarly, ancient Egyptian jewelry from the Middle Kingdom (c. 2050–1710 BC) incorporated à jour openwork techniques, where gold sheets were pierced to form lightweight, ornate designs in necklaces and amulets symbolizing status and protection.^[15] In the Roman period, from the 3rd century AD onward, opus interrasile emerged as a prominent openwork method in jewelry, involving chiseling holes into thin gold sheets to produce lace-like patterns for bracelets and pendants, blending functionality with aesthetic intricacy.^[16] During the medieval era, openwork evolved significantly in architectural and decorative contexts across diverse cultures. In Europe, Gothic architecture from the 12th to 16th centuries introduced tracery as a sophisticated openwork form, where stone mullions and ribs intersected to frame stained-glass windows, as seen in cathedrals like Chartres, enhancing light diffusion and structural elegance.^[17] Concurrently, in Islamic architecture, perforated stone screens known as jali—featuring geometric and floral motifs—appeared from the early medieval period, with roots in pre-Islamic Indian traditions but refined under Mughal influence by the 16th century for mosques and palaces to provide ventilation, privacy, and shadow play.^[18] The Renaissance and subsequent periods marked an expansion of openwork into finer crafts, particularly in Europe. From the 15th century, Italian and Northern European goldsmiths advanced filigree techniques, twisting fine gold wires into openwork frames for reliquaries and jewelry, reviving classical motifs with greater delicacy and integrating them into enamel and gem settings.^[19] By the 18th century, the Rococo style popularized openwork in domestic objects, such as porcelain fruit baskets with reticulated sides in interlocking circles, produced in factories like Meissen to evoke lightness and asymmetry in elite tableware.^[20] In the 19th and 20th centuries, industrialization transformed openwork from artisanal to structural scales, while artistic revivals sustained its decorative appeal. The Eiffel Tower (1889), engineered by Gustave Eiffel, exemplified industrial openwork through its wrought-iron lattice girders, which optimized strength and visibility for the World's Fair entrance arch, influencing modern engineering aesthetics.^[21] Art Nouveau, flourishing from 1890 to 1910, revived openwork in jewelry and metalwork with organic filigree inspired by nature, as in René Lalique's flowing gold designs that emphasized fluidity and transparency.^[22] Openwork's cultural dissemination highlights contrasts between Eastern and Western traditions. In Asia, Japanese sukashibori—meaning "see-through carving"—developed from the 17th century in ivory netsuke and inro toggles, where artisans pierced organic forms to create intricate, lightweight sculptures evoking landscapes or figures, rooted in Edo-period craftsmanship.^[23] This differed from Western filigree, which prioritized metallic intricacy and symmetry in jewelry from ancient Rome through the Renaissance, often symbolizing wealth and classical heritage rather than naturalistic subtlety.^[16]

Techniques and Varieties

General Techniques

Openwork is fundamentally achieved through a variety of techniques that create intentional voids or openings within a material to form decorative patterns, with subtractive methods being among the most common across crafts. These involve the removal of material to reveal the design, such as drilling small holes, cutting out shapes, filing away sections, or carving intricate motifs. For instance, in woodworking, fretwork employs a coping or fret saw to make precise curved cuts, removing portions of the wood to produce lattice-like patterns while preserving structural integrity.^[24]^[25] In metalwork, subtractive openwork often uses fretting, where decorative motifs are cut along plate edges to expose underlying layers, a technique prevalent in historical armor decoration.^[8] Engraving with a burin—a hardened metal tool—further refines these cuts by incising fine lines or patterns into the surface, while chemical etching applies acid to corrode away unprotected areas after coating the metal with a resist.^[8] Additive methods, in contrast, build up the structure by assembling separate elements to incorporate voids, offering flexibility for delicate designs. In metal crafts, wirework involves twisting or weaving fine wires and soldering them together to form open patterns, as seen in filigree where coiled gold or silver threads are joined to create airy, interconnected motifs without a solid base.^[26]^[27] This soldering process uses heat to fuse wires onto a backing or directly to each other, allowing for complex, lightweight openwork that mimics organic forms. In textiles, additive openwork can employ weaving or knotting threads to produce gaps, such as in bobbin lace where threads are plaited and twisted to form patterned openings.^[28] Casting techniques enable the creation of internal or complex voids in a single piece, particularly suited for metals and ceramics. The lost-wax method, a longstanding process, begins with sculpting a wax model incorporating the desired openwork, encasing it in clay to form a mold, firing to remove the wax, and pouring molten material like bronze into the cavity; the resulting casting yields intricate, hollow patterns once the mold is broken away.^[3] This approach is adaptable for soluble cores in molds to form enclosed voids, ensuring precision in three-dimensional openwork.^[3] Traditional tools for openwork include hand implements like chisels for carving hard materials, files for smoothing metal edges, and awls for piercing softer ones, each selected to match the material's resistance. Modern adaptations enhance precision and speed, with laser cutting vaporizing material along digital patterns to produce fine openwork in wood, acrylic, or thin metals, and CNC machines automating subtractive carving for repeatable, complex designs in stone or composites.^[29]^[30] These technologies minimize manual labor while maintaining the aesthetic of voids for decorative effect. Material properties dictate technique adaptations, with hard substances like stone or metal requiring robust subtractive tools such as diamond-tipped drills or carbide files to remove resistant mass without fracturing, whereas soft materials like leather or cloth permit simpler methods, including punching with awls for leather piercings or scissor-cutting followed by hemming for fabric cutwork.^[31] This differentiation ensures structural stability and aesthetic clarity across applications.

Specialized Forms

Specialized forms of openwork extend beyond single-layer perforations to include multi-layered constructions that create depth, enhanced light play, and intricate visual effects. Double-openwork, or double-walled structures, involve two layers where voids in the inner and outer walls can align to form continuous openings or contrast to produce shadowed patterns, often used to facilitate inlaid designs. This technique is notably employed in modern Korean celadon ceramics, inspired by Goryeo dynasty (10th–14th centuries) aesthetics, where potters craft vessels allowing light to filter through aligned perforations while supporting decorative inlays such as cranes or clouds.^[32]^[33] Further developments in layered openwork enable more complex light transmission and three-dimensional illusions within the piece. Modern Korean potter Kim Se-yong has exemplified this in his celadon works, creating vessels where overlapping voids produce layered motifs like blossoming flowers that appear to float in depth. These structures draw from historical celadon methods but push boundaries with precise layering to achieve subtle gradations of opacity and transparency.^[34]^[35] Other advanced forms include interlocking openwork seen in Scythian gold plaques from the 4th century BCE, where pierced motifs of animals or warriors interlock across sheets to form dynamic, narrative scenes without a solid base. In Renaissance jewelry (14th–17th centuries), filigree combined with granulation created openwork elements, with fine gold wires twisted into scrolls and adorned with tiny soldered granules for textured, airy brooches and pendants that emphasized lightness and ornamentation.^[36]^[27] Crafting these specialized forms presents unique technical challenges, including precise alignment of layers to ensure structural integrity during firing or assembly, as misalignment can lead to collapses or uneven stress. In ceramics, maintaining thin walls against shrinkage requires masterful control of clay and kiln temperatures. Additionally, overlapping voids can generate moiré patterns—subtle interference effects from light passing through misaligned openings—enhancing aesthetic depth but demanding exact perforation placement to avoid unintended distortions. In metalwork, soldering filigree layers without warping adds further complexity, often resolved through annealing and gradual cooling.^[37]^[38]

Applications in Crafts and Arts

In Metalwork and Jewelry

Openwork in metalwork and jewelry involves creating intricate patterns of voids and perforations in precious metals like gold and silver to achieve lightweight, decorative effects that enhance visual intricacy and allow light to pass through. One key technique is opus interrasile, a Roman-era method where thin metal sheets are punched or drilled to form holes, followed by filing and polishing to refine the open patterns, often resulting in delicate scrollwork or foliage designs reserved against a pierced background.^[16] This approach was particularly suited to jewelry, enabling the creation of airy, lace-like structures without sacrificing durability. Another prominent technique is filigree, which employs twisted fine wires soldered onto a backing or framework to outline voids, producing open spaces that mimic natural motifs such as vines or geometric forms; this method dates back to ancient Mesopotamia and was widely adopted for its ability to maximize surface area with minimal material.^[39] Historical examples illustrate the sophistication of these techniques in ancient metalwork. A notable instance is the 5th-century Roman gold bracelet from the Hoxne Hoard, discovered in Suffolk, England, which features opus interrasile with fine openwork scrollwork, including asymmetrical ivy leaves and lozenges against perforated patterns, bordered by grooved edges for structural integrity; this piece, part of the largest hoard of late Roman treasure from Britain, exemplifies the era's blend of functionality and ornamentation in personal adornments.^[40] Similarly, Scythian gold plaques from the 5th–3rd centuries BC, such as openwork appliqués depicting foliage scrolls and palmettes, were used as ornamental attachments on clothing or horse gear, showcasing nomadic artisans' mastery of piercing and soldering to create symbolic animal and vegetal motifs that conveyed status among steppe cultures.^[41] In functional applications, openwork metalwork extended beyond jewelry to utilitarian objects like censers, where perforated sides facilitated the diffusion of incense smoke during rituals. Byzantine bronze hanging censers from the 5th–6th centuries AD, for example, incorporated open designs to allow aromatic vapors to escape while containing hot coals, often suspended by chains for ceremonial use in early Christian services.^[42] Islamic metalworkers in regions like Khorasan and Iran further refined this in 12th-century brass incense burners, such as bird-shaped forms cast and pierced with intricate designs including arabesques, to both ventilate incense and serve as portable ritual vessels.^[43] The cultural significance of openwork motifs in Byzantine and Islamic metalwork often lay in their symbolic roles, conveying protection, spiritual power, or elite status through iconography. In Byzantine pieces, pierced gold sheets with cross or vine designs symbolized divine safeguarding and imperial authority, as seen in reliquaries and belt fittings where openwork enhanced the aura of sanctity.^[44] Islamic openwork, particularly in engraved and chased vessels, featured protective talismanic motifs like stars or vegetal scrolls believed to ward off evil and affirm the wearer's or owner's elevated social position within communal and religious contexts.^[45] These elements not only lightened the pieces for wearability but also imbued them with layered meanings tied to cultural and spiritual practices.

In Textiles and Woodwork

In textiles, openwork techniques create decorative voids through subtractive methods, enhancing the aesthetic and functional qualities of fabrics like linen and cotton. Cutwork involves removing threads from woven cloth to form geometric or floral patterns, with the resulting openings edged by embroidery stitches such as buttonholing to prevent fraying.^[46] This method originated in Renaissance Italy, where it was used by nuns to produce fine ecclesiastical linens, evolving from simple drawn-thread work into more intricate designs by the 16th century.^[47] Broderie anglaise, a related eyelet embroidery, cuts holes directly into the fabric without relying on the weave, then overstitches the edges with satin or buttonhole stitches to create scalloped or dotted motifs, often on lightweight cottons for undergarments or trims.^[47] Lace-making extends these principles through knotted, crocheted, or looped threads to form voids independent of a base fabric, producing delicate networks like bobbin or needle lace that simulate cutwork but with greater transparency and complexity.^[46] Historical examples of textile openwork include Renaissance Italian cutwork linens, such as coifs and handkerchiefs from around 1550–1600, which featured reticella patterns—early lace precursors with withdrawn threads and embroidered bars—prized for their purity and status in elite wardrobes.^[48] These pieces, often made in Italy or Flanders, combined cutwork with punto in aria (free-standing needle lace) for borders on collars and cuffs, reflecting the era's emphasis on white-on-white embroidery for both secular and religious contexts.^[49] In practical applications, openwork textiles served decorative purposes in household items, such as tablecloths and runners enhanced with cutwork or lace insertions for visual elegance during meals, while also allowing airflow in warm climates.^[50] In woodwork, openwork employs subtractive carving to pierce thin panels, creating intricate patterns that balance structural integrity with ornamentation. Fretwork, a primary technique, uses saws or chisels to cut repeating geometric motifs—like interlocking scrolls or lattices—from sheets of hardwood such as mahogany or pine, often for flat or low-relief applications.^[51] This method draws from ancient traditions but flourished in the 19th century with mechanized tools like the jigsaw, enabling precise voids for decorative effect.^[52] Parquetry involves inlaid veneer patterns of contrasting woods to form geometric designs, as seen in tabletops or cabinet fronts for added depth and visual interest.^[53] Victorian-era fretwork exemplifies wood openwork's popularity in furniture, with screens and brackets featuring sawn floral or Gothic motifs in pine, used to divide spaces or support shelves while promoting ventilation.^[54] These elements adorned sideboards and tea tables, as in Hartwig Fischel's 19th-century mahogany designs inlaid with maple fretwork, blending utility with ornamental exuberance in middle-class interiors.^[54] Practically, such wood openwork appeared in architectural panels for room dividers and furniture accents like chair backs, where the voids facilitated airflow in enclosed settings and highlighted craftsmanship without overwhelming functionality.^[55]

In Ceramics and Glass

In ceramics, openwork is achieved through perforated clay bodies, where artisans pierce or incise holes into the unfired clay to create decorative voids that allow light to pass through the finished piece.^[56] This technique demands precise control to ensure even drying and prevent warping. Another method involves double-walled slips with cutouts, particularly in East Asian traditions, where an inner vessel is formed and an outer layer of slip is applied before selective removal of material to form intricate patterns.^[57] A notable historical example is the Korean Goryeo dynasty (918–1392) celadon double-openwork bottles, which feature layered perforations carved before firing, resulting in delicate, jade-green vessels that highlight the era's technical mastery in balancing aesthetics and durability.^[58] In 18th-century Europe, porcelain baskets with pierced sides, such as those produced by the Worcester Porcelain Factory, employed reticulation—puncturing the clay walls with overlapping ring motifs—fired at high temperatures to produce lacy, functional objects for serving fruit or confections.^[59] One key challenge in ceramic openwork is maintaining structural strength during firing, as the heat-induced shrinkage and thermal stresses can cause voids to collapse or the piece to crack if perforations weaken the body excessively.^[60] In glassmaking, openwork techniques include the creation of cage cups, luxury vessels from the 4th-century Roman Empire where a solid glass blank is molded and then meticulously cut or ground to form an open framework, often with geometric or figural motifs suspended like a cage around an inner beaker.^[61] Etched or cut glass panels, developed later in European traditions, involve wheel-cutting or acid-etching to remove material and produce translucent lattice patterns, allowing for decorative screens or inserts in furniture and architecture.^[62] Crafting openwork glass poses difficulties in preserving form during blowing or annealing, as uneven heating can lead to the collapse of thin-walled voids or induce fractures from residual stresses.^[63]

Architectural Openwork

Techniques in Architecture

In stone and masonry construction, openwork techniques often involve subtractive methods scaled up for structural integrity, such as carving intricate tracery patterns directly into stone frames for Gothic-style windows, where masons use chisels and drills to create branching, lacy motifs that support glass while allowing light passage.^[64] In regions like India, lattice screens known as jali are crafted by drilling or chiseling geometric and floral designs into solid marble slabs, producing perforated panels up to several meters wide that filter sunlight and promote airflow without compromising the material's load-bearing capacity.^[65] Metal frameworks for architectural openwork typically employ wrought iron, forged and hammered into elaborate grilles with scrolling patterns to form protective barriers on windows and gates, valued for their malleability and corrosion resistance in historical European designs.^[66] By the 19th century, cast iron lattices emerged as a industrialized alternative, molded in foundries to replicate ornate openwork motifs on facades and balconies, enabling larger spans and repetitive production for urban commercial buildings.^[67] Contemporary approaches leverage digital fabrication, including laser-cut panels from aluminum or steel sheets etched with precise perforations to form modular facades that balance aesthetics with environmental control.^[68] Prefabricated modular screens, assembled off-site from these cut elements, allow for rapid installation in large-scale projects, optimizing patterns for natural ventilation and diffused daylight.^[69] These techniques serve multiple functional roles in architecture; for instance, openwork in spires provides lightweight structural support through interconnected stone ribs that distribute wind loads while reaching extreme heights.^[70] Security grilles made from metal lattices deter intrusion on ground-level openings while permitting visibility and air circulation.^[71] Additionally, perforated facades act as acoustic diffusers, scattering sound waves to reduce urban noise reflection and enhance interior sound quality in high-density environments.^[72]

Notable Architectural Examples

One of the most iconic examples of openwork in Gothic architecture is found in the rose windows of Chartres Cathedral in France, constructed in the early 13th century. These circular windows feature intricate stone tracery that forms radial patterns resembling blooming flowers, allowing diffused natural light to penetrate the nave and symbolize divine illumination and the celestial order. The tracery's delicate, pierced stonework not only supports the expansive glass but also creates a luminous interplay of light and shadow, enhancing the spiritual atmosphere within the cathedral.^[73] Similarly, the spire of Freiburg Minster in Germany, completed in the 14th century, represents a pioneering use of perforated stone openwork in vertical architectural elements. Rising to 116 meters, the spire's filigree design incorporates open lattice patterns held together by iron cramps, creating a lightweight yet structurally sound form that pierces the skyline. This innovative perforated construction set a precedent for later Gothic spires, balancing aesthetic elegance with engineering resilience against wind loads.^[74] In Islamic architecture, the jali screens of Sidi Saiyyid Mosque in Ahmedabad, India, built in 1573, exemplify openwork's functional and ornamental roles. These sandstone lattice panels, featuring intricate geometric and floral motifs, permit ventilation and indirect light while ensuring privacy for worshippers by obscuring direct views from outside. The design's perforations facilitate natural cooling in the hot climate, integrating aesthetic complexity with practical environmental control. Among modern architectural icons, Antoni Gaudí's Sagrada Família in Barcelona, initiated in 1882 and still under construction, incorporates perforated facades and tower elements that evoke organic openwork. The Passion Façade, for instance, uses angular stone piercings and sculptural voids to create a dramatic interplay of light and shadow, symbolizing suffering and resurrection while allowing airflow through the structure. This approach blends Gothic influences with modernist innovation, making the building appear alive and permeable.^[75] The Eiffel Tower in Paris, erected in 1889 by Gustave Eiffel, showcases iron openwork on a monumental scale through its lattice framework of wrought-iron girders. The curved, open design ensures structural stability by minimizing wind resistance while providing panoramic views from its platforms, transforming engineering necessity into a symbol of industrial aesthetics.^[76]^[77] Across these examples, openwork profoundly enhances architectural experiences by manipulating light to evoke transcendence, as in the ethereal glow of Chartres' roses; facilitating air circulation for comfort and symbolism, evident in the mosque's jali; and opening vistas that connect interiors to exteriors, as seen in the tower's airy lattices. This technique not only lightens visual mass but also promotes environmental harmony, allowing structures to breathe and illuminate their cultural contexts.

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Coif | Unknown | V&A Explore The Collections
Oct 27, 2005 · Coif of linen with cutwork and needle lace, possibly made in Italy or Flanders region, 1550-1600.
[49]
Strip - Italian - The Metropolitan Museum of Art
Artwork Details · Title: Strip · Date: 16th–17th century · Culture: Italian · Medium: Cutwork, reticello, punto in aria, linen · Dimensions: L. 9 1/2 x W. 5 inchesMissing: Renaissance | Show results with:Renaissance
[50]
[PDF] Fashion & Virtue - The Cutters Guide
Used as insertions and trimmings in various textiles and prominent in veils, towels, and tablecloths, Renaissance lace is most often associated with collars, ...
[51]
https://www.vam.ac.uk/articles/inside-the-plywood-material-of-the-modern-world-exhibition
[52]
Fretwork Patterns
The flourishing of Gothic architecture in the 12th century CE saw fretwork achieve new heights, adorning screens, window traceries, and even stone facades. The ...
[53]
French Furniture in the Eighteenth Century: Case Furniture
Finely chiseled mounts in a variety of antique motifs such as Vitruvian scrolls, fretwork, interlaced bands and palmettes, columns and caryatids, or plaques ...
[54]
Tea Table | Fischel, Hartwig - Explore the Collections - V&A
Sep 29, 2003 · Hartwig Fischel's design for this square tea-table, made of mahogany inlaid with maple and decorative fretwork, suggests familiarity with small ...Missing: Victorian | Show results with:Victorian
[55]
Worsham-Rockefeller Dressing Room
The fretwork stretcher features scrolled elements and supports a padded pillow that was intended to cushion Arabella Worsham's feet. The carved putti ...
[56]
[PDF] Dr. Öğr. Üyesi Mine POYRAZ Bilecik University, Faculty of Fine Arts ...
Nov 30, 2018 · The definition and the historical development of the openwork method in ceramic surface measurement is exemplified with picture, the openworked ...
[57]
Jeon Seong Keun: In The Context of Korea's Ceramic History of ...
Although many Korean ceramic artists are truly masters of open-work, in my opinion, none have mastered the full range of this work, including three dimensional ...Missing: triple | Show results with:triple
[58]
Goryeo Celadon, the Epitome of Elegance - 박물관신문
Celadon Incense Burner with Openwork Decoration (National Treasure No. 95) represents the zenith of Goryeo celadon in terms of color and form, harmony of the ...Missing: double | Show results with:double
[59]
Basket | The Art Institute of Chicago
Porcelain reticulated, circular basket with twig handles. Inside of bowl has blue scale border Dessert Basket, c. 1770. Worcester Porcelain Factory · A work ...Missing: 18th | Show results with:18th
[60]
Techno File: Defects From Firing - Ceramic Arts Network
A good place to start troubleshooting is to calculate out of every 100 pots, how many are defective. If the number is higher than 10 there is a problem that ...
[61]
Glass cage cup fragment - Roman - The Metropolitan Museum of Art
Cage cups comprise a rare group of late Roman luxury glassware that was decorated with openwork designs in deep relief, usually in geometric patterns.
[62]
Brilliant Glass - Rodney Bender - The Building Conservation Directory
Rodney Bender provides a review of the cutting techniques used in the past for the decoration of window glass, including brilliant cutting and acid etching.Missing: openwork | Show results with:openwork
[63]
Fired Strength - Digitalfire
Ceramics, by their brittle nature, have high compressive strength. But in functional ceramics we are more concerned about the tensile strength as this relates ...
[64]
Stone tracery in church and cathedral construction - abelard.org
Tracery is a decorative method of providing the stone framework, and so the support needed, in windows of great spans. Tracery can also be found in rose windows ...Missing: openwork jali
[65]
15 Projects in India Using Traditional Jali Wall Facades - ArchDaily
Feb 14, 2024 · Jali involves drilling or carving through stone panels to provide building facades with intricate and ornate patterns with historical, religious ...
[66]
The History of Iron Window Guards - This Old House
Wrought iron was often used for the main structural elements because it can be hammered into shapes without breaking, providing flexibility in design.
[67]
Cast Iron Architecture - Encyclopedia of Greater Philadelphia
Over a period of four decades, from 1840 through 1880, a commercial district of distinctive cast iron buildings developed in Center City Philadelphia.
[68]
Geometric Patterns of Light and Shadow: 7 Projects With Perforated ...
Jun 13, 2024 · Perforated walls and ceilings can create multiple geometric patterns of light and shadow that become design elements capable of generating unique atmospheres.
[69]
Exploring Façade Cladding Systems in Modern Architecture
Mar 23, 2023 · Just like rainscreens, this system is virtually modeled and designed through the precision of laser cutting, creating infinite patterns and ...
[70]
Spire | Design, Construction & History - Britannica
Spire, in architecture, steeply pointed pyramidal or conical termination to a tower. In its mature Gothic development, the spire was an elongated, ...
[71]
The Evolution of Ornamental Architectural Metal Design
Jul 31, 2016 · Wrought iron is made by hand, heating, beating and stretching iron into decorative hardware and ironwork and was common through the mid-19th ...
[72]
Utilizing Perforated Metal In Acoustically Complex Environments
Perforated metal, as an acoustically transparent surface, is often used in high-traffic or outdoor settings where an acoustic tile is added to protect and ...
[73]
the rose window: splendor and symbol, painton cowen
This book explores the rose window as a significant architectural feature primarily within the High Gothic style, originating from the early thirteenth century.
[74]
[PDF] Gothic Europe 12-15th c. - De Anza College
Tracery: Ornamental work of interlaced and branching lines, especially the lacy openwork in a Gothic window. Rose Window , north transept, Chartres Cathedral, ...
[75]
[PDF] Chapter 10: Spires in Late Gothic France - Geometries of Creation
Already in the fourteenth century Freiburg im Breisgau's openwork spire had far surpassed its French antecedents. The completion of Johannes. Hultz's superb ...
[76]
(PDF) The gothic tower of Freiburg Minster, Germany: Analysis and ...
Aug 10, 2025 · This paper provides a description of the construction of the spire, the damaged sections that were detected, the material tests and statical calculations ...
[77]
(PDF) Lattice Screens of India - Academia.edu
2.2 Sidi Saiyyed Mosque, Ahmedabad Built in 1573, the last year of the Gujarat Sultanate before the Mughals invaded, the mosque is one of the finest ...Cite This Paper · Abstract · Key Takeaways
[78]
AD Classics: La Sagrada Familia / Antoni Gaudí - ArchDaily
Oct 16, 2013 · He designed three iconic facades for the basilica, the Glory, Nativity, and Passion facades, facing south, east, and west, respectively. The ...Missing: perforated openwork
[79]
[PDF] Eiffel's Tower - Architectural Studies
Jun 13, 2017 · Eiffel Tower, which bestrode the Universal Exposition staged in 1889 to celebrate ... iron latticework, and massive abutments at either end. The ...
[80]
[PDF] Building in France, Building in Iron, Building in Ferroconcrete
EIFFEL TOWER (1889). Interior of pier. Instead of a massive tower, an open frame work condensed into minimal dimensions. The landscape enters through continu.