Authors:MN Paudel, S Pokhrel, N Gadal, G Ortiz Ferrara, D KC, P Joshi, R Humagain Pages: 2 - 18 Abstract: The use of the mud as a building material has contributed to emancipation in communities and societies around the world. In Nicaragua there are many examples of this –especially in the northern part of the country- and it has also been in the case of the construction of the project “Barrio El Pantanal”, in Granada, where a community of female constructors, supported by various organizations and institutions have developed dozens of 60 square meter houses using improved ancestral techniques, like adobe, with mud quake-resistant properties. However, there has been rare researching in this regard in the region, and none or little realization of tests for either adobe mixes or pertinent laboratory studies that prove the resistance of the blocks for proper usage, this fact contributes, once again, to the thought that adobe houses are not resistant. These factors have driven the realization of this work under of the project: Reinforcement of Capabilities, into the Safe Construction Management Program, coordinated by the Integral Studies Habitability and Territory Program (PEI) at the National University of Engineering (UNI) and with the support of the Swiss Agency for the Development and the Cooperation, COSUDE Nicaragua. Based on an interdisciplinary approach, an innovative proposal was developed for the improvement of adobes used in “Barrio El Pantanal” project, centered on the use of natural bamboo fibers easily obtained from different manual processes to be applied in the adobe mixes, with which favorable results were obtained in its simple compressive strength properties. PubDate: 2019-12-18 DOI: 10.5377/arquitectura.v4i8.8981 Issue No:Vol. 4, No. 8 (2019)
Authors:Isha Shrestha, N Pradhan, J Sharma Pages: 19 - 36 Abstract: In this article we show the methodology named Structural, Non-Structural and Functional Vulnerability Index of Tourist Use Buildings in Sismic and Tsunami, designed in the framework of the regional project DIPECHO XII, by commission of the National Bureau of Risk Management-Nicaragua (MNGR), in alliance with the National University of Engineering (UNI) and the National Chamber of Tourism (CANATUR). Simplified, the Tourism Vulnerability Index to Tsunamis and Earthquakes (IVT) has been designed as the average of three Sub Indices: Functional Vulnerability (SiVF), Structural Vulnerability (SiVE) and Non-Structural Vulnerability (SiVNE), using as Histogram calculation tool to evaluate the 3 types of Vulnerability, which are organized into components and subcomponents to which a Weighted Evaluation is applied, which is the result of the product of an assigned Scale or degree of vulnerability (Low, Medium or High) for a Weight of Importance established by experts in the field who were consulted. Finally, the values resulting from the Weighted Evaluation of the functional, structural and non-structural components are compared with a range of contrast that allows to define the levels of Vulnerability: Low, Medium and High. PubDate: 2019-12-18 DOI: 10.5377/arquitectura.v4i8.8857 Issue No:Vol. 4, No. 8 (2019)
Authors:LP Amgain, AR Sharma Pages: 37 - 55 Abstract: Guatemalan colonial art arises thanks to the constant relationship of the inhabitants of the then new continent with those from the European continent. This propitiated the artistic-cultural exchanges thus opening a new possibility of artistic development of society. This is reflected in the advances of the fine arts at the time, in the implementation, improvement and interpretation of sculpture, architecture and painting. This is even in the creation of workshops with national artists. The main objective of the research was to develop an iconographic reading of the most representative paintings of the colonial era in Guatemala, which is from the 16th to the 18th century and which are currently exhibited in the Museum of Colonial Art of Antigua Guatemala in a catalog of the works and thus contribute to the efforts to document national art. This allows to put in context any person who has access to research, whether or not an expert in art. This account has a first chapter with all the basic information about painting, a general chronology of trends throughout history and their possible compositions. techniques and their relationship with religion. This contains a legal framework for the formality of the subject, since the looting to which the heritage of our country has been exposed and the difficulties experienced in the process to obtain access to the pieces studied oblige us to know more the legislation and must guarantee the protection of these artistic works of incalculable value. As a fourth step, a historical context is created to place the reader in tune with what was happening at the time of the creation of the works. It also allows to know how all this directly influenced the art and the themes to be represented. In the fifth chapter we find the cataloging of the paintings grouping them firstly by authors and then in pictorial cycles or themes in common. as a last step the sequence or chronology that the cycles may have mainly. It is from this order that the iconographic reading of each piece is carried out diagramming the sheets in which each work is presented in three parts. Pre-iconography: this consists of the general description of the work, Iconography where the characters that make up the painting are located, identified and described. who they are and their main attributes. Finally, Iconology is where an interpretation of the work is carried out according to the history, the historical context and the symbology found within the work. Finally, from all the information included in the readings there is a summary of the symbology found in the pieces in an iconographic glossary format that may be useful for future readings. PubDate: 2019-12-18 DOI: 10.5377/arquitectura.v4i8.8983 Issue No:Vol. 4, No. 8 (2019)
Open Access journal
