Prompt: Achaemenid architecture. The most impressive hall in the complex is the Apadana hall, occupying an area of about 109 square meters with 36 Persian columns, each more than 19 m tall. Each column is fluted, with a square base (except a few in the porticos), and an elaborate capital with two animals supporting the roof. The structure was originally closed off from the elements by mud-brick walls over 5 meters thick and over 20 meters tall.[20] The columns have a composite capital depicting addorsed bulls or creatures. The columns in the porticoes have circular bases and are capped by ornate capitals after the end of the fluting, themselves topped by detailed addorsed bulls, supporting the roof. Apadana's relief is also unique in that it delineates the presence and power of the king. Known as "Treasure reliefs" the depicted scenes on Apadana stress the continuity of the kingdom through Darius the Great, and stress his presence throughout the empire, as well as depict his army of Persian immortals. Perhaps this was Darius's attempt to create a symbol of the assured continuity of his line.
Prompt: The dwarves that did accept woodworking often adopted a viking design, with hints towards early medieval roots. These structures would often be used in new settlements until a supply of stone could be adopted or used by the lower class. Dwarven Architecture has historically been completely stonework. Houses, halls, barracks, and temples were carved from solid stone. When solid stone could not be used, stone was often carved to fit these spaces (imagine incan walls at Macu picu) This method proved perfect for dwarven holds in the mountains, but outside these spaces, dwarves had little knowledge of how to work with wood to build larger buildings. Often lugging large stones long distances to then carves small houses initially. The dwarves that did accept woodworking often adopted a viking design, with hints towards early medieval roots. These structures would often be used in new settlements until a supply of stone could be adopted or used by the lower class. Dwarves refuse to work with bricks as their false stone is seen as flimsy and unsustainable. Instead, they use stone bricks when possible when the solid stone is unavailable, leading to unique designs amongst their people.
Prompt: In terms of external appearances dwarven structures in mountains would often create beautiful flourishes and accents to buildings to add flavour and beauty to the existing stone to accentuate the designs and mirror the beautiful caverns. On the surface however such beauty could not be afforded to the lower and middle classes, with more basic and slimmed designs bein uncommon in surface settlements. however on important buildings, structures or wealth homes such classically designs still existed and were seen as a symbol of wealth and status. Often Stone pillars would a brought and support houses, with more beautifully designed symbols of wealth being important status symbols like the lawns of America, tulips of Holland and gardens of Japan. Some of the earlier dwarven designs for surface structures mirrored greek designs such as the parthenon with importance placed on stone pillars, roof and floors, with creative interpretations from town to town. This design became synonymous with early dwarven surface designs and became an important symbol for surface dwellings as a symbol of wealth and history in the settlement. upcoming settlements might seek to acquire.
Prompt: According to Greek mythology, Arcadia of Peloponnesus was the domain of Pan, a virgin wilderness home to the god of the forest and his court of dryads, nymphs and other spirits of nature. It was one version of paradise, though only in the sense of being the abode of supernatural entities, not an afterlife for deceased mortals. In the 3rd century BCE the Greek poet Theocritus wrote idealised views of the lives of peasants in Arcadia for his fellow educated inhabitants of the squalid and disease-ridden city of Alexandria. Greek mythology inspired the Roman poet Virgil to write his Eclogues, a series of poems set in Arcadia.
Prompt: Ishtar Gate. The bricks of the Ishtar gate were made from finely textured clay pressed into wooden forms. Each of the animal reliefs was also made from bricks formed by pressing clay into reusable molds. Seams between the bricks were carefully planned not to occur on the eyes of the animals or any other aesthetically unacceptable places. The bricks were sun-dried and then fired once before glazing. The clay was brownish red in this bisque-fired state. The background glazes are mainly a vivid blue, which imitates the color of the highly prized lapis lazuli. Gold and brown glazes are used for animal images. The borders and rosettes are glazed in black, white, and gold. It is believed that the glaze recipe used plant ash, sandstone conglomerates, and pebbles for silicates. This combination was repeatedly melted, cooled, and then pulverized. This mixture of silica and fluxes is called a frit. Color-producing minerals, such as cobalt, were added in the final glaze formulations. This was then painted onto the bisque-fired bricks and fired to a higher temperature in a glaze firing.
Prompt: Ishtar Gate. After the glaze firing, the bricks were assembled, leaving narrow horizontal seams from one to six millimeters. The seams were then sealed with a naturally occurring black viscous substance called bitumen, like modern asphalt. The Ishtar Gate is only one small part of the design of ancient Babylon that also included the palace, temples, an inner fortress, walls, gardens, other gates, and the Processional Way. The lavish city was decorated with over 15 million baked bricks, according to estimates. The main gate led to the Southern Citadel, the gate itself seeming to be a part of Imgur-Bel and Nimitti-Bel, two of the most prominent defensive walls of Babylon. There were three primary entrances to the Ishtar Gate: the central entrance which contained the double gate structure (two sets of double doors, for a fourfold door structure), and doors flanking the main entrance to the left and right, both containing the signature double door structure. The walls were finished in glazed bricks mostly in blue, with animals and deities in low relief at intervals, these were also made up of bricks that are molded and colored differently.
Prompt: The Peruvudaiyar temple's plan and development utilizes the axial and symmetrical geometry rules.[30] It is classified as Perunkoil (also called Madakkoil), a big temple built on a higher platform of a natural or man-made mounds.[31] The temple complex is a rectangle that is almost two stacked squares, covering 240.79 metres (790.0 ft) east to west, and 121.92 metres (400.0 ft) north to south. In this space are five main sections: the sanctum with the towering superstructure (sri vimana), the Nandi hall in front (Nandi-mandapam) and in between these the main community hall (mukhamandapam), the great gathering hall (mahamandapam) and the pavilion that connects the great hall with the sanctum (Antrala). The temple complex integrates a large pillared and covered veranda (prakara) in its spacious courtyard, with a perimeter of about 450 metres (1,480 ft) for circumambulation. Outside this pillared veranda there are two walls of enclosure, the outer one being defensive and added in 1777 by the French colonial forces with gun-holes with the temple serving as an arsenal. They made the outer wall high, isolating the temple complex area.
Prompt: St. Hripsime Church is a domed tetraconch enclosed in a rectangle, with two angular niches on the northern and southern side. German art historian Wilhelm Lübke wrote that the church is built on "a most complicated variation of the cruciform ground-plan." The monumental exterior of the church is "considered one of the great achievements of medieval Armenian architecture." It has been described as a "gem of Armenian architecture" and "one of the most complex compositions in Armenian architecture." Along with Saint Gayane Church, it stands as a "model of the austere beauty of early Armenian ecclesiastical architecture." The church is not the earliest example of this architectural form, however, the form is widely known in architectural history as the "Hripsime-type" since the church is the best-known example of the form. It has also been variously named "Jvari-type" or "Jvari-Hripsime-type" for Jvari in Georgia. Notable churches with similar plans include the Surb Hovhannes (Saint John) Church of Avan (6th century), Surb Gevorg (Saint George) Church of Garnahovit (6th century), Church of the Holy Cross at Soradir (6th century), Targmanchats monastery of Aygeshat (7th century).
Prompt: Etchmiadzin Cathedral is the mother church of the Armenian Apostolic Church, located in the city dually known as Etchmiadzin (Ejmiatsin) or Vagharshapat, Armenia. It is usually considered the first cathedral built in ancient Armenia, and is often considered the oldest cathedral in the world. The original church was built in the early fourth century—between 301 and 303 according to tradition—by Armenia's patron saint Gregory the Illuminator, following the adoption of Christianity as a state religion by King Tiridates III. It was built over a pagan temple, symbolizing the conversion from paganism to Christianity. The core of the current building was built in 483/4 by Vahan Mamikonian after the cathedral was severely damaged in a Persian invasion. From its foundation until the second half of the fifth century, Etchmiadzin was the seat of the Catholicos, the supreme head of the Armenian Church.
Prompt: A city exists three miles high and countless miles long encompassing tens of millions of people displaced from Earth. Structors (the builder's guild) deconstruct the "TailEnd" of the city and rebuild the "Frontend" in a sort of glacial urban march from the mountains to the sea over 30,000 years. Multiple generations of folk living at the TailEnd are obliged to pack up and relocate to the Frontend. However, entropy and decay has set in. Machines cease to function and fall into disrepair and society slowly loses technological knowledge with each successive generation. moving those houses all of mankind All mankind lived in The City, a self-enclosed towering single building that had always moved generation by generation across the vast empty landscape.
Prompt: The American Radiator Building was designed in a black and gold color scheme. These specific colors came from a "somewhat offhand" suggestion made during an early discussion with Hood and Fouilhoux's team. It is not known who exactly suggested the black and gold colors, but architectural writer Walter Littlefield Creese says it may have been Hood's friend, architect Joseph Urban. Hood used the black and gold palette because he believed that conventional office buildings, with their white-masonry facades and dark glass windows, were monotonous. He had compared such windows to "waffles" and wished to find a color to make the window openings more conspicuous. After the tower's completion, Hood anticipated that additional colorful skyscrapers would be developed in New York City. The primary color of black was used to signify coal, while gold-coated decorations were used to symbolize fire. The "gold" was actually bronze powder placed on cast stone, a technique which was devised after a number of experiments by Hood and Fouilhoux's team. Hood had visited Brussels just before the American Radiator Building was built, and he had realized how golden colors had made "gloomy and dingy".
Prompt: The King City High School Auditorium is executed in cast-in-place concrete. The design makes full use of concrete's potential for plastic form, with compound curves, rounded corners and cast-in sculptural forms. The structure is somewhat elliptical in plan, with rounded corners. A projecting rounded bay at the front comprises the main entrance, with three pairs of doors separated by tall fluted pilasters surmounted by cast busts of Comedy and Tragedy, dividing a triptych relief sculpture that is itself divided into three levels. The ends of the facade curve around to the side elevations, which have inset fluted panels whose pilasters are crowned with more cast sculpture derived from characters from A Midsummer Night's Dream. The rear elevation is comparatively plain and utilitarian. The lobby is detailed with bright blue wainscoting and ceilings. Curved stairs give access to the balcony on either side of the lobby, with six doors into the main house. Floors throughout are covered in cork, as well as in the aisles of the auditorium. The auditorium seats 596 in the orchestra section and 387 in the balcony.
Prompt: The Carreras Cigarette Factory was faced in Atlas White cement, coloured to look like sand. The front of the building was lined with a colonnade of twelve large papyriform columns, painted in bright colours with Venetian glass decoration. The columns are thought to have been inspired by columns at tombs in Amarna. The main entrance was approached by a staircase, the handrails designed in the shape of serpents mounted on the wall with bronze human hands. The entrance itself was designed in the style of a tent, similar to the cavetto-moulded lintels seen in architecture dating from the Old Kingdom. Above the door was a carved Horus of Behdet, a symbol of the winged disk of the Sun. During World War II it was felt that this symbol resembled too closely the eagle imagery of the Third Reich and it was covered up. It was not replaced during the 1990s restoration. Cow-horned Hathor lamps stood in front of the black cat statues. The repeated black cat logo also featured across the front of the building. Ornamental railings around the building featured Egyptian hieroglyphs. The building was the first factory in Britain to make use of pre-stressed concrete technology.
Prompt: Gothic Revival is an architectural movement that began in the late 1740s in England. The movement gained momentum and expanded in the first half of the 19th century, as increasingly serious and learned admirers of the neo-Gothic styles sought to revive medieval Gothic architecture, intending to complement or even supersede the neoclassical styles prevalent at the time. Gothic Revival draws upon features of medieval examples, including decorative patterns, finials, lancet windows, and hood moulds. By the middle of the 19th century, Gothic Revival had become the preeminent architectural style in the Western world, only to fall out of fashion in the 1880s and early 1890s. Revival architecture varied considerably in its faithfulness to both the ornamental style and principles of construction of its medieval original, sometimes amounting to little more than pointed window frames and touches of neo-Gothic decoration on a building otherwise on a wholly 19th-century plan and using contemporary materials and construction methods, most notably in the use of iron and, after the 1880s, steel in ways never seen in medieval exemplars.
Prompt: The newest addition to the Iowa University campus – which houses the departments of sculpture, ceramics, photography, metals, printing, and 3D multimedia – covers four floors of pupil and faculty studios, classrooms, and gallery spaces. The stylish new structure replaced an older structure that had previously housed similar departments but had been devastated by flooding in 2008. Seven courtyards, together with other basic square windows on the façades, offer ample access to sunlight within, allowing light to penetrate deep into the structure’s wide floors. The perforated zinc coating also helps with this and at the very same time, its design provides complexity to the facility’s exterior and gives it a cool, steely grey color.
Prompt: The structure was opened in the Campania area of southern Italy, the first constructed by the business following the architect’s unexpected death. There was no need for more confirmation that Zaha Hadid’s legacy would carry on inspiring people, even after her passing. The initiative was undertaken by Vincenzo De Luca, the mayor at the time, to help assist in the economic, cultural, and environmental restoration of the neighborhood. During the busy summer months, the structure’s harsh, the asymmetric concrete exterior was meant to shelter people from the area’s intense heat. Its curvy shape, a Hadid signature, even echoes the water, abstractly like an oyster. Within, there are administrative offices for international border controls and commercial shipping routes, as well as a terminal for global ferries and cruise liners and a separate port for regional and local boats. Internal slopes crisscross the structure, improving connectivity between spaces. The remarkable structure of the terminal is illuminated at night, serving as a beacon to the seaside community. The new port acts as a seamless transition between water and land, both operationally and aesthetically.
Prompt: The unusual monolithic building is characterized by a nonlinear framework that emerges from the ground and wraps around a couple of towers and a core atrium to produce a massive block accented by three rippling gaps that mirror figure eight. The hollowed-out sections allow guests to encounter Morpheus’ interior and exterior features as they move around the structure. This allows the interior and exterior to engage with one another. Within, three innovative sky bridges link the major circulatory cores while also offering spectacular social dining and leisure areas. There are more than 780 guest rooms and casino facilities on the upper levels. Interior designer Peter Remedios draws inspiration from superyachts for his custom-designed fabrics and furniture. An all-white lounge area is partly contained in a geometric steel-angled frame on the bottom level.
Prompt: At this Yangzhou bookshop an optical illusion turns an ordinary, rectangular room into a cylindrical tunnel. Created by Shanghai-based studio XL-Muse for book retailers Zhongshuge, a black mirrored floor paired with two walls of arched shelving helps to create a seemingly never-ending funnel of books.
Prompt: Modern architecture. Clean, minimal lines. These lines lack additional ornamentation and are generally a consistent, smooth texture. Broad roof overhangs. Several modern homes emphasize low, horizontal structures with large roof overhangs. Walls of glass and large windows. You will find a very generous use of glass, which allows a significant amount of natural light into the interior. Open and well-defined floorplans. Since modern architecture focuses on form over function, architects sought to include large, spacious floorplans with dining and living spaces that flowed into one another. Modern and traditional building materials. Some common materials in modern homes include steel, concrete block, iron, and glass. More conventional building materials like wood, brick, and stone were used in more straightforward ways to show off their natural beauty. A relationship to the outside environment. A lot of thought went into building sites and how buildings would relate to the natural landscape surrounding them. Asymmetrical designs. Modern architects played around with large, smooth shapes and asymmetrical compositions that were cleanly planed and lacked any additional decoration.
Prompt: Minimalist architecture. Little to no ornamental features. Simple, basic materials, such as concrete, glass, and stone. Neutral color palettes. Clean lines and geometric shapes, often repeated for orderliness. Uses structure, shape, light, and space to create maximum visual impact with as few items as possible.
Prompt: The distinguishing features of the style are simple, clean shapes, often with a “streamlined” look; ornament that is geometric or stylized from representational forms; and unusually varied, often expensive materials, which frequently include man-made substances (plastics, especially Bakelite; vita-glass; and ferroconcrete) in addition to natural ones (jade, silver, ivory, obsidian, chrome, and rock crystal). Though Art Deco objects were rarely mass-produced, the characteristic features of the style reflected admiration for the modernity of the machine and for the inherent design qualities of machine-made objects (e.g., relative simplicity, planarity, symmetry, and unvaried repetition of elements).
Prompt: These structures seem to spiral upward making them twist and curve. Although, it is not precisely the curves that define Neo-Futuristic designs. It is the idea of sharp deviation from the present layouts to make the cities look more pleasing. Aside from human emotions, human values are also incorporated as a significant character of this architectural style. Using new and different materials like glass, aluminium, and steel in their construction for a sleek and modern look. Each architectural design is unique, and the construction idea incorporates human emotions. Domes, spirals and everything out of the box design is a part of the Neo-Futuristic design technique. Construction continuously embodies modern technology, making it more high-tech.
Prompt: Pyramid of Giza. Egyptian architecture is widely characterised by the construction of pyramids in large numbers due to their projection of life after death. Built during the 26th century BC, the pyramid of Giza was the tallest man-made structure for around 3900 years. The lowest was cut into the bedrock upon which the pyramid was built. The other two, Queen's Chamber and King's Chamber, containing a granite sarcophagus, are higher up within the pyramid structure. Cased with white limestone, with ‘backing stones’ supporting the exterior, the horizontal exterior layers possess an outward slope giving rise to four uniform chambers. Each side of the pyramid is said to have a groove, especially down the middle of the face, which is known to be a result of increased casing thickness in these areas. With longer corridors, air shafts, and chambers, the pyramid's interior has to descend and ascend passages leading to the bedrock beneath the masonry and the grand gallery, respectively.
Prompt: Abu Simbel Temple. Built in commemoration of the pharaohs, temples were an essential form of Egyptian architecture used to perform a variety of rituals, the central functions of Egyptian religion, and reenacting their mythological interactions through festivals. Constructed during the 19th Dynasty reign of the Pharaoh Ramesses II, Abu Simbel temple is a historic twin rock-cut temple. Serving as a lasting monument in the memory of Ramesses II, the entrance possesses four statues representing the crowned Pharaoh seated on a throne. As a common feature of Egyptian architecture, the temple's interior possesses three triangular layouts. The statues along the left-hand wall bear the white crown of Upper Egypt, and those on the opposite side are wearing the double crown of Upper and Lower Egypt. The pronaos, also known as the hypostyle hall, influenced by the various religious ideologies, is supported by eight pillars representing the god of fertility, agriculture, the afterlife, the dead, resurrection, life, and vegetation to indicate the eternity of the pharaoh.
Prompt: Pyramid of Giza. Egyptian architecture is widely characterised by the construction of pyramids in large numbers due to their projection of life after death. Built during the 26th century BC, the pyramid of Giza was the tallest man-made structure for around 3900 years. The lowest was cut into the bedrock upon which the pyramid was built. The other two, Queen's Chamber and King's Chamber, containing a granite sarcophagus, are higher up within the pyramid structure. Cased with white limestone, with ‘backing stones’ supporting the exterior, the horizontal exterior layers possess an outward slope giving rise to four uniform chambers. Each side of the pyramid is said to have a groove, especially down the middle of the face, which is known to be a result of increased casing thickness in these areas. With longer corridors, air shafts, and chambers, the pyramid's interior has to descend and ascend passages leading to the bedrock beneath the masonry and the grand gallery, respectively. Glass. Futurism. Sci-fi architecture examples range from cloud-shaped structures to futuristic interiors that are inspired by conceptual imagery
Prompt: The platform at Khorsabad is occupied by a single royal residence, associated with a group of three modest temples and a small ziggurat. Similar buildings occupy a walled citadel at the foot of the platform, thus completing a complex that has been thoroughly excavated and provides the most informative example of typical contemporary architecture. Sargon’s palace itself, like that of Zimrilim 1,000 years earlier (see above Sumerian revival), is planned, first, around a gigantic open courtyard accessible to the public and, second, around an inner court of honour. From the latter the great throne room is entered through triple doorways, around which, in common with the main outer entrance to the palace, are concentrated a fine array of portal sculptures. The throne room has an adjoining stairway leading to a flat roof and a suite of living apartments behind. Other state rooms, conventionally planned, open onto an open terrace facing the mountains beyond. All the principal internal chambers are decorated with reliefs, except for the throne room itself, where mural painting seems to have been preferred.
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Neo Kotsiubiiv (Нео Коцюбіїв)
(neokotsiubiiv)
Member since 2023
Ukrainian dreamer show numerous variations of the Kotsiubiiv National Opera and Ballet Theatre. If you want to use some work in your works, you can do it. I would be glad to see the use or implementation of my robots somewhere. I wish you success in your work. P.S.: Українець - це шлях (Андрій Павленко). Борітеся — поборете (Тарас Шевченко)!
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takes more iterations than the one before.
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Deep Dream
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Deep Dream
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