1. 100 YEARS / STYLE / EAST LONDON
A really fun video. It’s neat how the not only the clothes but also the music and dance moves change. (via Lissla Lissar)
When I saw the title, I rolled my eyes. Ugh. Hipsters. But when I clicked through to look at the photos they were oddly compelling. I think seeing them with the clothes makes it easier to see the faces as faces. You know Greek and Roman statues were originally painted. They were never supposed to be stark white. So there’s some of that effect. Also, seeing them in modern attire makes them more immediate somehow.
Though this comment seems to question how authentic the reconstructions are:
“It’s reasonable to assume that the painting on the figures was at least as sophisticated as the figures themselves. By the time of the Alexander Sarcophagus the subtlety of the sculpture has far outstripped the colors identified and applied by Brinkmann. This does not mean that Brinkmann has left the path of accurate reconstruction; it may mean that his ultimate goal is impossibly distant. The colors he has identified on later pieces are clearly just underpainting for a far more realistic final finish. This was the process used in Renaissance oil paintings of equivalent visual sophistication. The assumption that the painting was as sophisticated as the figures is an extremely conservative one. The artistic and manual skills required for realistic sculpting are far greater than those required for life-like painting of a finished figure. And the painting task was a relaxed one, far more amenable to messing around until the artist got it right. So painting was easier, less risky and, because of weathering, constantly in demand. It is reasonable to conclude that until sculpting reached its zenith, painting of figures was substantially more sophisticated than the figures themselves. With luck, Brinkmann will eventually find a piece with all the layers intact.
4. Speaking of the Romans…. Ancient Roman Concrete Is about to Revolutionize Modern Architecture
Over the past decade, researchers from Italy and the U.S. have analyzed 11 harbors in the Mediterranean basin where, in many cases, 2,000-year-old (and sometimes older) headwaters constructed out of Roman concrete stand perfectly intact despite constant pounding by the sea.
The most common blend of modern concrete, known as Portland cement, a formulation in use for nearly 200 years, can’t come close to matching that track record, says Marie Jackson, a research engineer at the University of California at Berkeley who was part of the Roman concrete research team. “The maritime environment, in particular, is not good for Portland concrete. In seawater, it has a service life of less than 50 years. After that, it begins to erode,” Jackson says.
The secret to Roman concrete lies in its unique mineral formulation and production technique. As the researchers explain in a press release outlining their findings, “The Romans made concrete by mixing lime and volcanic rock. For underwater structures, lime and volcanic ash were mixed to form mortar, and this mortar and volcanic tuff were packed into wooden forms. The seawater instantly triggered a hot chemical reaction. The lime was hydrated—incorporating water molecules into its structure—and reacted with the ash to cement the whole mixture together.”
The Portland cement formula crucially lacks the lyme and volcanic ash mixture. As a result, it doesn’t bind quite as well when compared with the Roman concrete, researchers found. It is this inferior binding property that explains why structures made of Portland cement tend to weaken and crack after a few decades of use, Jackson says.