Studies in Art and Architecture

Climate-Adaptive Landscape Design for Coastal Historic Cities Integrating Heritage Conservation

Ziyu Li — 2026-04-01

Coastal historical cities not only embody marine civilization but also land civilization, serving as the carrier of their integration. Their cultural sites hold great value. However, coastal cities generally have high climate sensitivity. In the context of global warming, how to strengthen the protection of coastal historical cities is one of the key points in current urban landscape design. Based on the dual goals of historical heritage protection and climate adaptation, this paper explores the evolution patterns of coastal historical city landscape, as well as the collaborative paths between climate adaptability and heritage protection. It proposes optimization strategies, through prioritized spatial control of elements, near-natural solutions, and multi-party collaborative participation, to form a dynamic protection system and enhance the value of cultural heritage. At the same time, it improves the climate resilience of coastal cities, thereby promoting the sustainability of coastal city landscape design.

Costume and Accessory Design in the Construction of Animated Characters in Nigeria

Dooshima Terna Iorfa — 2026-09-16

Costume and accessory design play an important role in the construction of animated characters, particularly in a visual culture as diverse as Nigeria. Clothing, jewelry, headwear, patterns, color combinations, and other decorative details can communicate information about a character before dialogue or action begins. In Nigerian animation, these elements often carry more than decorative value. They may suggest age, occupation, social position, personality, regional background, or links with local cultural traditions. This paper examines how costume and accessory design contribute to animated character construction in Nigeria, with particular attention to visual recognition, personality expression, cultural references, and narrative function. The discussion focuses on the use of silhouette, color, pattern, textile-inspired motifs, traditional clothing forms, and symbolic accessories, while also considering how these elements are simplified or reshaped for contemporary animation. Nigerian character design often develops through a negotiation between local visual resources and modern animation styles. Traditional forms may be retained in recognizable details, but they are rarely reproduced without adjustment. Designers modify proportion, decoration, and material appearance so that costumes remain readable within stylized characters and different screen formats. Accessories can also serve as compact visual signs, helping distinguish characters and reinforcing their roles within a story. The paper argues that effective costume and accessory design is closely connected with the overall clarity of character construction. When cultural references, personality, and visual form are handled together, costume becomes part of character identity rather than an added surface decoration.

The Aesthetic Expression of Ronggeng Culture in Sang Penari

Rizky Mahardika — 2026-09-16

Sang Penari presents Ronggeng culture not simply as a traditional performance inherited from village life, but as an artistic form closely connected with the body, memory, social identity, and local cultural experience. Through the character of Srintil, the film turns Ronggeng dance into a central visual and emotional language. The movement of the dancer, traditional costume, music, ritual scenes, rural landscape, and the rhythm of cinematography work together to create an aesthetic image of Ronggeng culture that is both attractive and emotionally complex. This paper examines the aesthetic expression of Ronggeng culture in Sang Penari from several related aspects, with particular attention to dance and bodily performance, visual composition, costume and color, music and ritual, and the construction of female identity. Rather than treating Ronggeng only as a cultural symbol, the discussion focuses on how the film transforms traditional performance into cinematic experience. Srintil’s body is especially important in this process. It is at once the medium through which Ronggeng is performed and a site where cultural expectation, personal feeling, and social pressure meet. The film therefore gives traditional beauty a complicated emotional dimension. Its representation of Ronggeng is not a neutral reproduction of local tradition, but a selective and aesthetic reconstruction shaped by cinematic language. Through this reconstruction, Sang Penari preserves recognizable elements of local culture while also giving them new visual, emotional, and narrative meanings. The film shows how traditional performance can continue to function as cultural memory within contemporary Indonesian cinema.