Glossary of Architectural Terms by Unknown Architrave: in Classical Architecture, the Bottom Third of the Entablature
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Entablature Refers to the System of Moldings and Bands Which Lie Horizontally Above Columns, Resting on Their Capitals
An entablature refers to the system of moldings and bands which lie horizontally above columns, resting on their capitals. Considered to be major elements of classical architecture, entablatures are commonly divided into three parts: the architrave, frieze, and cornice. E ntablature by stromberg ARCHITRAVE The architrave is the supporting element, and the lowest of the three main parts of an entablature: the undecorated lintel resting on the columns. FRIEZE The frieze is the plain or decorated horizontal unmolded strip located between the cornice and the architrave. Clay Academy, Dallas, TX Stromberg offers you the freedom to choose. Whether your project requires authentic classical entablature, or a modern look, we will design your entablature to perfectly match your building’s unique style . We have extensive knowledge of all the major classical orders, including Ionic, Doric, and Corinthian, and we can craft columns and entablatures that comply with each order’s specifications. DORIC a continuous sculpted frieze and a The oldest and simplest of these three cornice. CORNICE orders of classical Greek architecture, Its delicate beauty and rich ornamentation typified by heavy, fluted columns with contrast with the stark unembellished The cornice is the upper plain capitals and no base. features of the Doric order. part of an entablature; a decorative molded IONIC CORINTHIAN projection at the top of a This order, considered to be a feminine The most ornate of the three classical wall or window. style, is distinguished by tall slim orders, characterized by a slender fluted columns with flutes resting on molded column having an ornate, bell-shaped bases and crowned by capitals in the capital decorated with acanthus leaves. -
FRAMING GUIDELINES Cutting, Notching, and Boring Lumber Joists Joist Size Maximum Maximum Maximum Hole Notch Depth End Notch 2X4 None None None
FRAMING GUIDELINES Cutting, Notching, and Boring Lumber Joists Joist Size Maximum Maximum Maximum Hole Notch Depth End Notch 2x4 None None None 2x6 11/2 7/8 13/8 2x8 23/8 11/4 17/8 2x10 3 11/2 23/8 2x12 33/4 17/8 27/8 In joists, never cut holes closer than 2 inches to joist edges, nor make them larger than 1/3 the depth of the joist. Also, don’t make notches in the middle third of a span, where the bending forces are greatest. They should also not be deeper than 1/6 the depth of the joist, or 1/4 the depth if the notch is at the end of the joist. Limit the length of notches to 1/3 of the joist’s depth. Use actual, not nominal, dimensions. (“Field Guide to Common Framing Errors,” 10/91) Hole-Cutting Rules for Wood I-Joists Min. Distance from Inside Face of Support to Near Edge of Hole Do not cut holes larger Distance between hole Depth TJI/Pro 2” 3” 4” 5” 6” edges must be 2x (min.) than 11/2" in cantilever length of largest hole; 91/2” 150 1’-0” 1’-6” 3’-0” 5’-0” 6’-6” applies also to 11/2" holes 250 1’-0” 2’-6” 4’-0” 5’-6” 7’-6” L 2 x L 117/8” 150 1’-0” 1’-0” 1’-0” 2’-0” 3’-0” 250 1’-0” 1’-0” 2’-0” 3’-0” 4’-6” 350 1’-0” 2’-0” 3’-0” 4’-6” 5’-6” 550 1’-0” 1’-6” 3’-0” 4’-6” 6’-0” 14” 250 1’-0” 1’-0” 1’-0” 1’-0” 1’-6” 350 1’-0” 1’-0” 1’-0” 1’-6” 3’-0” 550 1’-0” 1’-0” 1’-0” 2’-6” 4’-0” 11/2" holes can be cut 16” 250 1’-0” 1’-0” 1’-0” 1’-0” 1’-0” anywhere in the web (11/2" knockouts Leave 1/8" (min.) of 350 1’-0” 1’-0” 1’-0” 1’-0” 1’-0” provided 12" o.c.) web at top and Min. -
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard They All Taxed For You: Shotguns, Camelbacks and More The Louvre in Paris, the Cabildo and Presbytère in the French Quarter, 1960s motor hotels, Lake Avenue apartments and early “Popeye’s Fried Chicken” outlets have what in common? The answer, of course, is the Mansard roof. After all, what exemplifies this architectural style more faithfully than Hawaiian black lava rock topped with red synthetic roof tiles? Architects and the late Al Copeland may have disagreed on this subject, but the history of the Mansard is still most interesting. The Mansard roof refers to a type of hip roof with two slopes on each of its four sides with the lower slope being much steeper, virtually vertical. The upper slope is usually not visible from the ground and is pitched just enough to shed water. For all intents and purposes, this is an additional story disguised as a roof. Sometimes, for decorative effect, the pitch is curved with impressive dormers. In modern commercial construction, the upper pitch has often been substituted with a flat roof. The Cabildo in New Orleans Mansard elevation, 1868 The architect, Francois Mansart (1598 - 1666), popularized the roof style known as Mansard, a misspelling of his name. The central portico of the Richelieu Wing of the Louvre is a fine example. In the years that French houses were taxed by the number of floors beneath the roof, the Mansard style afforded a clever way to avoid paying the tax collector. A revival of Mansard occurred in the 1850s rebuilding of Paris, and that era is called Second Empire. -
The Gibbs Range of Classical Porches • the Gibbs Range of Classical Porches •
THE GIBBS RANGE OF CLASSICAL PORCHES • THE GIBBS RANGE OF CLASSICAL PORCHES • Andrew Smith – Senior Buyer C G Fry & Son Ltd. HADDONSTONE is a well-known reputable company and C G Fry & Son, award- winning house builder, has used their cast stone architectural detailing at a number of our South West developments over the last ten years. We erected the GIBBS Classical Porch at Tregunnel Hill in Newquay and use HADDONSTONE because of the consistency, product, price and service. Calder Loth, Senior Architectural Historian, Virginia Department of Historic Resources, USA As an advocate of architectural literacy, it is gratifying to have Haddonstone’s informative brochure defining the basic components of literate classical porches. Hugh Petter’s cogent illustrations and analysis of the porches’ proportional systems make a complex subject easily grasped. A porch celebrates an entrance; it should be well mannered. James Gibbs’s versions of the classical orders are the appropriate choice. They are subtlety beautiful, quintessentially English, and fitting for America. Jeremy Musson, English author, editor and presenter Haddonstone’s new Gibbs range is the result of an imaginative collaboration with architect Hugh Petter and draws on the elegant models provided by James Gibbs, one of the most enterprising design heroes of the Georgian age. The result is a series of Doric and Ionic porches with a subtle variety of treatments which can be carefully adapted to bring elegance and dignity to houses old and new. www.haddonstone.com www.adamarchitecture.com 2 • THE GIBBS RANGE OF CLASSICAL PORCHES • Introduction The GIBBS Range of Classical Porches is designed The GIBBS Range is conceived around the two by Hugh Petter, Director of ADAM Architecture oldest and most widely used Orders - the Doric and and inspired by the Georgian architect James Ionic. -
The Five Orders of Architecture
BY GìAGOMO F5ARe)ZZji OF 2o ^0 THE FIVE ORDERS OF AECHITECTURE BY GIACOMO BAROZZI OF TIGNOLA TRANSLATED BY TOMMASO JUGLARIS and WARREN LOCKE CorYRIGHT, 1889 GEHY CENTER UK^^i Digitized by the Internet Archive in 2013 http://archive.org/details/fiveordersofarchOOvign A SKETCH OF THE LIFE OF GIACOMO BAEOZZI OF TIGNOLA. Giacomo Barozzi was born on the 1st of October, 1507, in Vignola, near Modena, Italy. He was orphaned at an early age. His mother's family, seeing his talents, sent him to an art school in Bologna, where he distinguished himself in drawing and by the invention of a method of perspective. To perfect himself in his art he went to Eome, studying and measuring all the ancient monuments there. For this achievement he received the honors of the Academy of Architecture in Eome, then under the direction of Marcello Cervini, afterward Pope. In 1537 he went to France with Abbé Primaticcio, who was in the service of Francis I. Barozzi was presented to this magnificent monarch and received a commission to build a palace, which, however, on account of war, was not built. At this time he de- signed the plan and perspective of Fontainebleau castle, a room of which was decorated by Primaticcio. He also reproduced in metal, with his own hands, several antique statues. Called back to Bologna by Count Pepoli, president of St. Petronio, he was given charge of the construction of that cathedral until 1550. During this time he designed many GIACOMO BAROZZr OF VIGNOLA. 3 other buildings, among which we name the palace of Count Isolani in Minerbio, the porch and front of the custom house, and the completion of the locks of the canal to Bologna. -
Exceptional Works of Art 2017 PUSHKIN ANTIQUES – MAYFAIR –
Exceptional works of art 2017 PUSHKIN ANTIQUES – MAYFAIR – At Pushkin Antiques we specialise in unique statement Each item is professionally selected and inspected pieces of antique silver as well as branded luxury items, to ensure we can give our customers a guarantee of stylish interior articles and objects d’art. authenticity and the required peace of mind when buying from us. Since the inception of our company, we’ve been at the forefront of online sales for high end, quality antiques. Our retail gallery is located on the lower floor of the world Our presence on most major platforms has allowed us famous Grays Antiques Centre in the heart of Mayfair. to consistently connect exquisite pieces with the most discerning collectors and interior decorators from all over the world with particular focus on the demands of the markets from the Far East, the Americas, Europe & Russia. www.pushkinantiques.com [email protected] We aim to provide the highest quality in every department: rare hand crafted articles, accurate item descriptions (+44) 02085 544 300 to include the history and provenance of each item, an (+44) 07595 595 079 extensive photography report, as well as a smooth buying process thus facilitating an efficient and pleasant online Shop 111, Lower Ground Floor, Grays Antiques Market. experience. 58 Davies St, London. W1K 5AB, UK. ALEX PUSHKIN OLGA PUSHKINA DUMITRU TIRA Founder & Director Managing Director Photographer Contents 6 ENGLISH SILVER 42 CHINESE SILVER 56 JAPANESE SILVER 66 INDIAN SILVER 78 BURMESE SILVER 86 CONTINENTAL SILVER 100 FRENCH SILVER 108 GERMAN SILVER 118 RUSSIAN SILVER 132 OBJECTS OF VERTU English Silver The style and technique in manufacturing silver during Hester Bateman (1708-1794) was one of the greatest this era (over 100 years) changed radically, reflecting silversmiths operating in this style, she is the most the variations in taste, society, costumes, economic and renowned and appreciated female silversmith of all time. -
The Furnishing of the Neues Schlob Pappenheim
The Furnishing of the Neues SchloB Pappenheim By Julie Grafin von und zu Egloffstein [Master of Philosophy Faculty of Arts University of Glasgow] Christie’s Education London Master’s Programme October 2001 © Julie Grafin v. u. zu Egloffstein ProQuest Number: 13818852 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818852 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 l a s g o w \ £5 OG Abstract The Neues SchloB in Pappenheim commissioned by Carl Theodor Pappenheim is probably one of the finest examples of neo-classical interior design in Germany retaining a large amount of original furniture. Through his commissions he did not only build a house and furnish it, but also erected a monument of the history of his family. By comparing parts of the furnishing of the Neues SchloB with contemporary objects which are partly in the house it is evident that the majority of these are influenced by the Empire style. Although this era is known under the name Biedermeier, its source of style and decoration is clearly Empire. -
Toronto Arch.CDR
The Architectural Fashion of Toronto Residential Neighbourhoods Compiled By: RASEK ARCHITECTS LTD RASE K a r c h i t e c t s www.rasekarchitects.com f in 02 | The Architectural Fashion of Toronto Residential Neighbourhoods RASEK ARCHITECTS LTD Introduction Toronto Architectural Styles The majority of styled houses in the United States and Canada are The architecture of residential houses in Toronto is mainly influenced by its history and its culture. modeled on one of four principal architectural traditions: Ancient Classical, Renaissance Classical, Medieval or Modern. The majority of Toronto's older buildings are loosely modeled on architectural traditions of the British Empire, such as Georgian, Victorian, and Edwardian architecture. Toronto was traditionally a peripheral city in the The earliest, the Ancient Classical Tradition, is based upon the monuments architectural world, embracing styles and ideas developed in Europe and the United States with only limited of early Greece and Rome. local variation. A few unique styles of architecture have emerged in Toronto, such as the bay and gable style house and the Annex style house. The closely related Renaissance Classical Tradition stems from a revival of interest in classicism during the Renaissance, which began in Italy in the The late nineteenth century Torontonians embraced Victorian architecture and all of its diverse revival styles. 15th century. The two classical traditions, Ancient and Renaissance, share Victorian refers to the reign of Queen Victoria (1837-1901), called the Victorian era, during which period the many of the same architectural details. styles known as Victorian were used in construction. The styles often included interpretations and eclectic revivals of historic styles mixed with the introduction of Middle Eastern and Asian influences. -
Glossary of Architectural Terms Apex
Glossary of Architectural Terms Apex: The highest point or peak in the gable Column: A vertical, cylindrical or square front. supporting member, usually with a classical Arcade: A range of spaces supported on piers capital. or columns, generally standing away from a wall Coping: The capping member of a wall or and often supporting a roof or upper story. parapet. Arch: A curved construction that spans an Construction: The act of adding to a structure opening and supports the weight above it. or the erection of a new principal or accessory Awning: Any roof like structure made of cloth, structure to a property or site. metal, or other material attached to a building Cornice: The horizontal projecting part crowning and erected over a window, doorway, etc., in the wall of a building. such a manner as to permit its being raised or Course: A horizontal layer or row of stones retracted to a position against the building, when or bricks in a wall. This can be projected or not in use. recessed. The orientation of bricks can vary. Bay: A compartment projecting from an exterior Cupola: A small structure on top of a roof or wall containing a window or set of windows. building. Bay Window: A window projecting from the Decorative Windows: Historic windows that body of a building. A “squared bay” has sides at possess special architectural value, or contribute right angles to the building; a “slanted bay” has to the building’s historic, cultural, or aesthetic slanted sides, also called an “octagonal” bay. If character. Decorative windows are those with segmental or semicircular in plan, it is a “bow” leaded glass, art glass, stained glass, beveled window. -
PENTAGON OFFICE BUILDING COMPLEX Other Name/Site Number: the Pentagon
NATIONAL HISTORIC LANDMARK NOMINATION NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 THE PENTAGON Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: PENTAGON OFFICE BUILDING COMPLEX Other Name/Site Number: The Pentagon 2. LOCATION Street & Number: U.S. 1, Va. 110, and Not for publication: Interstate 395 City/Town: Arlington Vicinity:__ State: Virginia County: Arlington Code: 013 Zip Code: 20301 3. CLASSIFICATION Ownership of Property Category of Property Private:__ Building(s): X Public-local:__ District:__ Public-State:__ Site:__ Public-Federal: X Structure:__ Object:__ Number of Resources within Property Contributing Noncontributing 1 ____ buildings 1 sites (helipad) ____ structures ____ objects 1 Total Number of Contributing Resources Previously Listed in the National Register: 4 Name of related multiple property listing: NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 THE PENTAGON Page 2 United States Department of the Interior, National Park Service______National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1986, as amended, I hereby certify that this ___ nomination ___ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ___ meets ___ does not meet the National Register Criteria. -
Mitek Guidefor ROOF Trussinstallation
TIMBER ROOF TRUSSES MiTek GUIDE for ROOF TRUSS Installation The Timber Roof Trusses you are about to install have been manufactured to engineering standards. To ensure that the trusses perform, it is essential that they be handled, erected and braced correctly. 2019 - Issue 1 mitek.com.au TABLE OF CONTENTS Fixing & Bracing Guidelines For Timber Roof Trusses General .....................................................................................................................................................................................3 Design ......................................................................................................................................................................................3 Transport..................................................................................................................................................................................3 Job Storage ..............................................................................................................................................................................3 Roof Layout .............................................................................................................................................................................4 Erection and Fixing ...................................................................................................................................................................4 Girder and Dutch Hip Girder Trusses .......................................................................................................................................7 -
Chateau-Sur-Mer Other Name/Site
NATIONAL HISTORIC LANDMARK NOMINATION NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 CHATEAU-SUR-MER Page 1 United States Department of the Interior, National Park Service_________________________________________National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: Chateau-sur-Mer Other Name/Site Number: 2. LOCATION Street & Number: 424 Bellevue Avenue Not for publication: City/Town: Newport Vicinity: State: RI County: Newport Code: 005 Zip Code: 02840 3. CLASSIFICATION Ownership of Property Category of Property Private: JL Building(s): X Public-Local: _ District: _ Public-State: _ Site: _ Public-Federal: Structure: _ Object: _ Number of Resources within Property Contributing Noncontributing 4 3 buildings _ sites 3 structures _ objects 7 6 Total Number of Contributing Resources Previously Listed in the National Register:_1 Name of Related Multiple Property Listing: N/A NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 CHATEAU-SUR-MER Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this __ nomination __ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property __ meets __ does not meet the National Register Criteria. Signature of Certifying Official Date State or Federal Agency and Bureau In my opinion, the property __ meets __ does not meet the National Register criteria.