Architectural Features Architrave \AR Ka Trave\ the Principal Beam and the Lowest Member of the Entablature, Resting Directly on the Capitals of the Columns

Total Page:16

File Type:pdf, Size:1020Kb

Architectural Features Architrave \AR Ka Trave\ the Principal Beam and the Lowest Member of the Entablature, Resting Directly on the Capitals of the Columns Civil Engineering and Architecture Instructor: Sarah Oosterhuis West Ada School District, Meridian, ID Architectural Features Architrave \AR ka trave\ The principal beam and the lowest member of the entablature, resting directly on the capitals of the columns. Baluster \Bail us ter\ A small, decorative post that supports the upper rail. A row of balusters is called a balustrade. Capital The crowning member of a column or a pilaster. Clerestory \CLEAR story\ A vertical extension beyond the single story height of a room, generally with windows. Column A pillar or post consisting of a base, shaft and capital. Cornice \KOR niss\ A decorative projection or crown along the underside of the roof where the roof “hangs over” the wall. Originally, cornices were brackets that supported the overhanging roof. Cupola \KEWP oh la\ A small structure located above the roof for the purpose of adding light and air, or for ornamentation. Historically used as a lookout. Dentil \DEN till\ A small, rectangular block used in series under the cornice. From the Latin word dentes, meaning “teeth.” Dentils were thought to resemble a row of teeth. Dormer \DOOR mer\ A structure with a window, added to a sloping roof. Entablature \en TAB la chur\ An order of horizontal moldings and bands that rests directly on the capitals and columns. Facade \fa SOD\ An architectural front or “face” of a building. Frieze \FREEZE\ The middle section of the order, below the cornice of a wall and above the Architrave. Jack arch A brick or stone element supporting openings in the masonry. Decorative patterns and elements are often incorporated to visually frame architectural features. Also known as “flat arch” or “straight arch.” Keystone The central stone generally placed at the top profile of arched elements. Lintel \LIN tel\ A supporting wood or stone beam generally placed across the top of window or door opening. Also called a header. Modillion \moh DILL yun\ An ornamental bracket, placed under eaves, in series, for support or decoration. Their S, or scroll, shape easily identifies classic modillions. Later modillions are seen in the form of plain block. Palladian Window \pa LAY dee n\ A large, multi-paned window unit with large center arched section and two shorter, narrow side windows. Parapet \PAIR a pit\ A low wall along the edge of a roof, balcony, platform, or terrace. Pediment \PED a ment\ A decorative gable end extension, which emphasizes a building’s width giving it a sturdy appearance. Often visually supported by columns. Pilaster \pi LAS ter\ A rectangular or half-round column attached to a wall to provide the appearance of columns without the expense of actual columns. Portico \POOR ti coh\ A porch-type structure, with a roof supported by columns or walls that leads to the entrance of a building. Quoins \Coins\ Brick-like designs placed at the corners of a building. Transom \TRAN sum\ A framed glass typically placed above doors to allow light into the entranceway. Turret \TUR et\ A small tower attached to a larger building Water table A horizontal row of specially molded bricks that extend out from the rest of the wall marking the ceiling of the basement. Widow’s walk A railed walkway built on a roof, traditionally for viewing the sea while waiting for fishing boats to return..
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Cairo Supper Club Building 4015-4017 N
    Exhibit A LANDMARK DESIGNATION REPORT Cairo Supper Club Building 4015-4017 N. Sheridan Rd. Final Landmark Recommendation adopted by the Commission on Chicago Landmarks, August 7, 2014 CITY OF CHICAGO Rahm Emanuel, Mayor Department of Planning and Development Andrew J. Mooney, Commissioner The Commission on Chicago Landmarks, whose nine members are appointed by the Mayor and City Council, was established in 1968 by city ordinance. The Commission is re- sponsible for recommending to the City Council which individual buildings, sites, objects, or districts should be designated as Chicago Landmarks, which protects them by law. The landmark designation process begins with a staff study and a preliminary summary of information related to the potential designation criteria. The next step is a preliminary vote by the landmarks commission as to whether the proposed landmark is worthy of consideration. This vote not only initiates the formal designation process, but it places the review of city per- mits for the property under the jurisdiction of the Commission until a final landmark recom- mendation is acted on by the City Council. This Landmark Designation Report is subject to possible revision and amendment dur- ing the designation process. Only language contained within a designation ordinance adopted by the City Council should be regarded as final. 2 CAIRO SUPPER CLUB BUILDING (ORIGINALLY WINSTON BUILDING) 4015-4017 N. SHERIDAN RD. BUILT: 1920 ARCHITECT: PAUL GERHARDT, SR. Located in the Uptown community area, the Cairo Supper Club Building is an unusual building de- signed in the Egyptian Revival architectural style, rarely used for Chicago buildings. This one-story commercial building is clad with multi-colored terra cotta, created by the Northwestern Terra Cotta Company and ornamented with a variety of ancient Egyptian motifs, including lotus-decorated col- umns and a concave “cavetto” cornice with a winged-scarab medallion.
    [Show full text]
  • Restoration of a Vintage Limestone Portico with Architectural Precast Concrete
    PROJECT CASE STUDY Restoration of a Vintage Limestone Portico with Architectural Precast Concrete Presents a case study on the use of architectural precast concrete as a cost-effective approach to restore an historic park facility in Chicago, Illinois. The main entrance portico of the facility was originally constructed with an elaborate limestone beam or entablature, carried by massive limestone columns. The carved limestone architrave (soffit), frieze, and cornice (upper projection) pieces of the entablature were attached to backup brickwork and concealed steel lintel beams with metal anchors. After significant stone damage and movements occurred due to long-term corrosion of embedded steel components, several David B. Tigue, P.E., S.E. limestone soffit pieces were removed from the building for safety. Associate, Senior Project Engineer The restoration design utilized architectural precast concrete with a Raths, Raths & Johnson, Inc. Willowbrook, Illinois formed soffit having the identical proportions, texture and color as the damaged architrave stone pieces, and had structural capacity to replace the existing steel lintel beams. The design provided a unique, cost-effective approach for replacing deteriorated and damaged components, while retaining the original, intricate limestone carvings. he Douglas Park Field House stone pillars supporting an elaborate is one of many vintage facili- limestone beam, or entablature, and a Tties managed by the Chicago roof structure over the entry portico Park District in Chicago, Illinois. Con- (see Fig. 1). The limestone entablature structed in the early 1900s, it is cur- construction consisted of traditional rently listed in the National Registry carved limestone architrave (soffit), Kurt R. Hoigard, P.E. of Historic Buildings.
    [Show full text]
  • 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.
    [Show full text]
  • National Register of Historic Places Inventory — Nomination Form Date Entered 1. Name 2. Location 3. Classification 4. Owner O
    NPS Form 10-900 OMB No. 1024-0018 (3-82) Expires 10-31-87 United States Department of the Interior National Park Service For NPS use only National Register of Historic Places Inventory — Nomination Form date entered See instructions in How to Complete National Register Forms Type all entries — complete applicable sections 1. Name historic Dubuque County Jail ______________ and or common 2. Location street & number 36 East 8th Street not for publication city, town Dubuque vicinity of Congressional District: Second state Iowa code IA county Dubuque code 061 3. Classification Category Ownership Status Present Use district X public X occupied agriculture museum X building(s) private unoccupied commercial park structure both work in progress X educational private residence site Public Acquisition Accessible entertainment religious object in process X yes: restricted X government scientific being considered - yes: unrestricted industrial transportation no military __ other: 4. Owner of Property name Dubuque County (Contact: Donna Smith, Chairman, Cmmt-y Board of Supervisors') street & number 720 Central AVenue city, town Dubuque vicinity of state Ibwa 5. Location of Legal Description courthouse, registry of deeds, etc. Dubuque County Courthouse street & number 720 Central Avenue city, town state 6. Representation in Existing Surveys __________ Historic American Buildings Survey; Iowa Windshield Survey; Dubuque Historic Sites Field Survey; National Register of Historic has this property been determined eligible? —— yes —— no Places date 1967, 1977; 1974; 1973. 1972 L federal X_ state __ county X_ local Library of Congress; State Historical Society of Iowa; depository for survey records National Park Service ________ Districtof Columbia; Iowa city, town ; T)p..«=i Mm'TIPS; Waghingtrm state^District of Columbia 7.
    [Show full text]
  • The Art of Architecture
    LEARNING TO LOOK AT ARCHITECTURE LOOK: Allow yourself to take the time to slow down and look carefully. OBSERVE: Observation is an active process, requiring both time and attention. It is here that the viewer begins to build up a mental catalogue of the building’s You spend time in buildings every day. But how often visual elements. do you really look at or think about their design, their details, and the spaces they create? What did the SEE: Looking is a physical act; seeing is a mental process of perception. Seeing involves recognizing or connecting the information the eyes take in architect want you to feel or think once inside the with your previous knowledge and experiences in order to create meaning. structure? Following the steps in TMA’s Art of Seeing Art™* process can help you explore architecture on DESCRIBE: Describing can help you to identify and organize your thoughts about what you have seen. It may be helpful to think of describing as taking a deeper level through close looking. a careful inventory. ANALYZE: Analysis uses the details you identified in your descriptions and LOOK INTERPRET applies reason to make meaning. Once details have been absorbed, you’re ready to analyze what you’re seeing through these four lenses: OBSERVE ANALYZE FORM SYMBOLS IDEAS MEANING SEE DESCRIBE INTERPRET: Interpretation, the final step in the Art of Seeing Art™ process, combines our descriptions and analysis with our previous knowledge and any information we have about the artist and the work—or in this case, * For more information on the Art of Seeing Art and visual literacy, the architect and the building.
    [Show full text]
  • The Reconstruction of Colonial Monuments in the 1920S and 1930S in Mexico ELSA ARROYO and SANDRA ZETINA
    The reconstruction of Colonial monuments in the 1920s and 1930s in Mexico ELSA ARROYO AND SANDRA ZETINA Translation by Valerie Magar Abstract This article presents an overview of the criteria and policies for the reconstruction of historical monuments from the viceregal period in Mexico, through the review of paradigmatic cases which contributed to the establishment of practices and guidelines developed since the 1920s, and that were extended at least until the middle of the last century. It addresses the conformation of the legal framework that gave rise to the guidelines for the protection and safeguard of built heritage, as well as the context of reassessment of the historical legacy through systematic studies of representative examples of Baroque art and its ornamental components, considered in a first moment as emblematic of Mexico’s cultural identity. Based on case studies, issues related to the level of reconstruction of buildings are discussed, as well as the ideas at that time on the historical value of monuments and their function; and finally, it presents the results of the interventions in terms of their ability to maintain monuments as effective devices for the evocation of the past through the preservation of its material remains. Keywords: reconstruction, viceregal heritage, neo-Colonial heritage Background: the first piece of legislation on monuments as property of the Mexican nation While the renovation process of the Museo Nacional was taking place in 1864 during the Second Empire (1863-1867) under the government of the Emperor Maximilian of Habsburg, social awareness grew about the value of objects and monuments of the past, as well as on their function as public elements capable of adding their share in the construction of the identity of the modern nation that the government intended to build in Mexico.
    [Show full text]
  • Appendix E: Glossary
    Appendix E: Glossary Appendix E Glossary Accessory Structure-A subordinate structure detached from but located on the same lot as a principle building. The use of an accessory structure must be identical and accessory to the use of the principle building. Accessory structures include garages, decks, and fences. Adaptive Use-Recycling an old building for a use other than that for which it was originally constructed. Addition - A non-original element placed onto an existing building, site or structure. Alteration - Any act or process that which the exterior architectural appearance of a building. Appropriate - Suitable to or compatible with what exists. Proposed work on historic properties is evaluated for "appropriateness" during the design review process. Architectural Style - Showing the influence of shapes, materials, detailing or other features associated with a particular architectural style. Ashlar-A dressed or squared stone and the masonry built of such hewn stone. It may be coursed, with continuous horizontal joints or random, with discontinuous joints. Baluster-A turned or rectangular upright supporting a stair handrail or forming part of a balustrade. Balustrade-An entire railing system including a top rail and its balusters, and often a bottom rail. Bay-One unit of a building that consists of a series of similar units; commonly defined as the number of vertical divisions within a building facade. Brace-A diagonal stabilizing member of a building frame. Bracket-A projecting support used under cornices, eaves, balconies, or windows to provide structural support. Capital-The uppermost part of a column or pilaster. E-1 Stone Mountain Design Guidelines Casement-A hinged window frame that opens horizontally like a door.
    [Show full text]
  • The Diminution of the Classical Column: Visual Sensibility In
    David A. Vila The Diminution of the Classical Column: Domini Visual Sensibility in Antiquity and the Renaissance David Vila Domini looks at the recommendations regarding optical adjustment of the columnar diminution in the architectural treatises of Vitruvius, Alberti, and Palladio. He examines the variation in diminution of column thickness according to the height of the column, and its implications for our understanding of the various practices with regard both to columnar proportion and visual sensibility in Antiquity and the Renaissance. He also examines possible sources for the methods by which the ratios of column height to diameter were derived. Introduction 1 Writing some time around the 1450s [Grayson 1960], Alberti composed his ten-book treatise on architecture De re aedificatoria, basing it largely on the ancient Roman tract De architectura [Krautheimer 1963], which its author, Vitruvius, dedicated to the emperor Augustus. Alberti and his contemporaries found Vitruvius’s text inelegantly written, often obscure and in some passages entirely unintelligible.2 The widespread use of Greek terms for things that were otherwise nameless in Augustan Latin confounded the efforts of the humanists trying to make sense of the only text on architecture that had survived from the antiquity they had so much come to admire. In his attempt to remedy these linguistic problems, Alberti was forced to introduce neologisms in order to express ideas for which, until then, there were no words in Latin.3 But the difficulties were by no means exclusively linguistic, and constitute an indication of the very different understanding that Roman Antiquity and the Early Renaissance had of architecture.
    [Show full text]
  • Columns - Cornices - Porticos Columns
    Columns - Cornices - Porticos Columns For over thirty years Mexboro Concrete has been at the forefront of manufacturing high quality architectural cast stone. The company is now able to offer a wide range of classical components incorporating the basic elements of Greek and Roman architecture which will enliven building facades and landscapes. These classical designs have been faithfully reproduced by skilled craftsmen and then hanf finished to produce a product virtually identical to quarried stone in 765 appearance and texture, but at a fraction of the cost. 500 765 390 500 615 390 430 615 430 297 297 525 464 340 280 297 525 297 464 280 340 5400 297 297 5400 4600 6590 4600 6090 5747 5197 3000 3000 3000 4115 3000 4115 3515 3515 300 218 300 218 500 550 600 600 300 300 218 218 600 600 500 500 400 400 400 400 800 800 710 710 600 600 600 600 850 760 650 Ref:600/500 Ref:600/500 Ref:500/430 Ref:500/430 Ref:400/340 Ref:400/340 Ref:400/280 Ref:400/280 (no pedestal) (no pedestal) (no pedestal) (no pedestal) Columns 450 270 360 260 450 220 270 230 260 250 360 150 220 1235 295 185 150 250 1000 230 150 190 295 1235 185 150 715 190 3540 1000 820 715 2940 3040 1235 1000 820 2450 2420 2300 715 2165 2000 715 820 1235 190 1000 210 820 715 156 430 600 620 300 210 190 156 155 155 310 310 260 260 218 218 210 210 434 434 360 360 294 294 310 310 494 400 Ref:310/270 Ref:310/270 Ref:260/220 Ref:260/220 Ref:218/185 Ref:218/185 Ref:210/150 Ref:210/150 (no pedestal) (no pedestal) (no pedestal) (1860 shaft) Cornice These standard units allow great design flexibility.
    [Show full text]