Glossary of Architectural Terms.Pdf
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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. -
Descriptions of Common Historical Architectural Styles
NEW HAMPSHIRE ARCHITECTURE: COMMON HISTORIC STYLES AND BUILDING TYPES GEORGIAN (1725-1790) Typical Character Defining Features: Balanced design with classical details Gable or gambrel roof Large, brick center chimney (though high style examples may have twin chimneys) Broad center entrance, often with transom light over doorway, sometimes with a double leaf door Small (12/12, 9/6, 6/9) sash; windows placed close to the eaves; often without blinds or shutters; heavily molded casings Clapboard siding Low granite foundations FEDERAL (1780-1840) Typical Character Defining Features : Balanced design with classical details, more delicate than Georgian High style (usually urban) often has three stories Low-profile gable or hipped roof, high style may have balustrade at roof edge Twin brick chimneys Elaborate center entrance often with fan light and side lights Palladian window, 6/6 sash windows Brick or clapboard exterior, sometimes just brick ends GREEK REVIVAL (1830-1870) Typical Character Defining Features : Heavy design with classical details; high style examples r are temple-like, with free-standing columns along facade Gable roof with cornice returns or full pediment Thin, spindly (stove) chimney Side hall entry, often with projecting portico or recessed entry with full- length side lights and transom at main entry 6/6 sash windows, often with shutters or blinds Heavy trim, wide corner boards sometimes with pilasters N.B.: Often used for churches. New Hampshire Preservation Alliance ~ www.nhpreservation.org 1 GOTHIC -
Architectural Variations in Residences and Their
ARCHITECTURAL VARIATIONS IN RESIDENCES AND THEIR EFFECTS ON ENERGY GENERATION BY PHOTOVOLTAICS A Thesis Presented to The Academic Faculty by Sandra Catalina Caballero In Partial Fulfillment of the Requirements for the Degree Master of Science in High Performance Buildings in the School of Architecture Georgia Institute of Technology August 2011 ARCHITECTURAL VARIATIONS IN RESIDENCES AND THEIR EFFECTS ON ENERGY GENERATION BY PHOTOVOLTAICS Approved by: Dr. Fried Augenbroe, Advisor School of Architecture Georgia Institute of Technology Dr. Russell Gentry School of Architecture Georgia Institute of Technology Dr. Jason Brown School of Architecture Georgia Institute of Technology Date Approved: 07.07.2011 To my family, Elizabeth Cardona, J. Joaquin Caballero and Carlos Caballero ACKNOWLEDGEMENTS I would like to especially thank my mother, father, and brother without whose guidance and support I would not be here. I wish to also thank Professor Fried Augenbroe, for assisting me during this whole process of getting my degree and thesis. iv TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iv LIST OF TABLES vii LIST OF FIGURES viii LIST OF SYMBOLS AND ABBREVIATIONS ix SUMMARY x CHAPTER 1 Introduction 1 1.1. Study Overview 1 1.2. Methodology 2 2 Typologies by radiation level: Case Studies 4 2.1. Log House: Seattle, WA 5 2.2. Gambrel House: New York City, NY 9 2.3. Conch House: Miami, FL 11 2.4. Desert House: Phoenix, AZ 13 3 The Photovoltaic Effect 17 3.1. First Generation 18 3.2. Second Generation 19 3.3. Third Generation 20 4 Analysis: Energy Performance vs. Return of Investment Comparison 23 4.1. -
Shiva's Waterfront Temples
Shiva’s Waterfront Temples: Reimagining the Sacred Architecture of India’s Deccan Region Subhashini Kaligotla Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Subhashini Kaligotla All rights reserved ABSTRACT Shiva’s Waterfront Temples: Reimagining the Sacred Architecture of India’s Deccan Region Subhashini Kaligotla This dissertation examines Deccan India’s earliest surviving stone constructions, which were founded during the 6th through the 8th centuries and are known for their unparalleled formal eclecticism. Whereas past scholarship explains their heterogeneous formal character as an organic outcome of the Deccan’s “borderland” location between north India and south India, my study challenges the very conceptualization of the Deccan temple within a binary taxonomy that recognizes only northern and southern temple types. Rejecting the passivity implied by the borderland metaphor, I emphasize the role of human agents—particularly architects and makers—in establishing a dialectic between the north Indian and the south Indian architectural systems in the Deccan’s built worlds and built spaces. Secondly, by adopting the Deccan temple cluster as an analytical category in its own right, the present work contributes to the still developing field of landscape studies of the premodern Deccan. I read traditional art-historical evidence—the built environment, sculpture, and stone and copperplate inscriptions—alongside discursive treatments of landscape cultures and phenomenological and experiential perspectives. As a result, I am able to present hitherto unexamined aspects of the cluster’s spatial arrangement: the interrelationships between structures and the ways those relationships influence ritual and processional movements, as well as the symbolic, locative, and organizing role played by water bodies. -
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. -
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. -
Archivolt the Continuous Molding Framing an Arch. in Romanesque Or Gothic Architecture, One of the Series of Concentric Bands Framing the Tympanum
archivolt The continuous molding framing an arch. In Romanesque or Gothic architecture, one of the series of concentric bands framing the tympanum. baptistery In Christian architecture, the building used for baptism, usually situated next to a church. barrel vault A masonry roof or ceiling constructed on the arch principle. A barrel or tunnel vault, semicylindrical in crosssection, is in effect a deep arch or an uninterrupted series of arches, one behind the other, over an oblong space. A quadrant vault is a halfbarrel vault. A groin or cross vault is formed at the point at which two barrel vaults intersect at right angles. In a ribbed vault, there is a framework of ribs or arches under the intersections of the vaulting sections. A sexpartite vault is a vault whose ribs divide the vault into six compartments. A fan vault is a vault characteristic of English Perpendicular Gothic, in which radiating ribs form a fanlike pattern. bestiary A collection of illustrations of real and imaginary animals. campanile A bell tower of a church, usually, but not always, freestanding. cathedra Latin, “seat.” See cathedral. cathedral A bishop's church. The word derives from cathedra, referring to the bishop’s seat. cloister A monastery courtyard, usually with covered walks or ambulatories along its sides. compound pier A pier with a group, or cluster, of attached shafts, or responds, especially characteristic of Gothic architecture. Crusades In medieval Europe, armed pilgrimages aimed at recapturing the Holy Land from the Muslims. crypt A vaulted space under part of a building, wholly or partly underground; in churches, normally the portion under an apse or a chevet. -
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. -
The Architecture of the Italian Renaissance
•••••••• ••• •• • .. • ••••---• • • - • • ••••••• •• ••••••••• • •• ••• ••• •• • •••• .... ••• .. .. • .. •• • • .. ••••••••••••••• .. eo__,_.. _ ••,., .... • • •••••• ..... •••••• .. ••••• •-.• . PETER MlJRRAY . 0 • •-•• • • • •• • • • • • •• 0 ., • • • ...... ... • • , .,.._, • • , - _,._•- •• • •OH • • • u • o H ·o ,o ,.,,,. • . , ........,__ I- .,- --, - Bo&ton Public ~ BoeMft; MA 02111 The Architecture of the Italian Renaissance ... ... .. \ .- "' ~ - .· .., , #!ft . l . ,."- , .• ~ I' .; ... ..__ \ ... : ,. , ' l '~,, , . \ f I • ' L , , I ,, ~ ', • • L • '. • , I - I 11 •. -... \' I • ' j I • , • t l ' ·n I ' ' . • • \• \\i• _I >-. ' • - - . -, - •• ·- .J .. '- - ... ¥4 "- '"' I Pcrc1·'· , . The co11I 1~, bv, Glacou10 t l t.:• lla l'on.1 ,111d 1 ll01nc\ S t 1, XX \)O l)on1c111c. o Ponrnna. • The Architecture of the Italian Renaissance New Revised Edition Peter Murray 202 illustrations Schocken Books · New York • For M.D. H~ Teacher and Prie11d For the seamd edillo11 .I ltrwe f(!U,riucu cerurir, passtJgts-,wwbly thOS<' on St Ptter's awl 011 Pnlladfo~ clmrdses---mul I lr,rvl' takeu rhe t>pportrmil)' to itJcorporate m'1U)1 corrt·ctfons suggeSLed to nu.• byfriet1ds mu! re11iewers. T'he publishers lwvc allowed mr to ddd several nt•w illusrra,fons, and I slumld like 10 rltank .1\ Ir A,firlwd I Vlu,.e/trJOr h,'s /Jelp wft/J rhe~e. 711f 1,pporrrm,ty /t,,s 11/so bee,r ft1ke,; Jo rrv,se rhe Biblfogmpl,y. Fc>r t/Jis third edUfor, many r,l(lre s1m1II cluu~J!eS lwvi: been m"de a,,_d the Biblio,~raphy has (IJICt more hN!tl extet1si11ely revised dtul brought up to date berause there has l,een mt e,wrmc>uJ incretlJl' ;,, i111eres1 in lt.1lim, ,1rrhi1ea1JrP sittr<• 1963,. wlte-,r 11,is book was firs, publi$hed. It sh<>uld be 110/NI that I haw consistc11tl)' used t/1cj<>rm, 1./251JO and 1./25-30 to 111e,w,.firs1, 'at some poiHI betwt.·en 1-125 nnd 1430', .md, .stamd, 'begi,miug ilJ 1425 and rnding in 14.10'. -
2008 Romanesque in the Sousa Valley.Pdf
ROMANESQUE IN THE SOUSA VALLEY ATLANTIC OCEAN Porto Sousa Valley PORTUGAL Lisbon S PA I N AFRICA FRANCE I TA LY MEDITERRANEAN SEA Index 13 Prefaces 31 Abbreviations 33 Chapter I – The Romanesque Architecture and the Scenery 35 Romanesque Architecture 39 The Romanesque in Portugal 45 The Romanesque in the Sousa Valley 53 Dynamics of the Artistic Heritage in the Modern Period 62 Territory and Landscape in the Sousa Valley in the 19th and 20th centuries 69 Chapter II – The Monuments of the Route of the Romanesque of the Sousa Valley 71 Church of Saint Peter of Abragão 73 1. The church in the Middle Ages 77 2. The church in the Modern Period 77 2.1. Architecture and space distribution 79 2.2. Gilding and painting 81 3. Restoration and conservation 83 Chronology 85 Church of Saint Mary of Airães 87 1. The church in the Middle Ages 91 2. The church in the Modern Period 95 3. Conservation and requalification 95 Chronology 97 Castle Tower of Aguiar de Sousa 103 Chronology 105 Church of the Savior of Aveleda 107 1. The church in the Middle Ages 111 2. The church in the Modern Period 112 2.1. Renovation in the 17th-18th centuries 115 2.2. Ceiling painting and the iconographic program 119 3. Restoration and conservation 119 Chronology 121 Vilela Bridge and Espindo Bridge 127 Church of Saint Genes of Boelhe 129 1. The church in the Middle Ages 134 2. The church in the Modern Period 138 3. Restoration and conservation 139 Chronology 141 Church of the Savior of Cabeça Santa 143 1.