Architecture Terminology
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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. -
The Sasanian Tradition in ʽabbāsid Art: Squinch Fragmentation As The
The Sasanian Tradition in ʽAbbāsid Art: squinch fragmentation as The structural origin of the muqarnas La tradición sasánida en el arte ʿabbāssí: la fragmentación de la trompa de esquina como origen estructural de la decoración de muqarnas A tradição sassânida na arte abássida: a fragmentação do arco de canto como origem estrutural da decoração das Muqarnas Alicia CARRILLO1 Abstract: Islamic architecture presents a three-dimensional decoration system known as muqarnas. An original system created in the Near East between the second/eighth and the fourth/tenth centuries due to the fragmentation of the squinche, but it was in the fourth/eleventh century when it turned into a basic element, not only all along the Islamic territory but also in the Islamic vocabulary. However, the origin and shape of muqarnas has not been thoroughly considered by Historiography. This research tries to prove the importance of Sasanian Art in the aesthetics creation of muqarnas. Keywords: Islamic architecture – Tripartite squinches – Muqarnas –Sasanian – Middle Ages – ʽAbbāsid Caliphate. Resumen: La arquitectura islámica presenta un mecanismo de decoración tridimensional conocido como decoración de muqarnas. Un sistema novedoso creado en el Próximo Oriente entre los siglos II/VIII y IV/X a partir de la fragmentación de la trompa de esquina, y que en el siglo XI se extendió por toda la geografía del Islam para formar parte del vocabulario del arte islámico. A pesar de su importancia y amplio desarrollo, la historiografía no se ha detenido especialmente en el origen formal de la decoración de muqarnas y por ello, este estudio pone de manifiesto la influencia del arte sasánida en su concepción estética durante el Califato ʿabbāssí. -
Commerce and Exchange Buildings Listing Selection Guide Summary
Commerce and Exchange Buildings Listing Selection Guide Summary Historic England’s twenty listing selection guides help to define which historic buildings are likely to meet the relevant tests for national designation and be included on the National Heritage List for England. Listing has been in place since 1947 and operates under the Planning (Listed Buildings and Conservation Areas) Act 1990. If a building is felt to meet the necessary standards, it is added to the List. This decision is taken by the Government’s Department for Digital, Culture, Media and Sport (DCMS). These selection guides were originally produced by English Heritage in 2011: slightly revised versions are now being published by its successor body, Historic England. The DCMS‘ Principles of Selection for Listing Buildings set out the over-arching criteria of special architectural or historic interest required for listing and the guides provide more detail of relevant considerations for determining such interest for particular building types. See https:// www.gov.uk/government/publications/principles-of-selection-for-listing-buildings. Each guide falls into two halves. The first defines the types of structures included in it, before going on to give a brisk overview of their characteristics and how these developed through time, with notice of the main architects and representative examples of buildings. The second half of the guide sets out the particular tests in terms of its architectural or historic interest a building has to meet if it is to be listed. A select bibliography gives suggestions for further reading. This guide treats commercial buildings. These range from small local shops to huge department stores, from corner pubs to Victorian ‘gin palaces’, from simple sets of chambers to huge speculative office blocks. -
TW-15 Typical Balcony/Breezeway Detail
P.O. Box 1404 Joplin, MO 64802-1404 Typical Balcony/Breezeway Detail 800-641-4691 1 inch TW-15 All logos are cmyk tamkowaterproofing.com If needed, TAMKO red is PMS185 1.5 inch FINISHED WALL When to use:Or metal counterflashing at openings. page up to 6 inches = 1 inch TWM-1 MASTIC WEATHER RESISTANT BARRIER or other appropriate, page up to 12 inches = 1.5 inch Positioned to lap TW-60 12" flashing in shingle fashion. compatible sealant at page up to 18 inches = 2 inch membrane and metal page over 18 inches = 2.5 inch flashing terminations. TW-60 12" FLASHING 2 inch Positioned with 4" minimum on horizontal leg and PRIMED 26 GA. 2" minimum beyond vertical leg of metal flashing. The use of TW-60 18" Flashing is (MINIMUM) GALVANIZED recommended in regions that experience heavy snow fall and ice buildup. METAL L-FLASHING (4" × 4" MINIMUM) TW-60 SHEET WATERPROOFING MEMBRANE Prime metal flashing prior to TAMKO red is PMSPlywood 185, or OSB deck must be fully covered. installation with TWP-1 or CONCRETE which according to the TWP-2 primer. 2.5 inch logo standards breaks TWM-1 MASTIC down to be M100, Y80 or other appropriate, compatible sealant at TW-60 termination as a cant. ADHESIVE PRIMER* METAL FLASHING EXTRUDED ALUMINUM BALCONY EDGING (T-BAR) FASTENERS Cross-sectional shape varies. Fasten per Positioned 1" from the PLYWOOD or OSB DECK manufacturer’s recommendations. outside edges of the 1/4":12" minimum positive slope 1 inch flashing. Fastener type required away from wall to drain and and spacing as prevent ponding water. -
Single Family Residence Design Guidelines
ADOPTED BY SANTA BARBARA CITY COUNCIL IN 2007 Available at the Community Development Department, 630 Garden Street, Santa Barbara, California, (805) 564-5470 or www.SantaBarbaraCA.gov 2007 CITY COUNCIL, 2007 ARCHITECTURAL BOARD OF REVIEW, 2007 Marty Blum, Mayor Iya Falcone Mark Wienke Randall Mudge Brian Barnwell Grant House Chris Manson-Hing Dawn Sherry Das Williams Roger Horton Jim Blakeley Clay Aurell Helene Schneider Gary Mosel SINGLE FAMILY DESIGN BOARD, 2010 UPDATE PLANNING COMMISSION, 2007 Paul R. Zink Berni Bernstein Charmaine Jacobs Bruce Bartlett Glen Deisler Erin Carroll George C. Myers Addison Thompson William Mahan Denise Woolery John C. Jostes Harwood A. White, Jr. Gary Mosel Stella Larson PROJECT STAFF STEERING COMMITTEE Paul Casey, Community Development Director Allied Neighborhood Association: Bettie Weiss, City Planner Dianne Channing, Chair & Joe Guzzardi Jaime Limón, Design Review Supervising Planner City Council: Helene Schneider & Brian Barnwell Heather Baker, Project Planner Planning Commission: Charmaine Jacobs & Bill Mahan Jason Smart, Planning Technician Architectural Board of Review: Richard Six & Bruce Bartlett Tony Boughman, Planning Technician (2009 Update) Historic Landmarks Commission: Vadim Hsu GRAPHIC DESIGN, PHOTOS & ILLUSTRATIONS HISTORIC LANDMARKS COMMISSION, 2007 Alison Grube & Erin Dixon, Graphic Design William R. La Voie Susette Naylor Paul Poirier & Michael David Architects, Illustrations Louise Boucher H. Alexander Pujo Bill Mahan, Illustrations Steve Hausz Robert Adams Linda Jaquez & Kodiak Greenwood, -
Truss Terminology
TRUSS TERMINOLOGY BEARING WIDTH The width dimension of the member OVERHANG The extension of the top chord beyond the providing support for the truss (usually 3 1/2” or 5 1/2”). heel joint. Bearing must occur at a truss joint location. PANEL The chord segment between two adjacent joints. CANTILEVER That structural portion of a truss which extends PANEL POINT The point of intersection of a chord with the beyond the support. The cantilever dimension is measured web or webs. from the outside face of the support to the heel joint. Note that the cantilever is different from the overhang. PEAK Highest point on a truss where the sloped top chords meet. CAMBER An upward vertical displacement built into a truss bottom chord to compensate for defl ection due to dead load. PLATE Either horizontal 2x member at the top of a stud wall offering bearing for trusses or a shortened form of connector CHORDS The outer members of a truss that defi ne the plate, depending on usage of the word. envelope or shape. PLUMB CUT Top chord cut to provide for vertical (plumb) TOP CHORD An inclined or horizontal member that establishes installation of fascia. the upper edge of a truss. This member is subjected to compressive and bending stresses. SCARF CUT For pitched trusses only – the sloping cut of upper portion of the bottom chord at the heel joint. BOTTOM CHORD The horizontal (and inclined, ie. scissor trusses) member defi ning the lower edge of a truss, carrying SLOPE (PITCH) The units of horizontal run, in one unit of ceiling loads where applicable. -
Pevsner's Architectural Glossary
Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 1 PEVSNER’S ARCHITECTURAL GLOSSARY Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 2 Nikolaus and Lola Pevsner, Hampton Court, in the gardens by Wren's east front, probably c. Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 3 PEVSNER’S ARCHITECTURAL GLOSSARY Yale University Press New Haven and London Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 4 Temple Street, New Haven Bedford Square, London www.pevsner.co.uk www.lookingatbuildings.org.uk www.yalebooks.co.uk www.yalebooks.com for Published by Yale University Press Copyright © Yale University, Printed by T.J. International, Padstow Set in Monotype Plantin All rights reserved. This book may not be reproduced in whole or in part, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 5 CONTENTS GLOSSARY Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 6 FOREWORD The first volumes of Nikolaus Pevsner’s Buildings of England series appeared in .The intention was to make available, county by county, a comprehensive guide to the notable architecture of every period from prehistory to the present day. Building types, details and other features that would not necessarily be familiar to the general reader were explained in a compact glossary, which in the first editions extended to some terms. -
The Two-Piece Corinthian Capital and the Working Practice of Greek and Roman Masons
The two-piece Corinthian capital and the working practice of Greek and Roman masons Seth G. Bernard This paper is a first attempt to understand a particular feature of the Corinthian order: the fashioning of a single capital out of two separate blocks of stone (fig. 1).1 This is a detail of a detail, a single element of one of the most richly decorated of all Classical architec- tural orders. Indeed, the Corinthian order and the capitals in particular have been a mod- ern topic of interest since Palladio, which is to say, for a very long time. Already prior to the Second World War, Luigi Crema (1938) sug- gested the utility of the creation of a scholarly corpus of capitals in the Greco-Roman Mediter- ranean, and especially since the 1970s, the out- flow of scholarly articles and monographs on the subject has continued without pause. The basis for the majority of this work has beenformal criteria: discussion of the Corinthian capital has restedabove all onstyle and carving technique, on the mathematical proportional relationships of the capital’s design, and on analysis of the various carved components. Much of this work carries on the tradition of the Italian art critic Giovanni Morelli whereby a class of object may be reduced to an aggregation of details and elements of Fig. 1: A two-piece Corinthian capital. which, once collected and sorted, can help to de- Flavian period repairs to structures related to termine workshop attributions, regional varia- it on the west side of the Forum in Rome, tions,and ultimatelychronological progressions.2 second half of the first century CE (photo by author). -
The 3D CFD Study of Gliding Swimmer on Passive Hydrodynamics Drag
302 Vol.57, n.2: pp. 302-308, March-April 2014 BRAZILIAN ARCHIVES OF ISSN 1516-8913 Printed in Brazil BIOLOGY AND TECHNOLOGY AN INTERNATIONAL JOURNAL The 3D CFD Study of Gliding Swimmer on Passive Hydrodynamics Drag Vishveshwar Rajendra Mantha 1,2,3 *, Daniel Almeida Marinho 2,4 , Antonio Jose Silva 2,3 and Abel Ilah Rouboa 1,5 1Department of Mechanical Engineering; University of Trás-os-Montes and Alto Douro; Vila Real - Portugal. 2Centre of Research in Sports; Health and Human Development; CIDESD; Vila Real - Portugal. 3Department of Sport Sciences; Exercise and Health; University of Trás-os-Montes and Alto Douro; Vila Real - Portugal. 4Department of Sport Sciences; University of Beira Interior; Covilhã - Portugal. 5Department of Mechanical Engineering and Applied Mechanics; University of Pennsylvania; Philadelphia - USA ABSTRACT The aim of this study was to analyze the effect of depth on the hydrodynamic drag coefficient during the passive underwater gliding after the starts and turns. The swimmer hydrodynamics performance was studied by the application of computational fluid dynamics (CFD) method. The steady-state CFD simulations were performed by the application of k - omega turbulent model and volume of fluid method to obtain two-phase flow around a three- dimensional swimmer model when gliding near water surface and at different depths from the water surface. The simulations were conducted for four different swimming pool size, each with different depth, i.e., 1.0, 1.5, 2.0 and 3.0 m for three different velocities, i.e., 1.5, 2.0 and 2.5 m/s, with swimmer gliding at different depths with intervals of 0.25 m, each starting from the water surface, respectively. -
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. -
Glossary of Terms
143 Glossary of Terms Baluster: A vertical support used to fill the open area between the rail and the stair or landing. Balustrade: A complete rail system that includes the handrail, balusters, and newel posts. Box newel: An oversize square newel that is usually hollow and is used in a post-to-post balustrade system. Brackets: Ornamental pieces fastened beneath the tread on the open side of a stair; also know as tread brackets. Building code: A set of legal requirements established by various governing agencies that covers the minimum regulations for all types of construction, including stair construction. Bullnose starting step or tread: A starting tread that has one or both ends rounded to a semi-cir- cle and projecting beyond the face of the stair stringer. Cap: The part of the fitting that accepts the newel post; used in conjunction with a pin top newel in an over the post balustrade system. Carriage: See stringer. Easement: The over or under ramp of a stair or rail. False Tread Caps: A piece attached to the end of a rough tread to simulate solid wood treads, usu- ally with a carpet runner down the steps. Fillet: A thin strip that is usually flat on one side and fits into the plow of a piece of handrail or shoe rail. Flight: A continuous series of steps with no intermediate landings. Gooseneck: A fitting that is used in the transition of a handrail to a landing or balcony; compen- sates for the change in the rise of the stair and may make a change in direction.