DOCSLIB.ORG

Entablature Refers to the System of Moldings and Bands Which Lie Horizontally Above Columns, Resting on Their Capitals

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. form of a double scroll; an architrave, www.4stromberg.com [email protected] 903.454.0904 Imagine. Design. Create. Clay Academy, Dallas, TX Newport News Police, Newport News, VA Conecuh County Government Center, Evergreen, AL Custer Methodist Church, Plano, TX BENEFITS Stromberg also crafts custom entablatures, so • Largest Selection of Entablatures • Variety of Materials to Choose you’re free to use your imagination to develop an From eye-catching entablature that is completely unique. • Custom Designs Available • Available in Multiple Colors, Contact us today to discuss your design needs. Textures and Finishes • Free Design Assistance Whether you are looking for designers and craftsmen with an entablature crafted in a over 30 years experience • CAD Details and Specifications specific classic order, or you under our belts. We will work Provided have an idea in mind for a diligently with you until we completetly custom piece, the have captured your vision, • Your Satisfaction is Our Priority most important thing is getting and you are satisfied with the what you want, the way you results. Our record speaks for envisioned it, at the time that itself, as 75% of our business is PROJECTS AND CLIENTS you need it. from return customers. • The White House, Choosing the right Contact us today for a free Washington, DC manufacturer is key in making custom quote. We are here • Disneyland Resort, sure your experience is a to help with CAD details and Anaheim, CA positive one. specifications. • Conecuh County Government When you choose Stromberg, Center, Evergreen, AL you are selecting a team of www.4stromberg.com [email protected] 903.454.0904 GFRP •GFRC •Cast Stone Clay Academy, Dallas, TX Conecuh County Government Center, Evergreen, AL Newport News Police, Newport News, VA Atlantis Resort, Naussau, Bahamas Stromberg offers a variety of services to assist AVAILABLE OPTIONS you with your project. Our experienced team will • Classical Entablature assist you with designs and drawings, models and • Modern and Custom Entablature maquettes, and CAD details. Installation services are also available upon request. • Architraves • Friezes GFRP • Cornice Entablatures in architectural its beauty for years to come, fiberglass are very strong, yet • Columns and Bases withstanding even the harshest lightweight. Casting your elements such as hurricane entablature in GFRP allows for • Bas Relief force winds, and extreme complex shapes, and intricate temperatures. detai work. Low maintenance and extremely durable, GFRP entablatures resists salt water, CAST STONE Architectural cast stone can be harsh chemicals, and unfriendly cast to replicate an unlimited stromberg environments. variety of natural stone in many architectural products textures, and colors. Perfect for 4400 Oneal Street GFRC restoration projects, cast stone Greenville, Tx 75401 Glass Fiber Reinforced Concrete can duplicate the look of any Ph. (903) 454-0904 can be cast to mimic many stone, due to the unique process [email protected] textures and finishes, and is very by which it is created. www.4stromberg.com versatile. Lightweight, strong and durable, GFRC will maintain .
Load more

Recommended publications
  • 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]
  • Greek Columns in America
    Greek Columns in America By: Sarah Griffin Doric Columns Doric columns are the simplest columns. The design is plain, but powerful-looking. The top is made of a circle topped by a square, and it does not have a base. The shaft is very plain, and it has 20 sides. It looked great on the long and rectangular buildings that the Greeks made. The frieze, which is the area above the column, has simple patterns. Above the columns, there are triglyphs and metopes. The metopes are plain and smooth. Doric Columns Continued The triglyphs have a patterns that has three vertical lines which are between the metopes. The order from bottom to top was the shaft, the capital, the architrave, the frieze, and the cornice. Doric Columns- Example #1 The State Capitol in Columbus, Ohio Doric Columns- Example #2 The Clark County Courthouse in Cleveland, Ohio Ionic Columns The shafts of the Ionic columns are taller than the shafts of Doric columns, which makes the columns look slender. They also had lines carved into them going from top to bottom, which were called flutes. The shafts had entasis, which is a bulge in the columns that make them look straight even at a distance. The frieze is plain. The bases are big and look like a set of stacked rings. The capitals have scrolls above the shaft. Ionic Columns Continued The Ionic columns are more decorative than the Doric columns. The order from bottom to top is the base, then the shaft, then the capital, then the architrave, then the frieze, then the cornice.
    [Show full text]
  • The Parthenon Frieze: Viewed As the Panathenaic Festival Preceding the Battle of Marathon
    The Parthenon Frieze: Viewed as the Panathenaic Festival Preceding the Battle of Marathon By Brian A. Sprague Senior Seminar: HST 499 Professor Bau-Hwa Hsieh Western Oregon University Thursday, June 07, 2007 Readers Professor Benedict Lowe Professor Narasingha Sil Copyright © Brian A. Sprague 2007 The Parthenon frieze has been the subject of many debates and the interpretation of it leads to a number of problems: what was the subject of the frieze? What would the frieze have meant to the Athenian audience? The Parthenon scenes have been identified in many different ways: a representation of the Panathenaic festival, a mythical or historical event, or an assertion of Athenian ideology. This paper will examine the Parthenon Frieze in relation to the metopes, pediments, and statues in order to prove the validity of the suggestion that it depicts the Panathenaic festival just preceding the battle of Marathon in 490 BC. The main problems with this topic are that there are no primary sources that document what the Frieze was supposed to mean. The scenes are not specific to any one type of procession. The argument against a Panathenaic festival is that there are soldiers and chariots represented. Possibly that biggest problem with interpreting the Frieze is that part of it is missing and it could be that the piece that is missing ties everything together. The Parthenon may have been the only ancient Greek temple with an exterior sculpture that depicts any kind of religious ritual or service. Because the theme of the frieze is unique we can not turn towards other relief sculpture to help us understand it.
    [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]
  • 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]