Planar Vaults in the Monastery of El Escorial
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El Proyecto Perdido De La Basílica Del Escorial De Juan Bautista De Toledo
El proyecto perdido de la basílica del Escorial de Juan Bautista de Toledo Juan Rafael DE LA CUADRA BLANCO Sabemos que la traza actual de la basílica no es la que proyectó Juan Bautista; probablemente ni siquiera guarde apenas ningún pare- cido con la original. La actual parece que fue diseñada finalmente, en mayor o menor medida, por Juan de Herrera basándose en la pro- puesta de Francesco Paccioto ' . No se conserva la traza que hizo éste último, pero sí una carta en italiano dirigida al rey que, por lo intere- sante de sus apreciaciones, transcribimos íntegramente a continua- ción. Apoyándonos en la interpretación de ésta y otras fuentes de la época haremos finalmente un ejercicio teórico de reconstrucción de esta carta, semejante al que Rafael hizo con las cartas que describían la Villa de Plinio'. Veremos cómo el texto deja muchos aspectos de- masiado abiertos, obligándonos a una interpretación más libre de lo que nos gustaría, pero presenta interesantes sugerencias a la investi- gación escurialense. El texto de Paccioto 3 empieza con una crítica feroz a la «mal compuesta, sin medida, deforme y fea» planta de Juan Bautista, con- cluyendo que era mejor hacerla cuadrada. De este último apunte pue- de deducirse además que la de Juan Bautista no era cuadrada, tal vez 1. Para seguir la historia de la polémica entre Juan Bautista y Paccioto, consul- tar RIVERA BLANCO, J., Juan Bautista de Toledo, Valladolid 1984, y Agustín BUSTA- MANTE, La Octava Maravilla del mundo, estudio histórico sobre El Escorial de Fe- lipe II, pp. 636-647, Madrid, Alpuerto 1994. -
30” Built-In Refrigerator Column (Right-Hand Door Swing)
30” BUILT-IN REFRIGERATOR COLUMN (RIGHT-HAND DOOR SWING) Signature Features JBRFR30IGX OVER 250 TRINITY COOLING REMOTE ACCESS CONFIGURATIONS Revel in the trinity of food Open door. Power outages. Freezer or refrigerator. Left- preservation: three zones, three Filter changes. Connect to WiFi hand or right-hand swing. One, precision sensors, calibrated for real-time notifications and two, three columns in a row. every second. Fortified by an control your columns from Four different widths. With 12 exposed air tower, you can anywhere. Tap and swipe on one-unit options, 75 two-unit conquer humidity levels and both iOS and Android devices. combinations and over 250 three- customize the temperature of <sup>1</sup><br><sup>1 unit combinations, configuration each zone to your deepest Appliance must be set to remote is where bespoke begins. desires. enable. WiFi & app required. Features subject to change. For ECLIPTIC LIGHTING DARING OBSIDIAN details and privacy statement, INTERIOR visit jennair.com/connect.</sup> Live beyond the shadow. Abandoning the dark spots cast Inspired by the beauty of SOLID GLASS AND METAL by dated puck lighting, over 650 volcanic glass, this industry- LEDs frame and fill your exclusive dark finish erupts with All-metal bin and shelf frames. column, coming alive at a touch reflective, high-contrast style. Thick, naturally odor-resistant of the controls. Each zone Reject the unfeeling, lifeless solid glass. A forcefield at the awakens and pulses as you mold vessel of harsh steel. Let fine edge that prevents spillovers. To your column to your desires. foods and beverages emerge hell with cheap plastic in luxury from the interior of your door bins, shelves and liners. -
HOME OFFICE SOLUTIONS Hettich Ideas Book Table of Contents
HOME OFFICE SOLUTIONS Hettich Ideas Book Table of Contents Eight Elements of Home Office Design 11 Home Office Furniture Ideas 15 - 57 Drawer Systems & Hinges 58 - 59 Folding & Sliding Door Systems 60 - 61 Further Products 62 - 63 www.hettich.com 3 How will we work in the future? This is an exciting question what we are working on intensively. The fact is that not only megatrends, but also extraordinary events such as a pandemic are changing the world and influencing us in all areas of life. In the long term, the way we live, act and furnish ourselves will change. The megatrend Work Evolution is being felt much more intensively and quickly. www.hettich.com 5 Work Evolution Goodbye performance society. Artificial intelligence based on innovative machines will relieve us of a lot of work in the future and even do better than we do. But what do we do then? That’s a good question, because it puts us right in the middle of a fundamental change in the world of work. The creative economy is on the advance and with it the potential development of each individual. Instead of a meritocracy, the focus is shifting to an orientation towards the strengths and abilities of the individual. New fields of work require a new, flexible working environment and the work-life balance is becoming more important. www.hettich.com 7 Visualizing a Scenario Imagine, your office chair is your couch and your commute is the length of your hallway. Your snack drawer is your entire pantry. Do you think it’s a dream? No! Since work-from-home is very a reality these days due to the pandemic crisis 2020. -
Mobile Column Lift System Is the Faster and Easier Choice for Your Maintenance Facility
MobileHEAVY DUTY Column LIFTING SYSTEMS Ergonomic FLEETVersatile Performance Productive Reliable FAST Dependable Mobile Buy America World Best Techs TM Legendary TM Red FireLRemoteE controlledADERHEAVY DUTY Battery Efficient MACHCareer Extender ENVIRONMENTALLY FRIENDLY TM EmployeeWireless Retention Patented Flex Innovative Adjustable www.rotarylift.com A Shown: MCHM419U1A00 / Wireless remote-controlled model N D D E VALIDAT TM WIRELESS CONTROLS FLEXMAX NO CABLES / NO CORDS REMOTE-CONTROLLED LIFTING Unmatched lifting versatility and flexibility with the mobility to monitor and adjust your columns anywhere in your shop. Premium FLEXMAXTM lifts provide wireless, remote-controlled flexibility LIFT UP TO 150,400 LBS. plus added operational controls at each column giving technicians the choice to work in the most comfortable, productive and efficient way possible. Ergonomic, wireless hand-held remote control walks the technician through the system set up. Status lights indicate standby or paired columns. Controller features include: • On/off power button with info screen • 2-speed joystick control with auto resume FLEXMAX419 • Single lower-to-lock button with E-stop control A N D 18,800 lbs. capacity column D TE VALIDA • Remote battery indicator Shown: MCHM419U100 • Press ProtectTM eliminates accidental button presses • Audible warning when operator is out of range TM Rotary FLEXMAX feature column capacities at • 99 system IDs eliminate communication interference 18,800 lbs. and 14,000 lbs. in multiple configurations. • Height and weight digital display gauge displays Service everything from light-duty passenger vehicles to • Software upgrades can be made wirelessly heavy-duty trucks. This electro-hydraulic system with WATCH THE adjustable lifting forks can be operated in both odd and PRODUCT VIDEO See how fast and even groups of columns. -
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. -
Preloading Approach to Column Removal in an Existing Building by Pratik Shah, P.E., LEED AP
® Copyright Figure 2. Preloading Approach to Column Removal in an Existing Building By Pratik Shah, P.E., LEED AP 475 Fifth Avenue is an existing building near Bryantmagazine Park at the The building’s structural system is a steel moment frame. The gravity intersection of 41st Street andS Fifth AvenueT inR New York U City. The C system consistsT ofU a cinder concreteR toppingE slab over a wire mesh 24-story, 1920s era building recently underwent a major renovation reinforced concrete slab supported by steel beams spanning between that required structural engineering designs to support the building’s girders. The girders are connected to the columns in both directions architectural elements and to accommodate changes to the mechanical with moment connections, to resist lateral loads. All existing shear and system. The structural scope for the project included strengthening moment connections were riveted, as is typical for buildings of this the second-level flooring system for retail loading; framing of new age. The original structural drawings for the building were unavail- mechanical penthouse; framing of new floor and wall openings to able, so all information necessary for design was obtained in the field. accommodate MEP ductwork and louvers; framing of new canopy, new stair crossover and closing abandoned shafts and openings. One Exploratory Phase challenging aspect of the project was to remove an existing column between Levels 1 and 2 located in the middle of the redesigned lobby Since no structural drawings existed, DeSimone performed exhaustive (Figure 1). This column removal is the primary focus of this article. exploratory work, including structural probes, walkthroughs, and field Figure 1. -
The Royal Monastery of San Lorenzo De El Escorial
The Royal Monastery of San Lorenzo de El Escorial The Royal Monastery of San Lorenzo de El Escorial was built by Philip II in the 16th century and served as a royal palace, monastery and necropolis for numerous Spanish kings. The “El Escorial” is one of the most important visitor sites in Spain. Philip II wished to commemorate the Spanish victory in the battle of St. Quentin, fought on August 10th 1557 on St. Lawrence’s day. As Philip II was devoted to this Saint he decided to build the monastery as a royal pantheon. The king decided to found a religious institution to house the pantheon of his entire dynasty, together with a place of worship, a royal palace, a community of Hieronymite monks, a seminary and a library. The Monastery took twenty-one years to be built (from 1563 to 1584). In the beginning the work was directed by Juan Bautista de Toledo, but following Toledo’s premature death in 1567, his pupil Juan de Herrera began to excel as supervisor of the works. Herrera took over the direction and changed it somewhat into his own personal style. THE ROYAL MAUSOLEUM Philip II wanted to build a crypt below the High Altar, destined for a Royal Pantheon. But he died before his wish was accomplished, and it was his son, Philip III, who fulfilled his father’s desire. Works started in 1617 under the direction of the architect Juan Gómez de Mora. On his death, the work was already well advanced but the project remained unfinished for twenty-two years. -
Decoding the Pantheon Columns
$UFKLWHFWXUDO Graßhoff, G and Berndt, C 2014 Decoding the Pantheon Columns. +LVWRULHV Architectural Histories, 2(1): 18, pp. 1-14, DOI: http://dx.doi.org/10.5334/ ah.bl RESEARCH ARTICLE Decoding the Pantheon Columns Gerd Graßhoff* and Christian Berndt* The goal of this study has been to reconstruct the design principles underlying the construction of the Pantheon’s portico columns as well as to demonstrate how digital investigation methods and models can be used to improve our understanding of ancient architectural knowledge. Thanks to the data of the Bern Digital Pantheon Model, a synthesis of all the scanned surface points obtained during a digitization cam- paign of the Karman Center for Advanced Studies in the Humanities of the University of Bern in 2005, we have been able to determine empirically the column profiles of the portico with unprecedented precision. A second stage of our investigation involved explaining the profile of the column shafts by a construction model that takes into account the parameters recommended by Vitruvius and design methods such as those that can be found in the construction drawings discovered at Didyma. Our analysis shows that the design principles of the portico’s columns can be successfully reconstructed, and has led to the surpris- ing result that at least two different variants of a simple circle construction were used. Finally, we have been able to deduce from the distribution of the different profile types among the columns that the final profiles were designed and executed in Rome. Introduction design could reach a considerable degree of complexity. The shafts of the Pantheon’s portico columns are com- For example, Stevens believed that the Pantheon’s por- posed of granite monoliths, forty Roman feet tall, which tico columns exhibit a profile that is based on two tan- were excavated from two Egyptian quarries. -
Column Drains
PLUMBING FIXTURES TECHNICAL DATA Column Drains Specifications and Drain Variations Specifications Column Drain Flange Flanges are 14 gauge type 304 stainless steel heliarc welded to the 16 gauge column tube. Fifteen drain holes are spaced around the base in a pattern which provides maximum drainage without weakening the flange (see Detail A). The column shower is secured to the cast iron drain fitting with five 5/16-18 stainless steel hex-head bolts which pass through slotted openings in the drain flange(see Detail A). 16 GAUGE This arrangement permits the column to be rotated on inch DETAIL A – SHOWER (plus or minus 8°). Additionally, the drain is drilled and tapped ADJUSTABLE COLUMN in 15 locations. The combination of these two features allows DRAIN the drain to be set in any position and still obtain the required 14 GAUGE showerhead location, particularly helpful in the installation of FLANGE Modesty Modules and Multi-stall showers where partition DRAIN HOLES – placement may be critical. 5 GROUPS OF 3 5/16-18 HEX. HD. HOLES, WITH WIDE BOLTS - 160-092 Drain Fittings WEB AT BOLTS. 5 REQD. Drain fittings are heavy cast iron coated with a rust preventa- WASHERS - 142-034 tive with 3" or 4" outlets depending on supply and vent arrangements. Type B and H drains are designed to satisfy code FLOOR requirements which prohibit crown vents. BOLT LUG CLIP Drainage Capacity Drain slots in the base of columns offer 7.01 sq. in. of free area to allow drainage of up to 31 gallons per minute with a head of 3/4". -
Lntroduction
lNTRODUCTION he very name of Aran.juez is evocative; in much quarters here, on the site of the present-day palace, us the same way as a reference to Chartres con ing the location for recreational purposes. Similarly, the ___T jures up the image of its imposing cathedral in first engineering works were carried out on the Tagus at our mind's eye, the name of Aranjuez rouses historical, this time, to ensure water was available to irrigate the artistic and natural images, although it is difficult to be crops, and there is even the possibility that a garden sure which comes first. Of course, Aranjuez was origi may have existed in the vicinity of the mansion, which nally a gift of the Tagus and the Jarama rivers, which, like would be the basis for the future Royal Residence of the Nile in Egypt, make the lands they water fertile. It is Aranjuez. The fact is that the Order's headquarters con equally certain, however, that on grafting Art onto Na tinued to exist, adjoining the part of the palace erected ture here, History sowed bountiful seed here. In this by Philip II, until the seventeenth century, when it was way, a balance was struck in the encounter, which has al demolished as a result ofPhilip V's decision to finish the ways been rather romantic in nature, between man and palace. th~ local environment atAranjuez that has produced a In broad lines, the next episode involves their heavenly result owing to the munificence of its situation. Catholic Monarchs, whose policy of bringing the military The fact is that Aran juez is first and foremost, a gen orders under controlled to Ferdinand the Catholic be tle breeze that tempers the rigours of the seasons; of coming the lifelong administrator of the orders, includ course, it is a pleasant landscape whose vistas are lit up ing the Order of Santiago, with the result that he carne or put out as though by a brush stroke; yes, it is a fertile into possession ofAran juez. -
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. -
The Old Capitol As Completed
CHAPTER VI THE OLD CAPITOL AS COMPLETED 1 HE old Capitol was situated in a park of 22 ⁄2 acres [Plate 87], The eastern entrance, according to Mills, had spacious gravel inclosed by an iron railing.1 There were nine entrances to the walks, through a “dense verdant inclosure of beautiful shrubs and trees, grounds, two each from the north and south for carriages, two circumscribed by an iron palisade.” 3 An old print, made from a draw- on the east and three on the west for pedestrians. The western ing by Wm. A. Pratt, a rural architect and surveyor in 1839, gives a Tentrances at the foot of the hill were flanked by two ornamental gate or clear idea of the eastern front of the building and its surroundings at watch houses [Plate 81]. The fence was of iron, taller than the head of this period [Plate 90]. an ordinary man, firmly set in an Aquia Creek sandstone coping, which The old Capitol building covered 67,220 square feet of ground. covered a low wall [Plate 82]. The front was 351 feet 4 inches long. The depth of the wings was 131 On entering the grounds by the western gates, passing by a foun- feet 6 inches; the central eastern projection, including the steps, 86 feet; tain, one ascended two flights of steps to the “Grand Terrace” [Plate 88]. the western projection, 83 feet; the height of wings to the top of Upon the first terrace was the Naval Monument, erected to those balustrade, 70 feet; to top of Dome in center, 145 feet.