Dome on Squinches: an Innovation in Construction Technology of Ancient Iran

Total Page:16

File Type:pdf, Size:1020Kb

Dome on Squinches: an Innovation in Construction Technology of Ancient Iran Online Journal of Engineering Sciences and Technologies (OJEST) ISSN: 2588-6770; www.ojest.ir Vol. 2, No. 1; Winter 2019; Pages 1-4; DOI: 10.21859/ojest-02011 Dome on Squinches: An Innovation in Construction Technology of Ancient Iran Elham Saligheh Department of Architecture, University of Tabriz, Tabriz, Iran. Nasibeh Badri Benam Department of Architecture, Tabriz Branch, Islamic Azad University, Tabriz, Iran. Received 1 February 2019 Accepted 15 March 2019 Available Online 30 March 2019 ABSTRACT Innovation in structure and construction technology was one of the valuable achievements of ancient architects all over the world. There was no structural separation of architectural elements in the ancient buildings of Iran. Domes are of among the important innovations in ancient architecture that were usually built over important spaces or in special buildings. The three dimensional form of dome was a tool to distinguish the significant building from other routine buildings in a city and turn it into a landmark in the urban silhouette. Iranian master builders had introduced an architectural innovation which had an imperishable effect on dome technology in the Middle East and Central Asia; surmounting a dome on squinches. The present study is an overview on the nature and function of squinche and the construction process of vaults and domes built on squinches. Several significant buildings constructed by the mentioned technology are also introduced in this article. Keywords: construction; dome; squinch; vault. Introduction Domes differ considerably in type and shape. Persian Innovation has always been the most important driving domes and vaults are commonly well-known due to their force in design and construction of built environment, various typologies, proportion of components, specific especially dominant buildings in ancient civilizations all forms, and graceful designs. In this article, a particular across the world. Therefore, the innovative combination type of dome built on squinches, its root and technical of structure and form has brought about a composition characteristics, was introduced and analyzed. of technology, art and aesthetic in all ancient buildings. This achievement was possible by a smart combination Squinch Vaults of structural knowledge, construction techniques and The squinch vault represents the structural and acquaintance with materials and their behavior. The fact technical concepts of the Sassanian vaults. This that architecture comes into being only in combination sort of vault is also known as ‘khorassani’ due to the with structure made the consideration of foundation, geographical area where it is more commonly found columns, and ceiling inevitable in all ancient buildings. (north eastern Iran), or even “balkhi” in reference to the In different eras, architects paid a significant attention to city of Balkh (now called Mazar-i Sharif, Afghanistan). the rules of loading, position and function of supports, The construction process of this vault started with a and their connection with other structural elements, small arched course laid in each corner of a square room, diminishing the forces in the walls leading to elimination advancing with new and increasingly larger arches of unnecessary mass, physical elements and reduction of leaning on the previous ones, defining thus four corner weight. half-cones that met in the center of each side of the room Vaults and domes were the among the most important as illustrated in Fig. 1 (Herrmann, 1999). The remaining elements in Iranian buildings until the beginning of the square opening could be covered by continuing in the 20th century. The fundamental contribution of Persian same way, as it is done still now in Khorassan area, or by architecture in dome development in the Middle East re-starting the process from the newly created corners. and Central Asia was first due to establishments of Squinch vaults were apparently hardly ever used in the foundation for using masonry domes to cover the early Islamic monumental structures, as no examples chamber halls, and second, the unique innovation of from this period has survived. The only surviving vaults an approach for transferring from the square geometry are later. In the eastern part of Iran, there exists some to the circular one, namely, squinches which mainly examples in Khorassan (and neighboring countries appeared in the Sassanid period. Dome was the certain like Turkmenistan & Afghanistan) houses and in element of Persian architecture which was widely used, the congregational mosques at Isfahan (Copani & elaborated and developed after the advent of Islam. Buonanno, 2003). 1 Correspondig Author: [email protected] Online Journal of Engineering Sciences and Technologies (OJEST) ISSN: 2588-6770; www.ojest.ir Saligheh & Badri Benam, 2019 Fig. 1: Construction process of squinch vault (Herrmann, 1999). Squinches with Step Form Fig. 3: Dome on squinches (Reuther, 1939). These types of squinch domes are related to concept of squinch-vault. In these cases, the squinch does not In the dome over squinches in the “Sassanian palace” need anymore to span the corner of a square room but at Sarvistan, Iran (Bier, 1986), the transition section, small sections of an already circular plan, becoming thus formed by the drum with the squinches, was made of almost a true spherical surface. The decorative effect of cobbles and roughly cut stones embedded in gypsum this solution, similar to a scale-pattern, would gain a mortar (as are most of the building’s walls), but the decorative value by itself (Fig. 2). dome itself was built with bricks (Fig. 4). Meanwhile, in the dome over squinches at the Ardashir’s Palace in Firuzabad, the squinches and the dome were both built with cobbles embedded in gypsum mortar (Fig. 5). Fig. 2: Stepped squinch dome and ‘scales’ pattern and springers of spherical vaults (Reuther, 1939). Domes on Squinches In many ways, the Sasanian period of ancient Iran, witnessed the peak of construction innovations and achievements. The Sasanians' cultural influence as well as construction technology innovations extended far beyond the empire's territorial borders. In fact, much of Fig. 4: Dome of Sarvistan palace (www.panoramio.com). what later became known as Islamic civilization in Iran, were taken from the innovations and achievements of Persians into the wider Muslim world (Taghizade, 2012). The Sassanian-originated dome on squinches can be seen as a particular case of the squinch vault described above. In this case the four corner half-cones (or half- conoids, if its profile is a parabolic one) are not carried to the middle of the room, leaving some space between them that is filled with horizontal courses, until a horizontal circle is made at the crown of the squinch arches, on which the dome will rest. The dome has a half-elliptical section and is built with horizontal circular courses, without using centering, by means of gypsum Fig. 5: Dome of Ardashir’s palace in Firuzabad (www.flickr.com). mortar (Fig. 3). 2 Online Journal of Engineering Sciences and Technologies (OJEST) ISSN: 2588-6770; www.ojest.ir Saligheh & Badri Benam, 2019 Domes Supported by Lintelled Squinches constructed on the ground (Pasic & Siravo, 2004; Unsal, A singular case of lintelled squinches was recently 1973). Pendentive is a triangular section of vaulting discovered, at the Amman citadel palace, supporting the between the rim of a dome and each adjacent pair of the dome over the throne hall (Arce, 2000). arches that support it. Any of these triangular sections of This element was composed of several stone-cut vaulting, positioned at a corner of a rectangular space to elements (Fig. 6). First, the ones forming the “beam” support a circular or polygonal dome. From construction or squinch lintel itself, originally a timber beam, that point of view, the difference between squinch and translated into stone by stonecutters, becomes a three- pendentive is shown in Figs. 7 and 8. piece flat arch. It was composed of two lateral corbelled pieces embedded diagonally into the wall corners, and a key stone that fits between the two corbels with a joggled joint (Arce, 2006). Fig. 7: Dome construction process on squinches (Pendentives and Squinches, 2020). Fig. 8: Dome construction process on pendentives (Pendentives and Squinches, 2020). Fig. 6: Domes on lintelled squinches. Amman Citadel Throne hall (Arce, 2000). Discussion and Conclusion Iranian architecture has a long continuous history that These elements, due to their wooden origin, were dates back to more than 6,000 years ago. Still, it doesn’t decorated with a semicircular molding in their lower fail to fascinate designers and engineers with both its section and with a couple of rolling corbels in the areas aesthetic and technological value which was considered close to the wall. In their back face, they present a recess to be magical. Each one of the historic periods of ancient to support the coffered triangular slab that serves as a Iran including Elamites, Achaemenids, Parthians, and ceiling for the space spanned by this composite lintel. Sassanids were creators of influential innovations in Traces of the stone carved cornice, recalling also a construction technology that over the ages has spread Sassanian pattern of teardrops, that was placed at the wide all over other civilizations and far to other cultures base of the dome was retrieved from the site as well. being adopted. The dominant buildings of ancient Iran Most probably, the dome on top of these squinches display a great variety, both in structural innovations was built with a Sassanian technique using cobbles and aesthetic ideas, developing gradually and coherently embedded in gypsum-based mortar, and with a slightly out of prior traditions and experiences. Without sudden parabolic section. Antecedents of this element are still innovations, and despite the repeated trauma of invasions nowadays a standard roofing system in the Northern part and cultural shocks, it has achieved individuality of Iran and the neighboring regions such as Azerbaijan, distinct from that of other neighboring civilizations.
Recommended publications
  • 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.
    [Show full text]
  • The Making of Seljuk Patterns on Curved Surfaces
    Bridges Finland Conference Proceedings Geometric Patterns as Material Things: The Making of Seljuk Patterns on Curved Surfaces Begüm Hamzaoğlu* Architectural Design Computing Program, Istanbul Technical University Taşkışla, Taksim, Istanbul, 34437, Turkey E-mail: [email protected] Mine Özkar Department of Architecture, Istanbul Technical University Taşkışla, Taksim, Istanbul, 34437, Turkey Email: [email protected] Abstract There is very little information today on the historical techniques that medieval craftsmen used to apply the intricate geometric patterns on architectural surfaces. This paper focuses on the particular problem of applying geometric patterns on curved stone surfaces and explores possible technical application scenarios for a select group of 13th century Anatolian patterns. We illustrate hypothetical processes of how to apply three patterns on three different types of curved surfaces and discuss the relation between the surface geometry and the tools. Our main motivation is to shed light on how the geometric construction of the designs and the making of these patterns correlate. Introduction Geometric patterns consisting of polygons, stars and lines were used as ornaments on monumental building façades in medieval Anatolia, also known as the Seljuk period. The style was widely common throughout the larger region at the time. The question of how these intricate designs were constructed geometrically has drawn the attention of many interdisciplinary studies [1][2][3][4]. However, only a few of these studies focus on how abstract patterns were transformed into the material things that they are whether carved into stone, tiled in brick or ceramic, or arranged in wood using special crafting techniques [5]. Materials, tools and all other components of the making process such as the craftsman’s hand movements are all factors in the formation of the shapes.
    [Show full text]
  • Arh 362: Islamic Art
    ARH 362: ISLAMIC ART CLUSTER REQUIREMENT: 4C, THE NATURE OF GLOBAL SOCIETY COURSE DESCRIPTION This course surveys the art and architecture of the Islamic world from the 7th through the 20th centuries. By looking at major themes and regional variations of Islamic art and architecture, the course examines how meanings in various socio-political and historical contexts have been encoded through forms, functions, as well as the aesthetic features of arts, crafts, and the built environment. The last portion of the course, spanning the 19th to the late 20th centuries, examines the West’s discovery of the Islamic arts as well as the integration of Western ideas into indigenous ones. This course can only briefly address some of the major themes. The topics (especially those pertinent to the modern period) are introduced through a number of key readings, but they should be merely seen as introductions, providing possible directions for future and more advanced studies. Discussions and questions are always encouraged. The readings, which have been selected to supplement the required textbooks, are particularly chosen to serve this purpose. COURSE-SPECIFIC OUTCOMES Gain valuable information about Islamic art and design as well as the cultures that gave shape to them Read critically and interpret and evaluate art historical issues in relation to socio-political conditions in non-Western contexts Develop a foundation for writing good critical essays about non-Western art and material culture Research non-Western art in a museum context Comparative studies of Western and Non-Western styles in a variety of media, including 2D and 3D art and design as well as architecture.
    [Show full text]
  • The Aesthetics of Islamic Architecture & the Exuberance of Mamluk Design
    The Aesthetics of Islamic Architecture & The Exuberance of Mamluk Design Tarek A. El-Akkad Dipòsit Legal: B. 17657-2013 ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tesisenxarxa.net) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del s eu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tesisenred.net) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos.
    [Show full text]
  • A Study of Understanding the Architectural Landscape and Construction Technology in a Complex of Historical Tombs from the Thirteenth Century
    A Study of Understanding the Architectural Landscape and Construction Technology in a Complex of Historical Tombs from the Thirteenth Century 1- Mohsen Keyhanpoor* 2- Shaghayegh Torkzaban 1-Director of Architecture and Historic Preservation Departments, “School of Art and Architecture, Sistan & Baluchestan University, Iran” 2-Master of historic preservation Abstract Architecture structural Knowledge had a logical process during the time, that beside its sustainable and repeatable nature it also experienced many innovative features. Certainly, lots of factors had effected this innovative process including economical, Geographical (Climatic), technical knowledge, cultural, aesthetic and in some cases even the most famous and successful constructions from a certain time. Regarding to this issue there are also some constructions that despite all their similarities in contemporaneously, material, function, and climate, they shaped out in many different methods of design, architecture, and decorations. With considering these similarities and all other common factors in buildings, here the point is that what is the source of these concepts, construction, and decoration differences in inside and outside of the buildings? This question was studied in an adobe architectural construction so called a complex of historical tombs from thirteenth century located in city of Jalq, Saravan County from Baluchestan region in Iran. What can be pointed out as an acceptable respond to this issue is that former architects noticing concepts like perspective, understanding material and building structural behaviors, in addition to their high-level knowledge in landscape design and environment, had used structural and constructional technologies to develop design progress. Key words: Landscape and Environmental Design, Perspective, Structural Behavior, Adobe construction.
    [Show full text]
  • Arch 150 Appreciation of Architecture 1 Fall 2016 • Prof
    Arch 150 Appreciation of Architecture 1 Fall 2016 • Prof. Alex Anderson Test 4 Study Guide (test available Thurs 12/8 at 6:00 pm until Sat 12/10 at 6:00 pm) The test is open book. You may use any resource you like, as long as you work on your own. It is 30 questions, 40 minutes. Lectures Covered: Construction 2 Byzantine and Carolingian Early Islamic Romanesque Gothic Readings in the text: Pages 133-46, 153-160, 172-175, 177-249 Buildings (quite a few buildings in a few lectures!): Construction 2: Fontenay Abbey Don’t worry about specific buildings St. Michael Hildesheim Concentrate on terms and ideas St. Sernin, Toulouse St. Foy, Conques Byzantine and Carolingian: Santiago de Compastella Old St. Peter’s, Rome Speyer Cathedral Santa Maria Maggiore, Rome St. Etienne, Caen Santa Costanza, Rome Durham Cathedral Orthodox Baptistery, Ravenna San Miniato al Monte, Florence Hagia Sophia, Constantinople St. Front, Périgueux San Apollinare in Classe, Ravenna Pisa Cathedral San Vitale, Ravenna Church San Marco, Venice Baptistery Palatine Chapel of Charlemagne, Aachen Campanile Early Islamic Gothic Ka’ba, Mecca St. Denis, Paris Dome of the Rock, Jerusalem Notre Dame, Paris Great Mosque, Damascus Notre Dame, Chartres Mosque of al-Mutawakkil, Samarra Sainte-Chapelle, Paris Great Mosque, Córdoba Carcassonne (walls) Alhambra, Granada Salisbury Cathedral Sultan Han, Kayseri Lincoln Cathedral King’s College Chapel, Cambridge Romanesque: Santa Maria del Fiore, Florence Castle Rising, Norfolk Church Dover Castle, Dover Baptistery Ávila, Spain (walls and
    [Show full text]
  • Chapels with Domes on Squinches in Sicily (XV–XVI Century): Constructive Systems and Structural Vulnerability
    Structural Studies, Repairs and Maintenance of Heritage Architecture XIII 331 Chapels with domes on squinches in Sicily (XV–XVI century): constructive systems and structural vulnerability B. Billeci1, M. Dessì1, A. M. Savia2 & M. R. Vitale2 1Laboratory of Analysis and Conservation of Cultural Heritage, Department of Architecture, Design and Urbanism, Sassari University, Italy 2Department of Architecture, Catania University, Italy Abstract A series of chapels with an architectural solution of great constructive meaning arose in Sicily (Italy) between the 15th and 16th century; the so called chapels with domes on squinches. This kind of attachment between the square shape of the lower structure and the upper dome circumference is clearly distinguished from the commonly used pendentives. It represents continuity in the local constructive tradition, deriving from the Islamic and Norman heritage. Thus, we find a lot of structures with such constant elements as the squinches delimitated by recessed arches. A few remains, situated in the western part of the island and in the Val di Noto, show masonry constructive details and structural elements, which often differ from each other, both in arrangement and materials. This circumstance, also in the light of the seismic history of this territory, draws our attention to the relation between the constructive techniques and the local context in order to assess the vulnerability level. Therefore, this research aims: - at analyzing these structures from the points of view of geometry, construction, materials, resistance and damage phenomena; - at considering these buildings in the light of seismic hazard assessment; - at defining the vulnerability of these structures in relation to conservation aims.
    [Show full text]
  • The Style of Sinan's Domed Structures
    DOGAN KUBAN THE STYLE OF SINAN'S DOMED STRUCTURES Nations dissent in their taste no less in architecture than in jood and clothing. Fischer von Erlach Among the great domed buildings of the world must be the art historian. But what the documents do not pro­ included a group of Ottoman mosques dating from vide, the imagination and intelligence must fill in, and between the sixteenth and the eighteenth century, this leads unavoidably to considerable subjectivity. Ob­ whose classical physiognomies have all ultimately to be viously the paucity of documentation limits the possibi­ credited to a single man, Koca Sinan, the chief archi­ lities for accurate interpretation. tect of the Ottoman Empire for half a century (1538- The little information we do have at least tells us 88). Although Sinan's life and a number of his something about the nature of the culture in which this buildings have been written about many times, 1 regret­ architecture was produced. It was a culture in wh ich tably no adequate comprehensive presentation of his the physical world served only as a stepping stone to the architecture is available in any language. 2 Such being other, true, world. Man served God and the Sultan. It the case, one can hardly be surprised that his work was his duty to abide by the commandments of his remains largely unappreciated and that his style, faith, and he was interested in this world only insofar although synonymous with the classical age of Ottoman as it pertained to the next. He does not describe it and architecture, is almost totally ignored in general his­ never attempts to theorize about it, because everything tories of art.
    [Show full text]
  • Armenia – Georgia – Islam: a Need to Break Taboos in the Study of Medieval Architecture
    Armenia – Georgia – Islam : A Need to Break Taboos in the Study of Medieval Architecture Patrick Donabédian To cite this version: Patrick Donabédian. Armenia – Georgia – Islam : A Need to Break Taboos in the Study of Medieval Architecture. Aldo Ferrari; Stefano Riccioni; Marco Ruffilli; Beatrice Spampinato. L’arte armena : Storia critica e nuove prospettive Studies in Armenian and Eastern Christian Art 2020, 16, Edizioni Ca’ Foscari - Digital Publishing, pp.62-112, 2020, Eurasiatica, 978-88-6969-495-0. 10.30687/978-88- 6969-469-1/005. halshs-03177703 HAL Id: halshs-03177703 https://halshs.archives-ouvertes.fr/halshs-03177703 Submitted on 23 Mar 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. L’arte armena. Storia critica e nuove prospettive Studies in Armenian and Eastern Christian Art 2020 a cura di Aldo Ferrari, Stefano Riccioni, Marco Ruffilli, Beatrice Spampinato Armenia – Georgia – Islam A Need to Break Taboos in the Study of Medieval Architecture Patrick Donabédian Aix Marseille Université, CNRS, LA3M, Aix-en-Provence, France Abstract Two important spheres of the history of medieval architecture in the Ana- tolia-Armenia-South-Caucasian region remain insufficiently explored due to some kind of taboos that still hinder their study.
    [Show full text]
  • Study on Dome As the Covering Component and Pendant As the Transition Component in Traditional Architecture
    Int'l Journal of Research in Chemical, Metallurgical and Civil Engg. (IJRCMCE) Vol. 4, Issue 1 (2017) ISSN 2349-1442 EISSN 2349-1450 Study on Dome as the Covering Component and Pendant as the Transition Component in Traditional Architecture Sibel Onat Hattap Abstract: Dome is the most commonly used covering system in Turkish and Islamic world, especially in religious and monumental structures. This structure has significantly improved particularly by the works of Mimar Sinan. Spacings remained on corners while shifting from square space to domes have been covered with some construction elements. The developments with respect to domes and pendant are examined especially over the Seljukian and Ottoman Works in the study. Keywords: Dome, Pendant, Architectural work I. INTRODUCTION Some aesthetic solutions have been searched to cover wide spacings in architecture throughout the ages and domes have been the leading solution among mostly preferred space coverings especially in religious structures. Dome is a component having been implemented since the ancient periods Fig. 1 Bursa Orhan Gazi Mosque (1392) (4) in field of architecture. Domes having a larger size throughout the historical development process experienced its essentially important development in Turkish and Islamic architecture. Dome has become an indispensible component of mosque architecture in time. Early period Ottoman buildings have been used throughout the empire period that had been constructed as a mixture of Ottoman culture and local architecture throughout two centuries after 1300. Turkish architects who had constructed small size domes previously stated to construct large size dome works especially after the conquest of Istanbul [1]. II. DOME rotating an arch 360 degree around its centerline [13].The dome's load is transmitted to the ground from the giant size four main carrier arches by means of main walls or elephant foot.
    [Show full text]
  • Mark Schneider “Self-Invention and Deviance: Philibert De L'orme's Role
    11 Self-Invention and Deviance: Philibert de l’Orme’s Role in the Creation of the Savant Professional Architect Mark Schneider On entering the dark, tunnel-like passage at 8 Rue Juiverie, which leads to the court of Philibert de l’Orme’s Hotel Bullioud (1536) in Lyons, it is first necessary to pass the entrance to a more ancient court with rib vaults supporting balconies in the Gothic manner. Philibert de l’Orme, Hotel Bullioud, Lyons 1536: ribbed vaults (left); entry passage (center); conical trompe (right). If one takes the time to negotiate this winding passage with the care it demands, it will be realized that to do so is literally to recapitulate, at one of the places where it first occurred in France, the transition from the outlook of the medieval master mason to the viewpoint of the modern architect. From this experience, one might easily imagine that the architecture of the French Renaissance had its origin in some new and unprecedented artistic intention, but consulting de l’Orme’s treatises, the Nouvelles Inventions pour bien bastir et à petits fraiz (New Inventions for Building Well at Little Cost) (1561) and the Premier Tome de l’Architecture (First Volume on Architecture), (1567), provides startling evidence to the contrary.[1] The son of an ambitious master mason, de l’Orme had been well prepared to revolt against 11 Discoveries 25.1 (2008): 11-28 12 the traditional authority of the masonic guilds by his father who had him schooled in Latin so that he might obtain a better position by entering the church where, indeed, he eventually became an abbé.
    [Show full text]
  • Domes in the Islamic Architecture of Cairo City: a Mathematical Approach Derive the Required Formulae
    Ahmed Ali Research Elkhateeb Domes in the Islamic Architecture King Abdulaziz University of Cairo City: A Mathematical Department of Architecture Faculty of Environmental Design Approach Jeddah, Saudia Arabia Abstract. This work analyzes mathematically and graphically [email protected] the two methods used historically in the transitional zone Keywords: domes, domes between the circular base of the dome and the square top of mathematics, Islamic the cube where the dome is supported. The time frame of this architecture, Cairo, pendentives, work is the distinguished historical buildings of Islamic Cairo squinches, muquarnas built between the ninth and eighteenth centuries. Ten samples were chosen out of a total of thirty. A set of mathematical expressions has been derived to relate the different parts of the squinches/pendentives to the cube with a side of length l. The equations derived were validated twice, first by generating 3D graphical sequences for both squinches and pendentives for the selected domes using CAD software based on the values obtained from the driven equations, and second by executing physical models using a 3D printer for two examples of squinches and pendentives. 1 Introduction Domes are one of the most distinguished architectural elements; their antiquity (which may date back to more than five thousand years ago) increases their ambiguity and charm, and their high flexibility in covering the very wide range of different spans from few meters to hundreds of meters increases their modernity and power. From the greatness of history and the strength of the present, domes acquired their originality and modernity, thus it deserve to be the king of all roofs.
    [Show full text]