Structural Analysis of Hagia Sophia: a Historical Perspective
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Archivolt the Continuous Molding Framing an Arch. in Romanesque Or Gothic Architecture, One of the Series of Concentric Bands Framing the Tympanum
archivolt The continuous molding framing an arch. In Romanesque or Gothic architecture, one of the series of concentric bands framing the tympanum. baptistery In Christian architecture, the building used for baptism, usually situated next to a church. barrel vault A masonry roof or ceiling constructed on the arch principle. A barrel or tunnel vault, semicylindrical in crosssection, is in effect a deep arch or an uninterrupted series of arches, one behind the other, over an oblong space. A quadrant vault is a halfbarrel vault. A groin or cross vault is formed at the point at which two barrel vaults intersect at right angles. In a ribbed vault, there is a framework of ribs or arches under the intersections of the vaulting sections. A sexpartite vault is a vault whose ribs divide the vault into six compartments. A fan vault is a vault characteristic of English Perpendicular Gothic, in which radiating ribs form a fanlike pattern. bestiary A collection of illustrations of real and imaginary animals. campanile A bell tower of a church, usually, but not always, freestanding. cathedra Latin, “seat.” See cathedral. cathedral A bishop's church. The word derives from cathedra, referring to the bishop’s seat. cloister A monastery courtyard, usually with covered walks or ambulatories along its sides. compound pier A pier with a group, or cluster, of attached shafts, or responds, especially characteristic of Gothic architecture. Crusades In medieval Europe, armed pilgrimages aimed at recapturing the Holy Land from the Muslims. crypt A vaulted space under part of a building, wholly or partly underground; in churches, normally the portion under an apse or a chevet. -
Byzantine Architecture and Decoration in Cyprus: Metropolitan Or Provincial? Author(S): A
Byzantine Architecture and Decoration in Cyprus: Metropolitan or Provincial? Author(s): A. H. S. Megaw Source: Dumbarton Oaks Papers, Vol. 28 (1974), pp. 57-88 Published by: Dumbarton Oaks, Trustees for Harvard University Stable URL: http://www.jstor.org/stable/1291355 Accessed: 17/09/2010 08:05 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=doaks. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Dumbarton Oaks, Trustees for Harvard University is collaborating with JSTOR to digitize, preserve and extend access to Dumbarton Oaks Papers. http://www.jstor.org BYZANTINE ARCHITECTURE AND DECORATION IN CYPRUS: METROPOLITANOR PROVINCIAL? A. -
Byzantine Town Planning – Does It Exist? (With Plates 8–21)
57 H ANS B UC H WALD Byzantine Town Planning – Does it Exist? (with plates 8–21) For Eduard Sekler There are many equally valid, parallel approaches to the study of Byzantine cities. My approach is that of a practicing town planner and an architectural historian. Town planning today is concerned with physical properties of cities such as their topography, circulation patterns, pedestrian spaces, buildings, and urban accents; however, town planning is, and probably always was, equally concerned with urban functions, with the creation of new urban forms, with urban meanings, and with adjustments, in the course of time, to new requirements. As in all town planning, the results of the present investigation need to be complemented by those of other disciplines, for instance, (in this case) historians, economists, sociologists, and archaeologists. Hundreds of cities that existed in the Byzantine region are known by name, and at times by their ar- chaeological or contemporary remains. Generally, two distinct phases in the history of these Byzantine cities have been determined: the earlier period, which begins with the era of Constantine and, depending upon local circumstances, ends between the 5th and the 8th century, and the later period, which ends with the end of Byzantine occupation at each site. The possibility of continuity between the two phases remains an open, much discussed question, and some observations concerning one phase may also be relevant to the other. For summaries, for instance, D. CLAUDE, Die byzantinische Stadt im 6. Jahrhundert. Munich 969, –; A. H. M. JONES, The Greek City from Alexander to Justinian. Oxford 939, 85–94. -
Flying Buttress and Pointed Arch in Byzantine Cyprus
Flying Buttress and Pointed Arch in Byzantine Cyprus Charles Anthony Stewart Though the Byzantine Empire dissolved over five hundred years ago, its monuments still stand as a testimony to architectural ingenuity. Because of alteration through the centuries, historians have the task of disentangling their complex building phases. Chronological understanding is vital in order to assess technological “firsts” and subsequent developments. As described by Edson Armi: Creative ‘firsts’ often are used to explain important steps in the history of art. In the history of medieval architecture, the pointed arch along with the…flying buttress have receive[d] this kind of landmark status.1 Since the 19th century, scholars have documented both flying buttresses and pointed arches on Byzantine monuments. Such features were difficult to date without textual evidence. And so these features were assumed to have Gothic influence, and therefore, were considered derivative rather than innovative.2 Archaeological research in Cyprus beginning in 1950 had the potential to overturn this assumption. Flying buttresses and pointed arches were discovered at Constantia, the capital of Byzantine Cyprus. Epigraphical evidence clearly dated these to the 7th century. It was remarkable that both innovations appeared together as part of the reconstruction of the city’s waterworks. In this case, renovation was the mother of innovation. Unfortunately, the Cypriot civil war of 1974 ended these research projects. Constantia became inaccessible to the scholarly community for 30 years. As a result, the memory of these discoveries faded as the original researchers moved on to other projects, retired, or passed away. In 2003 the border policies were modified, so that architectural historians could visit the ruins of Constantia once again.3 Flying Buttresses in Byzantine Constantia Situated at the intersection of three continents, Cyprus has representative monuments of just about every civilization stretching three millennia. -
Corrosion Testing Reports
Appendix D Corrosion Testing and Analysis Results CITY OF SPOKANE, WASHINGTON LATAH BRIDGE CORROSION CONDITION AND EVALUATION STUDY Prepared for: Prepared by: P. O. Box 8748 ♦ Boise, Idaho 83707-2748 7821 South 700 East ♦ Sandy, Utah 84092 CH2M-033 December 16, 2011 Contents Page Executive Summary .......................................................................................................... 1 Introduction ....................................................................................................................... 2 Methodology ...................................................................................................................... 3 Corrosion Factors ........................................................................................................... 3 Electrical Continuity Testing .......................................................................................... 4 Corrosion Potential Survey ............................................................................................ 4 Delamination Surveys ..................................................................................................... 6 Laboratory Testing and Results ...................................................................................... 7 Chloride Testing ............................................................................................................. 7 Petrographic Analysis ..................................................................................................... 8 Results and -
The Theory of Gothic Architecture and the Effect of Shellfire at Rheims and Soissons
Archaeological Institute of America http://www.jstor.org/stable/497550 . Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Archaeological Institute of America is collaborating with JSTOR to digitize, preserve and extend access to American Journal of Archaeology. http://www.jstor.org rchtbaeotlogictal Ifntitute of •merica THE THEORY OF GOTHIC ARCHITECTURE AND THE EFFECT OF SHELLFIRE AT RHEIMS AND SOISSONS I THE PROBLEMS IN THE THEORY OF GOTHIC To the student who makes a careful review of the present writ- ers on Gothic, it is evident that there is a considerable diver- gence of opinion among them. This divergence is not only in regard to its origin and its historical development, about which there must always be differing theories, nor in the limitation of the term to a greater or less number of buildings and provinces, but it is a variance in the theory of the determining principles themselves and of the-main features of the buildings. Appar- ently the theory of Gothic is still undergoing modifications, in spite of the serious works of several authors who have endeav- ored to present a comprehensive and final view of it. -
Pier Luigi Nervi's Works for the 1960 Rome Olympics
Actas del Cuarto Congreso Nacional de Historia de la Construcción, Cádiz, 27-29 enero 2005, ed. S. Huerta, Madrid: I. Juan de Herrera, SEdHC, Arquitectos de Cádiz, COAAT Cádiz, 2005. Pier Luigi Nervi’s Works for the 1960 Rome Olympics Tullia Iori, Sergio Poretti Pier Luigi Nervi designed and constructed four struc- varying width pillars —the sections change tures for the 1960 Rome Olympic games: three sports from rectangular to cross-shaped and the facilities and a viaduct serving the Athlete’s residential transitional surface from one to the other in a quarter, the Villaggio Olimpico. These are considered hypar surface, formed by straight lines— and some of his most famous international works. by the V-shaped beams, precast and pre- stressed. – The Palazzetto dello Sport (Small Sports Palace; 1956–57; with Annibale Vitellozzi) in The works erected for the 1960 Olympic games the Flaminio area of Rome is characterized by represented a crucial milestone in Pier Luigi Nervi’s its sixty-meter diameter dome, which is held career. They are the best examples of his experimen- up —or better, held down— by 48 radial Y- tation on statics, construction and architecture, and shaped struts whose divergent upper arms de- guaranteed his international fame. However, the ob- velop the rim «decoration». The externally smooth dome only reveals its large rhomboidal ribbing internally. – The Palazzo dello Sport (Sports Palace; 1956–59; with Marcello Piacentini) in the EUR area is also dome-shaped, but with a hun- dred-meter diameter. The internal surface is characterized by minute pleated V-shaped «waves». Externally, the dome is concealed by a high glass cylinder, which only partially re- veals the structure of the perimetral stands. -
Outline of Architecture
Outline of architecture The following outline is an overview and topical guide to 1.1 Definitions of architecture architecture: Architecture – the process and the product of designing Architecture is variously defined in conflicting ways, highlighting the difficulty of describing the scope of the and constructing buildings. Architectural works with a [1][2][3] certain indefinable combination of design quality and ex- subject precisely: ternal circumstances may become cultural symbols and / or be considered works of art. • A general term to describe buildings and other phys- ical structures – although not all buildings are gener- ally considered to be architecture, and infrastructure 1 What type of thing is architec- (bridges, roads etc.) is civil engineering, not archi- tecture. ture? • The art and science, or the action and process, of Architecture can be described as all of the following: designing and constructing buildings. • The design activity of the architect, the profession • Academic discipline – focused study in one aca- of designing buildings. demic field or profession. A discipline incorpo- rates expertise, people, projects, communities, chal- • A building designed by an architect, the end product lenges, studies, inquiry, and research areas that are of architectural design. strongly associated with the given discipline. • • Buildings – buildings and similar structures, the A building whose design transcends mere function, product of architecture, are referred to as architec- a unifying or coherent form or structure. ture. • The expression of thought in building. • One of the arts – as an art form, architecture is an outlet of human expression, that is usually influ- • A group or body of buildings in a particular style. -
GFRC) Glass Fiber Reinforced Polymer (GFRP
stromberg Glass Fiber Reinforced Concrete (GFRC) Architectural products Glass Fiber Reinforced Polymer (GFRP) Glossary of Architectural Terms 4400 oneal street • greenville, tx 75401 p: 903.454.0904 • f: 903.454.0233 www.4stromberg.com • [email protected] gfrc | gfrp | gfrg | cast stone | marble | bronze Glass Fiber Reinforced Concrete (GFRC) and Glass Fiber Reinforced Polymer (GFRP) Abacus - Acanthus Glossary of Architectural Terms Page 1 Abacus Abrasive Hardness The abacus is the top part of a column capital. Abacus A measure of the wearing qualities of marble, granite, may be a square slab or a molded shape. In GFRC (glass GFRC, architectural fiberglass or other materials. Mostly fiber reinforced concrete) or Architectural Fiberglass applies when those materials are used for floors, stair column capitals, the abacus may be cast as part of the treads, and other areas subjected to abrasion by foot capital or as a separate piece. Latin: “abacus” = table, traffic. Refer to ASTM C241. tablet. Found in classical Greek and Roman architecture Abut and derivatives, including Beaux Arts Classicism, To touch, or join at its end; as in a beam where the end Classical Revival, Federal, Georgian Revival, Greek is planted against another member of a structure, but Revival, Neoclassicism, Renaissance Revival, Second without trim around it; or where a GFRC arch bears Empire, Gothic and Gothic Revival. Abacus may be upon a pier, course of stone, skew back, or the like. cast stone, FRP (Architectural Fiberglass,) GFRC (glass fiber reinforced concrete,) GRG (glass fiber reinforced Acanthus gypsum,) plaster, bronze, granite or marble. A can thus. Acanthus leaves are the stylized leaves of the acanthus plant, used in decoration on column capitals of the Corinthian and Composite orders. -
Religious Architecture
Religious architecture 1. Theology and symbolism of church building a. The sacred space In the ancient Greek temple of a peristyle type the outer surface is most important. Early Christian architecture reverses the peristyle temple, turns it inside out, concentrates on the inside: the basilica type. The main goal is to create the atmosphere of mystery and immateriality, the sacred space. The church is the “earthly heaven” (St. Germanus). What happens inside is the desubstantiation of the physical reality of the building: cf. the soaring canopy in Hagia Sophia or the mysterious lighting of the Gothic cathedral. b. Parts of the Church and their symbolism: example of Eastern churches The tripartite basic structure of the Eastern church: The apse with the altar (the sanctuary) separated by the iconostasis or screen: the holy space, the image of the divine, the vision of another world, “heaven on earth.” The nave The narthex and porch: the idea of a gradual separation from the world and transition to the sanctuary. Directional symbolism: the cruciform shape; the four directions (the world); the apse towards the East (sunrise/sunset); the “three- dimensional” cross; the upward movement toward the heavens (the dome/cupola; cf. the upward movement in the Gothic cathedral) 23 Frescoes and images: Mother of God “Orans” in the apse who shows the way; Christ Pantocrator in the dome indicates the heavens; the four evangelists on the pillars; the last judgment over the door. Just like the icons, the symbolism of church buildings is also subject to the canon and tradition. 2. Liturgical considerations Another practical goal achieved by the church building is to accomodate the liturgy, different types of congregation, and clergy. -
Pier Luigi Nervi on Architectural Resilience
$UFKLWHFWXUDO Antonucci, M and Nannini, S. 2019. Through History and Technique: Pier Luigi Nervi on Architectural Resilience. Architectural Histories, +LVWRULHV 7(1): 9, pp. 1–13. DOI: https://doi.org/10.5334/ah.297 RESEARCH ARTICLE Through History and Technique: Pier Luigi Nervi on Architectural Resilience Micaela Antonucci* and Sofia Nannini† Along with his professional work as engineer, architect and builder, Pier Luigi Nervi (1891–1979) was also an adjunct professor at the University of Rome and a prolific writer. Through his writings, his views on architectural history can be traced and framed as part of a wider discourse concerning what he termed architectural ‘constants’. Moreover, his interest in the architecture of the past led him to identify what could be defined as ‘architectural resilience’, that is, an ever-evolving relationship between building forms, techniques and materials. Seeing technique as preceding form, he examined structural elements that resisted the passage of time and outlasted building typologies and styles. Combining Nervi’s published and unpublished lecture notes with his personal collections of architectural postcards, photographs and his writings, this article explores Nervi’s search for a stile di verità (truthful style) through the lens of architectural resilience. With its focus on the resilience of structural elements, the article also places the engineer’s use of reinforced concrete in the particular historicity of this material and in the longer continuum of construction history. Introduction architecture may seem surprising, as he was not a historian Speaking at Harvard University in April, 1962, the Italian and was openly critical of the historian’s role. -
The Hagia Sophia
. The Hagia Sophia A masterpiece of Byzantine architecture, the Hagia Sophia (in Greek, hagia = holy, sophia = wisdom) is one of the great buildings of the world. It was constructed in an incredibly short time between 532 and 537 during the reign of the Byzantine emperor Justinian. Its two architects were mathematicians and scientists, skilled in geometry and engineering. All of their talents were needed for the execution of the unprecedented design of this monumental church. The central part of the structure consists of four large semicircular arches arranged in a square and topped by a dome in the shape of a section of a hemisphere. Figure 3.1 depicts the essence of the design. The four curved triangular structures created by the circular base of the dome and the four arches are called base pier pendentives pier pier Figure 3.1. The dome of the Hagia Sophia in the abstract pendentives. The massive supporting columns are known as piers. The dome of the Hagia Sophia is about 105 feet in diameter at its base and rises 180 feet above the floor at its highest point. One pair of the large arches under the dome open into half domes and in turn into recesses that together provide the church with a continuous clear space of 250 feet in length. The circular arcade of forty windows around the base of the dome gives the impression that the dome is floating above the soaring space that it creates. The interior surfaces were covered with marble, murals, and golden mosaics. The delicate use of color in the composition of the mosaic of Plate 6 tells us how sophisticated and splendid this art form would become.