Babylonian Architecture
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Gothic Beyond Architecture: Manchester’S Collegiate Church
Gothic beyond Architecture: Manchester’s Collegiate Church My previous posts for Visit Manchester have concentrated exclusively upon buildings. In the medieval period—the time when the Gothic style developed in buildings such as the basilica of Saint-Denis on the outskirts of Paris, Île-de-France (Figs 1–2), under the direction of Abbot Suger (1081–1151)—the style was known as either simply ‘new’, or opus francigenum (literally translates as ‘French work’). The style became known as Gothic in the sixteenth century because certain high-profile figures in the Italian Renaissance railed against the architecture and connected what they perceived to be its crude forms with the Goths that sacked Rome and ‘destroyed’ Classical architecture. During the nineteenth century, critics applied Gothic to more than architecture; they located all types of art under the Gothic label. This broad application of the term wasn’t especially helpful and it is no-longer used. Gothic design, nevertheless, was applied to more than architecture in the medieval period. Applied arts, such as furniture and metalwork, were influenced by, and followed and incorporated the decorative and ornament aspects of Gothic architecture. This post assesses the range of influences that Gothic had upon furniture, in particular by exploring Manchester Cathedral’s woodwork, some of which are the most important examples of surviving medieval woodwork in the North of England. Manchester Cathedral, formerly the Collegiate Church of the City (Fig.3), see here, was ascribed Cathedral status in 1847, and it is grade I listed (Historic England listing number 1218041, see here). It is medieval in foundation, with parts dating to between c.1422 and 1520, however it was restored and rebuilt numerous times in the nineteenth century, and it was notably hit by a shell during WWII; the shell failed to explode. -
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. -
Incidents in My Life and Ministry
This is a re-creation of the original – see page 2 – and please note that the headings on the contents page 3 are hyperlinks INCIDENTS IN MY LIFE AND MINISTRY BY CANON A. G. HUNTER Some time Vicar of Christ Church, Epsom, Rural Dean of Leatherhead, and Hon. Canon in Winchester Cathedral. PUBLISHED BY BIRCH & WHITTINGTON, 10, STATION ROAD, EPSOM, SURREY. 1935. Price Two Shillings Net. DEDICATION. To my dear old Epsom friends I dedicate this little book. A. G. H. Transcriber’s note This small book (of some 100 octavo pages in the 1935 original) has long been out of print. To provide a more accessible source for local and other historians, the present text has been scanned in from an original held by Epsom & Ewell Borough Council’s local history museum at Bourne Hall, Ewell. While it reflects the typography and layout of the original, it does not – as is obvious from the different page count – purport to be a facsimile. Archer George Hunter (pictured here in about 1908) was born on 12 November 1850. As the title page indicates, he was among other things Vicar of Christ Church, Epsom Common. Appointed in 1881 to succeed the first Vicar, the Revd George Willes (who served from the parish’s foundation in 1876) he led the parish for 30 years until his retirement in 1911 at the age of 60. In 1906, he was appointed as Rural Dean of Leatherhead, alongside (as is usual) his parish duties. Less usually, he continued as Rural Dean – perhaps even more actively – after standing down from the parish, retiring from that in 1925 at the age of 75. -
The Story of Architecture
A/ft CORNELL UNIVERSITY LIBRARY FINE ARTS LIBRARY CORNELL UNIVERSITY LIBRARY 924 062 545 193 Production Note Cornell University Library pro- duced this volume to replace the irreparably deteriorated original. It was scanned using Xerox soft- ware and equipment at 600 dots per inch resolution and com- pressed prior to storage using CCITT Group 4 compression. The digital data were used to create Cornell's replacement volume on paper that meets the ANSI Stand- ard Z39. 48-1984. The production of this volume was supported in part by the Commission on Pres- ervation and Access and the Xerox Corporation. Digital file copy- right by Cornell University Library 1992. Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/cletails/cu31924062545193 o o I I < y 5 o < A. O u < 3 w s H > ua: S O Q J H HE STORY OF ARCHITECTURE: AN OUTLINE OF THE STYLES IN T ALL COUNTRIES • « « * BY CHARLES THOMPSON MATHEWS, M. A. FELLOW OF THE AMERICAN INSTITUTE OF ARCHITECTS AUTHOR OF THE RENAISSANCE UNDER THE VALOIS NEW YORK D. APPLETON AND COMPANY 1896 Copyright, 1896, By D. APPLETON AND COMPANY. INTRODUCTORY. Architecture, like philosophy, dates from the morning of the mind's history. Primitive man found Nature beautiful to look at, wet and uncomfortable to live in; a shelter became the first desideratum; and hence arose " the most useful of the fine arts, and the finest of the useful arts." Its history, however, does not begin until the thought of beauty had insinuated itself into the mind of the builder. -
Royal Gold Medall
1912 - Basil Champneys 1977 - Sir Denys Lasdun Royal Gold Medall 1913 - Sir Reginald Blomfield 1978 - Jørn Utzon 1914 - Jean Louis Pascal 1979 - Charles and Ray Eames 1848 - Charles Robert Cockerell 1915 - Frank Darling, Canada 1980 - James Stirling 1849 - Luigi Canina 1916 - Sir Robert Rowand Anderson 1981 - Sir Philip Dowson 1850 - Sir Charles Barry 1917 - Henri Paul Nenot 1982 - Berthold Lubetkin 1851 - Thomas Leverton Donaldson 1918 - Ernest Newton 1983 - Sir Norman Foster 1852 - Leo von Klenze 1919 - Leonard Stokes 1984 - Charles Correa 1853 - Sir Robert Smirke 1920 - Charles Louis Girault 1985 - Sir Richard Rogers 1854 - Philip Hardwick 1921 - Sir Edwin Landseer Lutyens 1986 - Arata Isozaki 1855 - Jacques Ignace Hittorff 1922 - Thomas Hastings 1987 - Ralph Erskine 1856 - Sir William Tite 1923 - Sir John James Burnet 1988 - Richard Meier 1857 - Owen Jones 1924 - No award 1989 - Renzo Piano 1858 - Friedrich August Stüler 1925 - Sir Giles Gilbert Scott 1990 - Aldo van Eyck 1859 - Sir George Gilbert Scott 1926 - Prof. Ragnar Ostberg 1991 - Colin Stansfield Smith 1860 - Sydney Smirke 1927 - Sir Herbert Baker 1992 - Peter Rice 1861 - JB Lesueur 1928 - Sir Guy Dawber 1993 - Giancarlo de Carlo 1862 - Rev Robert Willis 1929 - Victor Alexandre Frederic 1994 - Michael and Patricia Hopkins 1863 - Anthony Salvin Laloux 1995 - Colin Rowe 1864 - Eugene Viollet-le-Duc 1930 - Percy Scott Worthington 1996 - Harry Seidler 1865 - Sir James Pennethorne 1931 - Sir Edwin Cooper 1997 - Tadao Ando 1866 - Sir Matthew Digby Wyatt 1932 - Dr. Hendrik Petrus Berlage 1998 - Oscar Niemeyer 1867 - Charles Texier 1933 - Sir Charles Reed Peers 1999 - Barcelona 1868 - Sir Austen Henry Layard 1934 - Henry Vaughan Lanchester 2000 - Frank Gehry 1869 - Karl Richard Lepsius 1935 - Willem Marinus Dudok 2001 - Jean Nouvel 1870 - Benjamin Ferrey 1936 - Charles Henry Holden 2002 - Archigram 1871 - James Fergusson 1937 - Sir Raymond Unwin 2003 - Rafael Moneo 1872 - Baron von Schmidt 1938 - Prof. -
Architectural Style Guide.Pdf
Architectural Styles Chicago School any buildings constructed in Manitoba Prairie School th th during the 19 and 20 centuries bear the Georgian Revival M imprint, or at least the influence, of certain Tudor Revival architectural styles or traditions. Some are faithful to Bungalow a single style. Many more have elements from several Art Deco different styles and are referred to as eclectic. Even Art Moderne more only hint at the basic architectural style from International which they are derived; we might refer to them as vernacular versions of the style. Understanding the basic characteristics of architectural styles is a useful way to begin seeing buildings more critically. Such an understanding also helps in describing a building, in determining its age, or in assessing its architectural value when compared with other buildings of the same style. This guide is an introduction to some of the most significant architectural styles employed during the past 150 years of Manitoba’s history. There are two other sections—building traditions and types, and a glossary of architectural terms—that constitute a complete set for reference. This section, Styles, describes those sophisticated styles that were most influential in this province’s architectural development. Many buildings, often those not designed by formally-trained architects, do not relate at all to these historical styles. Their designs are often dictated by utility, and may be influenced by the designer’s familiarity with other buildings in the district. Such vernacular buildings are sometimes quite particular to a region. The styles discussed here stem from various historical traditions. A section of Main Street in Winnipeg, shown in Georgian an archival photograph from about 1915, reveals Gothic Revival the variety of architectural styles that animated Second Empire Manitoba streetscapes: on the right a massive Italianate Chicago School office tower and on the left a Romanesque Revival highly detailed Italianate storefront. -
William Morris and the Society for the Protection of Ancient Buildings: Nineteenth and Twentieth Century Historic Preservation in Europe
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 6-2005 William Morris and the Society for the Protection of Ancient Buildings: Nineteenth and Twentieth Century Historic Preservation in Europe Andrea Yount Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the European History Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Yount, Andrea, "William Morris and the Society for the Protection of Ancient Buildings: Nineteenth and Twentieth Century Historic Preservation in Europe" (2005). Dissertations. 1079. https://scholarworks.wmich.edu/dissertations/1079 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. WILLIAM MORRIS AND THE SOCIETY FOR THE PROTECTION OF ANCIENT BUILDINGS: NINETEENTH AND TWENTIETH CENTURY IDSTORIC PRESERVATION IN EUROPE by Andrea Yount A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of History Dale P6rter, Adviser Western Michigan University Kalamazoo, Michigan June 2005 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS This reproduction is the best copy available. ® UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3183594 Copyright 2005 by Yount, Andrea Elizabeth All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. -
Northern Estate Programme Norman Shaw North Standalone
Northern Estate Programme Norman Shaw North Standalone - Archaeological Statement March 2021 00NSN-2131-MLA-XX-XX-T-XX-RG-10344 Status: S2 Revision: C01 Version Date Name Reviewed By Description of Sign-off Changes C01 29/03/2021 Ashley Blair Rupert For Planning Rosalind Morris Featherby & Rosalind Morris -1- Norman Shaw North Standalone Archaeological Statement ContentsContents ................................................................................................................................... 2 Figure List ................................................................................................................................................ 3 1 Introduction .................................................................................................................................... 4 2 Methodology and sources consulted .............................................................................................. 8 3 Site location, topography and geology ......................................................................................... 10 4 Archaeological and historical background .................................................................................... 14 5 Statement of significance.............................................................................................................. 23 6 Impact of proposals ...................................................................................................................... 26 7 Conclusion and recommendations .............................................................................................. -
The Analysis on the Collapse of the Tallest Gothic Cathedral
ctbuh.org/papers Title: The Analysis on the Collapse of the Tallest Gothic Cathedral Author: Seong-Woo Hong, Professor, Kyungwoon University Subject: Structural Engineering Keyword: Structure Publication Date: 2004 Original Publication: CTBUH 2004 Seoul Conference Paper Type: 1. Book chapter/Part chapter 2. Journal paper 3. Conference proceeding 4. Unpublished conference paper 5. Magazine article 6. Unpublished © Council on Tall Buildings and Urban Habitat / Seong-Woo Hong The Analysis on the Collapse of the Tallest Gothic Cathedral Seong-Woo Hong1 1 Professor, School of Architecture, Kyungwoon University Abstract At the end of the twelfth century, a new architectural movement began to develop rapidly in the Ile-de-France area of France. This new movement differed from its antecedents in its structural innovations as well as in its stylistic and spatial characteristics. The new movement, which came to be called Gothic, is characterized by the rib vault, the pointed arch, a complex plan, a multi-storied elevation, and the flying buttress. Pursuing the monumental lightweight structure with these structural elements, the Gothic architecture showed such technical advances as lightness of structure and structural rationalism. However, even though Gothic architects or masons solved the technical problems of building and constructed many Gothic cathedrals, the tallest of the Gothic cathedral, Beauvais cathedral, collapsed in 1284 without any evidence or document. There have been two different approaches to interpret the collapse of Beauvais cathedral: one is stylistic or archeological analysis, and the other is structural analysis. Even though these analyses do not provide the firm evidence concerning the collapse of Beauvais cathedral, this study extracts some confidential evidences as follows: The bay of the choir collapsed and especially the flying buttress system of the second bay at the south side of the choir was seriously damaged. -
Chingford Green Conservation Area Appraisal and Management Plan
CHINGFORD GREEN CONSERVATION AREA APPRAISAL AND MANAGEMENT PLAN November 2020 CHINGFORD GREEN CONSERVATION AREA APPRAISAL CONTENTS Introduction 3 Location 3 Planning Policy 5 Public Consultation 6 Summary of Special Interest 7 Heritage Assets 7 Archaeological Priority Zone 8 History 10 Spatial Character 13 Introduction 13 Built spatial character 13 Views 14 Trees & Green Spaces 15 Building Uses 17 Architectural Character 19 Introduction 19 Materials 19 Details 20 Shop fronts within the Conservation Area 20 Buildings Making a Positive Contribution to the Conservation Area 22 Shopfronts Making a Positive Contribution to the Conservation Area 36 Assessment of Condition 38 Appendix One – Statutory List Descriptions 40 Appendix Two – Local List Descriptions 43 Glossary 44 Written & prepared by Mike Fox and Hisham Husain for London Borough of Waltham Forest All images taken by Alan Palmer, unless stated otherwise 2 INTRODUCTION As set out in the Planning (Listed Buildings & Conservation Areas) Act 1990, conservation areas are designated heritage assets that possess special architectural or historic interest that it is desirable to preserve or enhance, through effective management and ongoing maintenance. The concept of protecting areas, as opposed to listing individual buildings, was introduced by the Civic Amenities Act of 1967, and since then over 9,000 such areas have been designated across England. Each conservation area varies in size and will have been identified in recognition of its unique and individual qualities. The Chingford Green Conservation Area was designated by the London Borough of Waltham Forest in 1990, owing to its special architectural and historic interest, as an historically important local centre within the borough, containing a fine mix of buildings dating from the early-modern period onwards, including seven that are statutory listed. -
The Battle of the Styles in Thomas Hardy's Jude the Obscure
The Battle of the Styles in Thomas Hardy’s Jude the Obscure: Perpendicular, God-seeking Gothicism vs. Horizontally-extended, Secular Classicism Ariyuki Kondo Thomas Hardy’s Architectural Career This paper intends to examine the ways in which the inner worlds of the characters in Thomas Hardy’s Jude the Obscure are depicted through the use of metaphors to reveal the antagonism between Victorian Gothic Revivalism and Victorian Classicism: the Battle of the Styles which Hardy himself had witnessed in his younger days. When Hardy, the son of a stonemason and local builder, first became interested in architecture, ecclesiastical architecture was one of the major areas of work in the building profession. Hardy first became involved in this aspect of architecture in 1856, when he started working for a Dorset-based ecclesiological architect, John Hicks, who designed and restored churches mainly in the Gothic Revival style. In April 1862 Hardy, carrying two letters of recommendation, moved to London. One of these two letters was addressed to Benjamin Ferrey (Pl. 1) and the other to Arthur Blomfield (Pl. 2). Hardy first visited Ferrey. Ferrey had been a pupil of the late Augustus Charles Pugin and knew Pugin’s son, Augustus Welby Northmore Pugin (Pl. 3) who died in 1852 at the age of 40, very well. Ferrey is mostly remembered today for his biography of the Pugins, published in 1861, not long before Hardy’s first visit to him. Ferrey must have been a very well-known architect to Hardy, for it was Ferrey who had designed the Town Hall in Dorchester. -
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.