Elements – the Classical Orders
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Early Islamic Architecture in Iran
EARLY ISLAMIC ARCHITECTURE IN IRAN (637-1059) ALIREZA ANISI Ph.D. THESIS THE UNIVERSITY OF EDINBURGH 2007 To My wife, and in memory of my parents Contents Preface...........................................................................................................iv List of Abbreviations.................................................................................vii List of Plates ................................................................................................ix List of Figures .............................................................................................xix Introduction .................................................................................................1 I Historical and Cultural Overview ..............................................5 II Legacy of Sasanian Architecture ...............................................49 III Major Feature of Architecture and Construction ................72 IV Decoration and Inscriptions .....................................................114 Conclusion .................................................................................................137 Catalogue of Monuments ......................................................................143 Bibliography .............................................................................................353 iii PREFACE It is a pleasure to mention the help that I have received in writing this thesis. Undoubtedly, it was my great fortune that I benefited from the supervision of Robert Hillenbrand, whose comments, -
The Five Orders of Architecture
BY GìAGOMO F5ARe)ZZji OF 2o ^0 THE FIVE ORDERS OF AECHITECTURE BY GIACOMO BAROZZI OF TIGNOLA TRANSLATED BY TOMMASO JUGLARIS and WARREN LOCKE CorYRIGHT, 1889 GEHY CENTER UK^^i Digitized by the Internet Archive in 2013 http://archive.org/details/fiveordersofarchOOvign A SKETCH OF THE LIFE OF GIACOMO BAEOZZI OF TIGNOLA. Giacomo Barozzi was born on the 1st of October, 1507, in Vignola, near Modena, Italy. He was orphaned at an early age. His mother's family, seeing his talents, sent him to an art school in Bologna, where he distinguished himself in drawing and by the invention of a method of perspective. To perfect himself in his art he went to Eome, studying and measuring all the ancient monuments there. For this achievement he received the honors of the Academy of Architecture in Eome, then under the direction of Marcello Cervini, afterward Pope. In 1537 he went to France with Abbé Primaticcio, who was in the service of Francis I. Barozzi was presented to this magnificent monarch and received a commission to build a palace, which, however, on account of war, was not built. At this time he de- signed the plan and perspective of Fontainebleau castle, a room of which was decorated by Primaticcio. He also reproduced in metal, with his own hands, several antique statues. Called back to Bologna by Count Pepoli, president of St. Petronio, he was given charge of the construction of that cathedral until 1550. During this time he designed many GIACOMO BAROZZr OF VIGNOLA. 3 other buildings, among which we name the palace of Count Isolani in Minerbio, the porch and front of the custom house, and the completion of the locks of the canal to Bologna. -
Cairo Supper Club Building 4015-4017 N
Exhibit A LANDMARK DESIGNATION REPORT Cairo Supper Club Building 4015-4017 N. Sheridan Rd. Final Landmark Recommendation adopted by the Commission on Chicago Landmarks, August 7, 2014 CITY OF CHICAGO Rahm Emanuel, Mayor Department of Planning and Development Andrew J. Mooney, Commissioner The Commission on Chicago Landmarks, whose nine members are appointed by the Mayor and City Council, was established in 1968 by city ordinance. The Commission is re- sponsible for recommending to the City Council which individual buildings, sites, objects, or districts should be designated as Chicago Landmarks, which protects them by law. The landmark designation process begins with a staff study and a preliminary summary of information related to the potential designation criteria. The next step is a preliminary vote by the landmarks commission as to whether the proposed landmark is worthy of consideration. This vote not only initiates the formal designation process, but it places the review of city per- mits for the property under the jurisdiction of the Commission until a final landmark recom- mendation is acted on by the City Council. This Landmark Designation Report is subject to possible revision and amendment dur- ing the designation process. Only language contained within a designation ordinance adopted by the City Council should be regarded as final. 2 CAIRO SUPPER CLUB BUILDING (ORIGINALLY WINSTON BUILDING) 4015-4017 N. SHERIDAN RD. BUILT: 1920 ARCHITECT: PAUL GERHARDT, SR. Located in the Uptown community area, the Cairo Supper Club Building is an unusual building de- signed in the Egyptian Revival architectural style, rarely used for Chicago buildings. This one-story commercial building is clad with multi-colored terra cotta, created by the Northwestern Terra Cotta Company and ornamented with a variety of ancient Egyptian motifs, including lotus-decorated col- umns and a concave “cavetto” cornice with a winged-scarab medallion. -
Aws Edition 1, 2009
Appendix B WS Edition 1, 2009 - [WI WebDoc [10/09]] A 6 Interior and Exterior Millwork © 2009, AWI, AWMAC, WI - Architectural Woodwork Standards - 1st Edition, October 1, 2009 B (Appendix B is not part of the AWS for compliance purposes) 481 Appendix B 6 - Interior and Exterior Millwork METHODS OF PRODUCTION Flat Surfaces: • Sawing - This produces relatively rough surfaces that are not utilized for architectural woodwork except where a “rough sawn” texture or nish is desired for design purposes. To achieve the smooth surfaces generally required, the rough sawn boards are further surfaced by the following methods: • Planing - Sawn lumber is passed through a planer or jointer, which has a revolving head with projecting knives, removing a thin layer of wood to produce a relatively smooth surface. • Abrasive Planing - Sawn lumber is passed through a powerful belt sander with tough, coarse belts, which remove the rough top surface. Moulded Surfaces: Sawn lumber is passed through a moulder or shaper that has knives ground to a pattern which produces the moulded pro[le desired. SMOOTHNESS OF FLAT AND MOULDED SURFACES Planers and Moulders: The smoothness of surfaces which have been machine planed or moulded is determined by the closeness of the knife cuts. The closer the cuts to each other (i.e., the more knife cuts per inch [KCPI]) the closer the ridges, and therefore the WS Edition 1, 2009 - [WI WebDoc [10/09]] smoother the resulting appearance. A Sanding and Abrasives: Surfaces can be further smoothed by sanding. Sandpapers come in grits from coarse to [ne and are assigned ascending grit numbers. -
Etruscan and Early Roman Architecture Free
FREE ETRUSCAN AND EARLY ROMAN ARCHITECTURE PDF Axel Boethius | 264 pages | 25 Nov 1992 | Yale University Press | 9780300052909 | English | New Haven, United States Etruscan Architecture | Art History Summary. Periods and movements through time. The study of Etruscan and Early Roman Architecture architecture suffers greatly in comparison with its Greek and Roman counterparts because of the building materials used. Whereas Greek temples, such as Etruscan and Early Roman Architecture Parthenon in Athens, and Roman public buildings, such as the immense bath complex of Caracalla in Rome, immediately catch the attention and admiration of students and travelers, Etruscan architectural remains consist for the most part of underground tombs, foundation walls, models of huts and houses, and fragments of terracotta roof decoration. At the same time, thanks to the description by the Roman architectural historian Vitruvius Ten Books on Architecture 4. The perception of Etruscan architecture has, however, changed Etruscan and Early Roman Architecture since the advent of large-scale excavations Etruscan and Early Roman Architecture the late 19th century, and since the s new evidence has produced important results for our understanding of the architectural traditions in ancient Italy. The overviews on Etruscan architecture address very different kinds of audiences, and each has its own focus and strengths. Colonna and Donati are chapters in general books on the Etruscans for Italian as well as international readers, while Damgaard Andersen covers all aspects of early Etruscan architecture in a very systematic presentation. Barker and Rasmussen emphasizes the landscape of Etruria with accounts of excavations and remains, including architecture. A recent topic of discussion concerns the relationship between Etruscan architecture in general and the architectural traditions of ancient Rome. -
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. -
Architectural Product Catalog
TURNCRAFT ARCHITECTURAL PRODUCT CATALOG 2005 A History of Architectural Excellence So many architects and builders The making select Turncraft Architectural Columns of Turncraft because they feature thoughtful Architectural product design, fi ne workmanship, columns is an superior assembly, precision turning exacting process. and fl uting, and artful fi nishing. Finger-jointed Round columns may be ordered with or solid staves true architectural entasis in sizes are milled to consistent with the classic proportions the required of the Greek Doric, Tuscan, Roman dimensions, Doric, Ionic, and Corinthian Orders, assembled using or in custom shaft diameters up to the strongest Type-I waterproof glue, 36" and lengths to 30'. They can and then are metal-banded for curing. be smooth surfaced or given dramatic In the computer-controlled lathe, the deep fl uting (with increased stave assembled shaft is turned to the precise thickness) as desired. Greek Doric taper desired, complete with true Columns feature classic edge-to-edge architectural entasis. The top of each fl uting. Square columns and pilasters column is profi led according to the style may be ordered to match (available specifi ed, and the entire column is in tapered or non-tapered and in machine sanded to ensure a smooth various plan styles—see page 14). fi nish. Flutes are milled at precisely Non-tapered cylinders are available for determined intervals and depths, always INTRODUCTION use in casework, radius wall corners, ending in full half-rounds at the top and and contemporary applications. bottom (except on Greek Doric). Each column, regardless of size, is visually inspected, any defects are corrected, and then it is fi nish sanded. -
Me'morchilik Asoslari
M.MUXAMEDOVA ME’MORCHILIK ASOSLARI TOSHKENT 0 ‘ZBEKIST0N RESPUBLIKASI OLIY VA 0 ‘RTA MAXSUS TA’LIM VAZIRLIGI M.MUXAMEDOVA ME’MORCHILIK ASOSLARI O ‘zbekiston Respublikctsi Oliy va о ‘rta maxsus ta ’lim vazirligi tomonidan о ‘quv qo ‘llanma sifatida tavsiya etilgan UO‘K: 72.01(075.8) K BK 85.il М 96 М 96 M.Muxamedova. Me’morchilik asoslari. -Т.: «Fan va texnologiya», 2018,296 Bet. ISBN 978-9943-11-927-7 Mazkur o‘quv qoilanma me’morchilikning estetik talaBlari, texnik mukam- malligi, Binolar klassifikatsiyasi, asosiy soha va turlari, Binolar konstruksiyasi, me’morchilikning rivojlanish an’analari, yangi tipdagi binolaming funksionalligi va konstruktiv mustahkamligi Bilimlarini o‘zlashtirishga yo'naltiriladi. “Me’morchilik asoslari” o‘quv qoilanmasi mazmuniga yetakchi xorijiy oliy o‘quv yurtlarida ishlaB chiqilgan ilmiy qoilanmalar asosida me’morchilikka oid ilmiy yangiliklar kiritilgan. UshBu o‘quv qo‘llanma doirasida Qadimgi Misr, Old Osiyo, Uzoq Sharq me’morchiligi, Qadimgi Gretsiya iBodatxonalarida qurilish konstruksiyalari va order sistemalari (doriy, ion, korinf), qadimgi Rim ustun-to‘sin sistemasiga yangi konstruksiyalar kiritilishi (kompozit va toskan orderlari) akveduk, amfiteatr, forum, insulalar qurilishi, Vizantiya va ilk xristianlar davri arxitekturasi, roman va gotika usluBi me’morchilik asoslari, Uyg‘onish va Barokko davri shaharsozligining rivojlanish an’analari, klassitsizm va ampir usluBi asoslari, eklektizm, modern, konstruktivizm, funksionalizm usluBlarining zamonaviy usluBiar rivojidagi o‘rni, yangi tipdagi Binolaming funksionalligi va konstruktiv mustahkamligini o‘rganish kaBi mavzular mujassamlashtirilgan. O'quv qo‘llanmaning asosiy dolzarBligi talaBalarga Sharq va G‘arB, umuman olganda jahon me’morchiligining tarixi va nazariyasini o‘rgatish, me’morchilik tarixining tadriji, rivojlanish qonuniyatlarini o‘zlashtirish, turli usluBlaming yuzaga kelishi va shu usluBlar ta’sirida Bunyod etilgan oBidalar me’morchiligini yoritiB Berishdir. -
Hellenistic Architecture in Syria
Hellenistic Architecture in Syria A D ISS ERTATIO N PRESENTED TO THE F ACULTY O F PRINCETON UNIVERSITY IN CANDIDACY F O R TH E DEGREE O F Docron O F PH ILOSOPHY BY R fiRRAY R. 5 . BUTLE , J PRINCETO N UNIVERSITY PRESS PRIN CETO N LON D ON : HUMPHRE Y MILF ORD OXF ORD U NIVE RS ITY PRES S 1917 1 09 09 05 PREF ACE The purpose o f this thesis is to show tha t the architecture of S en h D yria up to the d of t e third century A . was Hellenistic. n In general only dated monuments have bee considered, or e c those whose p riod an be determined with certainty. With these restrictions , all the monuments of Northern Central Syria and D ran a f m of the j ebel Hau , showing det ils o any i po rtance, en Baalbec a have be considered. , as being in process of public i ha s een e c a t on, b omitted exc pt for oc asion l reference . South of the Ha uran only the ruins a t Arak il - Emir ha ve been ih o D r or ren cluded, with those f je ash and Amma n f refe ce . men 1 m Monu ts published by Mr. H . C. Butler since April, 9 , c are not in luded . In the spelling of names the system has been followed that r n a a is employed by D . E no Littm nn in the public tions of the America n Archaeological Expedition to Syr ia in 1 899- 1 900 t n c e n wi hout the use of diacritical sig s . -
1 Classical Architectural Vocabulary
Classical Architectural Vocabulary The five classical orders The five orders pictured to the left follow a specific architectural hierarchy. The ascending orders, pictured left to right, are: Tuscan, Doric, Ionic, Corinthian, and Composite. The Greeks only used the Doric, Ionic, and Corinthian; the Romans added the ‘bookend’ orders of the Tuscan and Composite. In classical architecture the selected architectural order for a building defined not only the columns but also the overall proportions of a building in regards to height. Although most temples used only one order, it was not uncommon in Roman architecture to mix orders on a building. For example, the Colosseum has three stacked orders: Doric on the ground, Ionic on the second level and Corinthian on the upper level. column In classical architecture, a cylindrical support consisting of a base (except in Greek Doric), shaft, and capital. It is a post, pillar or strut that supports a load along its longitudinal axis. The Architecture of A. Palladio in Four Books, Leoni (London) 1742, Book 1, plate 8. Doric order Ionic order Corinthian order The oldest and simplest of the five The classical order originated by the The slenderest and most ornate of the classical orders, developed in Greece in Ionian Greeks, characterized by its capital three Greek orders, characterized by a bell- the 7th century B.C. and later imitated with large volutes (scrolls), a fascinated shaped capital with volutes and two rows by the Romans. The Roman Doric is entablature, continuous frieze, usually of acanthus leaves, and with an elaborate characterized by sturdy proportions, a dentils in the cornice, and by its elegant cornice. -
The Archaic and Classical Greek Temple Callie Williams University of Arkansas, Fayetteville
Inquiry: The University of Arkansas Undergraduate Research Journal Volume 7 Article 4 Fall 2006 Development of Gendered Space: The Archaic and Classical Greek Temple Callie Williams University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/inquiry Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Williams, Callie (2006) "Development of Gendered Space: The Archaic and Classical Greek Temple," Inquiry: The University of Arkansas Undergraduate Research Journal: Vol. 7 , Article 4. Available at: http://scholarworks.uark.edu/inquiry/vol7/iss1/4 This Article is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Inquiry: The nivU ersity of Arkansas Undergraduate Research Journal by an authorized editor of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Williams: Development of Gendered Space: The Archaic and Classical Greek Te 4 INQUIRY Volume 7 2006 DEVELOPMENT OF GENDERED SPACE: THE ARCHAIC AND CLASSICAL GREEK TEMPLE By Callie Williams . Program in Architectural Studtes Faculty Mentor: Dr. Kim Sexton Department of Architecture view specific forms of architectural space through the Greek Abstract: ideals of gender hierarchy .. Initially, the function and occu~~ncy Throughout the ancient Greek world, temples marked the ofcertain typical spaces created structures with inherentcondiU?ns landscape as a sign of Greek civilization. Although Greek of internal and external space. Greek ideals oflived space- I.e., temples hare been examined, described, and catalogued space lived directly through associated images an~ symbols - scientifically since archaeology came ofage in the 18'h century, would have influenced the design of both domestic (e.g., the the question oftlzeircultural significance in their original Greek Greek house or oikos) and public venues\e.g., the agora).' The context has vet to be fully answered. -
Exploring Modernity in the Architraves and Ceilings at the Mnesiklean Propylaia Tasos Tanoulas
e a c er a a e or e Nouvelle histoire de la construction sous la direction de Roberto Gargiani Presses polytechniques et universitaires romandes L'auteur et l'editeur remercient l'Ecole polytechnique federale de Lausanne pour le soutien apporte a la publication de cet ouvrage. La collection «Architecture Essais» est dirigee par 1es professeurs Jacques Lucan et Luca Orte11i La colonne Nouvelle histoire de la construction Roberto Gorgioni (sous 10 direction de) Composition, non-composition Architecture et theories, X1X'-XX' siecles Jacques Lucan Histoire de I'architecture moderne Structure et revetement Giovanni Fanelli et Roberto Gargiani Enseignement d'un temple egyptien Conception architectonique du temple d'Athor aDendara Pierre Zignani Graphisme et mise en page: antidote [www.antidote-design.ch). Lausanne Couverture: L. Skid more, N. A. Owings, J. O. Merrill/SOM, Air Force Academy, Colorado Springs, Colorado, 1954-1962. Dining hall en construction [photo Stewarts Commercial Photographers. Courtesy Special Collections, Pikes Peak Library District, negative #5-3) Traduction en fran<;ais: Marie-Christine Lehmann [textes de Salvatore Aprea, Maria Chiara Barone, Antonio Becchi, Gianluca Belli, Alberto Bologna, Massimo Bulgarelli, Antonio Burgos Nunez, Vittorio da Caiano, Giulia Chemolli, Giovanni Di Pasquale, Francesco Di Teodoro, Roberto Gargiani, Jean-Pierre Goguet, Albert Guettard, Riccardo Gulli, Tullia lori, Daniel Jeanneret, Louis Jeanneret, Charles Lafaye, Beatrice Lampariello, Antoine de Maillet, Michele Messeri, Emanuela Montelli, Marc Nollet, Pier Nicola Pagliara, Michael Petzet, Mario Piana, Marco Pogacnik, Sergio Poretti, Francesco Quinterio, Bruno Reichlin, Nicola Rizzi, Anna Rosellini, Giampiero Sanguigni, Hermann Schlimme, Philipp Speiser, Claude Tibieres, Valerio Varano, Etienne Vignon et Robin Wimmel). Recueil de textes edites sous la direction du Laboratoire de Theorie et d'Histoire de I'Architecture 3: Roberto Gargiani, Salvatore Aprea, Maria Chiara Barone, Giulia Chemolli, Beatrice Lampariello, Marie-Christine Lehmann, Khue Tran.