Historic Preservation Guidelines
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The Architecture of the Italian Renaissance
•••••••• ••• •• • .. • ••••---• • • - • • ••••••• •• ••••••••• • •• ••• ••• •• • •••• .... ••• .. .. • .. •• • • .. ••••••••••••••• .. eo__,_.. _ ••,., .... • • •••••• ..... •••••• .. ••••• •-.• . PETER MlJRRAY . 0 • •-•• • • • •• • • • • • •• 0 ., • • • ...... ... • • , .,.._, • • , - _,._•- •• • •OH • • • u • o H ·o ,o ,.,,,. • . , ........,__ I- .,- --, - Bo&ton Public ~ BoeMft; MA 02111 The Architecture of the Italian Renaissance ... ... .. \ .- "' ~ - .· .., , #!ft . l . ,."- , .• ~ I' .; ... ..__ \ ... : ,. , ' l '~,, , . \ f I • ' L , , I ,, ~ ', • • L • '. • , I - I 11 •. -... \' I • ' j I • , • t l ' ·n I ' ' . • • \• \\i• _I >-. ' • - - . -, - •• ·- .J .. '- - ... ¥4 "- '"' I Pcrc1·'· , . The co11I 1~, bv, Glacou10 t l t.:• lla l'on.1 ,111d 1 ll01nc\ S t 1, XX \)O l)on1c111c. o Ponrnna. • The Architecture of the Italian Renaissance New Revised Edition Peter Murray 202 illustrations Schocken Books · New York • For M.D. H~ Teacher and Prie11d For the seamd edillo11 .I ltrwe f(!U,riucu cerurir, passtJgts-,wwbly thOS<' on St Ptter's awl 011 Pnlladfo~ clmrdses---mul I lr,rvl' takeu rhe t>pportrmil)' to itJcorporate m'1U)1 corrt·ctfons suggeSLed to nu.• byfriet1ds mu! re11iewers. T'he publishers lwvc allowed mr to ddd several nt•w illusrra,fons, and I slumld like 10 rltank .1\ Ir A,firlwd I Vlu,.e/trJOr h,'s /Jelp wft/J rhe~e. 711f 1,pporrrm,ty /t,,s 11/so bee,r ft1ke,; Jo rrv,se rhe Biblfogmpl,y. Fc>r t/Jis third edUfor, many r,l(lre s1m1II cluu~J!eS lwvi: been m"de a,,_d the Biblio,~raphy has (IJICt more hN!tl extet1si11ely revised dtul brought up to date berause there has l,een mt e,wrmc>uJ incretlJl' ;,, i111eres1 in lt.1lim, ,1rrhi1ea1JrP sittr<• 1963,. wlte-,r 11,is book was firs, publi$hed. It sh<>uld be 110/NI that I haw consistc11tl)' used t/1cj<>rm, 1./251JO and 1./25-30 to 111e,w,.firs1, 'at some poiHI betwt.·en 1-125 nnd 1430', .md, .stamd, 'begi,miug ilJ 1425 and rnding in 14.10'. -
2008 Romanesque in the Sousa Valley.Pdf
ROMANESQUE IN THE SOUSA VALLEY ATLANTIC OCEAN Porto Sousa Valley PORTUGAL Lisbon S PA I N AFRICA FRANCE I TA LY MEDITERRANEAN SEA Index 13 Prefaces 31 Abbreviations 33 Chapter I – The Romanesque Architecture and the Scenery 35 Romanesque Architecture 39 The Romanesque in Portugal 45 The Romanesque in the Sousa Valley 53 Dynamics of the Artistic Heritage in the Modern Period 62 Territory and Landscape in the Sousa Valley in the 19th and 20th centuries 69 Chapter II – The Monuments of the Route of the Romanesque of the Sousa Valley 71 Church of Saint Peter of Abragão 73 1. The church in the Middle Ages 77 2. The church in the Modern Period 77 2.1. Architecture and space distribution 79 2.2. Gilding and painting 81 3. Restoration and conservation 83 Chronology 85 Church of Saint Mary of Airães 87 1. The church in the Middle Ages 91 2. The church in the Modern Period 95 3. Conservation and requalification 95 Chronology 97 Castle Tower of Aguiar de Sousa 103 Chronology 105 Church of the Savior of Aveleda 107 1. The church in the Middle Ages 111 2. The church in the Modern Period 112 2.1. Renovation in the 17th-18th centuries 115 2.2. Ceiling painting and the iconographic program 119 3. Restoration and conservation 119 Chronology 121 Vilela Bridge and Espindo Bridge 127 Church of Saint Genes of Boelhe 129 1. The church in the Middle Ages 134 2. The church in the Modern Period 138 3. Restoration and conservation 139 Chronology 141 Church of the Savior of Cabeça Santa 143 1. -
AUSTRALIAN ROMANESQUE a History of Romanesque-Inspired Architecture in Australia by John W. East 2016
AUSTRALIAN ROMANESQUE A History of Romanesque-Inspired Architecture in Australia by John W. East 2016 CONTENTS 1. Introduction . 1 2. The Romanesque Style . 4 3. Australian Romanesque: An Overview . 25 4. New South Wales and the Australian Capital Territory . 52 5. Victoria . 92 6. Queensland . 122 7. Western Australia . 138 8. South Australia . 156 9. Tasmania . 170 Chapter 1: Introduction In Australia there are four Catholic cathedrals designed in the Romanesque style (Canberra, Newcastle, Port Pirie and Geraldton) and one Anglican cathedral (Parramatta). These buildings are significant in their local communities, but the numbers of people who visit them each year are minuscule when compared with the numbers visiting Australia's most famous Romanesque building, the large Sydney retail complex known as the Queen Victoria Building. God and Mammon, and the Romanesque serves them both. Do those who come to pray in the cathedrals, and those who come to shop in the galleries of the QVB, take much notice of the architecture? Probably not, and yet the Romanesque is a style of considerable character, with a history stretching back to Antiquity. It was never extensively used in Australia, but there are nonetheless hundreds of buildings in the Romanesque style still standing in Australia's towns and cities. Perhaps it is time to start looking more closely at these buildings? They will not disappoint. The heyday of the Australian Romanesque occurred in the fifty years between 1890 and 1940, and it was largely a brick-based style. As it happens, those years also marked the zenith of craft brickwork in Australia, because it was only in the late nineteenth century that Australia began to produce high-quality, durable bricks in a wide range of colours. -
Architectural Terms
Architectural terms adobe A word of Arabic origin mean dentil One of a band of square, small mansard A roof ing earth from which unburnt bricks toothlike blocks. having a double slope H are made. dormer window A vertical window on all four sides, ashlar hewn or squared stone. which projects from a sloping roof. (See the lower slope being much steeper. balustrade An entire railing system ~Gable " sketch) (as along the edge of a balcony) double-hung sash window A mullion A vertical member separating including a top rail and its upright window having two vertically sliding (and often supporting) window panes or supports, or balusters. sashes, each closing a different part of door panels. batter To incline from the vertical. A the window. oriel A bay window projecting out from wall is said to batter when it recedes as it eave That part of a roof which projects the wall of an upper story. rises . out beyond the wall of the building . palladian window A large window bracket Any overhanging member engaged column A column partially divided by columns or projecting from a wall or other body to built into a wall, not freestanding. piers, resembling support a weight (such as a cornice) pilasters, into three acting outside the wall. entablature In Classical architecture, the elaborated beam member carried by lights, the middle canale A roof drainspout projecting one of which through a parapet wall. the columns, horizontally divided into architrave below, frieze and cornice is usually widest chamfe r An oblique surfa ce produced above. a similar feature as the crown of and arched. -
Romanesque Architecture and Arts
INDEX 9 PREFACES 17 1ST CHAPTER 19 Romanesque architecture and arts 24 Romanesque style and territory: the Douro and Tâmega basins 31 Devotions 33 The manorial nobility of Tâmega and Douro 36 Romanesque legacies in Tâmega and Douro 36 Chronologies 40 Religious architecture 54 Funerary elements 56 Civil architecture 57 Territory and landscape in the Tâmega and Douro between the 19th and the 21st centuries 57 The administrative evolution of the territory 61 Contemporary interventions (19th-21st centuries) 69 2ND CHAPTER 71 Bridge of Fundo de Rua, Aboadela, Amarante 83 Memorial of Alpendorada, Alpendorada e Matos, Marco de Canaveses ROMANESQUE ARCHITECTURE AND ARTS omanesque architecture was developed between the late 10th century and the first two decades of the 11th century. During this period, there is a striking dynamism in the defi- Rnition of original plans, new building solutions and in the first architectural sculpture ex- periments, especially in the regions of Burgundy, Poitou, Auvergne (France) and Catalonia (Spain). However, it is between 1060 and 1080 that Romanesque architecture consolidates its main techni- cal and formal innovations. According to Barral i Altet, the plans of the Romanesque churches, despite their diversity, are well defined around 1100; simultaneously, sculpture invades the building, covering the capitals and decorating façades and cloisters. The Romanesque has been regarded as the first European style. While it is certain that Romanesque architecture and arts are a common phenomenon to the European kingdoms of that period, the truth is that one of its main stylistic characteristics is exactly its regional diversity. It is from this standpoint that we should understand Portuguese Romanesque architecture, which developed in Portugal from the late 11th century on- wards. -
Saint Gayane Church
Masarykova univerzita Filozofická fakulta Seminář dějin umění Saint Gayane Church Bakalárska diplomová práca Autor: Michaela Baraničová Vedúci práce: prof. Ivan Foletti, MA, Docteur es Lettres Brno 2020 ii Prehlasujem, že som svoju bakalársku diplomovú prácu vypracovala samostatne a uviedla všetkú použitú literatúru a pramene. .............................................................. Podpis autora práce iii iv On the ancient peak of Ararat The centuries have come like seconds, And passed on. The swords of innumerable lightnings Have broken upon its diamond crest, And passed on. The eyes of generations dreading death Have glanced at its luminuos summit, And passed on. The turn is now yours for a brief while: You, too, look at its lofty brow, And pass on! Avetik Isahakyan, “Mount Ararat”, in Selected Works: Poetry and Prose, ed. M. Kudian, Moscow 1976. v vi My first sincere thanks belong to my thesis’ supervisor, prof. Ivan Foletti, for his observations, talks and patience during this time. Especially, I would like to thank him for introducing me to the art of Caucasus and giving me the opportunity to travel to Armenia for studies, where I spent five exciting months. I would like to thank teachers from Yerevan State Academy of Arts, namely to Gayane Poghosyan and Ani Yenokyan, who were always very kind and helped me with better access of certain Armenian literature. My gratitude also belongs to my friends Susan and colleagues, notably to Veronika, who was with me in Armenia and made the whole experience more entertaining. To Khajag, who helped me with translation of Armenian texts and motivating me during the whole process. It´s hard to express thanks to my amazing parents, who are constantly supporting me in every step of my studies and life, but let me just say: Thank you! vii viii Content Introduction.........................................................................1 I. -
Design Guidelines September, 1999 Table of Contents
Design Guidelines September, 1999 Table of Contents I: Introduction ............................................................................................................................................................................................. 1 A. Preserving the Architectural Heritage............................................................................................................................................. 1 B. History of the Historic District Area............................................................................................................................................... 1 C. Other Areas of Historical Significance........................................................................................................................................... 2 D. Historic Preservation Commission................................................................................................................................................. 3 E. Purpose............................................................................................................................................................................................ 3 F. Scope and Jurisdiction .................................................................................................................................................................... 4 G. Certificate of Appropriateness ....................................................................................................................................................... -
Roofing Systems Overview Double Lock Standing Seam
Roofng systems overview Double lock standing seam Roofng systems overview – Double lock standing seam | 3 Sistemas de revestimiento - Junta alzada para fachadas Index Main characteristics 5 Principal joints 6 Cross joints 7 Fixing 8 Standing seam tray dimensions 9 Installation 10 Appearance 10 Rainwater drainage 11 Roof shapes 12 Substrates and roof construction 14 Summary 16 Samples 17 4 | Roofng systems overview – Double lock standing seam Roofng systems overview – Double lock standing seam | 5 Main characteristics The double lock standing seam system provides a lightweight, sustainable and very durable roofing solution and is commonly used on many different building types including educational, healthcare, sports, comercial, religious and, of course, housing. The system is suitable for roofs pitched between 3º and 90º, barrel vaulted roofs, conical and domed roofs, and in general almost any type of roof that can be clad in elZinc®. This is a proven traditional system that has been used to install zinc since the origins of zinc roofing itself and continues to be by far the most popular method today. The fine lines of the standing seams give the system its light, attractive appearance and contribute to its flexibility. Modern profiling and seaming technology makes quick work of large roo- fs, decreasing installation times and the associated direct and indirect costs. It can be installed over a ventilated or non-ventila- ted roof construction, allowing the best solution to be chosen according to the characteristics of each project. The fixing is hidden and indirect. It needs a continuous support behind it and normally uses elZinc® sheet thicknesses of between 0.65 and 0.8mm. -
Vibe-Full-Line-Brochure-2015.Pdf
FULLFULL LINELINE BROCHUREBROCHURE Diamond Vibe cabinetry was designed to fit into your new room plans, offering more ways to take ownership of the entire remodeling process. Choose from today’s freshest finishes and door styles, along with logical organization solutions that place everyday essentials readily within reach and easily within your means. And rest assured with a sturdily constructed box made stunningly beautiful, as well as having a Diamond expert at your side, at every step. Not to mention the backing of the industry’s largest family of cabinetry brands. Vibe by Diamond – who knew trusting your instincts could feel this right or look this good? contents 02 Kitchen Spaces 28 Other Rooms 32 Logix® Organization 34 Mouldings & Embellishments 36 Finishing Touches 38 Door Styles & Finishes 46 Construction WESTBURKE HICKORY : RIVERWOOD ISLAND & FLOATING SHELVES / MAPLE : DARK ALE 3 CAITO CHERRY : TUSCAN 4 1 2 3 1. Two Drawer Base Cabinet with Roll Tray 2. Full Height Base Wastebasket Cabinet 3. Deep Drawer Oven Cabinet 5 BRYANT MAPLE : BRIE 6 1 2 4 3 5 1. Base Box Column Pull-Out Cabinet 4. Sink Base Cabinet with Cleaning Caddy 2. Wall Spice Pull-Out Cabinet 5. Toekick Drawer with Push-To-Open Guides 3. Shaker Starter and Large Shaker Crown Moulding 7 FORTE PURESTYLE™ : ALABASTER 8 1 2 3 1. Snack Bar Supports 2. Straight Island Leg 3. Utility Storage Cabinet 9 1 2 1. Wall Top Hinge Cabinet 2. Chrome Tray Dividers 10 Keegan Cherry Sandstone KEEGAN CHERRY : SANDSTONE 11 WESTBURKE HICKORY : RIVERWOOD ISLAND & FLOATING SHELVES / MAPLE : DARK ALE 12 1 2 4 3 5 6 1. -
Elements of Construction
149 Chapter 8 Elements of construction INTRODUCTION mass of these loads can be calculated readily, the fact When designing a building, an architect plans for that the number or amount of components may vary spatial, environmental and visual requirements. Once considerably from time to time makes live loads more these requirements are satisfied, it is necessary to detail difficult to estimate than dead loads. Live loads also the fabric of the building. The choice of materials and include the forces resulting from natural phenomena, the manner in which they are put together to form such as wind, earthquakes and snow. building elements, such as the foundation, walls, floor Where wind velocities have been recorded, the and roof, depend largely upon their properties relative following equation can be used to determine the expected to environmental requirements and their strength. pressures on building walls: The process of building construction thus involves an understanding of: the nature and characteristics of q = 0.0127 V2k a number of materials; the methods to process them and form them into building units and components; where: structural principles; stability and behaviour under q = basic velocity pressure (Pa) load; building production operations; and building V = wind velocity (m/s) economics. k = (h/6.1)2/7 The limited number of materials available in the h = design height of building, in metres (eave height for rural areas of Africa has resulted in a limited number of low and medium roof pitches) structural forms and methods of construction. Different 6.1 = height at which wind velocities were often recorded socio-economic conditions and cultural beliefs are for Table 8.1. -
Architectural Terminology
Architectural Terminology Compiled by By Trail End State Historic Site Superintendent Cynde Georgen; for The Western Alliance of Historic Structures & Properties, 1998 So what is a quoin anyway … other than a great word to have in your head when playing Scrabble®? Or how about a rincleau? A belvedere? A radiating voussoir? If these questions leave you scratching your head in wonder and confusion, you’re not alone! Few people outside the confines of an architect’s office have a working knowledge of architectural terminology. For you, however, that’s about to change! After studying the following glossary, you’ll be able to amaze your friends as you walk through the streets of your town pointing out lancets, porticos, corbels and campaniles. NOTE: The definitions of some terms use words which themselves require definition. Such words are italicized in the definition. Photograph, balustrade, undated (By the Author) Acanthus Leaf - Motif in classical architecture found on Corinthian columns Aedicule - A pedimented entablature with columns used to frame a window or niche Arcade - Series of round arches supported by columns or posts Architrave - The lowest part of a classical entablature running from column to column Ashlar - Squared building stone laid in parallel courses Astragal - Molding with a semicircular profile Astylar - Facade without columns or pilasters Balconet - False balcony outside a window Baluster - The post supporting a handrail Balustrade - Railing at a stairway, porch or roof Architectural Terminology - 1 - www.trailend.org -
Glossary of Architectural and Building Terms (Dates Given, for Instance, As C19 = ‘Nineteenth Century')Century')
WANDSWORTH BOROUGH COUNCIL : CONSERVATION AREA CHARACTER STATEMENTS Glossary of Architectural and Building terms (Dates given, for instance, as C19 = ‘nineteenth cecentury')ntury') A Battered - a feature, such as a chimney, with sloping faces or sides making it narrower at the top than at the bottom. Arcade - a row of arches supported by columns.. Battlement - the top part of a castle wwall,all, often used to Arch - a section above a door or opening window with detail a parapet; also known as crenellation.. the structural function of dispersing the weight from above around the opening. Also referred to as a head above a Bay - an extension to the main building line, termed canted door or window. The shape will determine its namname;e; oror splayed when angled back at the sides, and squared when most common are segmental (semi-circular), lancet perpendicular (see also Window).). (pointed) and gauged (composed of shaped bricks). Bottle balustrade - a - a balustrade made up of bottle- Architrave - in Classical architecture, the lower part of shaped balusters.. a moulded cornice. Commonly used term for the moulded surround of a door or window. Bow window - a curved window extending from the front of a building. Arts and Crafts - derived from an artistic movement of the late C19, based on the ideas of William Morris, Bull nose - the rounded end of a brick or tile. which promoted traditional forms of design and the use of craft techniqutechniqueses in conconstruction.struction. Its architectural Burr - a rough, poor quality brick used as infill. expression is seen in the use of traditional materials and restrained vernacular decoration.