Academic literature on the topic '16th century architecture'
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Journal articles on the topic "16th century architecture"
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Flores-García, Laura Gemma, and Elena Zhizhko. "NOVOHISPANIC CONVENT ARCHITECTURE FROM THE 16th CENTURY." Current problems of architecture and urban planning, no. 58 (November 30, 2020): 95–104. http://dx.doi.org/10.32347/2077-3455.2020.58.95-104.
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The article presents the results of a historical and architectural research, which aimed to reveal the main features of the architecture of Spanish monasteries in the sixteenth century, in particular to highlight elements of the ideology of the Spanish crown and the Catholic Church, promoted through architectural structures. The authors established the components of the architectural program and styles of the New Spanish monasteries of the 16th century, highlighted how the process of creative thinking of the future building and its construction took place, what materials were used.
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Joost-Gaugier, Christiane L., Colin Rowe, and Leon Satkowski. "Italian Architecture of the 16th Century." Sixteenth Century Journal 35, no. 2 (2004): 605. http://dx.doi.org/10.2307/20477014.
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Núñez-González, María. "Domestic architecture in 16th century Seville: San Salvador." VLC arquitectura. Research Journal 5, no. 2 (2018): 159. http://dx.doi.org/10.4995/vlc.2018.10017.
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This study is based on historical documents belonging to the most important ecclesiastical institution in Seville during the 16<sup>th</sup> century. The Cathedral’s archives have been consulted, with special focus on the section devoted to books of written descriptive records of houses (called ‘apeos’) that belonged to the Cabildo (Chapter) in 1542. These records not only documented the physical distribution of the houses with measurements in Castilian yards of the different parts of the house, but also described the more qualitative features of the interior architectural design. The main purpose of this study is to characterize the typical Sevillian houses from historical documents of the period focused on the collation of San Salvador. By way of a novel methodology, the following steps have been developed: first, an architectural analysis; second, a typology of houses based on functions, dimensions, construction, lay-out, etc.; third, a detailed glossary of architectural terms listed to permit a rigorous understanding of the domestic architecture in 16<sup>th</sup> century Seville; and finally, an example of every documented record has been drawn. Among the most significant conclusions is that the Sevillian dwellings of that period reflected the Islamic terminology, architecture, construction and lay-out typical of Andalusia, but with distinctive features of Sevillian housing.
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Groznov, Oleg D. "ENGLISH ARCHITECTURE OF THE 16th-18th CENTURIES AND TRANSFORMATIONS OF ARCHITECTURAL ORDER." Architecton: Proceedings of Higher Education, no. 3(71) (September 29, 2020): 11. http://dx.doi.org/10.47055/1990-4126-2020-3(71)-11.
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In this article, the author considers the evolution of the classical order in England from the second half of the 16th to the early 19th century.
 The research is based on two methods – stylistic analysis and analysis of historical and cultural aspects in the application of the classical order by English architects over more than three hundred years and the basic principles of or approaches to such application.
 It is concluded that the analysis of how the classical order was used can help us understand not only the style and idiom of every particular master but also develop a better understanding of the cultural situation or the context in which every particular architect worked.
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Gorse, George L. "The Villa of Andrea Doria in Genoa: Architecture, Gardens, and Suburban Setting." Journal of the Society of Architectural Historians 44, no. 1 (1985): 18–36. http://dx.doi.org/10.2307/990058.
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This paper reconsiders Andrea Doria's 16th-century villa in Genoa as an architectural and garden monument in relation to its original suburban setting. The villa has thus far been discussed primarily as a decorative monument, with scholars focusing their attention upon the interior fresco and stucco decorations of Perino del Vaga and façade paintings by Perino, Beccafumi, and Pordenone. However, these paintings have not been understood fully in terms of the architectural, garden, and suburban context of the villa, which serves as the focus of this study. A biographical sketch of Doria is followed by a building history of his villa, tracing its classical and Renaissance prototypes, the development of the building plan, and phases of construction. Giovanni Angelo Montorsoli's gardens of the 1540s are reconstructed from visual and literary sources, then related to the villa architecture and its suburban environs. A discussion of urban planning around the villa during the 1530s and 1540s shows how the villa functioned as a ceremonial entry monument into Genoa. Concluding remarks on the triumphal receptions of Emperor Charles V and Philip II at the Villa Doria during the mid-16th century underscore the importance of the villa's architecture, gardens, and suburb as a unified work of art.
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Sinha, Vandana. "Documentation of Indo-Islamic architecture built along a 16th-century highway." Art Libraries Journal 44, no. 3 (2019): 98–107. http://dx.doi.org/10.1017/alj.2019.14.
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An internationally recognized presence in the documentation of Indic and South East Asian art and architecture, the Center for Art and Archaeology (CA&A) of the American Institute of Indian Studies (AIIS) conducted a documentation project in 2007 that explored an interesting range of built heritage arrayed along a 16th-century highway, the Agra – Lahore route, laid by the Mughal rulers of India. The stretch of the Agra – Lahore highway this project traced, crossed two north Indian states of independent India – Haryana and Punjab, and documented built heritage that survives on that road. The documentation revealed edifices unique to a travel environment including Caravansarai (rest house), Kos-Minars (distance markers), bridges, stepped-wells and Bagh (pleasure gardens) built under the patronage of Mughal elites. The project emphasized the importance of identifying the strands of cultural heritage and the processes of documenting them. A major aim of such documentation was to aid preservation of the monuments themselves by providing critical information for future decisions.
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Aydin Oksuz, Aysun, and Zafer Sagdic. "Sacred place and architecture relation in Islamic religion: building of sacredness in Ottoman Mosques in 16th century." International Journal of Academic Research 6, no. 3 (2014): 28–39. http://dx.doi.org/10.7813/2075-4124.2014/6-3/a.5.
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Li, Shao Hong. "Study on Architectural Art of the Former German Governor’s Residence in Qingdao." Advanced Materials Research 450-451 (January 2012): 310–14. http://dx.doi.org/10.4028/www.scientific.net/amr.450-451.310.
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The Former German Governor’s Residence in Qingdao was by far the most spectacular building in residential architectures on the German Colonial period. This article studied architectural art of the Former German Governor’s Residence from architectural plan layout, building facades decorating, building structures and materials, and made these three respects compare with the Chinese traditional residential architecture. The architectural plan layout was in common about separate house on the German Colonial period, it inherited the German romantic style of the traditional residential buildings since the 16th century; its facades kept different and changeful; but primary and secondary clear, gorgeous, lively and dignified. The architectural structure was brick stone and wood hybrid construction. In this eclectic style of the building could be seen Germany was one of the birthplaces of the Modern Movement, and it had begun to explore using modern materials and new technologies, but its architectural forms was still the old form.
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Kačinskaitė, Indrė. "Formation and Architectural Development of the Lithuanian Manor (Yard)." Mokslas - Lietuvos ateitis 5, no. 3 (2013): 302–8. http://dx.doi.org/10.3846/mla.2013.49.
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The article describes architectural development of the Lithuanian manor from the outset until the 20th century. For over 500 years, the manor had remained a foundational axis of the state structure, around which the political, social, economic and cultural life of the country was concentrated. Up to the 15th century, the ruler’s manors (yards) were the core of the statehood in Lithuania. In the 15th – 16th centuries, the ruler’s manor developed into the main political public institutions with permanent residences being established. Afterwards, when the impact of the ruler’s manor diminished, manor homesteads of local noblemen became the focal points of the Western European stylistic architecture in Lithuania. Through noblemen’s manors novelties reached homesteads of the lower strata of nobility, who was greatly influenced by local tradition. Remaining diversity of cultural landscape, architectural expression, urban relationship ‘manor homestead – town’ nowadays are the relics of the old manor, which developed over the centuries and to this day reflects the Lithuanian architecture and its history.
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Açikyildiz-Şengül, Birgül. "From Yezidism to Islam: Religious Architecture of the Mahmudî Dynasty in Khoshâb." Iran and the Caucasus 20, no. 3-4 (2016): 369–83. http://dx.doi.org/10.1163/1573384x-20160307.
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The Yezidi Mahmudî Dynasty controlled Khoshâb and surrounding area between Van, Nakhchivân and Marâgha during almost five centuries, from the end of the 14th century to the second half of the 19th century. Тhe Mahmudî rulers consolidated their power by their rational diplomacy with the main political forces of the region, first with the Black Sheep and White Sheep Turkomans and later with the Ottomans and the Safavids. Converted to Islam in the mid-16th century, the Mahmudîs contributed to the Islamic art by endowing buildings in Khoshâb between 1563 and 1671.The article focuses on the study of Mahmudî religious architecture in Khoshâb, tracing particularly the pre-Islamic Yezidi elements in it.
Dissertations / Theses on the topic "16th century architecture"
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Coffey, Shaun C. "The 21st Century Cancer Care Wellness Facility: A Study, Interpretation, and Application of 16th Century Japanese Tea-house Themes." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/64515.
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Buildings which address space through all the senses, rather than being dominated by ocular centric considerations solely, have become the minority within the discipline of Architecture. This can create an imbalance, perceivable as feelings of estrangement and detachment for the inhabitant. Estrangement is particularly evident within health care architecture, which owes much of its current form to ideas developed during Modernism. In response to this imbalance, Architecture from the past may have lessons which can be applied. This thesis investigates the potential of applying spatial techniques and approaches learned from the 16th century Japanese tea-house. A health care building which benefits from the same kind of
reflective and contemplative spaces inherent in the tea-house includes counseling facilities, and therefore an outpatient cancer care center was chosen to apply these lessons. Among the techniques researched and applied, the use of a sequential vision of spatial experience, which reveals the building in stages and facilitates spaces for pause and reflection, was particularly
powerful. The result is a building with spaces that take on an almost sacred tone, where one can be at peace with the realities of their current situation, and begin thinking about the path forward.<br>Master of Architecture
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Puodžiukienė, Dalė. "Evolution of wooden architecture of manor houses in Lithuania (from the middle of the 16th century till the middle of the 19th century)." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110808_093850-01870.
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Doctoral thesis Evolution of wooden architecture of manor houses in Lithuania (from the middle of 16th century till the middle of 19th century) explore and present an evolution of the wooden architecture of manor houses since the middle of the 16th century till the middle of the 19th century. The thesis investigates the existing and not existing (known from the sources) wooden residential buildings of Lithuanian nobility, identifies their dominant types and reasons, which influenced the change of architecture, and reveals the singularities of the architecture and the relation of a manor’s house with ethnic and professional architecture. The research has shown that the architectural evolution of the manor house owned by nobility of different rank was developing differently. The development of great and middle-class nobility’s manor house was intense, especially influenced by the changes in style architecture. The small noblemen‘s houses were changing a little, their construction followed the ethnic traditions. According to the layout and shape of structures and forms of the buildings set on the manors of great and middle-class nobility, three stages of their architectural evolution were singled out: the period of early formation (till the middle of the 17th century), “baroque” period (from the middle of the 17th century till the seventh decade of the 18th century) and the “classicism” period (from the end of 18th century till the end of the 19th century). The doctoral thesis... [to full text]<br>Disertacijoje nagrinėjami Lietuvos bajorijos mediniai gyvenamieji pastatai, darbe vadinami ponų namais. Darbo tikslas – išaiškinti ir pateikti Lietuvos bajorų namų medinės architektūros raidą nuo Valakų reformos iki 1861 Valstiečių reformos. Darbe tirti esami bei neišlikę (žinomi dėka šaltinių) mediniai bajorijos namai, nustatyti vyravę pastatų tipai, priežastys, lėmusios tipų kaitą, atskleidžiami architektūros ypatumai, ponų namo santykis su etnine ir profesionaliąja architektūra. Tyrimai parodė, kad skirtingų bajorijos sluoksnių ponų namų architektūros raida vyko skirtingai. Stambių ir vidutinių bajorų namų raida buvo intensyvi, ją ypač veikė stilinės architektūros pokyčiai. Smulkių bajorų namai kito mažai, statyboje laikytasi etninių tradicijų. Pagal stambių ir vidutinių bajorų XVI a. vidurio– XIX a. vidurio pastatų planines ir tūrines –erdvines struktūras ir formas, išskirti trys architektūrinės raidos etapai: ankstyvasis- formavimosi (iki XVII a. vidurio), „barokinis“ (XVII a. vidurio – XVIII a. septinto dešimtmečio); „klasicistinis“ (XVIII a. pabaigos – XIX a. vidurio). Pirmajame etape iš esmės pakito gyvenamosios erdvės sankloda ir namo įvaizdis: vietoje kelių skirtingų funkcijų namų, skirtų bajoro šeimai ir jo svečiams (gyvenamojo, pokylių namo, ir kt.) susiformavo vienas daugiafunkcinis, parterinis, simetriškos kompozicijos ponų namas. Antrajame ir trečiajame etapuose daugiafunkcinis ponų namas buvo tobulinamas pagal etiketo (gyvenimo būdo) ir vyravusių stilių... [toliau žr. visą tekstą]
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Barzanooni, Anousheh. "L'architecture commune à Paris au XVIe siècle (1530-1600)." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEP037.
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Les maisons modestes sont rarement prises en compte dans les études qui portent sur l’architecture de la capitale au XVIe siècle. Elles représentaient pourtant l’essentiel de l’activité de construction à Paris à cette époque, et de nombreux exemples en subsistent aujourd’hui, souvent difficiles à identifier en raison des transformations subies aux époques postérieures. Leur étude a été menée pour une période allant de 1530 à 1600. Elle a été réalisée selon trois axes complémentaires : un dépouillement des archives notariales du XVIe siècle, une étude des sources iconographiques et, enfin, une analyse des maisons anciennes conservées. En confrontant ces trois types de sources, on s’est interrogé sur le rôle respectif des maîtres d’ouvrage et des maîtres d’œuvre, maçons ou charpentiers, sur la persistance des formes traditionnelles médiévales, sur l’influence des premiers traités d’architecture imprimés ainsi que sur celle des chantiers aristocratiques sur l'architecture mineure, notamment dans le domaine du décor. L’évolution de la réglementation concernant la voirie et la construction a été également prise en compte pour en évaluer les conséquences sur le bâti parisien. Le but de cette recherche était de décrire la morphologie des maisons, de préciser les techniques et les matériaux employés et d’observer les changements survenus au cours de la période. Enfin, on s’est efforcé d’identifier des exemples de maisons construites au XVIe siècle existant encore dans le Paris d'aujourd'hui, et de les documenter sur une longue durée, pour dater les modifications apportées à la construction initiale<br>The modest houses are rarely taken into account in capital architecture studies of 16th century. However, they represented the majority of construction activity in Paris at that time, and many examples still exist today, but they are often difficult to identify because of the transformations in later times. Their study was conducted for the period 1530 to 1600. It was carried out following three complementary axes : a review of the notarial archives of the 16th century, a study of iconographic sources and, finally, an analysis of old houses preserved. In confronting these three types of sources, some questions were raised about the role of project owners and project managers, masons and carpenters, the persistence of traditional medieval forms, the influence of first architectural treatises and aristocratic building on minor architecture, especially in the field of decor. The evolution of construction regulations has also been taken into account in order to evaluate the consequences on Parisian buildings. The purpose of this research was to describe the morphology of the houses, to specify the techniques and materials used and to observe the changes during the period. Finally, we tried to identify examples of Parisian houses built in the 16th century, still existing, and to document them over a long-term, to date the changes made to the initial construction
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Luscombe, Desley School of History UNSW. "Inscribing the architect :the depiction of the attributes of the architect in frontispieces to sixteenth century Italian architectural treatises." Awarded by:University of New South Wales. School of History, 2004. http://handle.unsw.edu.au/1959.4/31896.
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This study investigates the changing understanding of the role of the ???architect??? in Italy during the sixteenth century by examining frontispieces to published architectural treatises. From analysis of these illustrations four attributes emerge as important to new societal understandings of the role of ???architect.??? The first attribute is the desire to delineate the boundaries of knowledge for architecture as a discipline, relevant to sixteenth-century society. The second is the depiction of the ???architect,??? as an intellectual engaged in the resolution of practical, political, economic and philosophical considerations of his practice. The third represents the ???architect??? having a specific domain of activity in the design of civic spaces of magnificence not only for patrons but also for the city per se. The fourth represents the ???architect??? and society as perceiving a commonality of an architectural role beyond the boundary of individual locations and patrons. Five treatises meet the criteria set for this study: Sebastiano Serlio???s Regole generali di architetura sopra le Cinque maniere de gli edifici cio??, Toscano, Dorico, Ionico, Corinthio, et Composito, con gli essempi dell???antiquita, che, per la magior parte concordano con la dottrina di Vitruvio, 1537, his, Il Terzo libro nel qual si figurano, e descrivono le antichita di Roma, 1540, Cosimo Bartoli???s translation of Alberti???s De re aedificatoria titled L???architettura di Leonbattista Alberti, tradotta in lingua fiorentina da Cossimo Bartoli, Gentilhuomo, & Academico Fiorentino, 1550; Daniele Barbaro???s translation and commentary on Vitruvius??? De???architetura titled, I dieci libri dell???architettura di M. Vitruvio tradutti et commentati da monsignor Barbaro eletto Patriarca d???Aquileggia, 1556; and Andrea Palladio???s I quattro libri dell???architettura, 1570. A second aim for the study was to review the usefulness of frontispieces as an historical archive. It was found that frontispieces visually structure important ideas by providing a narrative with meaning as an integral part of the illustration. In this narrative frontispiece illustrations prioritise concepts found in the accompanying text and impose a hierarchical structure of importance for fundamental ideas.
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MacDonald, Deanna. "Acknowledging the "Lady of the house" : memory, authority and self-representation in the patronage of Margaret of Austria." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38227.
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Margaret of Austria (1480--1530) ruled the Burgundian Netherlands for over twenty years and was an integral member of the joint Houses of Burgundy and Habsburg. She was also one of the most prolific patrons and collectors of her time. This dissertation examines Margaret's patronage in relation to her contemporary environment with the aim of extending and deepening our understanding of her commissions within the dynamics and discourses of the culture of the early sixteenth century.<br>Margaret of Austria was a highly conscientious patron and the art and architecture she commissioned intimately reflected her life. Chapter one introduces the historical facts of Margaret's life as well as issues affecting her patronage. Chapter two considers the monastery of Brou in Savoy as Margaret's architectural autobiography. Drawing on documentation and the building itself, it examines Margaret's involvement in Brou's creation. Chapter three looks at several of Margaret's other commissions such as her residence, the Palace of Savoy in Mechelen and the Convent of the Annunciate in Bruges. This chapter considers the potential goals of these projects, as ambitious as founding a capital city, embellishing her authority as a ruler, or attaining sainthood. Chapter four turns to Margaret's self-portraits, that is, images she commissioned of herself. Created in several mediums for a variety of audiences (including herself), Margaret's self-portraits portray her as everything from a widow to a goddess to a saint. Each image was designed for a specific audience and demonstrates Margaret's understanding of the function of images in negotiating a place in the contemporary world and history. Chapter five presents Margaret's view of herself as one of the rulers of a New World Empire with her pioneering collection of artefacts from the Americas. The conclusion considers the unique image of Margaret of Austria that emerges from her commissions.
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Hammond, Joseph. "Art, devotion and patronage at Santa Maria dei Carmini, Venice : with special reference to the 16th-Century altarpieces." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3047.
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This study is an art history of Santa Maria dei Carmini, Venice, from its foundation in c. 1286 to the present day, with a special focus on the late Renaissance period (c. 1500-1560). It explores a relatively overlooked corner of Renaissance Venice and provides an opportunity to study the Carmelite Order's relationship to art. It seeks to answer outstanding questions of attribution, dating, patronage, architectural arrangements and locations of works of art in the church. Additionally it has attempted to have a diverse approach to problems of interpretation and has examined the visual imagery's relationship to the Carmelite liturgy, religious function and later interpretations of art works. Santa Maria dei Carmini was amongst the largest basilicas in Venice when it was completed and the Carmelites were a major international order with a strong literary tradition. Their church in Venice contained a wealth of art works produced by one of the most restlessly inventive generations in the Western European tradition. Chapter 1 outlines a history of the Carmelites, their hagiography and devotions, which inform much of the discussion in later chapters. The second Chapter discusses the early history of the Carmelite church in Venice, establishing when it was founded, and examining the decorative aspects before 1500. It demonstrates how the tramezzo and choir-stalls compartmentalised the nave and how these different spaces within the church were used. Chapter 3 studies two commissions for the decoration of the tramezzo, that span the central period of this thesis, c. 1500-1560. There it is shown that subjects relevant to the Carmelite Order, and the expected public on different sides of the tramezzo were chosen and reinterpreted over time as devotions changed. Cima da Conegliano's Adoration of the Shepherds (c. 1511) is discussed in Chapter 4, where the dedication of the altar is definitively proven and the respective liturgy is expanded upon. The tradition of votive images is shown to have influenced Cima's representation of the donor. In Chapter 5 Cima's altarpiece for the Scuola di Sant'Alberto's altar is shown to have been replaced because of the increasing ambiguity over the identification of the titulus after the introduction of new Carmelite saints at the beginning of the century. Its compositional relationship to the vesperbild tradition is also examined and shown to assist the faithful in important aspects of religious faith. The sixth chapter examines the composition of Lorenzo Lotto's St Nicholas in Glory (1527-29) and how it dramatises the relationship between the devoted, the interceding saints and heaven. It further hypothesises that the inclusion of St Lucy is a corroboration of the roles performed by St Nicholas and related to the confraternity's annual celebrations in December. The authorship, date and iconography of Tintoretto's Presentation of Christ (c. 1545) is analysed in Chapter 7, which also demonstrates how the altarpiece responds to the particular liturgical circumstances on the feast of Candlemas. The final chapter discusses the church as a whole, providing the first narrative of the movement of altars and development of the decorative schemes. The Conclusion highlights the important themes that have developed from this study and provides a verdict on the role of ‘Carmelite art' in the Venice Carmini.
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Fradier, Sophie. "Les frères Souffron (vers 1554-1649) : deux architectes ingénieurs entre Guyenne et languedoc, au temps de l'annexion de la Navarre." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20125.
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Pierre I (doc. 1599-† 1621/1622) et Pierre II Souffron (1554-† 1649) sont deux frères architectes homonymes, originaires du Périgord, qui furent actifs dans les provinces de Guyenne et Languedoc entre la fin du XVIe siècle et le début du XVIIe siècle. Pierre I, probablement l’aîné de la fratrie, fut architecte et ingénieur des bâtiments de la Maison de Navarre. Installé dans la région de l’entre-deux-mers, il conduisit notamment l’important chantier du château de Cadillac, propriété du duc d’Épernon. Outre le domaine de l’architecture civile, il s’illustra pour des travaux d’ingénierie militaire et hydraulique. Son frère Pierre II fut lui aussi un artiste polyvalent. Son statut de maître architecte de la fabrique de la cathédrale Sainte-Marie d’Auch lui permit d’accéder à des chantiers de grande envergure tel que le Pont-Neuf de Toulouse. Le choix de réaliser une double monographie autour de ces deux personnalités artistiques n’a rien d’anodin, cette thèse permet de révéler qu’au-delà d’une pratique architecturale et d’une culture constructive commune, les frères Souffron bénéficièrent des mêmes réseaux de relations qu’ils mutualisèrent parfois. S’appuyant sur la découverte de sources inédites, la relecture de documents connus et l’examen approfondi de leur œuvre, cette étude se propose de décrire leurs trajectoires professionnelles. Elle montre aussi qu’ils doivent être considérés comme des figures de passeurs entre le milieu royal et la province. Architectes créatifs et talentueux, ils surent emprunter tant aux traditions constructives méridionales qu’aux grands chantiers contemporains et aux modèles à la mode diffusés par les traités de Serlio, Palladio, Vignole, De l’Orme et Bullant. Complétée par un catalogue raisonné, cette thèse est donc un travail inédit portant sur deux architectes provinciaux méconnus qui furent pourtant de grands héritiers de la Renaissance<br>Pierre I (doc. 1599-† 1621/1622) and Pierre II Souffron (1554- † 1649) are two namesake architect brothers, who were active in the provinces of Guyenne and Languedoc at the end of the sixteenth century and at the beginning of the seventeenth century. Pierre I, believed to be the eldest of the brothers, was an architect and engineer for the buildings of the royal House of Navarre. Located in the region of l’entre-deux-mers, he overseed several building sites including the château of Cadillac, property of the duc of Epernon. In addition to civil architecture, he was also known for his skills as a military and hydraulic engineer. His brother, Pierre II was also a multitasking artist. His status as Master Architect of the guild of the Saint-Marie cathedral of Auch enabled him to gain access to greater projects such as the Pont-Neuf of Toulouse. The decision to carry out a double monograph of these two artistic identities is far from innocuous, as this thesis reveals that beyond of their common practice of architecture and knowledge of their craft, the Souffron brothers benefited and often shared the same social networks. Based on the discovery of unpublished primary sources, the reinterpretation of other well-known documents and an extensive study of their works, this thesis follows their different career paths by taking into consideration that they both acted as purveyors of ideas between the royal milieu and the provinces. Creative and talented architects, they not only cleverly borrowed southern constructive traditions but were also inspired by contemporary building sites and fashionable architectural treatises such as those by Serlio, Palladio, Vignola, De l’Orne and Bullant. Completed by the catalogue raisonné, this novel thesis therefore sheds light on how these two unknown provincial architects were in fact the heirs of the Renaissance
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Ceccotti, Camilla. "L’architettura del rinascimento a Poitiers : la ricezione del linguaggio architettonico all’antica negli edifici residenziali tra la fine del quattrocento e la metà del cinquecento." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL073.
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Notre travail de recherche se concentre sur l’apparition de la Renaissance à Poitiers et dans le territoire environnant entre la fin du XVe et le milieu du XVIe siècle. Nous en avons identifié les caractéristiques spécifiques dans le domaine de l’architecture en analysant notamment la typologie de bâtiment la plus diffusée dans le contexte urbain : celle de l’hôtel. Poitiers a connu une intense activité sur le plan architectural dès la fin du XVe siècle. Malgré cela, les études concernant le patrimoine bâti de la ville à l’époque de la Renaissance demeurent essentiellement peu développées comparativement à celles qui se penchent sur l’architecture du Moyen-Âge et du XVIIe siècle. La recherche que nous avons menée a tenté de combler cette « lacune » historiographique en analysant la production architectonique de la ville.Afin de comprendre les modalités de diffusion des modèles de la Renaissance italienne dans la région de Poitiers, nous avons examiné les principaux ensembles architectoniques qui sont exemplaires du langage régional. Nous avons tenté de comprendre la volonté de leurs commanditaires et nous avons comparé ces observations avec des données similaires concernant les principaux centres du Val de Loire. Ensuite, nous avons analysé la typologie de l’hôtel de Poitiers, le modèle de la résidence urbaine de la bourgeoisie. Le corpus architectonique poitevin considéré est constitué d’environ cinquante ensembles résidentiels édifiés dès la fin du XVe siècle. À partir de ce panorama, notre recherche s’est concentrée sur l’étude monographique de quatre bâtiments emblématiques qui témoignent du changement de langage formel (hôtels Fumé, Berthelot, d’Estissac et Beaucé)<br>The research investigates the dynamics of the Renaissance appearance in Poitiers and in the surrounding area, in the period between the end of the 15th and the first half of the 16th century. In particular, the identification of the peculiar characteristics of the architecture was achieved favoring the analysis of the most widespread type in the urban context, the hôtel.Poitiers has known an intense architectural activity since the end of the 15th century, nevertheless, the Renaissance city remains essentially unexamined, unlike the medieval and 17th century ones. The aim of my research is to fill this historiographical gap by analyzing the architectural production from the flamboyant age to that of those centers where the Renaissance sees its first flourishing.To understand the modality of migration of the Italian Renaissance model in the Poitiers region, were examined the architectural complexes of the Early Renaissance which represent the paradigm for the whole region and the related commissions, that were receptive to the importation of classical canons. Subsequently, the construction typology of the hotel was analyzed at a local level. This hotel represents the town residence model of the French bourgeoisie, whose economic and political power increased during the 15th century. The Poitiers’s architectural corpus, here considered, consists of about fifty residential complexes, built starting from the end of the 15th century: starting from such a considerable panorama, the research focused on the monographic study of four architectures, emblems of the change of stylistic language (the Fumé, Berthelot, d’Estissac and Beaucé hôtels)<br>La tematica di ricerca indaga la comprensione dei meccanismi di apparizione del Rinascimento a Poitiers e nel territorio circostante, in un lasso temporale compreso tra la fine del XV e la metà del XVI secolo. In particolare, si sono individuati i caratteri peculiari nell’ambito dell’architettura, privilegiando l’analisi della tipologia più diffusa nel contesto urbano, quella dell’hôtel.Principale polo della provincia storica del Poitou, Poitiers ha conosciuto un’intensa attività sul piano architettonico a partire dalla fine del XV secolo ma, ciononostante, la città nel Rinascimento resta essenzialmente non esaminata, al contrario di quella medievale e del XVII secolo. La ricerca ha tentato di colmare questa “lacuna” storiografica analizzando la produzione architettonica dall’età flamboyant raffrontandola a quella di quei centri, non lontani, dove il Rinascimento vede la sua prima fioritura, come Tours e Blois.Al fine di comprendere la modalità di migrazione del modello Rinascimentale italiano nella regione di Poitiers, si sono innanzitutto esaminati gli insiemi architettonici significativi del Primo Rinascimento che rappresentano il paradigma per tutta la regione e le relative committenze, sensibili all’importazione dei canoni classici, comparando i tempi e le modalità di diffusione con le vicissitudini dei centri della Valle della Loira.Successivamente, partendo da uno studio storico e urbano, a livello locale si è approfondita la tipologia costruttiva dell’hôtel, modello di residenza cittadina della ricca borghesia francese, il cui potere economico e politico è aumentato nel corso del XV secolo. Il corpus architettonico potevino considerato è costituito da circa cinquanta insiemi residenziali, edificati a partire dalla fine del Quattrocento: muovendo da tale considerevole panorama, la ricerca si è concentrata sullo studio monografico di quattro architetture-emblema del cambiamento di linguaggio stilistico. A partire dal flamboyant hôtel Fumé, si è passati ai contemporanei hôtels Berthelot e d’Estissac, considerati i primi edifici rinascimentali, fino ad arrivare all’hôtel Beaucé, che riflette delle soluzioni formali compiute del Rinascimento francese maturo. Nel quadro dello studio delle committenze, inoltre, si sono analizzate anche le cappelle fatte erigere a Notre-Dame-La-Grande, a Saint-Germain, a Saint-Hilaire e i castelli delle famiglie Fumé, Berthelot, d’Estissac<br>El tema de investigación estudia los mecanismos de aparición del Renacimiento en Poitiers y sus aledaños, en un lapso temporal comprendido entre el final del siglo XV y la mitad del XVI. En particular, han sido individuadas sus peculiaridades en el ámbito de la arquitectura, privilegiando el análisis de la tipologia de mayor difusión en el contexto urbano, el hôtel.Poitiers, polo principal de la antigua provincia de Poitou, vivió una actividad intensa en el campo arquitectónico hacia finales del siglo XV. No obstante, la parte de la ciudad de época renacentista no ha sido exhaustivamente estudiada, a diferencia de los periodos medieval y del siglo XVII. La investigación busca completar este “vacío” historiografico analizando la producción arquitectónica realizada en la edad gótico-tardía y relacionándola a aquella de otros centros de las cercanías, en los que el Renacimiento se difundió tempranamente, como son Tours e Blois.Con el fin de comprender la modalidad de migración del modelo renacentista italiano en la región de Poitiers, se han examinado en primer lugar los complejos arquitectónicos emblemáticos del primer Renacimiento, que representan un modelo para toda la región, y sus respectivos promotores, atentos a la adopción de cánones clásicos, comparando tiempos y modalidades de difusión con las vicisitudes de los centros del Valle del Loira.Posteriormente, partiendo del aspectos historicos y urbanos, se profundizó a nivel local el examen de la tipología contructiva del hôtel, modelo de estancia de la rica burguesía francesa, cuyo poder económico y político se incrementó durante el siglo XV. El corpus arquitectónico potevino tomado en consideración está constituído por cinquenta conjuntos residenciales aproximadamente, construidos a partir de finales del Cuatrocientos: dada la amplitud de casos, se ha desarrollado el estudio monográfico de cuatro ejemplos emblemáticos del cambio del estilo en el lenguaje. Partiendo del flamboyant hôtel Fumé, y pasando por sus contemporáneos hôtels Berthelot y d’Estissac, considerados los primeros ejemplos renacentistas, se ha llegado al hôtel Beaucé, el cual refleja las soluciones formales adoptadas en el Renacimientos francés maduro. En el ámbito de las indagaciones sobre los promotores, además, han sido analizadas las capillas construídas en Notre-Dame-La-Grande, en Saint-Germain, en Saint-Hilaire y los castillos de las familias Fumé, Berthelot, d’Estissac
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Faisant, Étienne. "L’architecture à Caen du règne de Charles VIII au début du règne de Louis XIII." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040255.
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Principale ville de basse Normandie, Caen a connu à la Renaissance une intense activité sur le plan architectural. Pourtant, après avoir bénéficié au XIXe siècle du travail d’importantes sociétés savantes, elle est restée en marge du mouvement qui a vu, dans ces dernières années, un intérêt renouvelé pour les études urbaines : de grands monuments attendent encore leur première étude, souvent compliquée, il est vrai, par les destructions considérables causées par les bombardements de 1944. Portant aussi bien sur l’architecture religieuse, civile que militaire, cette thèse propose une étude de la création architecturale à Caen entre la fin du XVe siècle et le début du XVIIe, organisée autour de trois axes de réflexion. Le recensement des chantiers, attestés par les sources, l’analyse archéologique ou les travaux d’érudits, permet de mettre en évidence les phases de construction et celles de moindre activité, et donc de préciser l’histoire de la ville et son influence sur les constructions. Pour appréhender les conditions matérielles de la création architecturale, sont ensuite étudiés les rôles et statuts des maîtres d’ouvrage, maîtres d’œuvre et ouvriers, ainsi que la provenance, les usages et les conditions de mise en œuvre des matériaux. L’analyse des œuvres est enfin développée sur deux plans, typologique et stylistique, et, tout en soulignant leur caractère original, replace les réalisations caennaises au sein des réseaux d’échange entre les provinces, les villes et leurs environs. Cette synthèse est complétée par un catalogue présentant, sous la forme de notices et de fiches moins développées, les édifices construits à Caen entre le règne de Charles VIII et le début de celui de Louis XIII<br>The main town of Lower Normandy, Caen, developed an intense architectural activity during the Renaissance period. However, after having benefited from the work of important learned societies in the 19th century, the city has remained on the sidelines of the renewed interest in urban studies of recent years. Some great monuments have not yet been considered, their study being, admittedly, often complicated by the extensive destructions caused by 1944 bombing. Examining religious, civil and military architecture, this thesis proposes a study of the architectural creation in Caen from the late 15th century to the early 17th century and discusses three key factors. The inventory of the works known through the archival records, the archaeological analysis or the scholarly publications highlights phases of high or low activity, and therefore makes clear the history of the town and its influence on constructions. To understand the material conditions of architectural creation, the role and status of owners, architects and workers, together with the origin, custom and conditions of implementation of the materials must be considered. The analysis of the buildings is separated into two parts: it focuses on the typological and stylistic aspects of the works. In this way, it highlights their original character and assesses their implication in exchange networks between the provinces, towns and neighborhoods. This synthesis is completed by a collection of files and of smaller records dedicated to the buildings erected in Caen from the reign of Charles VIII to the beginning of the reign of Louis XIII
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Sherman, Allison M. "The lost Venetian church of Santa Maria Assunta dei Crociferi : form, decoration, and patronage." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1021.
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This dissertation reconstructs the original form and sixteenth-century decoration of the lost Venetian church of Santa Maria Assunta dei Crociferi, destroyed after the suppression of the Crociferi in 1656 to make way for the present church of the Gesuiti. The destruction of the church, the scattering of its contents, and the almost total lack of documentation of the religious order for which the space was built, has obscured our understanding of the many works of art it once contained, produced by some of the most important Venetian artists of the sixteenth century. This project seeks to correct scholarly neglect of this important church, and to restore context and meaning to these objects by reconstructing their original placement in the interest of a collective interpretation. Various types, patterns and phases of patronage at the church—monastic, private and corporate—are discussed to reveal interconnections between these groups, and to highlight to role of the Crociferi as architects of a sophisticated decorative programme that was designed to respond to the latest artistic trends, and to visually demonstrate their adherence to orthodoxy at a moment of religious upheaval and reform.
Books on the topic "16th century architecture"
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Sante, Graciotti, Kowalczyk Jerzy, and Fondazione "Giorgio Cini", eds. L'architetto Gian Maria Bernardoni sj tra l'Italia e le terre dell'Europa centro orientale. Il calamo, 1999.
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Šumi, Nace. Arhitektura 16. stoletja na Slovenskem: Obdobje renesanse = 16th century architecture in Slovenia : the Renaissance period. Architekturni muzei, 1997.
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Čičo, Martin. Architectura delineata et sculpta: Obraz architektúry v grafike 16.-18. storočia = The image of architecture in 16th-18th century prints. Slovenská Národná Galéria, 2011.
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Silva, D. M. K. D., ed. Architecture of tampitaviharas in Sri Lanka: A documentary of some selected Buddha image-houses built on stone pillars in the 16th-19th century Sri Lanka. D.P. Chandrasekara, 2002.
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Elizabeth, Glassman, ed. Reading prints: A selection of 16th- to early 19th-century prints from the Menil Collection : catalogue. Menil Foundation, 1985.
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Vitruvio De architectura: Libri 2.-4. : i materiali, i templi, gli ordini. Vita e pensiero università, 2002.
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Centre, Agnes Etherington Art, ed. First impressions: European views of the natural history of Canada from the 16th to the 19th century. Agnes Etherington Art Centre, Queen's University, 1992.
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Lozano, Mercedes Gómez-Ferrer. Arquitectura en la Valencia del siglo XVI: El Hospital General y sus artífices. Albatros, 1998.
Find full textBook chapters on the topic "16th century architecture"
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Hawkes, Dean. "Tradition and Science: The Evolution of Environmental Architecture in Britain from 16th to 19th Century." In Addressing the Climate in Modern Age's Construction History. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04465-7_6.
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Gámiz Gordo, Antonio, and Luis Ruiz Padrón. "The First Views of Malaga in the 16th Century: Graphic Sources for Research." In Architectural Draughtsmanship. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58856-8_104.
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GIBBERD, FREDERICK. "16TH CENTURY • 1500–50." In The Architecture of England. Elsevier, 2014. http://dx.doi.org/10.1016/b978-1-4831-6687-2.50012-5.
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GIBBERD, FREDERICK. "16TH CENTURY • 1550–1600." In The Architecture of England. Elsevier, 2014. http://dx.doi.org/10.1016/b978-1-4831-6687-2.50013-7.
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Rossi, Gabriele, and Valentina Castagnolo. "Ephemeral Architecture and Painted Architecture." In Conservation, Restoration, and Analysis of Architectural and Archaeological Heritage. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7555-9.ch007.
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The object of this study is a group of architectural perspectives painted on the domes and walls of noble palaces in Apulia, in particular that the baronial palace in Botrugno, the Broquier palace in Trani, and the Manes palace in Bisceglie. The perspectives belong to the “Quadratura” genre that developed in Italy and Europe in the Baroque period, but the architectural solutions represented are specific of the Apulian regional context, of Neapolitan derivation, rather than linked to the noble models of the Emilian and Roman master experiences. These architectural perspectives can be considered belonging to that “immaterial cultural heritage,” as defined by the UNESCO Convention for the Protection of the Intangible Cultural Heritage of 2003, if we consider the cultural significance of these painting representations—as previously mentioned—for their relationship with the 16th-17th century painting season of “Quadratura,” for the massive production of treatises on perspective, as well as for the Baroque experiences and for the tradition in the use of “Festa” ephemeral architectures.
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Sorroche Cuerva, M. Á. "The first rammed earth wall in America. Earth in 16th-century Dominican architecture." In Vernacular and Earthen Architecture: Conservation and Sustainability. CRC Press, 2017. http://dx.doi.org/10.1201/9781315267739-81.
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Marías, Fernando. "Local antiquities in Spain: from Tarragona to Córdoba." In Local antiquities, local identities. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526117045.003.0008.
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The study of Local Roman Antiquities developed in Spain from the end of the 15<sup>th</sup> Century focusing on the ancient remains of Roman cities as Mérida, Segovia, Murviedro and Tarragona. Foreign and Spanish scholars contributed with field research and drawings, and architects tried to dig up the past of their respective towns through excavation and interpretation of the architectural remains, and to put into practice what they thought could have been their own local Roman models as well. Córdoba, the ancient Roman Baetica and Umayyad capital is one of our best examples for studying the way its architecture, orders and ornate could have been analysed and interpreted, and how its architects could use Roman and Umayyad models, by the end of the 16th Century, for their modern local buildings.
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Girella, Luca. "Middle Minoan III—Late Minoan IIIB Tombs and Funerary Practices in South-Central Crete." In Death in Late Bronze Age Greece. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190926069.003.0012.
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This chapter explores the funerary data of South-Central Crete, with particular consideration of Western Mesara, in the Neopalatial, Final, and early Postpalatial period (16th–13th century BC). Previous studies have focused mostly on tomb types and categories of funerary artifacts, while there has been a lack of a broader analysis that explores aspects of mortuary data at different temporal levels. By drawing together the evidence derived from tombs architecture, burial assemblages, and cemeteries distribution, this chapter aims to reconstruct the cultural and political changes that occurred in this part of the island during the period corresponding to the ceramic phases LM I to LM IIIB. In particular, the transformation during the constitution of the second Palatial period and the marginal role of funerary rituals, the introduction of mainland-derived mortuary symbolisms during the hegemony of Knossos, and the decline of mortuary ostentation after the collapse of Knossian power are discussed.
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Dasgupta, Subrata. "Missing Links." In It Began with Babbage. Oxford University Press, 2014. http://dx.doi.org/10.1093/oso/9780199309412.003.0007.
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In Chapter 2, I suggested that Babbage’s place in the history of computing was twofold: first, because his Analytical Engine represented, for the first time, the idea of automatic universal computing and how this idea might be implemented, and second, because some of his design ideas—the store, mill, control, user interface via punched cards—anticipated some fundamental principles of the electronic universal computer that would be created some 75 years after his death. There is a modernity to his idea that makes us pause. Indeed, it led Babbage scholar Allan Bromley to admit that he was “bothered” by the architectural similarity of the Analytical Engine to the modern computer, and he wondered whether there is an inevitability to this architecture: Is this the only way a computer could be organized internally? Thus, Babbage’s creativity lay not only in conceiving a machine that had no antecedent, but also it lay in his envisioning an idea of universal computing that disappeared and then reappeared many decades later, and came to be the dominant architectural principle in computing. This observation is, of course, present-centered; we might be perilously close to what Herbert Butterfield had called the “Whig interpretation of history” (see Prologue, section VII ), for we seem to be extolling Babbage’s achievement because of its resonance with the achievements of our own time. But were there any direct consequences of his idea? What happened after Babbage? Did he have any influence on those who came after? And, if not, what took place in the development of what we have come to call computer science? In fact, there is a view that between Babbage’s mechanical world of computing and the electronic age, nothing really happened—that the time in between represented the Dark Ages in the history of computing. This is, of course, as misguided a view as another held by historians at one time that Europe, between the end of the Roman Empire (circa fifth century) and the Renaissance (the 15th–16th centuries)—the Middle Ages—was in a state of intellectual and creative backwardness.
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Eulisse, Eriberto. "Unveiling Venice's waterways heritage. From the digital and extended Water Museum of Venice to UNESCO's Global Network of Water Museums." In The Cultural Dynamics in Water Management from Ancient History to the Present Age. IWA Publishing, 2021. http://dx.doi.org/10.2166/9781789062045_0213.
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Abstract The Venice is often associated with an image of rich commercial ventures eastwards and trade in the Mediterranean. However, it is worthy of note that for centuries Venice made huge investments westwards to modify the local hydrography and build a sophisticated network of inland waterways. The origin of this system can be traced back to the Middle Ages, when extensive hydraulic works were carried out to modify local watercourses and create artificial canals for commercial and strategic purposes. From the 16th century, improvements in agricultural production and a blooming river trade became possible thanks to functional hydraulic artefacts aimed at managing and controlling all water levels. This system of navigable waterways was carefully managed until the fall of Venice (1797), but subsequently, when railways and road transport came to dominate over inland navigation, it was abandoned. Today Venice's waterways and related waterscapes offer a unique setting to attract tourists. However, with the single exception of the Riviera del Brenta (that is renowned worldwide for its Palladian architecture), this heritage often lies in a worrying state of abandonment. After introducing the geo-historical context where careful management aimed at controlling all water flows was developed over the centuries, this chapter focuses on recent cultural dynamics of managing this inherited water asset. Considering the present state of neglected waterways there are also interesting opportunities for their revitalization. The use of digital tools combined with new eco-tourism strategies indeed can stimulate new models of water governance also for the advantage of local communities. Today ground-breaking visions and new management approaches are needed to transmit to future generations this water heritage. In discussing the research strategy aimed at creating the ‘digital and extended’ Water Museum of Venice, this chapter will show how this model was useful to build a worldwide network of water museums.
Conference papers on the topic "16th century architecture"
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Mashhadi, E. S. "Architecture as symbolic reverence for nature: case studies: Seed Cathedral – 21st Century and Pigeons’ Monastery – 16th Century." In ECO-ARCHITECTURE 2014. WIT Press, 2014. http://dx.doi.org/10.2495/arc140051.
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Aydin Oksuz, Aysun. "THE RELATIONSHIP BETWEEN ARCHITECT AND PATRONAGE OF OTTOMAN MOSQUES IN 16TH CENTURY." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s12.009.
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Read, Margaret, Andrew Meek, Florence Liggins, et al. "Investigations into the composition and deterioration processes of 16th century Limoges enamels using Optical Coherence Tomography (OCT), spectral imaging and X-Ray fluorescence (XRF)." In Optics for Arts, Architecture, and Archaeology (O3A) VIII, edited by Roger Groves and Haida Liang. SPIE, 2021. http://dx.doi.org/10.1117/12.2593898.
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Nava, Fernando Pérez, Isabel Sánchez Berriel, Alejandro González González, Cecile Meier, Jesús Pérez Morera, and Carmen Rosa Hernández Alberto. "AN INTERACTIVE 3D APPLICATION OF A HOUSE FROM THE XVI CENTURY IN SAN CRISTÓBAL DE LAGUNA AS A CASE STUDY FOR THE DISSEMINATION OF CULTURAL HERITAGE." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12061.
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At the end of the XVI century, the historic centre of San Cristóbal de La Laguna was definitively configured as we know it today, as can be seen in the first preserved map of the city, drawn in 1588 by the engineer Leonardo Torriani. It is the first non-fortified Spanish colonial city and its plan has provided a model for the colonial cities of America, making it a UNESCO World Heritage site. The dissemination of this legacy is a task of great importance. A tool of increasing importance for the dissemination and preservation of history and cultural heritage are reconstructions and virtual recreations in 3D. This paper presents a case of the use of these tools for the dissemination of the city's heritage. The 3D modelling of one of the most characteristic types of housing in San Cristóbal de La Laguna in the 16th century is carried out along with the 3D modelling of human virtual characters all based on the historical documentation of that time. With these elements a WebGL application has been implemented in which a user can visit the virtually reconstructed house and receive information on the construction systems and architecture in the city on the XVI century.
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Florez de la Colina, Maria Aurora. "Architectural Design and Construction in the XX Century: from Mechanisation to Automation." In 16th International Symposium on Automation and Robotics in Construction. International Association for Automation and Robotics in Construction (IAARC), 1999. http://dx.doi.org/10.22260/isarc1999/0028.
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Pahlavan, Ali, Mahmoud Momtazpour, and Maziar Goudarzi. "Data center power reduction by heuristic variation-aware server placement and chassis consolidation." In 2012 16th CSI International Symposium on Computer Architecture and Digital Systems (CADS). IEEE, 2012. http://dx.doi.org/10.1109/cads.2012.6316436.
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Rosa, J. "Sharing data in a modern control centre configuration: architecture and experiences." In 16th International Conference and Exhibition on Electricity Distribution (CIRED 2001). IEE, 2001. http://dx.doi.org/10.1049/cp:20010815.
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Kehs, Joshua, Dougal Bohl, Goodarz Ahmadi, and Behtash Tavakoli. "Experimental Study of Airflow Around the Syracuse CoE Building." In ASME 2009 Fluids Engineering Division Summer Meeting. ASMEDC, 2009. http://dx.doi.org/10.1115/fedsm2009-78287.
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The Center of Excellence (CoE) in Environmental and Energy Building in Syracuse is currently under construction and is planned for completion in 2009. In this study, wind tunnel experiments of the CoE Building were performed. A 3D CAD model was created from architectural blueprints and was used to create a scale (1/16th inch = 1 foot) physical model using the stereo-lithography techniques. The details of the building structure were captured in the model for features with characteristic lengths greater than 1% of the building height. The physical model included 54 surface pressure taps located over the model’s exterior surface. The model was installed on a turntable built into the floor of the wind tunnel. Pressure measurements were taken at several wind speeds for different wind directions. PIV measurements were performed in 2 planes for the same wind directions and speeds. From the PIV measurements, 2D mean and root-mean square (RMS) velocities mean and RMS vorticity were calculated. The experimental data was compared with the computer simulation study and good agreement was found.
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Di Lucente, S., R. Pueyo Centelles, H. J. S. Dorren, and N. Calabretta. "Study of the performance of an optical packet switch architecture with highly distributed control in a data center environment." In 2012 16th International Conference on Optical Networking Design and Modeling (ONDM). IEEE, 2012. http://dx.doi.org/10.1109/ondm.2012.6210266.
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