Academic literature on the topic 'Colonnades (architecture)'
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Journal articles on the topic "Colonnades (architecture)"
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Vlasov, Viktor G. "ARRHYTHMIA OF COLONNADES IN ROMAN BAROQUE ARCHITECTURE." Architecton: Proceedings of Higher Education, no. 3(71) (September 29, 2020): 5. http://dx.doi.org/10.47055/1990-4126-2020-3(71)-5.
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The article considers the special rhythmic structure inherent in the facades of Roman baroque churches of the late 16th – 17th centuries. Select examples illustrate the relations typical of such architecture between the bottom diameter of columns (embates), intercolumniation, and column height. These relations include the classical ones, which are consistent with the theory of proportions of Pythagoras and the rules of Vitruvius, but the unusual arrhythmic techniques of the composition create a special dissonant resonance with human biorhythms and mental states within the space of Baroque architecture.
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Haselberger, Lothar, and Samuel Holzman. "Visualizing asperitas: Vitruvius (3.3.9) and the ‘asperity’ of Hermogenes’ pseudodipteral temple." Journal of Roman Archaeology 28 (2015): 371–91. http://dx.doi.org/10.1017/s1047759415002536.
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Asperitas, a key term of Hellenistic-Roman art criticism for the assessment of columnar architecture, is anchored in two passages in Vitruvius, which both point to ‘asperity’ as the decisive criterion for achieving an unparalleled, truly eye-catching visual effect. In the best known of the two passages (3.3.8–9), praise is piled on Hermogenes for having systematically established this effect in the design of temples. In fact, he is credited with the invention of the theory (ratio) of pseudodipteral temple colonnades. And this column arrangement, with ambulatories of greatly increased (double) depth around the cella, is supposed to have been invented to provide dignified grandeur (auctoritatem) in its appearance propter asperitatem intercolumniorum: 3.3.9. This visual effect came with the practical advantage that those deep pseudodipteral colonnades also provided rain-protected space for crowds to circumambulate around the temple’s cella (in aede circa cellam). Vitruvius’ other reference to asperitas, in a visual sense, appears in the context of wall-painting (7.5.5), where a certain Apaturios of Alabanda is reported to have created a deceptively dazzling effect propter asperitatem in his rendering of colonnades and temples, so much so that the visual effect of the painting outshone its deficiencies in logic (which, when pinpointed by the mathematician Likynos, the artist hastened to correct: 7.5.6–7). Here we will analyze a reconstructed 3D computer model of Hermogenes’ well-documented pseudodipteral temple at Magnesia in order to tease out the visual effect and on-site experience of that asperitas which is described by Vitruvius in such tantalizing terms.
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Bazilevich, Mikhail E., and Anton A. Kim. "STYLISTIC FEATURES OF THE EUROPEAN ARCHITECTURE OF BANKING INSTITUTIONS IN GUANGZHOU LATE 19TH – EARLY 20TH CENTURY ON THE EXAMPLE OF SHAMYAN ISLAND." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 5–17. http://dx.doi.org/10.17223/22220836/41/1.
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The article is devoted to the architecture of European banking institutions in Guangzhou, built on the territory of Shamyan island in the late 19th – early 20th century. A brief historical excursion into the history of the formation of the British and French concessions is given. This publication examines the stylistic and compositional features of the architecture of such banking institutions as: Hong Kong and Shanghai Banking Corporation; The Chartered Bank of India, Australia and China; International banking corporation (City Bank); Bank of Taiwan; Commercial Corporation of Mitsubishi; Yokogama Specie Bank; The E.D.Sassoon & Co.Ltd. и D. Sassoon Sons Co. Ltd; Bank of Indochina; China & France Industry Bank. A composite and stylistic analysis was conducted, an iconographic description of the buildings of the main banks located within the boundaries of the former European concessions on Shamyan Island is given The study reveals the general principles of the development of the architecture of banking institutions in Guangzhou. The materials and results of the research carried out by the authors of this article allowed us to formulate the following conclusions: 1. The territorial isolation of the Shamyan island from the Chinese part of Guangzhou, as well as the operation within the concessions of British and French laws, contributed to the fact that the development of the architectural ensemble of the island as a whole was carried out in line with the advanced West European architectural and urban trends. 2. Most of the banking buildings here are built in the eclectic style with the predominance of neoclassicism features, of course, this fact is connected with the desire of the owners of bank corporations to demonstrate to the clients and competitors the financial strength of their organizations. 3. In the architecture of the considered banking institutions there is an active use of tectonics and elements of the order system, colonnades, arcades, the allocation of the first floor in the form of a rustic plinth. The motifs of Renaissance architecture, Baroque and Art Nouveau are also traced. 4. The formation of the appearance of banking buildings in Shamyan was strongly influenced by local conditions. The hot and humid subtropical climate of the south of China contributed to the spread in the architecture of the structures of this type of order colonnades, forming deep open verandas, as well as the use of X-shaped creaks-elements to ensure the natural ventilation of buildings, which, in addition, became an expressive element of the facade decoration
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Denker, Ahmet. "Rebuilding Palmyra virtually: recreation of its former glory in digital space." Virtual Archaeology Review 8, no. 17 (July 26, 2017): 20. http://dx.doi.org/10.4995/var.2017.5963.
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<p class="VARAbstract">This paper addresses the role of the digital tools and methods in the preservation of cultural heritage. As the destruction of Palmyra made international headlines, digital tools emerged as a key tool to fight back against the total deletion of the heritage site from memories. Palmyra in Syria had been, with its Corinthian colonnades, theatre and splendidly built temples to ancient gods, source of inspiration and imagination for Western architecture. In this paper, the aim is reviving the lost reality of Palmyra by digitally reconstructing its “ghost images” from rubbles. The paper offers a glimpse of the grandeur and beauty of the ruins of Palmyra, none of which any longer remains in its entirety. 3D models of the most significant structures of Palmyra, including Temple of Bel and Temple of Baalshamin which have been levelled as a result of conflict based vandalism, as well as the Grand Colonnaded Street and the theatre are presented as “ghost images” through reconstructed 3D models. The focus has been in maintaining the accuracy and validity of the visualised data of the relics and environment of Palmyra, as they were once extant. Following the trauma caused by the destruction of Palmyra, these reconstructions revive in our memory the splendour of the city in the Greco-Roman Period.</p>
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Well, G. B. Way, and J. J. Wllkes. "Excavations at Sparta: the Roman stoa, 1988–91. Part 2." Annual of the British School at Athens 89 (November 1994): 377–432. http://dx.doi.org/10.1017/s006824540001546x.
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Survey and excavation between 1988 and 1991 have revealed new evidence for the form, date, and history of the Roman stoa at Sparta. Nearly 200 m long, it was double-fronted and colonnaded, finished in marble, with two storeys on the S side and perhaps a single portico to the N, set either side of a central row of brick-faced concrete compartments that helped consolidate the acropolis plateau. Its order may have been archaizing Doric; it may have represented a reconstructed version of the Persian stoa. At the W end it buttressed the Round Building and its square podium. Evidence of the stratigraphy and architecture suggests it was built c. AD 130 and that the colonnades collapsed in the late 4th cent., after which it was partly incorporated into the late Roman wall circuit. The nearly central, cross-vaulted nymphaeum (bays XI–XII) was reused in the Middle Byzantine period for religious purposes, when a church was built nearby; possibly this was the church and monastery founded by St Nikon Metanoeites c.975. Occupation continued until c.1350. Interpretation of the topography of Sparta in the light of the new evidence from the stoa suggests that the still elusive agora may have been on the upper plateau N of the stoa, rather than beneath the stadium to the S.
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Duraj, Miloš, Dominik Niemiec, Jan Kubáč, Marian Marschalko, Radek Pohanka, David Sysala, Jindřich Vlček, and Erik Sombathy. "UNESCO World Heritage Site Karlovy Vary and its geotourism development opportunities linked with architecture." MATEC Web of Conferences 396 (2024): 13001. http://dx.doi.org/10.1051/matecconf/202439613001.
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Today’s appearance of spa towns in the country is represented by the architecture of the 19th and 20th centuries. We mainly find elements of empire, neo-renaissance, and art nouveau in them. Even Karlovy Vary, even though its history goes back to the past, presents itself with this architecture. Even though the spa was here at the very beginning of the city’s foundation, nothing was left of the original buildings due to natural disasters. If they were not natural disasters, they were also remediation that freed up space for the construction of new buildings. Apart from hotel buildings, typical objects of spa architecture are mainly spa buildings and pavilions, construction modifications of springs or colonnades. An essential part of these centres is also greenery and water supplements that balance the mass of these buildings. However, the favourable geological, especially hydrogeological and geomorphological conditions of these locations play the most important role for the development of the spa industry. From the point of view of tourism in Karlovy Vary, the aim of this work is to connect the classic spa tourism of this city, which was already supplemented by film tourism in the middle of the 20th century with geotourism.
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Hemsoll, David. "Palladio's Architectural Orders: From Practice to Theory." Architectural History 58 (2015): 1–54. http://dx.doi.org/10.1017/s0066622x00002574.
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The enduring concept of the orders was fundamental to the perpetuation of the classical tradition, and it is central to much architectural theory. One of the most resoundingly influential of its elucidations was published in 1570 by Andrea Palladio (1508–80) in the opening book of his architectural treatise, the Quattro libri dell'architettura (Four Books of Architecture). There, as in other theoretical works from around this period and later, the five orders — Tuscan, Doric, Ionic, Corinthian and Composite — are presented as a hierarchy of purportedly ideal exemplars; and, in this particular case, their universal ‘principles’ (precetti) are conveyed through two sets of illustrations, one depicting colonnades (Fig. 1) and the other arcades (Fig. 2), together with many further plates showing various individual details. In each of the main illustrations, the specimen is given its own designated proportions of column-diameter to column-height, ranging from 1:7 for Tuscan to 1:10 for Composite, and a distinctive formal make-up for both the column and its accompanying entablature. What is little borne in mind, however, is that this published rendition of the orders dates from towards the end of Palladio's career and was preceded by three decades of prolific practice, during which time his approach — as we shall discover — was in many respects very similar. In other words, the Quattro libri treatment of the orders was not merely a necessary and predictable inclusion in such a publication, or just a theoretical or ‘paper’ exercise, which is rather how it has also been viewed, since, as we shall see, it was representative to a very substantial degree of Palladio's actual established practice and its underlying rationale and philosophy.
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Ou, Weibing, Xudong Chen, Andrew Chan, Yingyao Cheng, and Hongfan Wang. "FDEM Simulation on the Failure Behavior of Historic Masonry Heritages Subjected to Differential Settlement." Buildings 12, no. 10 (October 2, 2022): 1592. http://dx.doi.org/10.3390/buildings12101592.
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Historic masonry heritages, such as cathedrals, colonnades, and arch bridges, were constructed with individual components (e.g., stones, bricks, other materials) bound together with, e.g., mortar, and they are very vulnerable to foundation settlement, especially differential settlement which occurs frequently in engineering practice. These masonry structures are discontinuous, and therefore, their behavior under differential settlement is highly nonlinear and complex. In this study, the combined finite-discrete element method (FDEM) is employed to simulate the failure behavior of historic masonry heritages subjected to support differential settlement. In the FDEM models, structures are discretized into elements where FE formulation is incorporated, resulting in an accurate estimate of structural deformation and interaction forces. In addition, a fracture model is employed for masonry blocks. Numerical examples are given and compared with results from the literature, showing that the FDEM is applicable and reliable in simulating the failure behavior of historic masonry heritages. Further analyses including block fracture reveal that fracturing can decrease the capacity against settlement significantly.
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Kanellopoulos, Chrysanthos, and Eleni Zavvou. "THE AGORA OF GYTHEUM." Annual of the British School at Athens 109 (October 16, 2014): 357–78. http://dx.doi.org/10.1017/s0068245414000070.
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The Roman ‘Agora’ of Gytheum appears to be a large compound with an interior peristyle; its width is 52 m and its length at least 61 m. Excavations have revealed the remains of the north-east corner and a portion of the west wing. The extant architectural blocks allow the reconstruction of the colonnades. Column shafts were made of local red limestone and at least some of them were crowned with lotus-and-acanthus capitals. Three different interaxial column spacings are present. A single column must have stood on each corner of the peristyle. The style of the column capital suggests a date after the yearad100. The entablature is almost identical, in both style and dimensions, to the one found on the Captives' Facade at Corinth. The inscription on two epistyles reveals the private dedication of an exedra totheoi Sebastoiand the city. Most probably the exedra was behind the colonnaded space; the mention oftheoi Sebastoimight suggest imperial cult either in the exedra alone or both in the exedra and in the entire colonnaded compound. Quite possibly, and following A. Themos' suggestion, a large part of the colonnaded compound that is conventionally termed the ‘Agora’ can be identified with the Sebasteum/Caesareum of Gytheum; this latter structure is attested in other inscriptions from the city.
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Ryan, Garrett. "Street Theater: Building Monumental Avenues in Roman Ephesus and Renaissance Florence." Comparative Studies in Society and History 61, no. 1 (December 28, 2018): 82–110. http://dx.doi.org/10.1017/s0010417518000506.
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AbstractBetween the late first and the mid-third century CE, local elites in the eastern provinces of the Roman Empire lined the formerly utilitarian streets of their cities with honorific statues, colonnades, and ornamental buildings. The monumental avenues thus created have usually been interpreted as unplanned products of competitive munificence. This article, by contrast, suggests that the new streets had real political significance. It compares the monumental avenues of Roman Ephesus with a formal analogue from a better-documented historical context: the long, colonnaded courtyard of Florence's Uffizi complex, constructed by Duke Cosimo I in the mid-sixteenth century. Comparison with the Uffizi courtyard illuminates the prominence of “democratic” architectural conventions in Ephesian monumental avenues, the elite-centric vision of civic history implicit in their sculptural displays, and the degree to which public ceremonies reinforced their political messages.
Dissertations / Theses on the topic "Colonnades (architecture)"
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El, Achi El Saadi Rola. "Les rues à colonnades romano-byzantines du Liban : étude d'archéologie, d'architecture et de conservation au travers des exemples de Byblos, Beyrouth et Tyr." Electronic Thesis or Diss., Paris 1, 2023. http://www.theses.fr/2023PA01H050.
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Avec l'intégration de Byblos, Beyrouth et Tyr dans l'Empire romain, vers 64 avant J.-C., ces villes ont connu un renouveau architectural exceptionnel, qui a duré plusieurs siècles. Durant cette période, et d'après les fouilles entamées sur les sites au cours des XXe et XXIe siècles, il semble que le tissu urbain de chaque ville ait été réorganisé et doté de nouveaux monuments répondant autant que possible aux nouvelles exigences de standardisation et d'idéalisation architecturale. Parmi les vestiges qui nous renseignent sur la grandeur du paysage urbain romano-byzantin de Byblos, Beyrouth et Tyr figurent leurs rues à colonnades. La construction de ces artères principales qui reliaient les différents secteurs de chaque ville, débuta vers la fin du Ier siècle. Elle atteint son apogée au IIe siècle, puis connu un développement exceptionnel à la fin de l'Antiquité, avant de disparaitre complètement pendant les périodes médiévales et de tomber dans l'oubli. Cette thèse sera donc l'occasion d'examiner l'évolution historique, esthétique et fonctionnelle de ce type de monument. Elle nous permettra d'interpréter les données archéologiques recueillies sur le terrain en adoptant un croisement systématique des différents attributs identifiés, ce qui nous aidera à saisir les similitudes qui caractérisent les rues à colonnades du Liban, ainsi que les différences qui les distinguentWith the integration of Byblos, Beirut and Tyre into the Roman Empire, around 64 BC, these cities underwent an exceptional architectural revival, which lasted for several centuries. During this period, and according to the 20th and 21st centuries excavations that were undertaken on these sites, it seems that the urban fabric in each city was reorganized and endowed with new monuments that met as much as possible the new requirements of standardization and architectural idealization. Among the surviving ruins that tell us about the grandeur of the Roman-Byzantine urban landscape of Byblos, Beirut and Tyre stand their colonnaded streets. The construction of these main arteries, which linked the different sectors in each city, began towards the end of the 1st century. It reached its peak in the 2nd century and then underwent an exceptional development at the end of Antiquity, before disappearing completely during the medieval periods and falling into oblivion. This thesis will therefore be an opportunity to examine the historical, aesthetic and functional evolution of this type of monument. It will enable us to interpret the archaeological data collected on site by adopting a systematic cross-referencing of the various attributes identified, which will help us to grasp the similarities that characterize the colonnaded streets of Lebanon, as well as the differences that distinguish them
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Suaudeau, Jacques. "Les colonnades d’étage dans les maisons de Pompéi, Herculanum et Oplontis. Antécédents, genèse, analogies." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040001.
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L’exploration archéologique des sites des villes ensevelies le 24 Août 79 sous les cendres et lapilli émanés du Vésuve en éruption a révélé la présence de colonnades dans les étages de quelques-unes (31) des maisons ainsi mises au jour, colonnades au travers desquelles certaines pièces de ces étages communiquaient avec l’extérieur, atrium, péristyle, jardin ou rue. Ces colonnades sont constituées en général de quatre colonnettes d’une hauteur moyenne de 2,10 m, distantes d’environ 160 cm l’une de l’autre (distance inter axiale), comprises entre deux antae latérales, le tout formant une baie d’environ 8m de large sur 2 mètres de hauteur. Deux groupes de maisons dotées de telles colonnades d’étage peuvent être distingués. Le groupe le plus homogène et le plus consistant (11 maisons), qui correspond aussi aux maisons les plus anciennes est constitué par les maisons avec « cenaculum à colonnade ». dans lesquelles la colonnade d’étage et la salle située en arrière d’elle sont situées le plus souvent au dessus du tablinum. Le second groupe de maisons présentant une colonnade d’étage correspond à des habitations plus vastes, plus récentes, possédant un péristyle, et dans lesquelles la colonnade d’étage s’ouvre sur ce péristyle (9 maisons). L’étude des origines de ces colonnades d’étage montre que ces deux types de colonnades d’étage pompéiennes correspondent à deux types d’apport hellénistique : - le premier type, originel, du cenaculum à colonnade, placé au-dessus du tablinum, aurait puisé son inspiration dans les traditions étrusques, au travers de l’émergence de la Domus italico-romaine ; - le second type, plus tardif, du portique sur péristyle, évoluant vers le portique superposé au portique du péristyle, aurait quant à lui puisé son inspiration dans les stoai hellénistiques avec portiques superposés, et dans les portiques superposés des « basileia » macédonienne et de PergameThe archaeological exploration of the sites of the cities buried on August 24th, 79 under the ashes and lapilli from erupting Vesuvius revealed the presence of colonnades in the upper floors of some (31) of the houses so brought to light, colonnades through which certain rooms of these upper floors communicated with the outside, the atrium, the peristyle, the garden or the street. These colonnades are generally constituted by four small columns of an average height of 2,10 m, distant about 160 cms one of the other one (inter axial distance), comprised between two antae, the whole realizing a window about 8m wide and 2 meters high. Two groups of houses endowed with such upper floor colonnades can be distinguished. The most homogeneous and the most substantial group ( 11 houses), which also corresponds to the oldest houses is constituted by houses with " cenaculum with colonnade ". In which the upper floor colonnade and the room situated at the back of it are situated mostly above the tablinum. The second group of houses presenting an upper floor colonnade corresponds to larger, more recent houses, with a peristyle, in which the upper floor colonnade opens on the peristyle (9 houses). The study of the origins of these upper floor colonnades shows that these two types of upper floor Pompeian colonnades correspond to two types of Hellenistic contribution: - The first type, original, of the cenaculum with colonnade, placed over the tablinum, would have drawn its inspiration from the Etruscan traditions, through the emergence of the italico-Roman Domus ; - The second type, later, of the colonnaded opening on the peristyle, evolving towards a portico built over the portico of the peristyle, would have drawn its inspiration from the Hellenistic stoai with superimposed porticoes, and from the superimposed porticoes of the Macedonian and Pergamon "basileia"
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Hammond, Mark D. ""Road work ahead" the transformation of the colonnaded street in sixth and early seventh century Palestine and Arabia /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/5912.
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Thesis (M.A.)--University of Missouri-Columbia, 2006.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (February 26, 2007) Includes bibliographical references.
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Ahl, Eliasson Johan. "Tillbyggnad till Nationalmuseum." Thesis, KTH, Arkitektur, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-122660.
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Kandidatarbetet syftar till att rita en tillbyggnad till Nationalmuseum i Stockholm. Museets nuvarande lokaler ska inom en snar framtid omorganiseras, de verksamheter (konservering, forskning, adminstration etc) som idag är förlagda till huvudbyggnaden ska placeras i en tillbyggnad. Den nuvarande tillbyggnaden (annexet) ska rivas. Tillbyggnaden i detta kandidatprojekt, är placerad på Nationalmuseums baksida. En mindre huskropp i fyra våningar agerar huvudsakligt fasadmotiv och innehåller lastintag och entré på gatuplan, studiesal och referensbibliotek på plan 2 och kontor på plan 3 och 4. Denna volym ligger parallellt med Nationalmuseum. I en svag vinkel ligger en lång och låg huskropp som innehåller konserveringsateljéerna. Denna volym ligger parallellt med Blaisieholmens kvarterssystem. Den låga volymen är helt stängd mot söder, med en traditionellt murad stenmur ytterst. Denna stenmur ramar tillsammans med Nationalmuseums nordostfasad och en länkande kolonnad in platsen bakom Nationalmuseum och riktar den in i sig själv och ut mot vattnet. Platsen som bildas i mellanrummet mellan originalbyggnaden och tillbyggnaden blir en skulpturpark, avsedd att förevisa reproduktioner av Nationalmuseums skulpturala verk. Platsen blir också en identitetsskapande plats i centrala Stockholm riktad mot stadens andra stora konstmuseum, Moderna Museet på Skeppsholmen.The aim of the work is to design an extension to The National Museum in Stockholm. The current facilities are going to be reorganized in a near future. Conservation of artworks, research and administration, today housed in the museum building, will be moved to an extension. The current addition, built in the 1960s will be torn down. The extension designed in this work is placed behind (north of) The National Museum. A smaller body of four stories act as prime motif and include entrances, offices, research rooms, library and main vertical communication of the extension. This volume lies parallel to the original building. In a small angle to the first body a lower but very elongated volume lies, it is a continuation of the apparent urban grid. It includes the conservation studios and forms a solid granite wall toward the National Museum and the sculpture park created between them. The park becomes a new, identifiable space in the city, in a way targeting the modern museum of art across the water.
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Manoukian, Hagob. "Monuments of The Ones Before." Thesis, KTH, Arkitektur, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-298724.
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Architecture and Film - A Symbiotic Relationship. This project is not intented to be revolutionary, but rather exploratory. To delve deeper into ones interests and better understand them. My architectural studies are five years young, and my passion for film has been with me for as long as I can remember. That is why I see my diplomaproject as an opportunity to bring both worlds that fuel my creativity together. I do not see myself as an architect without being a filmmaker and I cannot create worlds as a filmmaker without exploring architecture. ---------------------------------------------- An anomaly was detected in the northern region of Europe. Satellite images show an island not included in any of our maps on which monolithic structures are resting. The clean geometry and the elusive dimensions show monuments difficult to specify in time. These monuments seem ancient, but they are not primitive. They show advanced knowledge of our celestial bodies from however long ago. These are The Monuments of The Ones Before. Once, before our time. To you the reader: We have made a startling discovery… This is the birthplace of astronomy.
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Ben, Aros Mohamed. "Les développements architecturaux à Leptis Magna pendant l'époque sévérienne (193 – 235)." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040008.
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Leptis Magna a joué un rôle essentiel dans l'histoire de l'Afrique du Nord. Ce rôle se base sur des données économiques de la ville et de la bonne gestion de ses élites, qui sont ouvertes à la politique de romanisation en adoptant les coutumes et les modèles de l'architecture romaine. Parmi les élites les plus célèbres, celle de la famille des Spetimii : Septime Sévère qui accéda au trône en 193 après J-.C, sous son règne Leptis Magna atteint son apogée et devient la Rome Africaine, en y édifiant les bâtiments sévériens qui font l’objet de cette étude. Le choix de ce sujet se justifie essentiellement par l’importance de l'urbanisme lepcitain et ses caractéristiques à l’époque sévérienne. Qui ont généré des travaux foisonnants en plusieurs langues. Un bilan est désormais nécessaire qui aura pour objectif de mettre en évidence l’importance et l’originalité de cette phase sévérienne: aussi bien pour la ville elle-même que pour l’idéologie impériale, qui s’est manifestée ici de manière éclatante. Nous essayerons ici de connaitre pour quelles raisons Septime Sévère accorda toute son attention à construire ces édifices somptueux pendant une courte période. Parce qu'elle était sa ville natale ? Où bien, présentait-elle un bénéfice avantageux pour Rome ? L'intérêt de ces monuments grandioses datés de l’époque romaine nécessite une recherche historico-scientifique au niveau du tissu urbain : connaitre leur fonctionnement et leur rôle dans la société romaine; étudier leurs composants esthétiques en essayant de trouver les points communs entre eux; également mesurer l’amplitude de la production artistique et sa relation avec le développement politique et économique de la villeLeptis Magna has played a vital role in the history of North Africa.This role is based on the economic data of the city and the good management of its elites who are opened the policy of Romanization by adopting the Roman customs and patterns of Roman architecture. Among elites, most famous are those of the family Septimii which allowed his child, Septimius Severus, came to the throne in 193 AD. Under the reign of this emperor, Leptis Magna reached its peak of prosperity and became the Rome of Africa by setting up a massive constructions program: “The Severan Buildings” are the subject of this study. The choice of this subject is essentially justified by the importance of planning lepcitain characteristics at the Severan period, which generated abundant work in multiple languages. Now an assessment is necessary to highlight the importance and originality of this Severan phase: both for the city itself as well as for imperial ideology, which is conveyed brilliantly. We will try here to know why Septimius Severus gave his full attention to build these magnificent buildings in a short period. Perhaps because it was his hometown? Or was the town an advantageous asset for Rome? The beauty of these great monuments dating from the Roman era requires a historical and scientific research in the urban fabric: To know their operation and their role in Roman society; to study their aesthetic components and to find the common points between them, also to measure the amplitude of the artistic production and its relationships with the political and economic development of the city
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Taylor, Craig. "The design and uses of bath-house palaestrae in Roman North Africa." Phd thesis, 2009. http://hdl.handle.net/10048/459.
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The topic of this thesis is the palaestrae of Roman Africa. Although many examples of palaestrae have been found in North Africa, there has never been a study solely focused on these facilities. They have usually been considered only in the context of Roman baths and as features of bath buildings. This thesis examines palaestrae in a new light and analyzes their role as athletic facilities within the sporting culture of Roman Africa. The Roman provinces of North Africa have yielded a particularly rich body of evidence for athletic games and festivals, making this region ideal for studying this topic.
The concern of the thesis is twofold. The first issue is the design and construction of palaestrae in Roman Africa. There is discussion of their form, of construction techniques, and of their place in the overall design of baths. The second issue is how their form relates to function. There is a discussion of how palaestrae accommodated athletic activities, such as training and competition.
The thesis concludes that palaestrae in Roman Africa were an important part of local athletic culture, used for training and possibly for competition. Greek and Roman models influenced their design, but climate played a significant role. Great effort was made to ensure these buildings were kept cool, not only by placing them in less exposed areas but also by insulating them from the heated rooms of the baths. Local resources and building techniques were important factors in their construction. This thesis includes a gazetteer of palaestra sites in Roman Africa and a catalogue of all inscriptions relevant to the use of palaestrae.Classical Archaeology
Books on the topic "Colonnades (architecture)"
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Linstrum, Derek. Towers and colonnades: The architecture of Cuthbert Brodrick. Leeds: Leeds Philosophical and Literary Society, 1999.
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Greenwood, Cedric. Thatch,towers and colonnades: The story of architecture in Southport. 2nd ed. Preston: Carnegie Publishing Ltd, 1990.
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Doremus, Thomas. Classical styles in modern architecture: From the colonnade to disjunctured space. New York: Van Nostrand Reinhold, 1994.
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Thatch, Towers and Colonnades. Carnegie Publishing Ltd, 1990.
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Doremus, Thomas. Classical Styles in Modern Architecture: From the Colonnade to Disjunctured Space. Wiley & Sons, Incorporated, John, 1994.
Find full textBook chapters on the topic "Colonnades (architecture)"
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Albright, Thomas D. "Neuroscienze per l’architettura." In La mente in architettura, 193–211. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-286-7.12.
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Discusses the Indian design treatise the Vaastu Veda in relation to visual neuroscience. Relates visual perception in architecture to functional organisation of the brain. Relates Hubel and Weisel’s orientation sensitivity to the sense of order and pleasure imparted by the regularity of colonnades and cable stay bridges. Suggests aspects of perception facilitated by neuronal architecture and the dynamic between familiarity and novelty, plasticity and visual attunement.
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Shchedrin, P. "Study of colonnade structures of St. Isaac's Cathedral in St. Petersburg." In Reconstruction and Restoration of Architectural Heritage 2021, 367–70. London: CRC Press, 2021. http://dx.doi.org/10.1201/9781003136804-71.
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Cavalier, Laurence. "Chapitre I. Colonnades et entablements." In Architecture romaine d’Asie Mineure, 193–96. Ausonius Éditions, 2005. http://dx.doi.org/10.4000/books.ausonius.3333.
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"Colonnade." In The Visual Dictionary of Architecture, 85. AVA Publishing SA Bloomsbury Publishing Plc, 2008. http://dx.doi.org/10.5040/9781350096462.0071.
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Harris, Diane. "The Historical Context of the Treasures." In The Treasures of the Parthenon and Erechtheion, 1–39. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198149408.003.0001.
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Abstract ‘Our knowledge of the architecture of the Parthenon only really falters when we try to envisage details of its interior. Much of the outer colonnades and walls still stand and the rest can be confidently restored, but the requirements of its Orthodox, Catholic and Moslem occupiers have stripped its interior of all but pavement traces of what once stood there.’ To reconstruct the appearance of the interior of the Parthenon architecturally is still a challenge, but to restore what was kept inside the temple is now possible, thanks to the preservation of some 200 marble inscriptions which record the inventories of the Parthenon in the classical period. A variety of types of furniture, vases, musical instruments, armour, and jewellery were kept in all the rooms of the Parthenon, as well as the Erechtheion, Chalkotheke, Stoa of Artemis Brauronia, and the Opisthodomos. The inventories allow a reconstruction of the interior arrangement of the Chalkotheke, and to a lesser extent shed light on the murky interiors of the Erechtheion and Parthenon. The inventory lists indicate that shelves and storage boxes, labelled alphabetically for keeping gold wreaths and other small valuable objects, were used inside the Parthenon.
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Iurilli, Stefania. "Caramuel's “Architectura Obliqua”." In Advances in Media, Entertainment, and the Arts, 309–36. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0029-2.ch014.
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The content of this chapter comes from a wider research, investigating a controversial architectural treatise titled “Architectura Civil Recta y Obliqua”. It was written in the late XVII century by the polygraph and mathematician Juan Caramuel de Lobkowitz, and it is often mentioned by historians in relation with the cultural debate around an illustrious project: Bernini's Vatican colonnade. However, the theoretical apparatus behind the “invention” of oblique architecture - certainly the most original part of the treatise - is more complex, and it is thought to sink its roots in the rising Science of Representation. The book has been subject of a renewed academic interest in the recent past. Nevertheless, a systematic study that efficiently related the treatise, the complex personality of its author and the scientific and cultural background of XVII century is still missing.
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Saudrais, Anthony. "L’architecture théâtralisée. Représenter la Colonnade du Louvre (xviie – xviiie siècles)." In Architectures fictives, 191–203. Presses Universitaires de Bordeaux, 2021. http://dx.doi.org/10.4000/books.pub.46005.
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"The Parthenon’s North Colonnade: Comments on Its Construction." In New Directions and Paradigms for the Study of Greek Architecture, 21–38. BRILL, 2019. http://dx.doi.org/10.1163/9789004416659_003.
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Bunson, Margaret. "L." In A Dictionary of Ancient Egypt, 142–51. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195099898.003.0012.
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Abstract Labyrinth the Greek name given to the temple precinct of a pyramid complex consisting of many courts and colonnades, erected at Hawara beside the faiyum, by amenemhet iii of the 12th Dynasty (1844–1797 b.c.). Historically the structure has been identified as a palace, a mortuary complex, and as an administrative or cult center of the era. It is called the Labyrinth because of the complexity of its architectural design. Shafts, corridors and stone plugs were part of the original plan, all incorporated into the pyramid to protect the central burial chamber of the king. This portion of the pyramid was cut from a single block of granite and is estimated to have weighed about 110 tons. Twelve separate courts graced the Labyrinth, all facing one another in a lavish display of architectural skill.
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Holzman, Samuel. "Modeling Hermogenes." In Building the Classical World, 94–106. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190690526.003.0006.
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The Modeling Hermogenes seminar, a graduate course in fall 2014 at the University of Pennsylvania, built a computer model of the Hellenistic temple of Artemis Leukophryene at Magnesia on the Maeander to analyze the architectural remains of this now ruined building. This experiment of Bauforschung in three dimensions sought to access the visual and experiential aspects of the innovative pseudodipteral temple plan designed by Hermogenes (c. 200 BCE). Digital visualization proved to be an essential research tool because conventional pen-and-ink illustrations of the temple in plan, elevation, and section provide little impression of the in-person appearance of the structure. Recreating in three dimensions the conjectural elements of the superstructure, ceiling, and roofing—which are so often assumed and hidden in reconstructions—laid bare the construction challenges and possible solutions used at Magnesia. The experimental process of computer modeling revealed the engineering of the optical effects that earned this monument fame in antiquity for its audacious spaciousness. Visualizing the encircling portico highlights the significance of the contrast between the exterior colonnade and the open interior that produced the deceptive quality of the pseudodipteral design.
Conference papers on the topic "Colonnades (architecture)"
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Bessette, S., J. Vaucher, M. Fregier, and N. Chourot. "Système expert pour la composition do colonnades d'ordres classiques selon les règles de i'architecture reguiière formulées par Andrea PALLADIO." In Colloque CAO et Robotique en Architecture et BTP (3rd International Symposium on Automation and Robotics in Construction). Paris: Hermes, 1986. http://dx.doi.org/10.22260/isarc1986/0022.
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Marshall, Stephen, and Yuerong Zhang. "Towards a ‘fractal’ typomorphology: integrating concepts of type, form and dimension." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6151.
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While the urban fabric has both three and two dimensional aspects, we rarely if ever experience urban form as a fully three-dimensional object nor as a two-dimensional ground plan. Rather, the urban fabric is experienced more in terms of places with a fractal dimension lying between two and three. Hence we can (re)interpret urban form elements from colonnades to streets as ‘fractal’ types. This in turn suggests the possibility for a ‘fractal’ typo-morphology, addressing elements that occupy a typological space ‘in between’ 3D architectural modelling and 2D urban plan analysis. While Moudon could note that aspects of type were ‘vague and flawed with ambiguity’ (1994), it seems that there is still room for clarity; Dovey’s recent review of type (2016) invites further development and integration of the concept of type what may still be a disparate and ambiguous territory. Meanwhile, fractal approaches to morphology have been traditionally more concerned with larger scale urban patterns (e.g. Frankhauser, 2004) or measurement of architectural elements (e.g. Ostwald et al, 2015) with a fractal dimension less than two. This paper explores the possibilities for establishing a ‘fractal typo-morphology’ that recognises the ‘2.x’ dimensional aspect of the urban fabric and its component types. The paper generates a solution-space of types, illustrated with empirical examples, and organizes these into a typology for onward use, so that ideas of type, form and fractal dimension can contribute more fully as ‘conceptual tools’ both for understanding the urban fabric and for use as building blocks for urban design. References (100 words) Dovey, K. (2016) Urban Design Thinking. London: Bloomsbury Academic. Moudon, A. V. (1994) Getting to know the built landscape: typomorphology, in Franck, K. A and H. Schneekloth (eds) Ordering Space: Types in Architecture and Design. New York: VNR. Frankhauser, P. (2004) Comparing the morphology of urban patterns in Europe – a fractal approach, in Borsdorf, A. and Zembri, P. (eds) European Cities – Insights on outskirts. Brussels: COST. Ostwald, M., Vaughan, J. and Tucker, C. (2015) Characteristic visual complexity: Fractal dimensions in the architecture of Frank Lloyd wright and Le Corbusier, in Williams, K. and Ostwald, M. (eds) Architecture and Mathematics from Antiquity to the Future. Switzerland: Springer.
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Fettke, Matthias, Timo Kubsch, Vinith Bejugam, Alexander Frick, Andrej Kolbasow, Sergej Walter, and Thorsten Teutsch. "A Study About Facile Interconnect Formations Involving SB2-JET Solder Ball Stacking and Colonnade Patterning in Hybrid Package Architectures." In 2020 International Wafer Level Packaging Conference (IWLPC). IEEE, 2020. http://dx.doi.org/10.23919/iwlpc52010.2020.9375852.
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