The Great Structures in Architecture : From Antiquity to Baroque (Advances in Architecture)
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Starting in antiquity and finishing in the Baroque, this book provides a complete analysis of significant works of architecture from a structural viewpoint. A distinguished architect and academic, the author’s highly illustrated exploration will allow readers to better understand the monuments, get closer to them and to explore whether they should be conserved or modified. Contents: Stones Resting on Empty Space; The Invention of the Dome; The Hanging Dome; The Ribbed Dome; A Planified Revenge - Under the Shadow of Brunelleschi; The Century of the Great Architects; The Omnipresent Sinan; Even Further; The perfect symbioses form-function in the high Baroque architecture; Scenographical architecture of the 18th century; The virtual architecture of the Renaissance and the Baroque.
concrete and steel, we could study the importance of the forms and its optimisation. This page intentionally left blank Stones Resting on Empty Space Chapter 1. STONES RESTING ON EMPTY SPACE Huge limestone rocky formations that end on the Mediterranean coasts penetrate the continent, shaping steep and stony landscapes. Among them sandy, usually dry waterbeds, wind their way down and lead the water of rivers that have their source far inland. Some of the oldest civilisations bloomed in those
dome identical to that of the Pantheon. For that, his effort was aimed at the creation of a base, firm enough to support the gigantic thrusts that were supposed to be generated. Fig. 6.10 illustrates in a disordered way this attempt in Bramante’s drawing and Fig. 6.11a and b, the aspect 122 Fig. 6.8. Caradoso’s medal of the prior solution (Lotz). The Century of the Great Architects Fig. 6.9. Serlio’s interpretation of Bramante’s dome (Kraus). Fig. 6.11a. Drawing by Bramante of the dome
not match with that of a castle. In the remotest place in the world, in an unknown continent that without doubt had been permeable to Asia through the Pacific, cultures of the highest level thrived. We cannot link this phenomenon to the global phenomenon of the Renaissance because of the lack of communication between that world and the western and eastern civilized worlds. For that reason, the Inca or the Mayan culture, despite their representing stellar moments for architecture even from the
council were shaped in a map that related its intentions, forms and sensorial impacts. Not until Bernini merged architecture and sculpture was that achieved. With the addition of painting, the ideal fusion was obtained. Other sensations such as sound, light, smell, sight, theatre, choral representation and clothes were added later. For a long time I thought of the Baroque as a declining, confused and grotesque style created to deceive the masses and to feed their irrational mystic. It was not
most studied these types of monuments from the structural viewpoint, finding that most of the problems arise from floor shifting, which causes wall leaning (Fig. 1.46). Besides, this fact leads to an increase of the shear stresses in the horizontal contact surface between the blocks (Fig. 1.47). Fig. 1.44. Elevation and sections of the temple of Bruvanesvar (Stierlin). Fig. 1.46. Effects of the outward rotation of the base in a corbelled arch (Croci). Fig. 1.45. Picture of 19th Century of the