Ultimate Visual Dictionary (DK)

PRINTMAKING 2

EQUIPMENT USED IN RELIEF PRINTING




V-SHAPED GOUGE
INK ROLLER
LINOLEUM AND Rubber roller
WOODCUT BLOCK


U-SHAPED GOUGE
GRAVER





KNIFE
Linoleum
SCORPER
WOOD
ENGRAVING Side-grain
wood block Spiral
spring
Crown
RELIEF-PRINTING
PRESS
Tympan lowered
onto printing
block
Piston
END-GRAIN
WOOD BLOCK Printed
image
Staple
Bar (pressure (frame)
handle)
Printing Bed is rolled Drum
block under platen handle Platen







INKED-UP ENGRAVED
BLOCK
Rail
Drum
Counterweight (rounce) Leg


Pillar
(post)

WOOD
ENGRAVING PRINT Foot

449

THE VISUAL AR TS

Mosaic EQUIPMENT FOR BREAKING MARBLE

Sawn strip of Mosaic
marble, ready hammer
MOSAIC IS THE ART OF MAKING patterns and pictures from for breaking
tesserae (small, colored pieces of glass, marble, and other into cubes
materials). Different materials are cut into tesserae using
different tools. Smalti (glass enamel) and marble are cut
into pieces using a hammer and a hardy (a pointed blade)
embedded in a log. Vitreous glass is cut into pieces using
a pair of pliers. Mosaics can be made using a direct or
indirect method. In the direct method, the tesserae are
laid directly into a bed of cement-based adhesive. In the
indirect method, the design is drawn in reverse on
paper or cloth. The tesserae are then stuck face-down
on the paper or cloth using water-soluble glue. Adhesive
is spread with a trowel on to a solid surface—such as
a wall—and the back of the mosaic is laid into the
adhesive. Finally, the paper or cloth is soaked
off to reveal the mosaic. Gaps between tesserae PLIERS Hardwearing,
tungsten
can be filled with grout. Grout is forced into carbide tip
gaps by dragging a grouting squeegee
Alicante (red Hardy (pointed
across the face of the mosaic. Mosaics
marble) pieces blade) embedded
are usually used to decorate walls and in a log
floors, but they can also be applied MOSAIC TOOLS
to smaller objects. CEMENT-BASED
ADHESIVE GROUT
SMALTI (GLASS
ENAMEL)
EXAMPLE OF A MOSAIC RED
(DIRECT METHOD) SMALTI
Seascape, Tessa Hunkin, 1993
Smalti mosaic on board
31½ in (80 cm) diameter
Handle with
rubber grip


YELLOW TROWEL Notch GROUTING SQUEEGEE
SMALTI


Wooden
handle


Steel Rubber
BLUE
blade blade
SMALTI


Wooden
handle
Gold-leaf
smalti

MOSAIC

STAGES IN THE CREATION OF A MOSAIC (INDIRECT METHOD) MOSAIC POT









Geometric
design


Grout

MOSAIC MOSQUE DESIGN



COLOR SKETCH REVERSE IMAGE
A color sketch is drawn Tesserae are glued face-down
in oil pastel to give a clear on reverse image on paper. Floral
impression of how the finished Mosaic is then attached to solid design
mosaic will look. surface and paper is removed.

Gold tessera
with ripple
Andamenti finish
(line along
which tesserae Geometric border
are laid)



Gold tessera VITREOUS GLASS
placed upside
down GREEN VITREOUS
GLASS WITH GOLD LEAF
Grout fills Plain
the gaps finish
between the RED VITREOUS
GLASS
tesserae
Ripple
finish
SHEETS OF VITREOUS GLASS
Mosaic
mounted
on board



BLUE VITREOUS
Vitreous GLASS
glass cut into
triangular
shape with
pliers
FINISHED MOSAIC Border of square
Goldfish, Tessa Hunkin, 1993 vitreous glass
Vitreous glass mosaic on board
14 × 10 in (35.5 × 25.5 cm)

THE VISUAL AR TS
Sculpture 1 MARBLE CARVING TOOLS
EXAMPLES OF


THE TWO TRADITIONAL METHODS OF MAKING SCULPTURE are carving and modeling.
A carved sculpture is made by cutting away the surplus from a block of hard material
such as stone, marble, or wood. The tools used for carving vary according to the 2½ lb
material being carved. Heavy steel points, claws, and chisels that are struck with (1.1 kg)
a lump hammer are generally used for stone and marble. Sharp gouges and chisels iron head
that are struck with a wooden mallet are used for wood. Sculptures formed from
hard materials are generally finished by filing with rasps, rifflers, and other abrasive
implements. Modeling is a process by which shapes are built up, using malleable Ash
handle
materials such as clay, plaster, and wax. The material is cut with wire-ended tools
and modeled with the fingers or a variety of hardwood and metal implements. For
large or intricate modeled sculptures an armature (frame), made from metal or
wood, is used to provide internal support. Sculptures formed in soft materials
may harden naturally or can be made more durable by firing in a kiln. Modeled
sculptures are often first designed in wax or another material to be cast later in a
metal (see pp. 454-455) such as bronze. The development of many new materials in
LUMP HAMMER
the 20th century has enabled sculptors to experiment with new techniques such as
construction (joining preformed pieces of material such as machine components,
mirrors, and furniture) and kinetic (mobile) sculpture.
CALLIPERS


Gap measures
EXAMPLES OF WOOD-CARVING TOOLS
Curved leg distance between
two points on a
sculpture
CABINET RASP




STRAIGHT GOUGE WIDE NARROW
MARBLE MARBLE
CLAW CLAW
SALMON BEND GOUGE
POINT
Wing nut

CHISEL
Stone for FLAT CHISEL
sharpening
wood-carving
tools
EXAMPLES OF RIFFLERS
(FOR STONE, MARBLE, AND WOOD) BULLNOSE CHISEL

Cedar
box
12 IN (30 CM) RIFFLER
Surface for
ARKANSAS sharpening
HONE-STONE stone-carving
CARVING
6 IN (15 CM) RIFFLER tools DIAMOND WHETSTONE
MALLET
452

SCULPTURE 1
EXAMPLE OF A CARVED WOOD SCULPTURE
Tiny holes along Mary Magdalene, Donatello, 1454-1455
the hairline made Poplar wood, height 6 ft 2 in (188 cm)
with a point Soft skin texture tooled
with a fine-toothed
marble claw
EXAMPLE OF A CARVED MARBLE SCULPTURE
The Rebel Slave, Michelangelo, 1513-1516
Marble, height 7 ft (213 cm)

Hair worked
with a narrow Delicately
claw modeled
DETAIL OF hand carved
with a chisel
SLAVE’S HEAD


Hair
Translucent white
marble, quarried at highlighted
Carrara, Italy with gold
leaf
Figure cut
from single
length of
poplar
Deep
ridges of
hair cut
with a
gouge
Surface rubbed
smooth with
rifflers and
pumice

Strut gives added
support to long
slender limb
Wood prepared
with gesso
(chalk and glue)
and painted
Series of tiny
punch holes,
made with
Base scored with a fine point,
jagged parallel outline the
cuts made with form Foot carved in
point and lump deep relief
hammer


Rough surface
made by driving
a point into the
marble at an
oblique angle
The dimensions of the marble block
determine the size of the sculpture DETAIL OF SLAVE’S FOOT

453

THE VISUAL AR TS
Sculpture 2
SPIRIT LAMP (FOR HEATING
WAX MODELING TOOLS)
EXAMPLES OF BRONZE
EXAMPLES OF MODELING TOOLS FINISHING TOOLS Wick


Brass
holder
WIRE-ENDED CUTTING TOOL


Glass bowl
CURVED MOLDING TOOL




SPATULA-ENDED WAX MODELING TOOL
Methylated
spirit

HOOKED POINTED
RIFFLER RIFFLER
ROUNDED WAX MODELING TOOL


STAGES IN THE LOST-WAX METHOD OF CASTING Fire-resistant
Based on Mars, Giambologna, c.1546
clay
Wax-
covered Wax riser Chaplet
wire (vertical, (iron nail)
armature hollow rod)








Wax runner
(horizontal,
hollow rod)













ORIGINAL MODEL HOLLOW WAX FIGURE IS CAST FIGURE IS BAKED IN CASTING MOLD
An original, solid wax A new, hollow wax model is cast from the The model is encased in clay and
model is made and original model. It is filled with a plaster baked. The wax melts away (through
preserved so that numerous core that is held in place with nails. Wax the channels made by the wax rods)
replicas can be cast. runners and risers are attached. and is replaced by molten bronze.

454

SCULPTURE 2

MODELING STAND AND ARMATURE EXAMPLE OF A CLAY MODEL
Clay smoothed
to create the Madonna and Child, Henry Moore, 1943
effect of soft skin Terracotta, height 7¼ in (18.4 cm)
Aluminum
wire figure Maquette (small sketch)
modeled from a solid
lump of clay
Fixed iron
armature support Screw-hole
for fastening Terra-cotta clay, fires
the iron to at 1,832°F to 1,922°F
Marine ply modeling board (1,000°C to 1,050°C)
modeling board Incision
made with
serrated tool
Aluminum
Model for a much
table stand larger bronze
Rotating sculpture
tabletop
Height adjustor
Tripod
Strips of clay, added to
the model, give the
effect of folded drapery
Roughly worked clay






Golden brown
Metal Metal runner color of untreated
riser bronze
Stump left by
rod will be
filed down
Dark brown
patina











Hole left by nail
will be plugged
with bronze






STATUE IS STRIPPED OF CLAY STATUE IS FINISHED STATUE IS CLEANED
When the bronze has cooled, the The nails are pulled out and a large hole Finally, the work is cleaned and
clay mold is broken open to reveal is made to remove the plaster core. When polished. An artificial patina
the bronze statue with solid metal the metal rods have been sawn off, the (coloring) is achieved by treating
runners and risers. sculpture is filed to refine the surface. the surface with chemicals.

455



ARCHITECTURE




ANCIENT EGYPT .................................................. 458
ANCIENT GREECE ................................................ 460
ANCIENT ROME 1 ................................................ 462
ANCIENT ROME 2 ................................................ 464
MEDIEVAL CASTLES AND HOUSES ....................... 466
MEDIEVAL CHURCHES ......................................... 468
GOTHIC 1 ............................................................ 470
GOTHIC 2 ............................................................ 472
RENAISSANCE 1 ................................................... 474
RENAISSANCE 2 ................................................... 476
BAROQUE AND NEOCLASSICAL 1 .......................... 478
BAROQUE AND NEOCLASSICAL 2 .......................... 480
BAROQUE AND NEOCLASSICAL 3 .......................... 482
ARCHES AND VAULTS ........................................... 484
DOMES ................................................................ 486
ISLAMIC BUILDINGS ............................................ 488
SOUTH AND EAST ASIA ........................................ 490
THE 19TH CENTURY ........................................... 492
THE EARLY 20TH CENTURY ............................... 494
MODERN BUILDINGS 1 ........................................ 496
MODERN BUILDINGS 2 ........................................ 498

ARCHITECTURE

Ancient Egypt FRONT VIEW OF HYPOSTYLE HALL, TEMPLE OF AMON-RE
Cornice decorated with cavetto molding


THE CIVILIZATION OF THE ANCIENT EGYPTIANS (which lasted Campaniform
from about 3100 bc until it was finally absorbed into the (open papyrus)
capital
Roman Empire in 30 bc) is famous for its temples and
tombs. Egyptian temples were often huge and
geometric, like the Temple of Amon-Re (below and
Architrave
right). They were usually decorated with hieroglyphs
(sacred characters used for picture-writing) and painted Papyrus-
reliefs depicting gods, Pharaohs (kings), and queens. bud
capital
Tombs were particularly important to the Egyptians,
who believed that the dead were resurrected in the Socle
afterlife. The tombs were often decorated—as, for
example, the surround of the false door opposite—in Side aisle Central nave Side aisle
order to give comfort to the dead. The best-known
Stone slab forming
ancient Egyptian tombs are the pyramids, which Horus, the Sun-god Architrave flat roof of side aisle
were designed to symbolize the rays of the Sun.
Many of the architectural forms used by the
ancient Egyptians were later adopted by other
civilizations; for example, columns and capitals
were later used by the ancient Greeks (see pp.
460-461) and ancient Romans (see pp. 462-465).
SIDE VIEW OF HYPOSTYLE HALL, TEMPLE
OF AMON-RE, KARNAK, EGYPT, c. 1290 BC













Kepresh
crown
with
disk

















Chons, the Amon-Re, king Hathor, the Papyrus Cartouche (oval border) containing Socle Aisle running
Moon-god of the gods sky-goddess motif the titles of the Pharaoh (king) north-south

458

ANCIENT EGYPT
LIMESTONE FALSE DOOR WITH HIEROGLYPHS, PLANT CAPITAL OF THE
TOMB OF KING TJETJI, GIZA, EGYPT, c.2400 BC PTOLEMAIC-ROMAN PERIOD,
EGYPT, 332-30 BC
Hieroglyph representing a house
Palm
Lintel Disk leaf
representing
sun or light
Papyrus
flower
Eroded Limestone
image of stela Papyrus
Tjetji (slab) leaf

Hoe-shaped Head Image of Image of Papyrus
hieroglyph of false Tjetji’s wife Tjetji’s stem
representing door daughter
“mr” sound Lotus bud Lotus stem

Cornice decorated with Bead Trellis Rectangular pier decorated
ANCIENT EGYPTIAN
cavetto molding molding window with hieroglyphs
BUILDING DECORATION

Elevated roof
of central nave
Clerestory

Disk representing
Sun or light DECORATED WINDOW,
MEDINET HABU, EGYPT,
c.1198 BC



Architrave
Square
abacus
ROPE AND PATERAE
Papyrus- DECORATION
bud
capital

Papyriform
column



Shaft
CAPITAL WITH THE HEAD OF THE
SKY-GODDESS HATHOR, TEMPLE
OF ISIS, PHILAE, EGYPT, 283-47 BC







LOTUS AND PAPYRUS
Scene depicting a Pharaoh (king) Central nave FRIEZE DECORATION
paying homage to the god Amon-Re

459

ARCHITECTURE

Ancient Greece CAPITALS OF THE THREE ORDERS OF
ANCIENT GREEK ARCHITECTURE

Abacus
THE CLASSICAL TEMPLES OF ANCIENT GREECE were built
according to the belief that certain forms and proportions Echinus
were pleasing to the gods. There were three main ancient Annulet
Greek architectural orders (styles), which can be Trachelion (neck)
distinguished by the decoration and proportions of their DORIC CAPITAL, THE PROPYLAEUM (GATEWAY), THE
columns, capitals (column tops), and entablatures ACROPOLIS, ATHENS, GREECE, 449 BC
(structures resting on the capitals). The oldest is the Abacus Lesbian leaf pattern
Doric order, which dates from the seventh century BC Cyma reversa
Coussinet
and was used mainly on the Greek mainland and in the (cushion) profile
western colonies, such as Sicily and southern Italy. The Volute Echinus with
Temple of Neptune, shown here, is a classic example of egg and dart
Eye Palmette decoration
this order. It is hypaethral (roofless) and peripteral
(surrounded by a single row of columns). About a IONIC CAPITAL, THE PROPYLAEUM (GATEWAY), TEMPLE OF
century later, the more decorative Ionic order developed ATHENA POLIAS, PRIENE, GREECE, c.334 BC
on the Aegean Islands. Features of this order include
Abacus
volutes (spiral scrolls) on capitals and acroteria Mask
(pediment ornaments). The Corinthian order was invented
Volute
in Athens in the fifth century bc and is typically identified
by an acanthus leaf on the capitals. This order was later
Cauliculus
widely used in ancient Roman architecture.
Acanthus
Bell-shaped core leaf
TEMPLE OF NEPTUNE, PAESTUM, ITALY, c.460 BC
CORINTHIAN CAPITAL FROM A STOA (PORTICO),
PROBABLY FROM ASIA MINOR
Raking cornice
Trachelion (neck) Taenia Triglyph Metope Glyph (channel)
Pediment



Doric
entablature






Pteron
(external
colonnade)












Euthynteria Drum Stylobate Column of the Doric order

460

ANCIENT GREECE
PLAN OF THE TEMPLE OF NEPTUNE, PAESTUM ANCIENT GREEK BUILDING DECORATION
Pronaos (vestibule)


Volute
Naos wall

Anta (pilaster
terminating
naos wall)
FACADE, TREASURY OF ATREUS, MYCENAE,
GREECE, 1350-1250 BC
Pteron
Naos (cella) (external
colonnade)
Meander


FRETWORK, PARTHENON, ATHENS,
Peristyle
GREECE, 447-436 BC
Opisthodomos ACROTERION, ANTEFIXA,
(rear portico) TEMPLE OF TEMPLE
APHAIA, AEGINA, OF APHAIA, Palmette
GREECE, 490 BC AEGINA,
GREECE, Volute
490 BC
Griffon
(gryphon)
Raking
Hexastyle pteron cornice
(colonnade of six columns)


Regula (short fillet beneath taenia) Eaves


Cornice
Frieze

Architrave
Capital






Shaft

Crepidoma
(stepped
base)






Entasis (slight curve of a column) Intercolumniation Fluting

461

ARCHITECTURE

Ancient Rome 1 ANCIENT ROMAN BUILDING DECORATION



IN THE EARLY PERIOD OF THE ROMAN EMPIRE extensive use
was made of ancient Greek architectural ideas, particularly
those of the Corinthian order (see pp. 460-461). As a result,
many early Roman buildings—such as the Temple of Vesta
(opposite)—closely resemble ancient Greek buildings. A
FESTOON, TEMPLE OF VESTA, RICHLY DECORATED
distinctive Roman style began to evolve in the first century TIVOLI, ITALY, C.80 BC ROMAN OVUM
AD. This style developed the interiors of buildings (the Greeks
had concentrated on the exterior) by using arches, vaults, and
INTERIOR OF THE PANTHEON,
domes inside the buildings, and by ornamenting internal walls. ROME, ITALY, 118-c.128
Many of these features can be seen in the Pantheon. Exterior
Inner dome,
columns were often used for decorative, rather than structural,
following the
purposes, as in the Colosseum and the Porta Nigra (see curve of a
Outer
pp. 464-465). Smaller buildings had timber frames with saucer depressed arch
wattle-and-daub walls, as in the mill (see pp. 464-465). dome
Roman architecture remained influential for many centuries,
with some of its principles being used in the 11th century in
Romanesque buildings (see pp. 468-469) and also in the 15th
and 16th centuries in Renaissance buildings (see pp. 474-477).
Oculus
Series of concentric, Outer saucer dome
steplike rings
Intermediate
block
Dentil ornament
Entablature
Engaged
pediment with
inscription
Raking
cornice
Entablature
Pediment
Rotunda Curved
Octastyle portico cornice
(eight-column portico)
Lesene
FRONT VIEW OF THE PANTHEON
Cornice
SIDE VIEW OF THE PANTHEON Triangular
pediment
Entablature Intermediate Upper
block cornice Concave
Pitched roof niche
Eaves
Relieving
arch

Opening for
ventilation
Cornice

Ornamental Marble veneer Segmental pediment Pedestal
Colonnade band decorated Attached
with festoons fluted pilaster

462

ANCIENT ROME 1
TEMPLE OF VESTA, TIVOLI, ITALY, c.80 BC

Circular naos (cella) Architrave Ceiling Fascia
Corinthian Corinthian
entablature capital
Naos (cella)
Pteron window
(colonnade)
Opus incertum
FRIEZE, FORUM OF TRAJAN, ROME, KEYSTONE, ARCH OF TITUS, (concrete wall
ITALY, 98-113 ROME, ITALY, 81 faced with
irregularly
Oculus illuminating shaped stones)
interior of rotunda
Egg and
Coffer Frieze decorated dart
with arabesques, decoration
Stepped side urns, and
of coffer winged horses Upper
torus
Scotia
Steplike ring Jamb with Naos Cornice Podium Lower torus
corrugated (cella)
surface door Threshold
Barrel vault
Passageway
Coffer
Monolithic shaft
Engaged (shaft made Barrel vault
pediment from a single
stone) Raking cornice



Pediment




Entablature







Corinthian
column











Entablature Aedicule (tabernacle) Festoon Fluting Corinthian pilaster Base
Corinthian
Rotunda Portico capital

463

ARCHITECTURE

Ancient Rome 2 FRONT VIEW OF A ROMAN MILL,
1ST CENTURY BC

Half-round ridge tile King
SIDE VIEW OF A ROMAN MILL strut Lath
Pitched roof
Lath Pantile
Principal rafter
Principal rafter Verge Ashlar post
Tie beam
Wall plate
Eaves
Wall plate
Wall post Plain Plain fascia
fascia Intermediate
floor joist
Top plate
Flat soffit
Floorboard Plaster Top plate
coating
Intermediate Wall post
floor joist Mill
wheel Sill
Sill
Binder
Stud
Foundation Grille Joist Boarding Wattle-and-daub wall Supporting Floor Foundation
with plaster coating post joist post
THE COLOSSEUM (FLAVIAN AMPHITHEATRE), ROME, ITALY, 70-82
Bracket for Crowning Barrel vault Horizontal gangway Arcade
velarium cornice
(awning)

Third floor
Corinthian
pilaster




Round arch
Second floor
Corinthian
half-column
Entablature

Ionic
half-column
First floor


Doric
half-column
Ground floor







External travertine shell Intermediate shell Inner shell

464

ANCIENT ROME 2
PORTA NIGRA, TRIER, GERMANY, c.240-260 Crowning cornice
Semicircular tower Parapet Impost


Keystone
Arcaded
passageway Round-arched
window
Lesene
Voussoir
Semicircular
tower
Cornice
Entablature
Frieze
Relieving arch
Architrave Arcading




Round arch
Apse (added in Attached Courtyard Capital Shaft Base
Middle Ages) column Entrance to town
Facade
Opening to ROMAN WATTLE-AND-DAUB WALL,
staircase Maenianum summum 1ST CENTURY BC
(gallery) Hazel
twig
Rectangular framework
window Clay
mixture
String course
Plaster
Paintwork
Cuneus Opus
(wedge of quadratum Arched Radiating,
seating) (square opening to wedge-shaped
masonry) staircase chamber


Radial wall
Opus incertum (concrete
wall faced with
irregularly shaped stones)
Cornice
Ambulatory corridor






Attached
rectangular
pier




Keystone Impost Tuscan capital Voussoir Tuscan pilaster

465

ARCHITECTURE

Medieval castles DONJON, TOUR DE CESAR, PROVINS,
FRANCE, 12TH CENTURY
Oculus Battlements (crenellations)
Loophole
and houses Hemispherical cupola
Conical spire
Gallery
Flying buttress
WARFARE WAS COMMON IN EUROPE in the Middle Hexahedral hall Squinch
Ages, and many monarchs and nobles built Vaulted room
Semicircular turret
castles as a form of defense. Typical medieval Main entrance
castles have outer walls surrounding a moat. Inside Fireplace
the moat is a bailey (courtyard), protected by a Staircase
Bailey
chemise (jacket wall). The innermost and strongest to chemise
(jacket
part of a medieval castle is the keep. There are two
wall)
main types of keep: towers called donjons, such
Embrasure
as the Tour de César and Coucy-le-Château,
and rectangular keeps (“hall-keeps”), such as the Chemise Plain Vaulted
(jacket wall) impost Depressed cupola staircase Motte
Tower of London. Castles were often guarded by
salients (projecting fortifications), like those of the
Bastille. Medieval houses typically had timber cruck Blind, rounded
relieving arch Merlon Battlements (crenellations)
(tentlike) frames, wattle-and-daub walls, and pitched
roofs, like those on medieval Tetrahedral Crenel Loophole
London Bridge (opposite). spire
Wooden staircase
Rectangular leading to entrance
Timber turret above ground level
cruck frame
Loophole Quoin Timber-framed
house
Cornice
Buttress
Round-arched window with twin openings Cruck frame
Paling
SALIENT, CAERNARVON CRUCK-FRAMED HOUSE, TOWER OF LONDON, BRITAIN, FROM 1070
CASTLE, BRITAIN, 1283-1323 BRITAIN, c.1200
Plain string Bracket decorated
Curtain wall Pointed relieving arch Semicircular relieving arch course with scroll molding





















Rectangular Sunken Round-arched window Semicircular salient Loophole Lateral
window rectangular circular
panel THE BASTILLE, PARIS, FRANCE, 14TH CENTURY salient

466

MEDIEVAL CASTLES AND HOUSES
MEDIEVAL LONDON BRIDGE, BRITAIN, 1176 (WITH 14TH-CENTURY
BATTLEMENTED BUILDING, NONESUCH HOUSE, AND TWO-TOWERED GATE)

Gate-house Battlemented building Chapel pier Railing Onion-shaped dome Pitched roof







Shaped gable Crypt of
Nonesuch Becket Starling Two-towered gate Oriel window
Timber framing with House Chapel
ornamental woodwork Pier Pointed Gothic stone arch Timber framing


DONJON, COUCY-LE-CHATEAU, AISNE, FRANCE, 1225-1245

Cornice Pointed Round Parapet
arch Loophole arch

Passageway
Gallery
Pointed arch
Inner hall
Tribune
(elevated platform) Dodecahedral
second floor
Springing point
of rib vault
Projecting rectangular pier
Engaged colonette
Window opening
Chimney shaft
Dodecahedral
Rectangular opening first floor
Fireplace
Archivolt decorated with
torus and fascia Embrasure
Bridge to Steps
castle entrance
Dodecahedral
Mezzanine ground floor
(entresol) housing
drawbridge windlass
Entrance
Moat






Passageway inside structure Four-centered Corbel with Capital String Ruin of segmental
of outer wall relieving arch Niche sculptural course ramp leading to
decoration chemise (jacket wall)

467

ARCHITECTURE
Medieval ABBEY OF ST. FOI, Finial
CONQUES,
FRANCE,
c.1050–c.1130
churches


Octahedral
DURING THE MIDDLE AGES, large numbers of churches spire
were built in Europe. European churches of this period Incline
typically have high vaults supported by massive piers Circular
and columns. In the 10th century, the Romanesque staircase-
style developed. Romanesque architects adopted turret Octahedral
crossing
many Roman or early Christian architectural Loophole tower
ideas, such as cross-shaped ground-plans—like
that of Angoulême Cathedral (opposite)—and
the basilican system of a nave with a central Round-arched
vessel and side aisles. In the mid-12th century, window
flying buttresses and pointed vaults appeared.
Series of archivolts
These features later became widely used in decorated
Gothic architecture (see pp. 470-471). Bagneux with tori
Church (opposite) has both styles: a Romanesque
Series of jambs
tower, and a Gothic nave and choir. decorated with
colonettes
Pitched
roof Barrel vault


Lean-to
CHURCH-ROOF Semicircular roof
BOSS, BRITAIN Tribune transverse Transept
(elevated arch
ROMANESQUE platform)
CAPITALS Vaulting shaft Quadrant
arch
Attached
half-column Colonette
Round
arcade
arch
Round
Romanesque
stilted arch
capital
Twin
“THE FLIGHT INTO EGYPT” opening
CAPITAL, CATHEDRAL OF of gallery Arcade
ST. LAZARE, AUTUN, FRANCE, bays
1120-1130 Square
central
shaft
Compound Attached
pier half-column





“CHRIST IN MAJESTY” CAPITAL,
BASILICA OF ST. MADELEINE, Side aisle Main vessel Side aisle
VEZELAY, FRANCE, 1120-1140

468

MEDIEVAL CHURCHES
GROUND-PLAN OF ANGOULEME CHOIR, CHURCH OF ST. SERGE,
CATHEDRAL, FRANCE, FROM c.1105 ANGERS, FRANCE, c.1215-1220
Heavily Historiated boss Longitudinal Loophole
molded Crossing ridge rib
transverse Chevet (choir Diagonal rib with Cell
arch Transept with round apse torus molding
chapel and chapels) Gable
Domed
rib-vault Transverse
Transept arch
Lierne
Formeret
Historiated
keystone
Round-
Engaged Dome arched Tas-de-charge
column
window Polyhedral
Buttress abacus
Cubic
Transverse abacus Foliated
capital
Nave arch with Attached
plain colonette
fascia Rectangular
Embrasure
apse
Nave
bay Cornice
Vaulting
shaft
Clustered Impost with Arcade Bay of main Octahedral
column Vestibule Rectangular side-chapel foliated frieze column vessel socle
Molded rib with an
arris between two tori Polyhedral abacus
BAGNEUX CHURCH, Flying Cell
FRANCE, 1170-1190 buttress Roof Transverse arch
space Tower vault
Square-roofed Lean-to roof Oculus
pinnacle Exterior wall
Triforium Tower
Foliated capital Pointed arch
Triple vaulting-shaft Torus molding
Quadripartite vault Colonette
Formeret Tower-vault oculus
Attached compound Recessed panel
pier
Round arch
Corbel Impost
Pier buttress
Pier supporting
Embrasure tower
Weathering Side aisle
Attached
half-column
Base
Square
socle
Intrados of arch with flat Nave Compound Arcade Nave Choir Octahedral Bay Attached
band between two tori column pier socle colonette

469

ARCHITECTURE

Gothic 1 GROUND-PLAN OF SALISBURY CATHEDRAL

Altar Square east end
GOTHIC BUILDINGS are characterized Monument
Trinity Chapel
by rib vaults, pointed or lancet arches, (Lady Chapel)
High altar
flying buttresses, decorative tracery
and gables, and stained-glass windows. Reredos Processional path
Typical Gothic buildings include the (choir-screen)
South choir-aisle
Cathedrals of Salisbury and old Side chapel
St. Paul’s in England, and Notre Choir Sacristy
East
Dame de Paris in France (see pp.
GOTHIC STAINED transept
GLASS WITH FOLIATED 472-473). The Gothic style developed Choir-stall
SCROLL MOTIF, ON out of Romanesque architecture in
WOODEN FORM Crossing Organ
France (see pp. 468-469) in the mid-
12th century, and then spread throughout Europe. The Transept
decorative elements of Gothic architecture became highly aisle
West
developed in buildings of the English Decorated style (late
transept
13th-14th century) and the French Flamboyant style
(15th-16th century). These styles are exemplified by the Staircase
Crossing pier
tower of Salisbury Cathedral and the staircase in the Arcade pier
Church of St. Maclou (see pp. 472-473), respectively. In Pier buttress (nave pier)
both of these styles, embellishments such as ballflowers Arcade
and curvilinear (flowing) tracery were used liberally. The
North Main vessel
English Perpendicular style (late 14th-15th century), porch
Nave
which followed the Decorated style, emphasized the South aisle
vertical and horizontal elements of a building. A notable North aisle
feature of this style is the hammer-beam roof.
Facade Turret
wall
GOTHIC TORUS WITH BALLFLOWERS
Limestone Block members Block members
block carved into rolls cut polygonally Trinity Chapel Choir
(Lady Chapel)
Pencil
guideline Finial
Octahedral pinnacle
with small spire
Blind semi-arch
Early stage Staggered triple
of ballflower
lancet windows
carving
BLOCK AFTER BLOCK WITH MEMBERS Turretlike
INITIAL CUTTING CUT INTO ROLLS pinnacle

Parapet decorated
with blind arches
filled with trefoils
Torus Ballflower Mullion
Fillet
Stained glass
Mason’s
mark Base Cornice
Lean-to roof East transept
FINISHED BLOCK Buttress facade

470

GOTHIC 1
Weather-vane
Orb
NORTH SIDE, SALISBURY WEST FACADE,
CATHEDRAL, BRITAIN, 1220-1280 SALISBURY CATHEDRAL
(STEEPLE AND SPIRE ADDED
DURING 14TH CENTURY)




Spire

Band with Trefoil in a Aureole
lozenge spandrel
decoration
Gable
Blind rhombus tracery
Semi-attached filled with a quatrefoil Staggered triple
gable with lancet window
small pilasters Finial
Pitched roof
Spire Parapet
Turretlike
pinnacle Staggered Row of blind
triple lancet trefoil arches
Ballflower window
Spirelike decoration Blind pointed
pinnacle Parapet arches filled
with twin
Traceried parapet Small lancets and
Blind with lozenge gable quatrefoils
gabled decoration crowning
arch buttress Projecting
Octahedral turret
turret Angle
buttress Row of gabled
Row of blind niches under
arches filled North porch trefoil arches
Gable with trefoils Lateral Crocket
Blind semi-arch porch Niche under small
Battlemented Main porch gabled roof
cornice
Nave
Spire
Octafoil Cinquefoil molding Blind lancet Flying buttress
Molded side
of gable
Spirelike
pinnacle

Pitched roof


Flying buttress

Lateral turret
Small gable
crowning
buttress
Crocket
Buttress
Pier buttress
Angle West transept Trefoil North Archivolt Twin lancet window under pointed
buttress facade Weathering decoration porch arch, crowned by a quatrefoil

471

ARCHITECTURE
SPIRAL STAIRCASE TO ORGAN, CHURCH OF
Gothic 2 ST. MACLOU, ROUEN, FRANCE, c.1519

Trefoil Flamboyant
tracery
CURVILINEAR (FLOWING) TRACERY FROM A Mouchette
BALUSTRADE, 14TH OR 15TH CENTURY (curved dagger)
Cyma reversa Cavetto Foliated Cherub
(reversed ogee curve) molding Plain fascia scrollwork
Crocket
Pointed arch
Figure
Molded
cornice Octahedral Winding
spire cornice
Cavetto Rectangular
molding with buttress Niche
elongated
Ogee lower part Attached gable
curve Attached
Mouchette Gabled gable
(curved canopy
dagger) Parapet Square
Cusp Statue pillar
Turretlike
Drop
pinnacle Base
shape
Dagger
Basket arch
Round
Angle arch
Cavetto molding buttress
Socle Base decorated
Lancet window with ovolo
with twin lancets Cross moldings
and crowned motif
TOWER AND PART OF THE NAVE with a quatrefoil
AND CHOIR, OLD ST. PAUL’S
CATHEDRAL, LONDON, Tower
BRITAIN, 1087-1666 Niche
Turretlike
Pointed arch pinnacle Gable Parapet decorated
filled with with quatrefoils
geometrical tracery Flying Couronnement
buttress Pointed arch filled
Mullion with tracery and
three lancet windows
Pitched roof
Lancet window
Clerestory
Blind lancet arch wall
Window filled
with early English Lean-to
Perpendicular- roof
style tracery
Buttress
Octahedral Outer wall
chapter-house of side aisle
Oculus
Cloister Weathering
Oculus filled
Early English-style window with multifoil

Nave Transept facade Choir

472

GOTHIC 2
SPIRE AND TRANSEPT
Ridge Common ROOF, CATHEDRAL OF
rafter NOTRE DAME DE PARIS,
Architrave of FRANCE, c.1163-1250
window zone, Principal
also acting as
collar beam Attached baluster
Attached column Strut
Hammer-post
Raised surface
Beveled edge Arched brace
Wooden panel Hammer-beam Rafter
Gothic
window Straight
tracery brace
Octahedral
Gothic Beam spire
Collar beam Gable
decorated with window Round arch
pearl motif
Arched brace Pinnacle
Oculus
Blind trefoil
Brace
Bracket Lancet
arch Trefoil arch
TRUSS OF HAMMER-BEAM ROOF,
THE UPPER FRATER (LATER Cusp Quatrefoil
BLACKFRIARS’ PLAYHOUSE),
Impost LONDON, BRITAIN, PROBABLY Colonette Pointed
14TH CENTURY arch
Lesene
Lancet arch
TYPICAL GOTHIC FEATURES Balustrade
Mullion
Triangular cornice
Cornice
Geometrical tracery with
chamfered
Trefoil arch edge
Balustrade Stud
Roof
Upper collar Scissor truss of
brace nave
Ridge-board and
Principal transept
Common rafter rafter
FLYING BUTTRESS OVER GARGOYLE, HORSLEY CHURCH,
SIDE AISLES, MILAN DERBYSHIRE, BRITAIN, c.1450
CATHEDRAL, ITALY, c.1385-1485
Vertical strut

Intermediate collar
Raised
valley-rafter
Beam
Jack-rafter
Clasped purlin
Queen
HAMMER-BEAM ROOF, CHURCH Lower collar King post post
OF ST. BOTOLPH, TRUNCH,
NORFOLK, BRITAIN, 1360-1380 Scissor-beam Tie beam Passing brace
473

ARCHITECTURE
FACADE ON TO PIAZZA, PALAZZO STROZZI
Renaissance 1 Crowning

cornice
THE RENAISSANCE was a European movement—lasting roughly
from the 14th century to the mid-17th century—in which the arts Arched
window
and sciences underwent great changes. In architecture, these changes
were marked by a return to the classical forms and proportions of Round
arch
ancient Roman buildings. The Renaissance originated in Italy, and
the buildings most characteristic of its style can be found there, such Light
as the Palazzo Strozzi shown here. Mannerism is a branch of the
Renaissance style that distorts the classical forms; an example is
the Laurentian Library staircase. As the Renaissance style spread
to other European countries, many of its features were incorporated Rustication Arched Rectangular
doorway window
into the local architecture; for example, the Château de Montal in
France (see pp. 476-477) incorporates aedicules (tabernacles).

SIDE VIEW OF PALAZZO
STROZZI, FLORENCE, ITALY,
1489 (BY G. DA SANGALLO,
B. DA MAIANO, AND CRONACA)






Second Symmetrical
floor fenestration








Voussoir
Spandrel
Piano nobile
(first floor) Light
Colonette








Ground
floor





Socle

Twin window
under round arch Rustication

474

RENAISSANCE 1

DETAILS FROM ITALIAN RENAISSANCE BUILDINGS










PANEL FROM DRUM OF DOME, COFFERING IN DOME, STAIRCASE, PORTICO, VILLA ROTUNDA,
FLORENCE CATHEDRAL, 1420-1436 PAZZI CHAPEL, LAURENTIAN LIBRARY, VICENZA, 1567-1569
FLORENCE, 1429-1461 FLORENCE, 1559



Dentil Modillion Torus Crowning
Cymatium ornament (bracket) molding Fillet cornice
Corona
Cyma recta
(ogee molding)

Round arch








Cornice



Torus molding

Diamond-shaped block

Rustication

Dentil ornament

Fillet

Rectangular window












Arched doorway Cushion block Splayed windowsill Bowtell molding (roll molding)

475

ARCHITECTURE
NORTH WING, CHATEAU
Renaissance 2 DE MONTAL, LOT,
FRANCE, FROM 1523

Hipped roof
Chimney stack
DETAILS FROM Conical spire
EUROPEAN
of turret
RENAISSANCE
BUILDINGS Ridge of
half-round tiles
Fish-scale tile
Pitched roof
Finial
Medallion

Pinnacle
STONE WALL, QUOINS, Belvedere
AND SHELL DECORATION, Foliated volute with
CASA DE LAS CONCHAS, dolphin head
SALAMANCA, SPAIN, 1475-1483
Gable
Head-shaped
keystone
Keystone
Dormer window decorated
with scroll
Frieze with ornament
shell-pattern
decoration
Finial Cornice
decorated with
Ionic capital with fascias and an
head-shaped ogee molding
decoration
SPIRAL-STAIRCASE
Rectangular
TOWER, CHATEAU DE
Putto holding window
BLOIS, FRANCE, 1514-1530
candelabrum
Transom
Blind pediment
Aedicule
Grotesque (tabernacle)
figure
Double pilaster
Medallion with
bust of Robert Mullion
de Montal
Shell
Lesene decorated
with paterae Concave,
CONICAL DOME, CHATEAU arched niche
Frieze decorated
DE CHAMBORD, FRANCE,
1519-1547 with sculptural Small pier
wreaths, tendrils, and decorated
grotesque figures with
statuette in
Lesene concave
niche
Cornice
Pedestal
Frieze with
scroll motif
Dado
PAIR OF CHIMNEY-STACKS, PALAIS Pseudo-Corinthian
DE FONTAINEBLEAU, FRANCE, FROM 1528 Plinth Cornice Architrave Portal Pilaster capital
476

RENAISSANCE 2
NORTH-WING STAIRCASE, CAMPANILE, CHURCH OF ST. EUSTACHE, PARIS,
CHATEAU DE MONTAL FRANCE, 1532-1640
Weather vane
Hipped roof Conical spire
Orb
Fish-scale tile
Eaves with Turret
oversailing fascias Hemispherical
and fillets dome Semicircular
torus molding
Loophole
Cornice with
Weathering
fascias and ogee Fillet
moldings
Ogee molding
Plain fascia
Rib vault
Small Archivolt
architrave
Column
Conical
corbel Volute Plain fascia
Second-floor
landing Cavetto
Emphasized molding
keystone
First-floor
Capital
landing
Flight of Cincture
stairs Fillet
Zinc
Lesene plating Square pillar
Pier supporting
flight of stairs Handrail
Timber-
Pier supporting Riser Tread framed hut,
first-floor landing Hipped roof
housing
windlass
Turret
GLOBE THEATER, LONDON,
BRITAIN, 1599 Ornamental Pitched
paneling roof Ornamental paneling
Balustrade Music gallery with concave brace
Balcony Stage decoration
Thatched roof stage cover Light curtain
Door to
Loft used as dressing rooms
storage room
Box (gentlemen’s
Window stage room)
Outer wall
Upper gallery
(twopenny
Railing
gallery)
Post supporting
bay window
Middle
gallery
Upper-gallery
support
Stage-door
Standing Lower
room gallery
Bench
Paling
Partition
Round pillar Square, Study (inner stage) Platform Low Door to separating galleries
(stage post) carved base with traverse (crossing) stage balustrade tiring house from boxes
477

ARCHITECTURE
DETAILS FROM ITALIAN
Baroque and BAROQUE CHURCHES


neoclassical 1



THE BAROQUE STYLE EVOLVED IN THE EARLY 17TH CENTURY in Rome. It is characterized
by curved outlines and ostentatious decoration, as can be seen in the Italian church
details (right). The baroque style was particularly widely favored in Italy, Spain,
and Germany. It was also adopted in Britain and France, but with adaptations. The
British architects Sir Christopher Wren and Nicholas Hawksmoor, for example,
used baroque features—such as the concave walls of St. Paul’s Cathedral and the SCROLLED BUTTRESS,
curved buttresses of the Church of St. George in the East (see pp. 480-481)—but CHURCH OF ST. MARIA DELLA
they did so with restraint. Similarly, the curved buttresses and volutes of the SALUTE, VENICE, 1631-1682
Parisian Church of St. Paul-St. Louis are relatively plain. In the second half of
the 17th century, a distinct classical style (known as neoclassicism) developed in
northern Europe as a reaction to the excesses of baroque. Typical of this new style
were churches such as the Madeleine (a proposed facade is shown below), as well
as secular buildings such as the Cirque Napoleon (opposite) and the buildings of
the British architect Sir John Soane (see pp. 482-483). In early 18th-century
France, an extremely lavish form of baroque developed, known as rococo.
The balcony from Nantes (see pp. 482-483) with its twisted ironwork
and head-shaped corbels is typical of this style. Attached segmental pediment
Finial
Lantern
Round-arched window Raking cornice
Parapet
Twin pilaster
Frieze
Attic Cornice
story Coved dome Panel STATUE OF THE ECSTASY OF
ST. THERESA, CHURCH OF ST. MARIA
DELLA VITTORIA, ROME, 1645-1652
Triple keystone
Triangular pediment Dentil Urn Modillion
ornament (bracket)
Balustrade Cornice
Re-entrant
Entablature
entablature
Composite Raised panel
capital
Festoon
Attached
triangular
pediment Intermediate
cornice
Blind window
Volute
Composite
column Fluted shaft
Composite Base
pilaster
Socle

Door jamb Architrave Blind door
PROPOSED FACADE, THE MADELEINE (NEOCLASSICAL), PARIS, FRANCE, 1764 (BY P. CONTANT D’IVRY)

478

BAROQUE AND NEOCLASSICAL 1
CIRQUE NAPOLEON (NEOCLASSICAL), PARIS, FRANCE, 1852 (BY J. I. HITTORFF)
EXTERIOR Rectangular panel Small INTERIOR King post Statue of Minerva
polyhedral roof Orb
Attached colonette Tie beam
Polyhedral iron roof Painted Polyhedral lantern
Projecting entablature inner roof Brace
Palmette Strut Straight
Roll molding brace
Sculpted
frieze Projecting Crest
entablature
Cornice
Projecting
socle Outer
Pedestal wall
Smooth
rustication
Smooth,
vertical Dado Plinth Attached Frieze painted Circle (auditorium)
rustication Statue of Hanging (die) Corinthian with scenes from
Amazon on wreath column classical mythology
Projecting horseback Eagle carrying festoons
pedestal
Finial with cavetto molding Transverse arch
Crowning Foliated
cornice panel Window hood-mold
Volute
Fascia
Barrel vault Dentil
Clerestory
level Rectangular Raised window jamb
door leading Groin vault
to roofed
space Short pilaster Curved buttress
Gallery Semi- Modillion
level parabolic (bracket)
curve Cornice
Architrave Semicircular
Pier-shaped decorated with arched window
pinnacle oversailing
Corinthian fascias
capital Gallery
Cornice Foliated frieze
Depressed Small cupola
arch Balustrade
Pendentive
Keystone decorated
Oeil- with scroll ornament Archivolt
de-boeuf
(“ox - Archivolt decorated Formeret (wall rib)
eye”) with plain fascias
window Window jamb
Arcade Round arch
Cornice Window-sill
Arcade Buttress
level Round arch
Outer
Re-entrant corner
wall
Base
Doorway
connecting
chapels
Socle
Side chapels Main vessel Side chapels
NAVE, CHURCH OF ST. PAUL-ST. LOUIS (FRENCH BAROQUE), PARIS, FRANCE, FROM 1627 (BY E. MARTELLANGE)

479

ARCHITECTURE
MODEL BUILT IN 1674 OF Cross
Baroque and PROPOSED EXTERIOR OF Orb
ST. PAUL’S CATHEDRAL
(ENGLISH BAROQUE),
LONDON, BRITAIN
neoclassical 2 (BY C. WREN) Small
dome
Entablature
ARABESQUE BAY-LEAF GARLAND
Pedestal Arcade
Volute Palmette
Bayberry Bay leaf Gallery with
balustrade
Convex Lantern
molding
Tendril Cornucopia
Circular
lucarne
PATERA
window
Petal Rosette Dome
Ovolo (quarter- Plat
Fillet round) molding lesene
DECORATIVE MOLDINGS FROM
ENGLISH NEOCLASSICAL BUILDINGS
Representation in
Curved
Raking bas-relief of conversion
cornice of St. Paul buttress
Round arch
Corinthian
pilaster
Rectangular pier
TRIANGULAR PEDIMENT, WEST FACADE,
ST. PAUL’S CATHEDRAL Sunken lunette
Raking cornice Sunken
panel
Plain pilaster Pediment
Attic
story

Entablature

Architrave
Cornice

Small pilaster




Pedestal



Semicircular cornice Plinth Concave,
arched niche
Free-standing
Attached Corinthian column Corinthian column Projecting side portal

480

BAROQUE AND NEOCLASSICAL 2
CHURCH OF ST. GEORGE IN THE EAST (ENGLISH BAROQUE),
Fluted, circular LONDON, BRITAIN, 1714-1734 (BY N. HAWKSMOOR)
pinnacle Steeple
Cornice
Fluted capital Pierced parapet SOUTH SIDE WEST FACADE Stepped archivolt
Plain buttress Semicircular window Octahedral lantern Parapet
Urn Platband Octahedral turret Square stone block Set-back buttress
Cornice decorated
Sunken panel Octahedral Plain frieze Three-tier belfry with ogee molding and
dome
fascias
Round-arched East Pepper-pot lantern
window Triple pediment Finial
keystone
Oeil-de-boeuf Semicircular Volute
(“ox-eye”) window Cornice apse
Broken
pediment Raking
Lateral cornice
pilaster-strip Emphasized Continuous
keystone Ionic hood-mold
Semicircular capital
crypt-window Triple band
Emphasized
quoin
Platband
Plain pedestal Square post Label mold Side entrance Dog-leg staircase set
in oval stone walls Curved buttress
Ionic twin
Stepped tetrahedral roof Statuette columns
Attic of
drum Urn
Entablature Lantern
Twin columns
Drum Rectangular
window Cruciform
Arcade pedestal
Circular lucarne
window Dome
Pedestal
Stepped cornice Triangular
lesene
Cornice
Raking cornice of
facade pediment
Dentil ornament
Frieze
Corinthian
capital
Corinthian
twin pilasters


Dado



Re-entrant Doorway Architrave
Rectangular vestibule
Round- Emphasized Crepidoma
arched Concave keystone (stepped base) Corinthian capital
window wall

481

ARCHITECTURE

Baroque and neoclassical 3



DETAILS FROM BAROQUE, NEOCLASSICAL, CORNER OF THE NEW STATE PAPER
AND ROCOCO BUILDINGS OFFICE (NEOCLASSICAL), LONDON,
BRITAIN, 1830-1831 (BY J. SOANE)
Classical- Cornice
style
entablature
Frieze

Architrave
Pantile
(S-shaped
PORTICO, THE VYNE, WINDOW, PALAZZO roofing tile)
HAMPSHIRE, BRITAIN, 1654 STANGA, CREMONA, Eaves
(NEOCLASSICAL) GILT IRONWORK FROM ITALY, EARLY Fascia
SCREEN, PALAIS DE 18TH CENTURY Scroll-
VERSAILLES, FRANCE, 1669-1674 (ROCOCO) shaped
(FRENCH BAROQUE) Curved corbel
corbel


Second-
Smooth floor
rustication window


Cornice
ATLAS (MALE CARYATID), UPPER BALCONY, NANTES, FRANCE, Drip-cap
BELVEDERE, VIENNA, AUSTRIA, 1721 1730-1740 (ROCOCO)
(GERMAN-STYLE BAROQUE) Cornice
MASONRY OF A NICHE IN THE ROTUNDA (NEOCLASSICAL), Frieze
BANK OF ENGLAND, LONDON, BRITAIN, 1794 (BY J. SOANE)
Window
architrave
Scoop-pattern concave
molding Window
jamb
Keystone
Frieze First-
floor
window
Spandrel Semi-dome
Voussoir
Window-
Rotunda sill in the
wall form of
a frieze

Ground-
floor
window

Splayed
window-sill




Flat, rectangular niche Rounded niche Flat, square niche Vermiculated rustication
482

BAROQUE AND NEOCLASSICAL 3
TYRINGHAM HOUSE (NEOCLASSICAL), BUCKINGHAMSHIRE, BRITAIN, 1793-1797 (BY J. SOANE)

ROOF LEVEL Space for illumination
(ATTIC LEVEL) above unroofed central hall Chimney stack Space above
unroofed main
staircase
Oculus illuminating
Flat roof
secondary staircase

Balustrade
Parapet rail
Baluster Cornice Attic story of convex portico Cornice
FIRST-FLOOR LEVEL
(CHAMRER FLOOR)


Upper level of Main staircase
central hall, open
to floor below Secondary staircase
Abacus
Triangular Pilaster capital
pilaster
Attached Tuscan
First-floor story of twin pilasters
convex portico
Windowsill

GROUND-FLOOR LEVEL Bow front
(PRINCIPAL FLOOR) Withdrawing room Central hall
Main staircase
Library and
breakfast room Water closet (toilet)
Eating room Secondary staircase
Segmented
lintel course
Band incised with
Greek-style fret
Windowsill ornament
Window architrave Window jamb
Base Basement
Plinth
Ground-floor story of
Horizontal rustication convex portico
Vestibule
(entrance hall) Baluster
Rail
FACADE OF Chimney Balustrade
TYRINGHAM HOUSE stack Parapet
Entablature
Cornice
Capital
Voussoir Shaft Ionic column

Basement window
Circular Base
Entrance door entrance steps PROSTYLE COLONNADE

483

ARCHITECTURE
PARTS OF AN ARCH
Arches and vaults Voussoir Keystone Crown Abutment


Keystone
ARCHES ARE CURVED STRUCTURES used to bridge spans
and to support the weight of upper parts of buildings, Extrados
such as domes, as in St. Paul’s Cathedral (below) and Abutment Haunch
Intrados
the antique temple (opposite). The voussoirs (wedge- (soffit)
shaped blocks) that form an arch (right) support Impost Intrados
Springing (soffit)
each other and convert the downward force of the point
Abutment
weight of the building into an outward force. This
outward force is in turn transferred to buttresses, piers, Span Abutment
or abutments. A vault is an arched roof or ceiling. There are four FRONT SIDE
main types of vault (opposite). A barrel vault is a single vault, semicircular
in cross-section; a groin vault consists of two barrel vaults intersecting at
Inner
right-angles; a rib vault is a groin vault reinforced by ribs; and a fan dome Colonnade
vault is a rib vault in which the ribs radiate from the springing
Pilaster Passageway
point (where the arch begins) like a fan.
Base Cornice
ARCHES AND BASE OF
DOME, ST. PAUL’S Pendentive Opening to Pedestal of
CATHEDRAL, LONDON, passageway outer dome
BRITAIN, 1675-1710
(BY C. WREN) “Whispering Gallery”
Upper arch Triangular
(concealing buttress
difference in
heights between Molded
main arch and bracket
minor arches) Round
arch Semidome
Extrados
Upper barrel -
Intrados (soffit) vaulted passage
opening on to
Springing point side aisle
Barrel vault
Impost
Abutment

Strut built into
Passage leading masonry to
to side aisle
strengthen pier
(added in the
20th century)
Minor arch Main arch Pier
leading to leading to Minor
side aisle nave
arch
TYPES OF ARCH









HORSESHOE ARCH (MOORISH BASKET ARCH (SEMI-ELLIPTICAL TUDOR ARCH, TOWER LANCET ARCH, TREFOIL ARCH, BEVERLEY
ARCH), GREAT MOSQUE, ARCH), PALATINE CHAPEL, AIX- OF LONDON, BRITAIN, WESTMINSTER ABBEY, MINSTER, YORKSHIRE,
CORDORA, SPAIN, 785 LA-CHAPELLE, FRANCE, 790-798 c.1086-1097 LONDON, BRITAIN, 1503-1519 BRITAIN, c.1300

484

ARCHES AND VAULTS
TYPES OF VAULT Tierceron
Transverse (secondary rib)
rib Temporary Barrel vault Transverse ridge-rib Longitudinal
brace ridge-rib Ridge-rib
Transverse
arch Springing
point
Voussoir
Concave-sided Panel
Temporary lozenge
Horizontal structure used Right-angled Groin Diagonal rib
abutment to center vault intersection
RIB VAULT FAN VAULT
BARREL VAULT (TUNNEL VAULT; GROIN VAULT
WAGON VAULT) ENGLISH BOND BRICKWORK OF
GROIN VAULT AND RIB VAULT
Right-angled intersection
COMPOSITE Pedestal of Groin
MODEL OF Coved dome lantern
ANTIQUE Lantern
FRENCH TEMPLE Lesene Archivolt decorated Header
with plain fascias
Stretcher
Abutment
Series of plain
fascias Dentil Springing
point
Cell of
Re-entrant angle
barrel vault
Cavetto Coved dome EXTRADOS OF
molding GROIN VAULT
Cell
Fillet Stretcher Header
Pedestal
Cornice of dome
Plain frieze Entablature
Architrave Extrados of
diagonal rib
Ionic
capital Springing
point
Chamfered Fluted
Round arch
corner Ionic EXTRADOS OF RIB VAULT
column
Cornice
INTERIOR DECORATION OF
Keystone COFFERED VAULT
decorated
with scroll Horizontal Coffer (square
band
Compass sunken panel)
Plain Ionic
column Twisted Square
vertical
Shaft band Hammer
Scotia Naos (celia)
Pedestal of
Plinth
column
Dado Chamfered Arris Mason’s
edge molding tools



Base Ionic column with twisted vertical
Intercolumniation bands (wreaths) and horizontal bands

485

ARCHITECTURE
DOME TIMBERING,
Domes Ogee-curved CHURCH OF THE SORBONNE,
PARIS, FRANCE, 1635-1642
dome (BY J. LEMERCIER)
A DOME IS A CONVEX ROOF. Domes are categorized according Straight brace
to the shapes of both the base and the section through the
Window Deeply projecting pier buttress
center of the dome. The base may be circular, square, or zone
polygonal (many-sided), depending on the plan of the drum Cornice
(the walls on which the dome rests). The section of a dome
Depressed hood mold
may be the same shape as any arch (see pp. 484-485).
Pedestal
Various types of dome are illustrated here: a Circular lucarne window
Floorboard
hemispherical dome, which has a circular base
and a semicircular section; a saucer dome, Ashlar Floor joist
which has a circular base and a segmental piece
Hood mold
(less than a semicircle) section; a polyhedral
Pin
dome, which is a dome on a Waisted-
polygonal base whose sides meet Short oval
strut lucarne
at the top of the dome; and window
LANTERN AND an onion dome, which has Mortise-and-
UPPER DOME a circular or polygonal base tenon joint Ogee-
TIMBERING, curved
ST. PAUL’S and an ogee-shaped Principal rafter window-
CATHEDRAL section. Many domes have frame
a lantern (a turret with windows) Straight brace Tie Circular Common Shaft connecting
to provide light inside. Vertical post beam baseplate rafter lantern and
church interior
ROOF WITH Weathercock
LANTERN AND REPRESENTATION OF
ONION DOME DOME METALLING,
CHURCH OF Cross
Ellipsoid THE SORBONNE
orb Orb Square rib
Inverted ovolo Astragal
(quarter-round)
Keeled Volute
lesene Fillet
Roll molding
Onion dome Plain fascia
Fish-scale tile Lantern Buttress
Round-arched
Octahedral base window Volute

Sloping roof Ovolo Cornice
Oversailing (quarter-round)
fascia Round arch Projecting pier
Fillet buttress
Attached Dome
Tetrahedral pillar on a Fish-scale Inverted
capital circular tile demi-heart
Vertical base torus molding
Return band Hood-
mold Waisted-oval
Window Oversailing lucarne
fascia window
Torus
Octahedral Small
Fillet base of volute
lantern
Lantern Gutter
Parapet Semicircular
Triple torus
Tetrahedral roof Small roll Fillet Plain fascia lesene molding
486

DOMES
Gilded cross Gilded orb
TYPES OF DOME
Porthole
Ring of scrolls
Gilded rib
Small dome
Oeil-de-boeuf
Attic story (“ox-eye”)
window
Pair of
urns
DOME OF THE CHURCH OF SANTA SOPHIA, Plain FLORENCE CATHEDRAL, ST. BASIL’S CATHEDRAL,
ROCK, JERUSALEM, ISTANBUL, TURKEY, 532-537 frieze ITALY, 1420-1436 MOSCOW, RUSSIA,
ISRAEL, FROM c.684 (SAUCER DOME) (POLYHEDRAL DOME) 1555-1561
(HEMISPHERICAL Dentil (ONION DOME)
DOME) ornament Twin columns
Cruciformpedestal
Gilded railing Ovolo (quarter- with concave returns
round) molding
DOME, ST. PAUL’S Viewing platform
CATHEDRAL, LONDON, Scoop-pattern
BRITAIN, 1675-1710 Blind arch molding
(BY C. WREN)
String course Scroll-shaped
corbel
Inner dome
Light-well window Dome on a
circular
Roll base
Lead covering


Double ring Drum
Masonry apron
Entablature
Drop
Pilaster Pilaster capital

Marble-filled
opening Gallery
Balustrade Entablature
Dentil

Classical-style
capital
Colonnade
Column

Round arch
Mascaron
(mask)
Festoon
Circular
pedestal

Fielded panel

Base
Socle Shell-headed niche
487

ARCHITECTURE
Budlike
Islamic buildings onion dome Depressed arch surrounding mihrab
Painted roof
pavilion
Turkish- Lotus-flower
THE ISLAMIC RELIGION was founded by
crescent pendentive
the prophet Mohammed, who was born in finial
Arabic
Mecca (in present-day Saudi Arabia) about Crest inscription
570 ad. In the following three centuries,
Islam spread from Arabia to North Africa
OPUS SECTILE and Spain, as well as to India and much
MOSAIC DESIGN
of the rest of Asia. The worldwide Painted
influence of Islam remains strong today. minaret
Common characteristics of Islamic buildings with censer
(incense
include ogee arches and roofs, onion domes, and burner)
walls decorated with carved stone, paintings, inlays,
or mosaics. The most important type of Islamic
Spandrel
building is the mosque—the place of worship—
Series of
which generally has a minaret (tower) from
recessed arches
which the muezzin (official crier) calls
Muslims to prayer. Most mosques have a mihrab Semidome
(decorative niche) that indicates the direction Arched niche
of Mecca. As figurative art is not allowed within a niche
in Islam, buildings are ornamented with
Mural resembling tomb Polyhedral niche Recessed colonettes
geometric and arabesque motifs, and
inscriptions (frequently Koranic verses). MIHRAB, JAMI MASJID (PRINCIPAL OR CONGREGATIONAL
MOSQUE), BIJAPUR, INDIA, c.1636
Shield Herringbone pattern
Tablet
flower
Enameled
Spandrel turquoise
with floral earthenware Cube with
design tile
chamfered
corners
Trigon
Ogee arch
Polygonal
Carved Band with capital
stone Arabic
Undulating inscriptions Niche
band praising
Allah (God)
Cusp Enameled white
earthenware tile
Volute
Impost
Column
shaft Arabesques of
Capital with
stylized plants
stylized floral
design
Attached
colonette
Panel Enameled lapis
with fret blue earthenware
pattern tile

Jali (latticed screen) with geometrical patterns MIHRAB WITH COLUMN, EL-AINYI
MOSQUE, CAIRO, EGYPT, 15TH CENTURY
ARCH, THE ALHAMBRA, GRANADA, SPAIN, 1333-1354

488

ISLAMIC BUILDINGS
EXAMPLES OF ISLAMIC MOSAICS, EGYPT AND SYRIA

Star-shaped
motif Stone Greek Star-shaped
cross of motif
Triangle Black black and
of yellow Greek cross of marble yellow Stone band
marble
red marble marble
Turquoise Rhombus of
Rhombus of Mosaic glass red marble
black marble tessellation
Tessera (small
mosaic piece)
Stone band
FRET-PATTERN MOSAIC
STAR AND GREEK-CROSS STAR AND GREEK-CROSS
MOSAIC Hexagonal design MOSAIC
Parallelogram of Band of black
black marble marble
Symmetrical
quadrilateral Symmetrical
Triangle Band of quadrilateral
of yellow of stone stone
of black
marble HEXAGON AND BAND marble
Star-shaped MOSAIC
motif Triangle
Hexagon
Rhombus of red of stone
of red Triangle of marble
marble turquoise glass
Parallelogram of MOSAIC OF HEXAGONS,
MOSAIC OF HEXAGONS, TRIANGLES, mother-of-pearl TRIANGLES, AND
AND SYMMETRICAL SYMMETRICAL
QUADRILATERALS DANCETTE-PATTERN MOSAIC QUADRILATERALS
Kalasa finial MARBLE TOMB OF ITIMAD-UD-DAULA, AGRA, INDIA, c.1622-1628
(finial with
orbs)
Padmakosa
(lotus petal) Ogee-curved Chajya Domed
roof (deep eaves) roof
Parapet
decorated Balcony
with Cusped
Circular latticework Roof arch
top of pavilion
minaret Pietra dura inlay
(slices of
semiprecious stone
laid in sockets)


Cornice
Bracket
Octahedral Spandrel
base of decorated with
minaret arabesque


Sandstone
Star- plinth
pattern
inlay

Sandstone parapet Jali (latticed screen) Depressed Sandstone Opus sectile mosaic (geometric
decorated with with geometrical entrance arch stairway mosaic) of stone, tile, glass,
latticework patterns and enamel
489

ARCHITECTURE

South and SEVEN-STORIED
PAGODA IN
BURMESE STYLE,
c.9TH-10TH
CENTURY
east Asia Gilded Gilded iron
band hti (crown)
THE TRADITIONAL ARCHITECTURE of south and east Asia has been
profoundly influenced by the spread from India of Buddhism and Hinduism.
This influence is shown both by the abundance and by the architectural
styles of temples and shrines in the region. Many early Hindu temples
consist of rooms carved from solid rock-faces. However, free-standing
structures began to be built in southern India from about the eighth
century AD. Many were built in the Dravidian style, like the Temple of
Dubika (mast)
Virupaksha (opposite) with its characteristic antarala (terraced tower),
perforated windows, and numerous arches, pilasters, and carvings.
The earliest Buddhist religious monuments were Indian stupas,
which consisted of a single hemispherical dome surmounted by a
chattravali (shaft) and surrounded by railings with ornate gates.
Later Indian stupas and those built elsewhere were sometimes Arrow
motif Torus molding
modified; for example, in Sri Lanka, the dome became bell-shaped,
with spiral
and was called a dagoba. Buddhist pagodas, such as the Burmese carving
example (right), are multistoried temples, each story having a
projecting roof. The form of these buildings probably derived from
the yasti (pointed spire) of the stupa. Another feature of many
traditional Asian buildings is their imaginative roof-forms, such
as gambrel (mansard) roofs, and roofs with angle-rafters (below). Decorative
eaves board

DETAILS FROM EAST ASIAN BUILDINGS
Ogee-arched
Ogee-arched motif forming
motif with horn
decorative
carvings Hip rafter





KASUGA-STYLE ROOF WITH TERRACES, TEMPLE OF Pentroof
SUMIGI (ANGLE-RAFTERS), HEAVEN, BEIJING, CHINA,
KASUGADO SHRINE OF 15TH CENTURY
ENJOJI, NARA, JAPAN,
12TH-14TH CENTURY


Engaged
Undulating pillar
molding
Arched
Baluster entrance
finial
Rectangular
GAMBREL (MANSARD) ROOF Balustrade window
WITH UPSWEPT EAVES AND
UNDULATING GABLES, CORNER CAPITAL WITH Baluster
HIMEJI CASTLE, HIMEJI, ROOF BEAMS, POPCHU-SA Pillar
JAPAN, 1608-1609 TEMPLE, POPCHU-SA, SOUTH Straight
KOREA, 17TH CENTURY brace

490

SOUTH AND EAST ASIA
PERFORATED STONE WINDOWS, TEMPLES OF VIRUPAKSHA DAGOBA STUPA,
AND MALLIKARJUNA, PATTADAKAL, INDIA, 8TH CENTURY Chattra KANDY, SRI LANKA,
(umbrella) c.2ND CENTURY
BC- 7TH CENTURY AD
Tablet Chain Hanging
flower motif ornament
Yasti (tee;
Chattravali (shaft) pointed spire)
Fret Floral Ring with
motif pattern indentations Harmika (stylized
symbolizing square railing)
chattras

Leaf Ornamental
metalwork
Scroll Auda
motif (bell-shaped
Sickle dome)
motif
Semicircle
Trimala
(series of
SIDE VIEW AND Stupica (small stupa) of three circular
PLAN VIEW, the Dravidian order courses)
TEMPLE OF
VIRUPAKSHA, Dravidian Circular
PATTADAKAL, finial base
INDIA, c.746
Blind
Antarala chataya
(terraced arch Bracketed Small
tower) Perforated Gopuram finial capital gopuram
window (wagonlike finial) (gate head)

Parapet

Roll
cornice
Niche
with
statue








Gate

Plan Panel with
view bas-relief
carving

Twin Pillar
pilasters
Shrine
Pradakshina Mandapa
(circumambulatory Niche (pillared hall)
passage around Shrine
shrine) chamber Gate

491

ARCHITECTURE

The 19th century SECTION THROUGH A
FLAX-SPINNING MILL

Cast-iron Pitched Ridge
BUILDINGS OF THE 19TH CENTURY are characterized by wall plate roof
the use of new materials and by a great diversity of Machinery Verge
space
architectural styles. From the end of the 18th century, Gutter
iron and steel became widely used as alternatives to Cast-iron
wood for the framework of buildings, as in the flax- mortise-and-
tenon joint
spinning mill shown here. Built in Britain in 1796, Anchor joint
this mill exemplifies an architectural style that became Inverted
T-section
common throughout the industrialized world for more
cast-iron Drainpipe
than a century. The Industrial Revolution also brought beam
mass-production of building parts—a development
Segmentally End flange
that enabled the British architect Sir Joseph Paxton
arched brick
to erect London’s Crystal Palace (a building made vault Concrete floor
entirely of iron and glass) in only nine months, ready
Tapering
for the Great Exhibition of 1851. The 19th century
part of
saw a widespread revival of older architectural column
styles. For example, in the US and Germany,
Paved
Neo-Greek architecture was fashionable; ground floor
in Britain and France, Neo-Baroque,
Neo-Byzantine, and Neo-Gothic
styles (as seen in the Palace of Multigabled Ridge Furrow Verge Strengthened
Westminster and Tower roof (ridge and central
furrow roof) Timber column
Bridge) were dominant.
rafter
Cast-iron
wall-plate
FLAX-SPINNING MILL, Gutter
SHREWSBURY, BRITAIN,
1796 (BY C. BAGE) Gable
Drainpipe
Tapering part Three courses
of column of stretchers
Segmentally arched Course of headers
brick vault
Course of
Cast-iron mortise- decorative
and-tenon joint headers
Tie-rod Cast-iron
lattice window
Cast-iron
cruciform column Cast-iron tenon
Inverted T-section Anchor-joint
cast-iron beam
Strengthened
central
Bonded column
brick wall







Stone foundation Quoin Jamb Gauged arch (segmental arch of tapered bricks)

492

THE 19TH CENTUR Y
CLOCK TOWER (“BIG BEN”), DETAILS FROM BUILDINGS IN REVIVALIST STYLES
PALACE OF WESTMINSTER,
Finial LONDON, BRITAIN,
1836-1868 (BY C.BARRY
Spire AND A. W. N. PUGIN)
Skylight Iron tracery
Dormer window
Cornice
decorated Round arch filled
with with open tracery
shields
Tetrahedral spire
Iron
railing Bell chamber CUPOLA, MERCHANTS’ SCULPTURE AND PEDIMENT, DOMED TURRET,
EXCHANGE, PHILADELPHIA OPERA HOUSE, PARIS, FRANCE, WESTMINSTER
Small Balustrade 1832-1834 (NEO-GREEK) 1861-1874 (NEO-BAROQUE) CATHEDRAL, LONDON,
orb BRITAIN, 1894-1903
Ogee tracery arch (NEO-BYZANTINE)
Orb filled with trefoil Tetrahedral Finial Dormer head (gable)
spire filled with blind tracery
Flying buttress Finial
High-level Parapet Parapet
Pinnacle Spire footbridge of balcony
Spandrel Octahedral
Cornice upper
Octahedral turret
shaft with Latticework Heraldic shield
billet Wedge-
decoration Cast-iron Cast-iron paneling shaped
tracery corbel
Dial Archway Molded
corbel String
Cornice course
Molded Stone
corbel Drawbridge Steel panel
(bascule) brace
Star-shaped Pier
corner Circular
buttress turret/buttress Archway
Paneled
field filled TOWER BRIDGE, LONDON, BRITAIN,
with 1886-1894 (BY H. JONES)
tracery

Slender diagonal CRYSTAL PALACE EXHIBITION HALL, LONDON,
buttress BRITAIN, 1851 (BY J. PAXTON) Arched
facade
Narrow window Longitudinal girder Cast-iron
Window ornamental Semicircular
String course Ridge and furrow arch-plate barrel vault
glass roof-windows Crest
Carved Cast-iron trapezium
panel


Stepped
stories





Octahedral column Side exit Sheet-iron louvre Strengthened support Entrance

493

ARCHITECTURE

The early 20th century EMPIRE STATE
BUILDING, NEW
YORK, USA, 1929-1931
(BY R. H. SHREVE,
T. LAMB, AND
ARCHITECTURE OF THE EARLY 20TH CENTURY is notable for radical new types of A. L. HARMON)
steel-and-glass buildings—particularly skyscrapers—and the widespread use of
Radio mast
steel-reinforced concrete. The steel-framed skyscraper was pioneered in Chicago
in the 1880s, but did not become widespread until the first decades of the 20th Circular lantern
century. As construction techniques were refined, skyscrapers became higher
and higher; for example, the Empire State Building (right) of 1929-1931 Art deco splayed
has 102 storeys. Many buildings of this period were constructed from Stepped seashell form
lightweight concrete slabs, which could be supported by cantilever plinth
Chamfered corner
beams or by pilotis (stilts), as in the Villa Savoye (below). The Colonnaded
early 20th century also produced a great variety of architectural story
styles, some of which are illustrated opposite. Despite their
Ornamentation
diversity, the styles of this period generally had one thing in Ziggurat-
common: they were completely new, with few links to past Set-back style
step-back
architectural styles. This originality is in marked contrast to 19th-
century architecture (see pp. 492-493), much of which was revivalist.
Steel
mullion
VILLA SAVOYE, POISSY, FRANCE, 1929-1931 (BY LE CORBUSIER)
Flush
TOP VIEW Fixed table Parapet window
Vertical pier
Slab floor Screen
Ramp
Regular
fenestration
Handrail
Windowsill
Flat roof Solid-panel
infill
Curved
Flat roof wall
Fanlike
art deco
decoration

Directional Terrace Raised Decorated Stone
skylight planting bed stone lintel structure line


SIDE Terrace Cement-rendered wall Limestone and
VIEW of lightweight granite cladding
Sliding pane of glass slabs Solarium Stepped
cornice
Mullion Flat roof
Parapet
Piano nobile Plinth
(first floor)

Reinforced-
concrete
pilotis (stilt)
Rooms Ribbon window of Curved Covered Ground-floor Square
for staff long living-room glazing driveway entrance Base bay

494

THE EARLY 20TH CENTUR Y
MIDWAY GARDENS, CHICAGO, 1914 (BY F. L. WRIGHT)
Flagpole Plain coping
stone Orchestra Tiled,
Main floor Steps shell shallow
Terrace Stage pitched roof
Decorated cement frieze
Ridge
Projecting balustrade
Hip
Ornamental light
Main Arcade
pavilion


Terrace







Ornamental Octagonal
sculpture window
Stone plinth Flat roof
EAST SIDE Tiled frieze Cantilevered, NORTH
latticed shade SIDE
Deep-set window
Planting bed
Brick pier Slit window

EARLY 20TH-CENTURY Stepped flat roofs Terrace
ARCHITECTURAL STYLES
Ornamented
coping stone









DORMER WINDOW, AEG TURBINE HALL, ROBIE HOUSE, CHICAGO,
STUDIO ELVIRA, BERLIN, GERMANY, 1909 1909-1910 (PRAIRIE STYLE)
MUNICH, GERMANY, (DEUTSCHER WERKBUND)
1902 (ART NOUVEAU)












GRUNDTVIG CHURCH, VERTEX, CHRYSLER TOWER, TOWN HALL, CASA DEL FASCIO, COMO, MOTIF ABOVE DOORWAY,
COPENHAGEN, DENMARK, BUILDING, NEW YORK HILVERSUM, NETHERLANDS, ITALY, 1932-1936 HOOVER FACTORY, LONDON,
1920 (EXPRESSIONIST) CITY, 1928-1930 (ART DECO) 1930 (DUTCH CUBIST) (GRUPPO SEVEN CUBIST) BRITAIN, 1933 (ART DECO)

495

ARCHITECTURE

Modern buildings 1 KAWANA HOUSE, JAPAN,
FROM 1987 (BY N. FOSTER)


ARCHITECTURE SINCE ABOUT THE 1950s is generally known Solar panel
as modern architecture. One of its main influences has
Concrete frame
been functionalism—a belief that a building’s function
should be apparent in its design. Both the Centre Georges
Pompidou (below and opposite) and the Hong Kong and Pile
foundation
Shanghai Bank (see pp. 498-499) are functionalist buildings: Raft Composite cladding panel
on each, elements of engineering and the building’s services
SIDE VIEW
are clearly visible on the outside. In the 1980s, some architects
Rocker
rejected functionalism in favor of post-modernism, in beam
which historical styles—particularly neoclassicism—were
Curtain
revived, using modern building materials and techniques.
walling
In many modern buildings, walls are made of glass or
concrete hung from a frame, as in the Kawana House (right); Lattice beam
Floor-beam connection Floor
this type of wall construction is known as curtain walling.
Other modern construction techniques include the intricate FRONT VIEW
interlocking of concrete vaults—as in the Sydney Opera House
(see pp. 498-499)—and the use of high-tension beams to
create complex roof shapes, such as the paraboloid roof of Metal-faced, Air-conditioning Cooling tower
the Church of St. Pierre de Libreville (see pp. 498-499). fire-resistant duct
panel
SERVICES FACADE, CENTRE GEORGES POMPIDOU, Water
PARIS, FRANCE, 1977 (BY R. PIANO AND R. ROGERS) pipe






Grand
gallery level




Main gallery
levels





Library level


Administrative
level
Mezzanine
gallery level
Reception level



Staircase to Electrical plant Water-cooled, fire- Continuous Services
grand hall resistant column glazing Tinted glass entrance

496

MODERN BUILDINGS 1
PRINCIPAL FACADE, CENTRE GEORGES POMPIDOU

Gallery External Electronically operated Cooling Continuous
space walkway roller blind tower glazing
Steel
lattice beam Terrace
Main truss Cradle
support for
Gerberette escalator
(cast-steel
rocker beam) Cross-
bracing
Suspended Double
fire-resistant fire-escape
glass curtain staircase




Reinforced-concrete Double floor height Main Glazed Node Water-cooled,
and steel floor plate entrance escalator tube fire-resistant
steel column


Exposed “plug-in” services

Steel lattice Elevator Elevator-motor room Vertical-duct
beam Dual air-conditioning distribution zone
unit for roof





Metal
sandwich-panel
(insulating panel)
Gerberette
(cast-steel
rocker beam)
Rose connection

Outer
tension-column
External steel-
lattice mullion

Water-cooled,
fire-resistant
cross-beam
Double
fire-escape
staircase




Water storage Open gallery Steel-framed Double
tank Cross-bracing floor Water pipe services column cross-bracing

497

ARCHITECTURE

Modern buildings 2




HONG KONG AND SHANGHAI BANK, HONG KONG, 1981-1985 (BY N. FOSTER)
Illuminated
Mast fascia External Soffit
Inverted Curved maintenance crane
top truss Helicopter
glazing
Cockpit landing pad Navigation
Soffit light
Counterweight Stepped
elevation
Boom Circular access
platform
Sunshade Face
louver Steel column panel Horizontal
window
Mullion Face panel
Vertical
Hanger window
Handrail
Composite External
cladding- Top beam maintenance
panel crane
Outer
diagonal
Escalator beam
Outer bottom Cross-
boom bracing
Inner
diagonal Service
Fire escape beam shaft
staircase
Inner bottom
External boom
staircase
Pin joint Double
floor
Refuge height
Double terrace
floor-
height Hanger
Sun scoop
Full-height
glazing
Sun scoop Two-story
stability
Glazed truss
curtain (coathanger
wall truss)
10-floor-
Flange high
atrium
Lightweight,
column-free,
Vertical, steel and
glazed concrete floor
typhoon
screen Glazed
soffit
Internal bridge
Entrance lobby Plaza
SOUTH FACADE EAST SIDE

498