Journal articles: 'Architecture romane'

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Cabrero-Ravel, Laurence. "Clochers provençaux de l'époque romane." Bulletin Monumental 157, no. 2 (1999): 218. http://dx.doi.org/10.3406/bulmo.1999.2282.

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Havard, Isabelle. "La cathédrale romane de York." Bulletin Monumental 161, no. 3 (2003): 259–60. http://dx.doi.org/10.3406/bulmo.2003.1230.

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Garrigou Grandchamp, Pierre. "La maison romane de Beaugency." Bulletin Monumental 165, no. 1 (2007): 91–98. http://dx.doi.org/10.3406/bulmo.2007.1415.

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Gautier, Nicolas. "Le Mans. Découverte d’une maison romane." Bulletin Monumental 176, no. 4 (2018): 337–38. http://dx.doi.org/10.3406/bulmo.2018.13487.

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Caldano, Simone. "L’architecture romane en Ligurie. État des questions." Bulletin Monumental 174, no. 1 (2016): 35–46. http://dx.doi.org/10.3406/bulmo.2016.12749.

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Büttner, Stéphane. "Vézelay. Une relecture archéologique de l’abbatiale romane." Bulletin Monumental 174, no. 4 (2016): 499–501. http://dx.doi.org/10.3406/bulmo.2016.12901.

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Kahn, Deborah. "La sculpture romane en Angleterre : état des questions." Bulletin Monumental 146, no. 4 (1988): 307–40. http://dx.doi.org/10.3406/bulmo.1988.3181.

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Vergnolle, Éliane. "La signification du terme « Sculptor » à l'époque romane." Bulletin Monumental 147, no. 1 (1989): 86–87. http://dx.doi.org/10.3406/bulmo.1989.4689.

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Spencer, Thomas. "Saint-Quentin de Troyes : une église romane retrouvée." Bulletin Monumental 164, no. 4 (2006): 339–46. http://dx.doi.org/10.3406/bulmo.2006.1381.

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Aleksandravičius, Egidijus. "Argentinos lietuvių meistrystė Henriko Lukaševičiaus romane „Likimo žaismas“." OIKOS: lietuvių migracijos ir diasporos studijos 34, no. 2 (2022): 81–99. http://dx.doi.org/10.7220/2351-6561.34.4.

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Pitte, Dominique. "Architecture civile en pierre, à Rouen, du XIe au XIIIe siècle. La maison romane." Archéologie médiévale 24, no. 1 (1994): 251–99. http://dx.doi.org/10.3406/arcme.1994.1048.

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Polonovski, Max. "Sculpture romane dans les vallées de l'Aisne et de l'Oise." Bulletin Monumental 149, no. 4 (1991): 434–35. http://dx.doi.org/10.3406/bulmo.1991.3308.

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Cabrero-Ravel, Laurence. "Découverte d'un chapiteau roman de la cathédrale romane d'Aix-en-Provence." Bulletin Monumental 161, no. 2 (2003): 162. http://dx.doi.org/10.3406/bulmo.2003.1198.

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Tosco, Carlo. "Géographie historique de l’architecture romane en Italie septentrionale. État des questions." Bulletin Monumental 174, no. 1 (2016): 3–20. http://dx.doi.org/10.3406/bulmo.2016.12747.

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Ponsot, Patrick. "Loir-et-Cher. Une maison « romane », dite « maison du Prêche », à Montrichard." Bulletin Monumental 159, no. 3 (2001): 246–49. http://dx.doi.org/10.3406/bulmo.2001.1014.

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Saint-Jean-Vitus, Benjamin. "Saône-et-Loire. Découverte d'une mosaïque romane à Saint-Philibert de Tournus." Bulletin Monumental 160, no. 4 (2002): 399–400. http://dx.doi.org/10.3406/bulmo.2002.1158.

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Tosco, Carlo, and Michele Luigi Vescovi. "L’architecture romane en Piémont et dans le Val d’Aoste. État des questions." Bulletin Monumental 174, no. 1 (2016): 21–34. http://dx.doi.org/10.3406/bulmo.2016.12748.

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Reveyron, Nicolas. "Les structures clavées non-extradossées dans l'architecture romane et gothique (XIIe-XIIIe siècles)." Bulletin Monumental 151, no. 4 (1993): 553–89. http://dx.doi.org/10.3406/bulmo.1993.3408.

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Flüge, Bernhard, Pierre Garrigou Grandchamp, and Jean-Denis Salvèque. "Saône-et-Loire. Une maison romane de 1091 à Cluny (20 rue du Merle)." Bulletin Monumental 158, no. 2 (2000): 151–55. http://dx.doi.org/10.3406/bulmo.2000.2377.

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Kenaan-Kedar, Nurith. "Les chapiteaux des portes de l'enceinte de Césarée (1251-1252) : de la tradition romane à l'art gothique." Bulletin Monumental 164, no. 1 (2006): 95–98. http://dx.doi.org/10.3406/bulmo.2006.1322.

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Guiral Pelegrín, Carmen. "Reseña de: Dubois, Y., Ornamentation et discours architectural de la villa romaine d’Orbe Boscéaz." Espacio Tiempo y Forma. Serie I, Prehistoria y Arqueología, no. 11 (December 11, 2018): 153. http://dx.doi.org/10.5944/etfi.11.2018.23094.

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Reseña de: Dubois, Y.: Ornamentation et discours architectural de la villa romaine d’Orbe Boscéaz. (Cahiers d’Archéologie romande, 163, URBA II/1). Lausanne, 2016, 3 volúmenes. ISBN: 972-288028-163-2; ISSN: 1021-1713.

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Leslie, Stuart W. "“The Romance of Water and Power ”." Southern California Quarterly 99, no. 3 (2017): 290–328. http://dx.doi.org/10.1525/scq.2017.99.3.290.

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From the publicity with which it opened the Los Angeles Aqueduct in 1913 to the completion of its new headquarters on Bunker Hill in 1965, the Los Angeles Department of Water and Power (DWP) has employed architecture as advertising for image enhancement and to increase its sale of electricity and water. This study of selected DWP structures, 1924–1965, finds that the message of architectural boosterism can become obsolete before the buildings do. DWP’s architecture presents a complicated legacy and a challenge for the future.

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Pensabene, Patrizio. "Alexandria, Cyrenaica, Cyprus: Ptolemaic Heritage in Imperial Residential Architecture." Światowit, no. 58 (September 14, 2020): 11–31. http://dx.doi.org/10.31338/0082-044x.swiatowit.58.1.

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The relationship between Alexandria and the architectural traditions of Cyrenaica and Cyprus is currently becoming an important research topic. Beside the clear historical and geographical links, many comparisons specifically between the Cyrenaican and Cypriote architecture and that of Alexandria evidence a strong influence of the latter on both lands. The Alexandrian impact on architecture dates back to the Ptolemaic Period and continued under the Romans until late Antiquity

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Bugini, Roberto, and Luisa Folli. "Ubicazione delle cave di pietra da calce utilizzata come materia prima degli intonaci romani nella Lombardia occidentale." Arqueología de la Arquitectura, no. 13 (January 17, 2017): 049. http://dx.doi.org/10.3989/arq.arqt.2016.167.

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[it] La calce come materiale da costruzione ebbe larga diffusione nell’architettura romana della Lombardia occidentale. La presenza di carbonato di magnesio è stata per lo più riscontrata negli intonaci dipinti provenienti dai siti romani di Milano. Il carbonato di magnesio testimonia l’impiego di dolomia per la preparazione della calce e rocce di questa composizione affiorano per esteso nelle Prealpi lombarde: dolomie e calcari dolomitici grigio chiari (Dolomia del Salvatore, Ladinico-Anisico), dolomie grigie, talvolta con ciclotemi (Dolomia principale, Norico). Non sono conservate evidenze di cave o di forni romani in quest’area prealpina: i Romani sfruttarono gli stessi affioramenti dolomitici, situati lungo la sponda orientale del lago Maggiore, affioramenti da cui si produsse calce a partire dal Medio Evo in avanti. I depositi fluvio-glaciali del medio corso del fiume Adda tra Brivio e Trezzo (massi, ciottoli di calcari marnosi, calcari e dolomie che affiorano nel bacino fluviale) furono un’altra fonte medievale e moderna di materia prima, soprattutto per produrre una calce debolmente idraulica (chiamata “calce forte”), ma questo tipo di calce è assente negli intonaci romani.

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Marcu Istrate, Daniela, Sebastian Ovidiu Dobrotă, Vasile Paul Scrobotă, and Ionuț Cosmin Codrea. "Cercetări arheologice la Biserica Mare din cetatea Aiudului. I: Interiorul bisericii / Archaeological investigations at Biserica Mare of the Aiud Fortress. I: The interior of the church." Materiale şi cercetãri arheologice (Serie nouã) 18, no. 1 (2022): 217–52. http://dx.doi.org/10.3406/mcarh.2022.2282.

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La începutul secolului al XXI‑lea, în cetatea din orașul Aiud se aflau două biserici, una mai mare, reformată, cu un aspect gotic de secol XV, cealaltă mai mică, evanghelică, reclădită în secolul al XIX‑lea peste structura demolată a uneia mai vechi, ce data probabil din secolul al XIII‑lea. Biserica mare suferise și ea modificări pe parcursul îndelungatei ei istorii, îndeosebi în stil baroc, dar originile și vechimea ei adevărată erau necunoscute. Săpăturile arheologice de la biserica mare a Cetății Aiudului au început în 2008, pentru a fi reluate abia în 2018, în contextul unui program de restaurare. Continuând și în ziua de astăzi, investigațiile au furnizat o multitudine de noi date despre evoluția istorică a sitului, îndeosebi prin descoperirea ruinelor unei biserici mai vechi sub cea de secol XV. În interiorul corului actual, șanțuri de demantelare și rămășite de fundații retrasau conturul unui sanctuar încheiat spre est într‑o absidă poligonală, cu contraforturi pe colțuri. Mai la vest, în prima travee a actualei colaterale de sud, au fost aduse la lumina zilei ruinele întrețeserii dintre vechea navă și sanctuarul acesteia. Această biserică, deja prezentând o planimetrie gotică, nu a fost însă prima clădire de cult creștină a Aiudului, după cum rezulta destul de evident din faptul că absida acesteia a suprapus un mormânt. Totuși, pentru moment, nu se poate stabili dacă această inhumație trebuie pusă în conexiune cu biserica mică originară sau cu o structură încă și mai veche de pe locația bisericii mari. În ceea ce privește biserica actuală, excavațiile au relevat o evoluție în mai multe etape, cu sanctuarul inițial construit ca o extindere a clădirii de cult mai veche. Înălțarea sanctuarului a implicat de fapt două faze distincte, cea de a doua fiind efectiv o reclădire de la nivel de fundație pe un traseu numai ușor diferit. Ridicarea noilor nave și demolarea celei vechi au avut loc ulterior. Au urmat intervenții de mai mici proporții, după care secolul al XVIII‑lea a adus transformări masive. Biserica a fost arsă la începutul secolului, și rămășite din pavajul istoric, încă acoperite în funingine și cenușă, au mai putut fi găsite în timpul săpăturilor, sub elemente aparținând bolților prăbușite. După ce a funcționat vreme îndelungată în circumstanțe improvizate, interiorul bisericii a fost reamenajat în stil baroc la sfârșitul secolului, numai sanctuarul reținându‑și aspectul gotic. În cursul acestor transformări, nivelul de călcare interior a fost ridicat cu aproape 1 m de molozuri și diferite alte umpluturi, și, în cursul restaurării actuale, stratul superior al acestei nivelări a produs în jur de 400 de monede, acoperind îndeosebi perioada secolelor al XIX‑lea și al XX‑lea, cu numai câteva piese din a doua jumătate a secolului al XVIII‑lea. Cea mai nouă modificare majoră a interiorului a avut loc în 2019, când, însuflețiți de rezultatele cercetărilor arheologice, membrii colectivului de restaurare au coborât nivelul de călcare din sanctuar înapoi la cota sa originară de dinaintea secolului al XVIII‑lea. Pe lângă datele colectate privind evoluția structurilor clădite ale bisericii, săpăturile arheologice au adus la lumină și o serie de morminte, atât anterioare clădirii de cult actuale cât și efectuate în interiorul acesteia, o multitudine de fragmente de elemente arhitecturale, precum și materiale arheologice, îndeosebi de factură ceramică, răspândite pe un interval pornind din timpurile romane și mergând până în perioada modernă timpurie și actuală. Ca urmare a imensei cantități de informație colectată, acest articol prezintă pe scurt numai rezultatele săpăturilor arheologice efectuate în interiorul bisericii. Rezultatele investigațiilor efectuate în exteriorul bisericii vor fi prezentate ulterior. bisericii a fost reamenajat în stil baroc la sfârșitul secolului, numai sanctuarul reținându‑și aspectul gotic. În cursul acestor transformări, nivelul de călcare interior a fost ridicat cu aproape 1 m de molozuri și diferite alte umpluturi, și, în cursul restaurării actuale, stratul superior al acestei nivelări a produs în jur de 400 de monede, acoperind îndeosebi perioada secolelor al XIX‑lea și al XX‑lea, cu numai câteva piese din a doua jumătate a secolului al XVIII‑lea. Cea mai nouă modificare majoră a interiorului a avut loc în 2019, când, însuflețiți de rezultatele cercetărilor arheologice, membrii colectivului de restaurare au coborât nivelul de călcare din sanctuar înapoi la cota sa originară de dinaintea secolului al XVIII‑lea. Pe lângă datele colectate privind evoluția structurilor clădite ale bisericii, săpăturile arheologice au adus la lumină și o serie de morminte, atât anterioare clădirii de cult actuale cât și efectuate în interiorul acesteia, o multitudine de fragmente de elemente arhitecturale, precum și materiale arheologice, îndeosebi de factură ceramică, răspândite pe un interval pornind din timpurile romane și mergând până în perioada modernă timpurie și actuală. Ca urmare a imensei cantități de informație colectată, acest articol prezintă pe scurt numai rezultatele săpăturilor arheologice efectuate în interiorul bisericii. Rezultatele investigațiilor efectuate în exteriorul bisericii vor fi prezentate ulterior.

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Canak-Medic, Milka. "Kotorska katedrala Svetog Tripuna kao inspiracija neimara i skulptora raskih hramova." Zbornik radova Vizantoloskog instituta, no. 44 (2007): 245–51. http://dx.doi.org/10.2298/zrvi0744245c.

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(francuski) La premi?re grande ?glise romane ?rig?e sur le littoral adriatique oriental a ?t? l??glise Saint-Tryphon a Kotor. Cet ?difice faisait l?objet d?une grande admiration non seulement dans cette ville, mais aussi sur un bien plus vaste espace ou s?est manifeste son influence tant du point de vue spirituel qu?artistique. Son syst?me structurel avec voute d?ar?tes sur crois?e d?ogives a ainsi ?t? repris, d?j? dans les ann?es quatre-vingts du XIIe si?cle, dans la tour d?entr?e de Saint-Georges a Ras, ou une voute en cul-de-four a ?t? renforc?e d?ogives de section rectangulaire qui s??l?vent a partir de consoles en forme de prisme, tout comme celles visibles dans la cath?drale de Kotor du cote est, au-dessus du presbyterium. Quelque temps plus tard, il en a ?t? de m?me a Studenica et Zica, ou l?on a respectivement recouru aux voutes d?ar?tes sur crois?e d?ogive pour couvrir le vaste espace constitue par le narthex de Radoslav, puis, tr?s rapidement, a Zica, dans la tour de l?exonarthex. Plus nombreux encore sont les cas de formes et d?ornements repris de la d?coration sculpt?e de la cath?drale de Kotor. En l?occurrence, d?j? au cours du m?me si?cle, a ?t? ouverte dans l?abside du sanctuaire de l??glise de la Vierge a Studenica une fen?tre trilob?e de facture ext?rieure romane, ayant trouve son mod?le sur celle de Kotor. S?il a ?t? note que ces deux fen?tres trilob?es, de Kotor et Studenica, diff?rent malgr? tout dans la r?alisation m?me des ornements entrant dans la d?coration de leur cadre, la r?cente d?couverte de plusieurs fragments d?une baie g?min?e avec fronton de la cath?drale de Kotor pr?sentant une m?me finition sculpt?e et un m?me choix des motifs que certains cadres de fen?tres r?alises a Studenica, vient pleinement confirmer, si besoin ?tait, l?existence d?un lien entre les ouvertures de ces deux monuments. Et par la suite aussi, les b?tisseurs et sculpteurs de Rascie m?di?vale ont trouve leur inspiration dans les solutions appliqu?es a Kotor. A en juger par la tectonique de certains chapiteaux de l??glise du monast?re de Gradac, datant de la huiti?me d?cennie du XIIIe si?cle, et d?autres, visibles dans le catholicon, nettement post?rieur, du monast?re de Resava, ainsi qu?au vu des ornements apparaissant sur ceux-ci, leurs sculpteurs avaient connaissance de l?ornementation des chapiteaux des fen?tres trilob?es ouverte dans la galerie de la cath?drale de Kotor dont ils ont repris certains motifs. Une ?tude plus pouss?e mettrait vraisemblablement, en ?vidence de nouveaux exemples de r?alisation ayant trouve leur mod?le sur la c?l?bre cath?drale Saint-Tryphon a Kotor. D??pres les connaissances actuelles l?architecture et le syst?me structurel de ce monument ont finalement trouve leur plus fort ?cho sur l??glise de l?Ascension du Christ a Decani. Son maitre-b?tisseur, lui-m?me originaire de la ville royale de Kotor, comme il l'a fait grave sur le linteau du portail m?ridional de l'?glise de Decani, a, de toute ?vidence, fid?lement garde a l?esprit l?image de l??difice sacre le plus c?l?bre de sa ville natale.

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Vico López, Lola. "Metodología y criterios para la reconstrucción virtual del Patrimonio Arquitectónico romano." Virtual Archaeology Review 2, no. 3 (April 15, 2011): 151. http://dx.doi.org/10.4995/var.2011.4671.

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<p>This paper discusses virtual reconstructions of roman architectures from a constructive and technical point of view, and presents the results of a study about the contribution of architectural construction applied to virtual "restoration", that allowed reconstructive hypothesis realization using computer graphics for virtual reconstruction of the Villa of Livia. One of the key features regarding the methodology developed is the reliance on knowledge about ancient building techniques to underpin reconstruction hypotheses: as when designing a building, the preparation of a virtual model relies on architectural and engineering criteria, such as structural stability, functionality and correct use of building materials. In this regard, the virtual reconstruction of Roman buildings is eased by the existence of strong codes and principles that have ruled design and on which reconstruction hypotheses can be based. The paper introduces how the methodology is perfectly transparent and repeatable, guarantying a sound and objective final product.</p>

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Coppetti, Barbara. "Architettura e paesaggio tra prossimità e distanza." TERRITORIO, no. 63 (December 2012): 91–98. http://dx.doi.org/10.3280/tr2012-063018.

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The paper starts from the idea of the architectural nature of the landscape with the intention or revealing the figurative quality of mediocre contemporary landscapes, in relation to the search for meaning which design must confer on specific and close places. It is possible through architecture, even in a rarefied urban context, to research and propose new dynamic and changeable rules for urban planning. The scenarios proposed for the use of public land at Tor Bella Monaca are intended to highlight the relationship between the dimensions of architecture and those of the landscape: by reconsidering the density of the gap between Tor Bella Monaca and Torre Angela along the western edge; by designing new transverse areas to connect the neighbourhood internally; by working on the dialogue between the open courtyards along the eastern edge and the landscape of the Agro Romano countryside which runs into it.

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Garcia-Talegon, Jacinta, Adolfo C. Iñigo, Santiago Vicente-Tavera, and Eloy Molina-Ballesteros. "Heritage Stone 5. Silicified Granites (Bleeding Stone and Ochre Granite) as Global Heritage Stone Resources from Ávila, Central Spain." Geoscience Canada 43, no. 1 (March 14, 2016): 53. http://dx.doi.org/10.12789/geocanj.2016.43.087.

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Silicified granites were used to build the Romanesque monuments in the city of Ávila, Spain. The building stones comprise two types of granite based on their technical properties and colour: Bleeding Stone (Piedra Sangrante) and Ochre Granite (Caleño). They were used as a facing stone in the city´s Romanesque monuments of the 12th century (e.g. the cathedral and church of San Pedro), and the famous city walls that constitute the best example of military Romanesque Spanish architecture. During the Gothic and Renaissance periods of the 13th and 15th centuries, silicified granites were used mainly to build ribbed vaults, the voissoirs of the arches, and elements of the windows in the monuments of Ávila. Silicified granites are found in the intermediate and upper part of a complex palaeoweathering zone or mantle developed on the Iberian Hercynian Basement which underlies much of the western Iberian Peninsula. The silicification occurred during tropical conditions in the Mesozoic. The weathered mantle was truncated by Alpine tectonic movements during the Tertiary, and its remnants were unconformably overlain by more recent sediments in the western and southern part of the Duero Basin and along the northern edge of the Amblés Valley graben. The historical, and now protected, quarry is located in a village called La Colilla, about 5 km from the city of Ávila. Currently, this stone is exploited only for restoration work performed in the city, for example the Walls of Ávila, and the church of San Pedro. The resource is limited and being depleted, so the stone will be scarce in the near future. Consequently, these silicified granites should be recognized as a Global Heritage Stone Resource. The specific technical properties of these stones and their historic use, decay patterns, durability, and suitability for conservation treatments combine to support its designation as a Global Heritage Stone Resource.RÉSUMÉDes granites silicifiés ont été utilisés pour construire les monuments romans dans la ville d’Ávila, en Espagne. Les pierres de construction comprennent deux types de granite selon leurs propriétés techniques et leur couleur : Bleeding Stone (Piedra sangrante) et Ochre Granite (Caleño). Ils ont été utilisés comme pierre de revêtement de monuments romans du 12ème siècle de la ville (par exemple la cathédrale et de l'église de San Pedro), et pour les célèbres remparts de la ville qui constituent le meilleur exemple de l'architecture espagnole romane militaire. Durant les périodes gothique et Renaissance des 13e et 15e siècles, les granites silicifiés ont été utilisés principalement pour construire des croisés d'ogives, des voussoirs d’arcs et des éléments de fenêtres des monuments d’Ávila. Les granites silicifiés se trouvent dans la partie intermédiaire et supérieure d'une zone complexe de paléo-altération ou de manteau développée sur le socle ibérique hercynien qui supporte une grande partie de la péninsule ibérique occidentale. La silicification s’est produite dans des conditions tropicales au Mésozoïque. Le matériau mantélique altéré a été tronqué par des mouvements tectoniques alpins au cours du Tertiaire, et ses restes ont été recouverts en discordance par des sédiments plus récents dans la partie ouest et sud du bassin de Duero, et le long de la bordure nord de la vallée en graben d’Amblés. L’ancienne carrière, maintenant protégée, est située dans un village appelé La Colilla, à environ 5 km de la ville d’Ávila. Actuellement, cette pierre est exploitée uniquement pour les travaux de restauration effectués dans la ville, par exemple les murs d’Ávila, et l'église de San Pedro. La ressource est limitée et en voie d'épuisement, de sorte que la pierre sera rare dans un proche avenir. Par conséquent, ces granites silicifiés devraient être reconnus en tant que pierre du Patrimoine mondial des ressources en pierre. Les propriétés techniques spécifiques de ces pierres et leur valeur historique, leurs modes de désintégration, leur durabilité et leur pertinence pour la conservation patrimoniale justifient leur désignation en tant que roche du Patrimoine mondial des ressources en pierre. Traduit par le Traducteur

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Fumadó Ortega, Iván. "Sobre la introducción de la arquitectura palacial en el Mediterráneo Occidental." SPAL. Revista de Prehistoria y Arqueología de la Universidad de Sevilla 1, no. 31 (2022): 200–224. http://dx.doi.org/10.12795/spal.2022.i31.08.

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El palacio es a la vez un tipo de edificio y una alegoría política. La definitiva importación al Mediterráneo Occidental de este tipo arquitectónico y de su lenguaje simbólico se consumó al tiempo que la República romana se transformaba en un Imperio. Pero antes de estos hechos hubo otras experimentaciones con elementos propios de la arquitectura palacial, tanto en ámbito público como privado, en Italia, Sicilia, en el Maghreb occidental y en la península ibérica. En este artículo se propone una definición razonada del término palacio que sirva para su uso analítico, se discute sobre el rol jugado por las grandes poleis mediterráneas, en especial Cartago, en la difusión de estos edificios y se aboga por considerar a las monarquías norteafricanas, aún no suficientemente atendidas por la investigación, como importantes vectores de transmisión de este tipo de arquitectura en el Mediterráneo occidental.

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Colleoni, Fabien. "Stations routières en Gaule romaine : architecture, équipements et fonctions." Gallia 73, no. 1 (December 30, 2016): 3–9. http://dx.doi.org/10.4000/gallia.420.

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Rieth, Eric. "Archéologie de la batellerie gallo-romaine et architecture «sur sole »." Archaeonautica 16, no. 1 (2010): 35–47. http://dx.doi.org/10.3406/nauti.2010.1235.

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Jones, Mark Wilson. "Principles of design in Roman architecture: the setting out of centralised buildings." Papers of the British School at Rome 57 (November 1989): 106–51. http://dx.doi.org/10.1017/s0068246200009119.

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CRITERI PROGETTUALI NELLA ARCHITETTURA ROMANAE'ampiamente riconosciuto come la tecnica progettuale degli edifici romani antichi prevedesse una valutazione tanto delle proporzioni che delle dimensioni. L'elemento della proporzione è stato generalmente considerato come più importante e la questione della dimensione relegata in un ruolo di supporto, ritenuto interessante solo nella misura in cui il rapporto tra le dimensioni viene a creare una relazione di proporzioni. Questo lavoro cerca di comprendere l'importanza della dimensione come criterio progettuale a se' stante, studiando lo sviluppo delle piante relative ad un gruppo di edifici confrontabili tra loro. Vengono prese in considerazione anche un certo numero di fonti scritte particolarmente significative.La discussione è divisa in tre parti. La prima parte analizza le piante di un gruppo di edifici a pianta centrale, di grandi dimensioni, isolati, semplici, ben conservati, situati a Roma o nelle vicinanze e datati tra il 100 a.C. ed il 500 d.C, molti dei quali ispezionati nuovamente allo scopo. L'importanza della dimensione è messa in evidenza dal fatto che quasi tutti gli edifici in questione sviluppano piante che si possono associare a multipli di base 10, 12, e talora 16. Gli architetti sembrano essersi preoccupati di fissare tali dimensioni in modo da stabilire un limite importante nella progettazione di un edificio.La seconda parte esamina i motivi presupposti dai criteri visti operare nella pratica. Questi sorgono sia da considerazioni di carattere concreto, quali esigenze di praticità o propositi di imitazione, sia dal principio teorico della dimensione come fondamento della progettazione, secondo il concetto greco di symmetria. La terza parte cerca di considerare i risultati esposti finora nel contesto della progettazione di un edificio come coerente insieme tridimensionale. La scelta di una dimensione complessiva appropriata sembra avere esercitato una certa influenza sul modo in cui la progettazione di un edificio era scomposta ed elaborata con l‘ausilio di aritmetica e geometria.Come conclusione risulta che la dimensione in quanto tale appare come una delle caratteristiche fondamentali di un edificio romano, piuttosto che come semplice funzione dei rapporti di proporzione.

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Mohamed, Hassan. "The Architecture of the Colonnaded Streets in the Romano-Egyptian Cities." Minia Journal of Tourism and Hospitality Research MJTHR 14, no. 3 (December 1, 2022): 110–36. http://dx.doi.org/10.21608/mjthr.2022.168588.1067.

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Corr, Alice. "Address inversion in southern Italian dialects." Isogloss. Open Journal of Romance Linguistics 8, no. 4 (October 27, 2022): 1–37. http://dx.doi.org/10.5565/rev/isogloss.168.

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This article proposes a ‘topological’ reinterpretation of the extended nominal architecture in relation to southern Italo-Romance vocatives with and without allocuzione inversa (‘address inversion’, Renzi 1968), a phenomenon involving the ‘inverse’ lexical indexation of the speaker-addressee relationship (reg.It. Mangia, papà! ‘Eat up, little one!’, father to child). Topological Mapping Theory (Longobardi 2005; Martín & Hinzen 2014) posits a unified model of grammatical structure and nominal reference denotation in argumental constituents, where a hierarchy of referentiality (from predicativity to deixis) emerges through the expansion of the functional architecture. Contributing to a growing theoretical consensus favouring extra ‘vocative’ structure in the nominal left periphery, I argue that Italo-Romance vocatives with and without address inversion involve a part-whole expansion of structure, yielding a necessarily tripartite nominal architecture (VocP-DP-NP) in line with topological principles. The non-literal interpretation of N observed in the ‘lexical flip’ of address inversion vocatives is argued to be the surface manifestation of movement into VocP, a functional space whose internal articulation serves to construe the ostensive-deictic possibilities of an object-referring expression at the exophoric level.

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García-López, Arturo, and Fernando Prados Martínez. "El trabajo de la piedra en la Protohistoria balear. Estudio tecnológico y productivo de la arquitectura de Son Catlar (Ciutadella, Menorca)." SPAL. Revista de Prehistoria y Arqueología de la Universidad de Sevilla, no. 31.2 (2022): 75–94. http://dx.doi.org/10.12795/spal.2022.i31.20.

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n Resultado de los trabajos derivados del Proyecto Modular: Arquitectura fenicio-púnica en Menorca, presentamos un avance del estudio tecnológico y productivo de la piedra empleada para la construcción de la arquitectura de Son Catlar (Ciutadella). El objeto de este estudio es representar la secuencia de los procesos de trabajo, desde la explotación de la materia prima en las áreas de actividad que conocemos como canteras, hasta el consumo del material constructivo y su constitución como aparejo en el poblado. Pretendemos con esta investigación dar los primeros pasos en esta línea, valorando el papel que jugó la introducción de la tecnología del hierro y de las canteras para extracción de sillarejo durante el período denominado Postalayótico (II Edad del Hierro) momento previo a la conquista romana en que la isla se abrió culturalmente al Mediterráneo (550-123 a.C.).

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Niglio, Mariangela. "Past as Future in Adaptive Buildings: Climatic Adaptation in Ancient Constructions." Advanced Materials Research 1149 (August 2018): 1–9. http://dx.doi.org/10.4028/www.scientific.net/amr.1149.1.

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Increasingly today we talk about sustainable architecture or, better yet, about adaptive architecture as something innovative. Looking at the past, however, it is possible to find numerous examples of architecture that adapts to the climatic conditions of the place with special devices or natural materials. Starting from the ancient Romans and the ancient peoples of the Middle East, up to the newer system to create energy by exploiting natural resources, are various the adaptive systems of the past. All have in common the respect for the environment, communicating with it sustainably, and optimizing available resources. This paper focuses on some of these systems highlighting the merits.

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Tsichla, Markella-Elpida, and Eftychia Mourati. "Direct Line with the Monuments of the City. Case Study: Casa Bianca-Municipal Gallery of Thessaloniki. A Museum Pedagogy Approach." World Journal of Education and Humanities 3, no. 1 (January 19, 2021): p84. http://dx.doi.org/10.22158/wjeh.v3n1p84.

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The villas of Thessaloniki, examples of eclecticism, are architectural “wonders” situated in eastern Thessaloniki, in the district of “Exoches” or “Pyrgoi”, as it was called in the middle of the 19th century and the beginning of the 20th century. Casa Bianca is well known to the people of Thessaloniki, not only for its unique architecture, which is impressive since it creates an aesthetically pleasing result, but also for the story of romance that unfolded inside it. Casa Bianca shifted between various owners and uses. Starting as a house that was given as a wedding present to the newlywed couple Diaz, it was later used as a school, while today it is occupied by the Municipal Gallery of Thessaloniki. The present study aims to approach Casa Bianca, from the point of museum pedagogy with references to the factual history and the history of Art. That can be accomplished by designing an educational program which aims to introduce the young and the elder to the building, to its architecture as well as the choice of its eclectic style by the architect Pietro Arrigoni, the importance of this style in Thessaloniki of that period, the multicultural characteristics and its connection to the composition of the population of that time, the story of romance that monopolized the press at the time, the choice of architect and the various uses of the building up to this day. The educational program designed for Casa Bianca is in sync with the requirements of our time and for this reason it was decided that it would be designed and implemented online (distance learning), i.e. via computer. The website, that was designed exclusively for the Casa Bianca educational program, with the use of various types of media such as text, image, video and interactive games, seeks to stimulate the imagination and curiosity of users and to offer the maximum possible information through an experiential teaching approach and also through active learning.

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Van Engen, John. "Christening the Romans." Traditio 52 (1997): 1–45. http://dx.doi.org/10.1017/s0362152900011922.

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Europe was christened in the waters of Roman Christianity. Creeds, liturgies, hierarchies, saints, and ascetic practices favored in later imperial Rome washed over the European peoples in successive centuries and marked their Christianity indelibly. The splendor of that imperial era, rescued from facile notions of a declining Rome, has come to historical life in a distinct epoch called “late antiquity” (300–650). Its monuments testify to an ethos at once classical and spiritual. Late antique Christians instinctively took from Roman surroundings all that suited their new religious ends, from the architectural form given churches to the rhetoric and philosophy that mediated sermons and theologies. This Roman imprint passed to European Christians as a sacred legacy: the basilica as a church rather than a civic hall, the metropolitan as a clerical rather than a civic official, Rome as the city of Saint Peter rather than the emperor, the Empire as destined for Christ's birth as much as Augustus's triumphs. Medieval believers, seeking to re-create the church of first-century Jerusalem, fixed repeatedly upon exemplars from late antique Rome: the teachings of Augustine, the Bible of Jerome, the philosophical theology of Boethius, the laws of Leo, the Rule of Benedict, the prayers ascribed to Gregory. Even the story of Rome's religious transformation entered into the self-understanding of medieval and modern Europeans, the conversion narrative joined to biblical history with its outcome treated as providential and decisive.

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Grbić, Milena, and Ana Nikezić. "Lifestyle as a Resource for Re-Structuring Romani Urban Housing." Open House International 42, no. 1 (March 1, 2017): 95–101. http://dx.doi.org/10.1108/ohi-01-2017-b0014.

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Solving settlement and likewise housing problems of socially vulnerable Romani in Belgrade and Serbia still has not found the right design approach. In contemporary plural society, it is a process of interaction of theoretical and practical tryouts set beyond the disciplinary limits. Insufficient awareness on Romani lifestyle elaborated in Romanypen, i.e. the Romani cultural system causes a lack of methods, techniques and tools to choose from and develop for this untangled complex problem. The intent of this article is to show that a collective lifestyle represents the essence needed for developing adequate design decisions of Romani settlements, thus fulfilling the potential for improving adequate housing solutions. The study starts on the assumption that in Romani settlements there is a strongly rooted relation between spatial and social level that enables an understanding of what this cultural group produces as its own place. The urban pattern of Romani settlements do not have an institutionally imposed organization; they are formed by the Romani themselves, by reflex rooted in needs of everyday life activities and consequently organized and built through inherited knowledge and skills. The subject of this study is aimed at recognizing and thus establishing spatial expressions of the Romani collective lifestyle in three types of Belgrade Romani settlements that, according to the differences in their inner habitational pattern, display a representative model. It is based on the field analysis of five already created and developed unplanned settlements in Belgrade through observing and residing within them and by talking and questioning to their residents. This study shows that the key to understanding existing urban and architectural patterns, as well as the potential for future design actions lies in reading out the processes of everyday life. Then, it demonstrates a tool that has a potential to divert previous housing politics towards a revitalization of design in relation to social profiles specificities. At the end, the study opens a path to creating adequate architectural and urban parameters for housing care in accordance to the lifestyle acceptable for each and every socially perceptible group.

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Reveyron, Nicolas. "Ambiance lumineuse et architecture: les antécédents antiques des formules romanes et gothiques." Hortus Artium Medievalium 26 (May 2020): 201–12. http://dx.doi.org/10.1484/j.ham.5.121705.

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Townshend, Dale. "Improvement and Repair: Architecture, Romance and the Politics of Gothic, 1790-1817." Literature Compass 8, no. 10 (October 2011): 712–38. http://dx.doi.org/10.1111/j.1741-4113.2011.00815.x.

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Shapira, Yael. "Gothic Antiquity: History, Romance, and the Architectural Imagination, 1760–1840." Common Knowledge 27, no. 3 (August 1, 2021): 488–89. http://dx.doi.org/10.1215/0961754x-9268291.

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Garrigou Grandchamp, Pierre. "Maisons romanes du Gard." Bulletin Monumental 157, no. 3 (1999): 311. http://dx.doi.org/10.3406/bulmo.1999.2328.

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E.V., Kilimnik. "THE INTERNATIONAL FORM IN THE WORLD OF THE WORLD OF THE WEST EUROPE AND FORTIFICATION ART OF THE CRUSADERS IN THE MIDDLE EAST OF THE XIth AND XIIIth CENTURY." Global problems of modernity 1, no. 7 (July 31, 2020): 4–16. http://dx.doi.org/10.26787/nydha-2713-2048-2020-1-7-4-16.

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The main purpose of the study is to conduct architectural and historical analysis of the formation of medieval feudal castles as a phenomenon of chivalrous culture of Europe and the Middle East. The task of the study is to analyze the general and special in the evolution of forms in the castle architecture of Western Europe and the Jerusalem medieval kingdom. Creation of architectural and historical typology of castle forms that existed in the regions of medieval Western Europe and the Levant. In the course of the analysis of the formation of Middle Eastern castle complexes of the 12th - 13th century. found that on the one hand they were traditionally based on cultural and construction practices, Introduced to the regions of the Levant by European knights ‒ tower-donjon type of castle, which arose during the conquest in the areas of Israel, Palestine and Syria, on the other ‒ somewhat different from the architectural traditions of Western Europe, local technologies for processing stone quads, the construction of walls that have a boot, the use of cement solution, the creation of a tower-shaped building at the towers-don having a significant amount. Applied in the Middle East construction innovations with the active use of Romano-Byzantine traditions, getting to the territory of Western Europe, developed a chivalrous culture of castle building. As a result of cultural and historical analysis of European and Middle Eastern castle forms of the 12th and 13th century. it was determined that a better system of protection ‒ small wall niches, vaulted system of overlaps ‒ was introduced into the European fortification art by returning crusader knights. Thanks to the acquired building experience, the Crusaders in Western Europe were introduced to a new type of castle, the castel, which was borrowed from the old Roman-Byzantine military architecture during the conquest of the Levant. Based on the study of European castle forms, it was revealed that the new composition of the castle was introduced by knights-pilgrims from the middle east to the lands of Western and Central Europe, where it got its development, thanks to the French masters-fortifiers who formed this classic castle type in the 13th - 15th centuries.

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Kulawik, Bernd. "Sangallo, Vignola, Palladio and the Roman «Accademia de lo Studio de l’Architettura»." TEMPORÁNEA. Revista de Historia de la Arquitectura, no. 2 (2021): 52–79. http://dx.doi.org/10.12795/temporanea.2021.02.03.

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Bernd Kulawik is a trained marine engineer who studied physics, musicology and philosophy at the Technical Universities of Dresden and Berlin. MA thesis in 1996 about Monteverdi’s «Seconda Pratica». PhD in 2002 with a dissertation about drawings in the Berlin «Codex Destailleur D» for Antonio da Sangallo the Younger’s last project for St. Peter’s in Rome. Since 1988 he worked in research libraries and institutes in Berlin, Rome, Berne, Einsiedeln and Zurich, mostly as developer for database projects. Since 2013 he could take up his research about the study of ancient architecture in Renaissance Rome which led to the rediscovery of the forgotten «Accademia de lo Studio de l’Architettura». This academy almost completely realised Claudio Tolomei’s ambitious program from 1542 formerly believed to be unrealisable. Other research interests are the history of philosophy, Renaissance music and the epistemic and technical preconditions as well as long-time perspectives of the Digital Humanities.

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Mosco, Valerio Paolo. "Young Romans: ‘Fully, Not Partially Controlled’." Architectural Design 77, no. 3 (2007): 80–85. http://dx.doi.org/10.1002/ad.460.

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Cabrero-Ravel, Laurence. "Sculptures romanes de Die (Drôme)." Bulletin Monumental 151, no. 2 (1993): 427–28. http://dx.doi.org/10.3406/bulmo.1993.3371.

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Jarrassé, Dominique. "Les synagogues en Suisse romande." Bulletin Monumental 165, no. 1 (2007): 117–18. http://dx.doi.org/10.3406/bulmo.2007.1428.

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Voltan, Eleonora. "Tra utopia e alteritá." Revista Eviterna, no. 12 (September 28, 2022): 122–38. http://dx.doi.org/10.24310/eviternare.vi12.14953.

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A partire dal III secolo a.C. si delinea in maniera più nitida quella feconda ma, al tempo stesso, ambivalente relazione tra Egitto e Roma. Con la stipula del trattato di amicitia nell’anno 273 a.C., appaiono sempre più evidenti le ripercussioni sul piano politico, culturale, economico e religioso sul suolo italico. Peculiare interesse riveste anche il ruolo della produzione artistica generata dall’incontro-scontro tra il mondo romano e quello egiziano. In particolare, l’interesse di questo contributo è indirizzato verso l’elaborazione del paesaggio ispirato alla terra del Nilo nella produzione pittorica romana di I secolo d.C. La delineazione di questa tipologia iconografica si fonda su alcuni dettagli figurativi specifici, tra cui quelli legati al mondo della flora e della fauna. Un insieme di elementi che, fondendosi armoniosamente insieme, conducono verso la configurazione di un’ambientazione naturale tesa ad un’ideale di fluttuante utopia che, tuttavia, collide con l’insita portata di alterità dell’immaginario nilotico. Un’alterità fortemente vincolata alla presenza dei pigmei, figure contraddistinte nella maggior parte dei casi da tratti caricaturali e grotteschi, inseriti spesso in situazioni comiche, se non paradossali. Obiettivo del presente articolo è quello di mettere in luce la relazione chiaroscurale tra la “natura” costituente il paesaggio nilotico, ovvero la flora e la fauna tipica, riflesso di una cristallizzata utopia naturalistica, e l’elemento umano, in questo caso i pigmei, sinonimo di alterità per antonomasia, concretizzazione non tanto di una realtà esistente quanto più di uno status estraneo ai limiti del tempo e dello spazio umanamente concepiti.

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Journal articles on the topic 'Architecture romane'

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