Relevant bibliographies by topics / Architecture, Romanesque

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Architecture, Romanesque'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Architecture, Romanesque"

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Kim. "Aesthetics of Romanesque Architecture." Journal of Aesthetic Education 55, no. 1 (2021): 90. http://dx.doi.org/10.5406/jaesteduc.55.1.0090.

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Olympios, Michalis. "The Romanesque as Relic:." Journal of the Society of Architectural Historians 77, no. 1 (March 1, 2018): 10–28. http://dx.doi.org/10.1525/jsah.2018.77.1.10.

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With The Romanesque as Relic: Architecture and Institutional Memory at the Collegiate Church of Saint-Omer, Michalis Olympios contributes to ongoing discussions about the architectural visualization of institutional history practiced by medieval religious foundations in Latin Europe. This article focuses on the collegiate church of Saint-Omer (Pas-de-Calais), a rare surviving example of a building from the region of French Flanders preserving architectural fabric fromthe eleventh to the sixteenth centuries. More specifically, Olympios examines the Romanesque apsidiole in the chapel of Notre-Dame-des-Cloches and its integration into the edifice's Gothic north transept, erected in the third quarter of the fifteenth century. A close reading of the architecture, the narrative and hagiographic sources, and unpublished archival documents demonstrates that, as in many other instances from across Europe, the retention of this earlier feature reflects the secular chapter's conscious decision to showcase the antiquity and prestige of the church by providing visual “evidence” of its foundational myth.
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Singleton, Barrie. "Köln-Deutz and Romanesque Architecture." Journal of the British Archaeological Association 143, no. 1 (January 1990): 49–76. http://dx.doi.org/10.1179/jba.1990.143.1.49.

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Curran, Kathleen. "Romanesque Revival Architecture in Transnational Perspective." Historically Speaking 5, no. 2 (2003): 29–31. http://dx.doi.org/10.1353/hsp.2003.0011.

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Armi, C. Edson. "Parts and Words in Romanesque Architecture." Gesta 54, no. 2 (September 2015): 127–41. http://dx.doi.org/10.1086/681951.

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Calvo Díaz, Andrea Auxiliadora. "La arquitectura medieval y el pensamiento de Nicolás de Cusa." ACCADERE. Revista de Historia del Arte, no. 3 (2022): 87–106. http://dx.doi.org/10.25145/j.histarte.2022.03.05.

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This article aims to analyze the architectural transition from romanesque to gothic through the passage from the abbey to the cathedral. To proceed with the analysis, the thought of Nicholas of Cusa is taken into consideration in relation to the notion of number and geometry. It is important to clarify that the following work corresponds to an interdisciplinary study, for which it takes up the architecture of the romanesque and gothic in correspondence with the philosophical position of cusanus. This research is not a study of historical coincidence, but an analogical (comparative) study between the convergences of the artistic productions of the Middle Ages and the thought of the cardinal of Bresanona. For correlation purposes, the idea of the finite is analogous with the romanesque abbey and the concept of infinity with the gothic cathedral
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Calvo Díaz, Andrea Auxiliadora. "La arquitectura medieval y el pensamiento de Nicolás de Cusa." ACCADERE. Revista de Historia del Arte, no. 3 (2022): 87–106. http://dx.doi.org/10.25145/j.histarte.2022.03.05.

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This article aims to analyze the architectural transition from romanesque to gothic through the passage from the abbey to the cathedral. To proceed with the analysis, the thought of Nicholas of Cusa is taken into consideration in relation to the notion of number and geometry. It is important to clarify that the following work corresponds to an interdisciplinary study, for which it takes up the architecture of the romanesque and gothic in correspondence with the philosophical position of cusanus. This research is not a study of historical coincidence, but an analogical (comparative) study between the convergences of the artistic productions of the Middle Ages and the thought of the cardinal of Bresanona. For correlation purposes, the idea of the finite is analogous with the romanesque abbey and the concept of infinity with the gothic cathedral
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Crow, James. "Rosa Bacile and John McNeill (eds). Romanesque and the Mediterranean, Points of contact across the Latin, Greek and Islamic Worlds, c.1000- c.1250." Journal of Greek Archaeology 1 (January 1, 2016): 465–66. http://dx.doi.org/10.32028/jga.v1i.672.

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This informative and well-presented volume is the result of papers presented in Palermo in 2012 at the British Architectural Association’s second international Romanesque conference. The Romanesque is essentially a Latin, central and western European expression of art and architecture and the papers identify and question those points of contact with the established traditions of Byzantium and Islam. Few places are better placed to see this interaction than Sicily and this is reflected in two of the main papers on the Cappella Palatina, Roger of Sicily’s new Norman palace in Palermo (it should be noted that the papers vary considerably in length). The first by Johns concerns Moslem Fatimid artists of the painted ceiling and how they were influenced by the Byzantine and Romanesque images they encountered in Palermo.
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Kim, Kyuchin. "Czech Culture in Prague: Architecture." International Area Review 6, no. 1 (March 2003): 19–33. http://dx.doi.org/10.1177/223386590300600102.

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Prague's main feature is that, out of many cultural treasures, it preserved its architectural culture and put it to practical use to present day. Particularly Prague has embraced a wealth of architectural styles from many ages. From the Romanesque, the Gothic culture of Czech's pinnacle age, Baroque, Neo Classicism, the Art Nouveau style buildings that concentrated in Prague at the end of 19th century and finally to modern structures. As we have studied, Prague is a textbook of historical styles: a Romanesque rotunda, a Gothic cathedral, a constellation of Baroque churches and palaces, a Renaissance summer palace, whole districts with histoicizing ‘neo-styles: neo-Gothic, neo-Renaissance, neo-Baroque, neo-Classic,’ Art Nouveau cafes, unfunctional pebble-stone streets and as yet undigested, isolated postmodern structure such as ‘Dancing Building-Gunger and Fred Building’ by Frank O. Gehry and Vlado Milinic
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Thurlby, Malcolm. "The Romanesque Elevations of Tewkesbury and Pershore." Journal of the Society of Architectural Historians 44, no. 1 (March 1, 1985): 5–17. http://dx.doi.org/10.2307/990057.

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The later medieval remodeling of the stylistically related abbey churches of Tewkesbury and Pershore has presented the architectural historian with the problem of ascertaining the nature of the original Romanesque design. One school of thought favors a four-story elevation for choir and transepts which would have entailed a wood roof; the other, while not agreeing on the number of stories, suggests the reconstruction of high barrel vaults. Detailed analysis of both fabrics in the context of West Country architecture after the Conquest and select French Romanesque structures will demonstrate the original existence of a three-story scheme with barrel vaults over the main spans.
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Dissertations / Theses on the topic "Architecture, Romanesque"

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Plant, Richard. "English Romanesque architecture and the Holy Roman Empire." Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367929.

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Laurent-Brière, Chantal. "Victor Hugo, architecture et roman mêlés : dela représentation architecturale dans l'oeuvre romanesque de Victor Hugo." Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10090.

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L'œuvre de Victor Hugo témoigne du goût de son auteur pour l'art architectural. Les travaux de Jean Mallion ont montré l'importance des références, tous genres confondus, et analysé l'étroite imbrication entre l'écriture et l'engagement de Hugo en matière de préservation des monuments historiques. Inspirée par les recherches de Philippe Hamon, qui associent littérature et architecture au XIXe siècle dans leur commune aptitude à produire de la narrativité, notre réflexion choisit de limiter le corpus établi par Jean Mallion pour se concentrer sur la représentation romanesque de l'architecture. Avec Notre-Dame de Paris, nous étudions tout d'abord le moment où l'architecture devient matière romanesque. L'auteur bâtit avec des mots et les romans engagent un dialogue avec le savoir architectural que traduit la présence d'une toponymie et d'un lexique spécialisé, garants d'une capacité à construire l'illusion du référent. Nous approfondissons ensuite l'observation des liens entre les éléments constitutifs du genre romanesque et la description, mode majoritaire d'une mise en texte de l'art de bâtir. Le roman accorde à l'architecture une place visible dans sa propre construction et un rôle dans les notions clefs de sa poétique que sont le temps, l'espace et le système des personnages. Représentée, l'architecture est aussi représentative. Ainsi sa valeur symbolique sert-elle l'ambition du roman de mettre en scène l'Histoire, la Société et le Progrès. Le roman hugolien a pour constante d'exhiber le travail de création de son auteur. L'architecture, comme autre expression artistique, comme autre écriture, offre une médiation à cette spécularité. Nous nous intéressons à ce dispositif réflexif qui recentre l'œuvre sur elle-même et en fait un modèle absolu de l'acte créateur. Enfin, nous considérons que la maison d'exil de Victor Hugo, Hauteville House, livre architectural portant signature, appartient à l'œuvre et apparaît comme un trait d'union entre écrire et construire.
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Neuenschwander, J. Brody. "The art history of Speyer." Thesis, Courtauld Institute of Art (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325778.

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BOUVIER, BOURRAIN MIREILLE. "La plume et la pierre : architecture et création romanesque chez Henry James." Chambéry, 1997. http://www.theses.fr/1997CHAML005.

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Décor de l'oeuvre de fiction et métaphore du projet littéraire, l'architecture constitue l'un des thèmes majeurs des romans de James. Son importance est liée à l'intérêt de l'auteur pour les arts plastiques et au respect d'une tradition qui, par le biais de l'analogie, a depuis longtemps rapproché l'art des mots de celui de la pierre. Cette étude se propose de dégager les fondements d'une telle attirance pour l'esthétique architecturale et d'en apprécier l'application dans le roman, ces deux aspects soulignant, à leur tour, le caractère "spatial" de l'écriture jamesienne. En l'absence d'essais spécifiques consacrés à l'architecture, l'étude débute par l'analyse des carnets de voyage de James et son autobiographie. Dans ces textes s'exprime une sincère admiration pour l'ouvrage architectural, par le biais de multiples "impressions" dont le souvenir se retrouvera à la base même de la création littéraire. Une réflexion phénoménologique inspirée des travaux de Norberg-Schulz et de Heidegger permet de rattacher ce sentiment à un profond besoin de détermination spatiale. Or l'espace devient porteur de sens grâce à l'architecture qui en fait un phénomène concret, un "lieu" dans lequel l'homme trouve ses marques et y établit sa "demeure". L'architecture assume ce rôle dans l'espace physique mais aussi textuel comme le montre l'étude de "The other House". Erigée en modèle de l'entreprise littéraire dans les préfaces de l'édition new-yorkaise, l'architecture permet aussi de formuler un projet ambitieux mettant en exergue la supériorité de l'artiste et le rôle du lecteur dans la création du texte. Cependant, à l'instar de l'écriture qu'elles se proposent d'illustrer, les métaphores du discours critique présentent des ambigüités et des paradoxes. Aussi l'architecture littéraire jamessienne se pare-t-elle parfois d'un trompe-l'oeil qui, pour autant, ne remet pas en cause la qualité "monumentale" d'oeuvres telles que "The Portrait of a Lady" ou bien "The Wings of the Dove"
Used as a setting in the work of fiction and a metaphor for creative writing, architecture is a major theme in Henry James's novels. Its importance stems from the writer's interest in the visual arts and from an analogical tradition which has for a long time established connections between the art of writing and that of building. This essay aims at examining the foundations of such fondness for architectural aesthetics and assessing its application in the novel, both of these aspects highlighting, in turn, the "spatiality" of James's writing. As no specific essay was ever written by James on architecture, the study starts with an analysis of his travel essays and autobiography. In these texts the author expresses a profound admiration for architectural achievements, through numerous "impressions" whose later remembrance lies at the very core of his literary creation. A phenomenological reading based on works by Norberg-Schulz and Heidegger enables to link that feeling to a deep-rooted need for spatial determination. Now space becomes meaningful thanks to architecture which converts it into a concrete phenomenon, that is to say a "place" where man can orientate himself and "dwell". Architecture plays such a role in physical but also textual space as is shown in the analysis of the other house. Presented as an art analogue for literature in the prefaces to the New York edition, architecture also helps shape an ambitious project which asserts the superiority of the artist and the role of the reader in the creation of the text. Yet, like the writing they purport to illustrate, the metaphors in the critical discourse are ambiguous and paradoxical. Indeed, James's literary architecture sometimes resorts to a trompe-l'oeil technique that nevertheless does not challenge the "monumentality" of works such as the Portrait of a Lady or the Wings of the Dove
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Harris, Roland Benedict. "The origins and development of English medieval townhouses operating commercially on two storeys." Thesis, University of Oxford, 1994. http://ora.ox.ac.uk/objects/uuid:edbe4dc8-fc54-42f4-9db0-6b7d5c468795.

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Although split-level townhouses have proved elusive on the continent, examples are known in the Zähringen towns of modern Switzerland: several of these towns have also developed elevated walkways. There can be little doubt that the split-level townhouse and its variants were the result of commercial pressure, and an insatiable demand, not found again after the early to mid fourteenth century, for numerous small-scale retail units and undercrofts.
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Ni, Ghradaigh Jenifer. "The Romanesque architecture sculpture of the medieval kingdoms of Meath, Bréifne and Argialla." Thesis, Courtauld Institute of Art (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406532.

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Givans, Duncan Blair Cameron. "English Romanesque tympana : a study of architectural sculpture in church portals c.1050-c.1200." Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/4168/.

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This thesis presents a study of the use made of tympana in English Romanesque portals and the evidence they offer for religious, social and cultural expression in village churches where the vast majority of examples are preserved. In order to achieve this a significant proportion of the analysis has been addressed to the manner in which people may have interpreted what they saw. For the convenience of the reader basic descriptions of all examples noted during the course of the research and details of manorial and patronal circumstances are given as the Handlist in Volume 2. The first two chapters establish the parameters of the research, outline the social and religious environment during the period, and the art historical principles underpinning the research. Chapter III examines the distribution of examples in geographical terms and the use made of tympana in different categories of building. In chapter IV the structural and compositional formulation of tympana is analysed and the use made of geometric ornament. Chapter V assesses images of Christ and the relationship between these and the representation of power. Chapter VI examines other human figural iconography through the categories of figure-types depicted. The subject of chapter VII is the use of compositional types as a means to assess the use made of beast imagery. The thesis demonstrates for the first time in a systematic and quantified manner that tympana are a significant feature of English Romanesque portals and that a strong decorative character is shared by all tympana, thus contributing to the adornment of the house of God in a befitting manner. It argues that the iconography was composed so as to ensure the utility of the images as a focus for devotion for a wide variety of audiences and as a means of expressing social values, particularly through the relationship between the figures depicted and the representation of temporal power. The thesis also confirms that the religion presented by examples with figural sculpture is centred on the authority of God and the saints and on iconic symbols, rather than exemplars for emulation, reflecting the conservative nature of devotion in local communities. The thesis therefore raises important issues in relation to our understanding of portals as architectural features, the expression of religious devotion and social values in local communities during the period, and the use of portals in the practice of religious devotion.
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Roy, Brian E. "The Baptistery San Giovanni in Florence and its placement within the chronology of Tuscan Romanesque churches /." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68134.

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The controversial dating of the Baptistery San Giovanni is approached through formalistic considerations. Formal analyses of the Baptistery and the Duomo of Pisa lead to comparison and isolation of definitive features of Pisan and Florentine styles. As such, the buildings are shown to be prototypes and their respective receptions are traced in the Romanesque churches of Fiesole, Empoli, Lucca, Pistoia and Sardinia. It is concluded that the Baptistery must have been completed before the Duomo of Pisa was begun.
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Gourgues, Morgane. "Les églises rurales dans l’ancien diocèse d’Elne (Roussillon et Vallespir, Pyrénées-Orientales), entre le Vème et le XIème siècle : l’expression d’un palimpseste architectural ? Un répertoire des formes, entre préroman et anté-roman." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30026/document.

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La pâleur des témoignages distillés par une Antiquité tardive et un haut Moyen Âge roussillonnais, pourtant florissant, a jeté un voile nous privant pour longtemps de toute la richesse chromatique d’une longue période, qui n’a d’obscure que les a priori que l’on s’en fait. Opérer une introspection sur la genèse du vocabulaire formel chrétien est inévitable pour en comprendre les raccourcis, ceux souvent initiés par une vision monofocale n’offrant que trop peu souvent la possibilité d’envisager le bâtiment ecclésial selon sa polysémie : tout à la fois lieux de l’accomplissement du culte, de rassemblement des fidèles, mais aussi lieux d’expression techniques et artistiques. Un condensé, en somme, au cœur d’une société en mutation, où les différents acteurs politiques n’ont eu, en réalité, qu’un impact modéré.Les modestes églises rurales anté-romanes, par leurs structures et leurs modes de construction, sont finalement révélatrices d’un héritage et d’une continuité, jusque là minimisés, voire insoupçonnés. En choisissant de ne pas dissocier l’évolution des techniques de celle des formes, tout en prenant en compte les nouvelles perspectives soulevées par l’archéologie médiévale, pour d’autres territoires, les postulats chronologiques s’étiolent, se faisant moins relatifs et plus impartiaux. Entre relecture et reformulation, il convient maintenant d’envisager une mise à l’épreuve de l’architecture préromane
The scarcity of evidence trickled down from the late Antiquity and the Roussillon Early Middle Ages, although quite flourishing, has casta veil depriving us for quitea while of all the chromatic richness of a long era, obscure only because of the a priori one has about it. Carrying out an introspection into the genesis of the formal Christian vocabulary is an absolute must to understand its shortcuts, those being often brought about by a monofocal vision too rarely offering the opportunity to consider the church building according to its polysemy: worshipping and congregating places for the believers as well as places where their craftmanship and art could be expressed. A summary, all in all,in the midst of a mutating society where the various political actors have only had in fact a moderate impact.The humbleante-Romanesque rural churches, by their structures and their method of building are eventually revealing of a legacy and a continuity played downuntil now, unsuspectedindeed. By choosing not to dissociate the evolution of techniques from that of the forms while factoring in the new prospects brought up by medieval archaeology, for other areas, the chronological postulates weaken, becoming less relative and more unbiased. Between rereading and rewording, it is now advisable to consider putting to the test pre-Romanesque architecture
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Stobbe, Frauke. "Romanischer und gotischer Sakralbau in Frankreich : am Beispiel der Abteikirche von Saint-Denis." Master's thesis, Universität Potsdam, 2008. http://opus.kobv.de/ubp/volltexte/2011/5503/.

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Die Magisterarbeit „Romanischer und gotischer Sakralbau in Frankreich am Beispiel der Abteikirche von Saint-Denis“ beschäftigt sich mit den Gründen für den im 12. Jahrhundert stattfindenden Baustilwandel, wie und warum er sich ausgerechnet zuerst an der kleinen Abteikirche im Pariser Umland vollzog und welche Rolle dem dortigen Abt Suger zukam. Zunächst werden grundlegende Fakten und Beispiele zum mittelalterlichen Sakralbau in Frankreich vermittelt, anschließend die beiden aufeinanderfolgenden Epochen Romanik und Gotik temporal, territorial und vor allem architektonisch eingeordnet und beschrieben. Den Schwerpunkt der Arbeit bildet die kritische Analyse der Abteikirche von Saint-Denis, wobei sowohl architektur-stilistische als auch (kirchen-)politische Aspekte einer eingehenden Betrachtung unterzogen werden. Zum besseren Verständnis ist der Arbeit ein Glossar architektonischer Fachbegriffe beigefügt.
This paper deals with the wherefores of the architectural style transition from the Romanesque age to the Gothic era in the 12th century in Europe, especially in France. The author points out why one can say that the Gothic style starts in the small abbey church Saint Denis, situated in the environs of Paris, and which role is assigned to its abbot Suger. First, sample churches illustrate basic facts about medievial sacred architecture in France. Following this, the paper classifies the Romanesque and Gothic period in a temporal as well as territorial and architectural way. The paper’s focus is on a critical analysis of the abbey church Saint Denis which reviews thoroughly both architectural-stylistic and ecclesio-political aspects at that time. For a better understanding, a glossary of architectural technical terms is attached.
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Books on the topic "Architecture, Romanesque"

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Kubach, Hans Erich. Romanesque architecture. London: Faber and Faber, 1988.

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Kubach, Hans Erich. Romanesque architecture. New York, NY: Electa/Rizzoli, 1988.

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Henri, Stierlin, ed. Romanesque. Lausanne: Benedikt Taschen, 1994.

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Oursel, Raymond. Romanesque. [Köln]: Benedikt Taschen, 1990.

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Podolinský, Štefan. Romanesque churches. Bratislava: Dajama Vydavatelʹstvo, 2009.

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Rolf, Toman, Bednorz Achim 1947-, Hulse Fiona, and Macmillan Ian, eds. Romanesque: Architecture, sculpture, painting. [Konigswinter, Germany]: Ullmann & Könemann, 2007.

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Martín, Ana. Romanesque art and architecture. Chicago: Children's Press, 1993.

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Prina, Francesca. The story of Romanesque architecture. Munich ; London: Prestel, 2011.

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Garcia, Mireia. Romanesque in Andorra. [Andorra la Vella?]: Editorial Andorra, 2011.

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Fernie, E. C. Romanesque architecture: Design, meaning and metrology. London: Pindar Press, 1995.

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Book chapters on the topic "Architecture, Romanesque"

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Gloag, John, and Hilton Wright. "Transitional: Romanesque." In Guide to Western Architecture, 105–42. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003333494-5.

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Martínez de Aguirre, Javier. "The Architecture of Jaca Cathedral: The Project and its Impact." In Romanesque Cathedrals in Mediterranean Europe, 153–68. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.ama-eb.5.109580.

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Untermann, Matthias. "Between ‘Church Families’ and Monumental Architecture: German Eleventh-Century Cathedrals and Mediterranean Traditions." In Romanesque Cathedrals in Mediterranean Europe, 47–70. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.ama-eb.5.109565.

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Woodman, Francis. "The Romanesque Architecture of Canterbury Cathedral, 1070-1174." In The Architectural History of Canterbury Cathedral, 23–86. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354932-3.

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Barral i Altet, Xavier. "Medieval Cathedral Architecture as an Episcopal Instrument of Ideology and Urban Policy: The Example of Venice." In Romanesque Cathedrals in Mediterranean Europe, 139–51. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.ama-eb.5.109570.

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Fernie, Eric. "Hans Kubach's treatment of regions in the study of Romanesque architecture." In The Regional and Transregional in Romanesque Europe, 13–18. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003162827-2.

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D’Emilio, James. "The Cistercians and the Romanesque Churches of Galicia: Compostela or Clairvaux?" In Perspectives for an Architecture of Solitude, 313–27. Turnhout: Brepols Publishers, 2004. http://dx.doi.org/10.1484/m.mcs-eb.3.1864.

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O'Keeffe, Tadhg. "Europe and Ireland." In Medieval Irish Architecture and the Concept of Romanesque, 1–27. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003441472-1.

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O'Keeffe, Tadhg. "Cormac's Chapel and its place in Irish and European architectural history." In Medieval Irish Architecture and the Concept of Romanesque, 169–209. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003441472-5.

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O'Keeffe, Tadhg. "Building the reformed Church in Ireland's short twelfth century." In Medieval Irish Architecture and the Concept of Romanesque, 115–68. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003441472-4.

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Conference papers on the topic "Architecture, Romanesque"

1

Rocco, A., D. V. Oliveira, E. Garbin, and F. M. Fernandes. "Analysis of the "Ponte do arco" Stone Masonry Arch Bridge." In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0934.

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Abstract:
<p>The “Ponte do Arco” stone masonry arch bridge is located in the north of Portugal, in the municipality of Marco de Canaveses, district of Porto. The bridge is immersed in a remote natural environment and is part of the Romanesque Route, which links buildings and structures built in the area during the Romanesque Period. The “Ponte do Arco” bridge is a fine example of this type of architecture and, therefore, it deserves devoted conservation and maintenance works. The geometry of the bridge, the internal structure of the pavement and the damage state were characterised by using two non-destructive techniques, photogrammetry and ground penetrating radar, and by performing a damage survey. The data collected was used to perform limit and finite element analyses in order to estimate the structural safety level of the structure. The paper presents the structural appraisal, resulting from the non-destructive surveys and the numerical analyses.</p>
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2

Barelkowski, Robert. "The Optimization of Assumptions of the Reconstruction of Monumental Objects of Romanesque and Gothic Architecture - Computer Aided Archeological and Architectural Research." In eCAADe 2004: Architecture in the Network Society. eCAADe, 2004. http://dx.doi.org/10.52842/conf.ecaade.2004.617.

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