Journal articles: 'Roman architecture'

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Humphries, Mark, Frank Sear, and J. T. Smith. "Roman Architecture." Classics Ireland 8 (2001): 147. http://dx.doi.org/10.2307/25528389.

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Tucci, Pier Luigi. "ROMAN ARCHITECTURE." Classical Review 54, no. 2 (October 2004): 537–39. http://dx.doi.org/10.1093/cr/54.2.537.

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Anil, Ar Seema. "From Temples to Theaters: Unveiling the Layers of Life in Classical Greece and Rome through Architectural Typologies." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 07, no. 12 (December 30, 2023): 1–13. http://dx.doi.org/10.55041/ijsrem27856.

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This research comprehensively explores the architectural legacies of Ancient Greek and Roman civilizations, delving into the innovative concepts of order in Greek architecture and the classical orders of Doric, Ionic, and Corinthian. The Parthenon, an iconic Greek temple, serves as an exemplar of these orders, highlighting aesthetic and structural ideals. Beyond temples, Greek architecture embraces diverse typologies like marketplaces, theaters, palaestrae, bouleuterions, and auditoriums. Shifting focus to Roman civilization renowned for grandeur and gladiatorial spectacles, the paper examines architectural contributions and monumental structures, exemplified by the Pantheon's innovative material usage and dome construction. The exploration extends to various Roman typologies, including theaters, amphitheaters, thermae, and aqueducts, revealing the multifaceted nature of Roman urban planning. Chronologically tracing Greek architectural evolution, the paper examines the Parthenon's construction and refinements. Greek typologies such as theaters, agora, stoae, palaestra, and bouleuterion are scrutinized for cultural significance and civic importance. Transitioning to Roman architectural developments, the paper highlights contributions, innovations, and monumental structures defining Roman civilization. Roman thermae and aqueducts emerge as engineering marvels, underscoring sophistication in public spaces. Surviving structures in the Roman Forum symbolize Roman achievements. This exploration aims to unravel intricate connections between the built environment and socio-cultural, political, and economic dynamics in both ancient societies. The legacy of Greek and Roman architecture, seen in temples, public spaces, and cultural hubs, leaves an indelible mark on history, offering insights into collective identities and aspirations of classical antiquity. Key Words: Architectural Legacies, Classical Orders, Greek Typologies, Roman Urban Planning, Socio-cultural Dynamics

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BOHÎLȚEA-MIHUȚ, FLORICA. "L’ARCHITECTURE DE LA PEINTURE DOMESTIQUE DU IIe STYLE POMPÉIEN – UNE LECTURE CONTEXTUELLE." Analele Universităţii din Bucureşti - Istorie 69, no. 1-2/2020 (December 1, 2022): 57–70. http://dx.doi.org/10.62229/aubi/69/1-2_20/6.

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During the last two centuries of the Roman Republic the public building projects of the aristocrats as well as their private architectural accomplishments mirror the profound process of cultural exchanges that characterize the metamorphosis of the Roman world. Following this process and against the background of the generalized crisis of the Roman republic, the redefined discourse on power appropriates the architecture concept as a tool of communication. The paper aims to explore this meaningful relation of the Romans with the act of construction at the sunset of the Republic considering the Pompeian second style of painting as one of the artistic expressions of the elites’ agency.

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Stotsko, Rostyslav. "ARCHITECTURE OF ROMAN CATHOLIC EDUCATIONAL INSTITUTIONS IN MODERN UKRAINE." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 4, no. 1 (March 30, 2022): 162–72. http://dx.doi.org/10.23939/sa2022.01.162.

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The article examines the architectural features of buildings and spaces in the largest Roman Catholic educational institutions on the terrains of modern Ukraine; highlights and analyzes the principles underlying the architecture formation of theological educational institution of the Roman Catholic Church; determines the conception of architectural and space-planning organization of separate sacred, academic, administrative, and household buildings, recreational, entertainment, and sports spaces on the campus territory of theological educational institutions of the Roman Catholic Church; outlines the practical recommendations for project designers. Roman Catholic educational institutions in Ukraine are represented by the range of buildings and complexes in Western, Central, and Southern Ukraine. The most accomplished from the view point of its architectural and space-planning decisions is the complex of Major Theological Seminary of Lviv Archdiocese and Theological Institute in Briukhovychi village near Lviv. Taking into account the architecture of the mentioned complex and the complex of Lviv Theological Seminary of the Ukrainian Greek Catholic Church, the article distinguishes the major principles and foregrounds the set of practical recommendations concerning project design of theological educational institution of the Roman Catholic Church in Ukraine. In particular, the architecture development of theological educational institution of the Roman Catholic Church is based on the following principles: confessionalism and ecumenism; multi-education; sacredness; secularism; inclusiveness; flexibility and mobility; traditionalism and modernism. Also, as per the outlined architectural and space-planning conception, theological multi-educational center as an architectural complex is the combination of theological and educational departments of all levels of theological education in Ukraine and forms the uniform architectural ensemble, the main ideological and visual object of which is a temple. The specified principles and conception will be useful for future project designers during the process of determining architectural and space-planning organization of such an ideologically and functionally difficult object as theological educational institution (or center) of the Roman Catholic Church in Ukraine, which will foster creation of new qualitative projects and construction of modern institutions of theological education of the Roman Catholic Church.

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Gros, Pierre, and James C. Anderson. "Roman Architecture and Society." American Journal of Archaeology 103, no. 3 (July 1999): 570. http://dx.doi.org/10.2307/507004.

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George, Michele, and Mark Wilson Jones. "Principles of Roman Architecture." Phoenix 56, no. 1/2 (2002): 207. http://dx.doi.org/10.2307/1192498.

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Dodge, Hazel, P. Johnson, and I. Haynes. "Architecture in Roman Britain." Britannia 29 (1998): 483. http://dx.doi.org/10.2307/526854.

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Packer, James E., and Mark Wilson Jones. "Principles of Roman Architecture." American Journal of Archaeology 106, no. 2 (April 2002): 344. http://dx.doi.org/10.2307/4126272.

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Clarke, John R., and James C. Anderson. "Roman Architecture and Society." American Historical Review 103, no. 4 (October 1998): 1228. http://dx.doi.org/10.2307/2651228.

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Kadnichanskyy, D., and A. Manko. "Problems of use of architectural heritage of Sambir district in tourist activity." Visnyk of the Lviv University. Series Geography 1, no. 43 (October 19, 2013): 45–51. http://dx.doi.org/10.30970/vgg.2013.43.1539.

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Architectural heritage of the town of Sambir and Sambir district is described. The problems of use of the monuments of architecture of Sambir district in tourism are discussed. Key words: architectural heritage, tourist activity, monument of architecture monument of architecture, castle, church, Roman-catholic church.

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BOURAS, Charalambos. "The Soteira Lykodemou at Athens. Architecture." Δελτίον Χριστιανικής Αρχαιολογικής Εταιρείας 43 (July 6, 2011): 11. http://dx.doi.org/10.12681/dchae.405.

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Η Σωτείρα του Λυκοδήμου, καθολικό μονής, σωζόταν σε μετρία κατάσταση έως την Επανάσταση κατά την οποία κατεστράφη εν μέρει ο τρούλλος, τμήμα των θόλων και μεγάλο μέρος της προσόψεως και των πλαγίων τοίχων. Αποκαταστάθηκε (1884) με τμηματικές ανακατασκευές. Σχέδια των P. Durand, M. G. Bindesbel και L. A. Winstrup επιτρέπουν την αναπαράσταση του ναού. Τα σωζόμενα τμήματα επιτρέπουν μορφολογικές παρατηρήσεις

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Djamali, Morteza, and Nicolas Faucherre. "Sasanian architecture as viewed by the 19th century French architect Pascal-Xavier Coste." DABIR 7, no. 1 (November 30, 2020): 91–100. http://dx.doi.org/10.1163/29497833-00701007.

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The 19th century French architect Pascal-Xavier Coste was one of the first European artists to recognize Sasanian architecture as a distinct and significant architectural style in Late Antiquity. He considered this style to be parallel to Byzantine and Romanesque architecture in the Eastern and Western Roman Empire, respectively. Sasanian architecture, according to Coste, belonged to a period of ‘decadence of the arts’ following the fall of the Roman Empire, during which small construction materials replaced large masonry blocks. Despite this general ‘decadence’, Coste attributed several architectural inventions to Sasanians and described their buildings as precursors to Arabic (Islamic) architecture which, in turn, played a fundamental role in the shaping of Gothic architecture. He saw Sasanian architecture as being characterized by the invention of ovoidal arches, domes, and use of small stones. The Palace of Ardashir in Firuzabad, the Khosrow Palace in Ctesiphon, and the Sarvestan monuments near Shiraz display the whole array of these architectural features according to Coste.

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Yao, Yizhi. "The Relationship between Architecture and Politics: A Case Study of Ancient Roman Architecture." Communications in Humanities Research 4, no. 1 (May 17, 2023): 164–69. http://dx.doi.org/10.54254/2753-7064/4/20220363.

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Politics cannot exist independently of architecture, and to a particular extent, architecture also serves politics. This paper examines the relationship between politics and architecture in ancient Rome through a study of the relevant academic literature, starting with the relationship between politics and architecture in the Etruscan period, the Roman Republic, and the Roman Empire, and combining the resulting theories with contemporary architecture. The relationship between politics and architecture can be summarised as inherited, social and national. The application of these three relationships in the present era has produced several representative buildings. There is a specific inheritance of architecture from the Etruscan period, architecture from the Roman Republic served the needs of society, and architecture from the Roman Empire became a symbol of state power. These elements are all reflected in architecture all around the world nowadays.

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Wilson, John. "Innovation in Christchurch Church Architecture." Architectural History Aotearoa 2 (April 30, 2024): 50–59. http://dx.doi.org/10.26686/aha.v2.9473.

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Several church buildings erected in Christchurch in the 1960s signalled significant departures in the city's established traditions of church architecture. They included three Roman Catholic parish churches – St Matthew's Bryndwr, Our Lady of Victories, Sockburn, and St Anne's, Woolston. This paper focuses on the most innovative and striking of these three churches, Our Lady of Victories, Sockburn. It sets the building in the broader context of post-war church architecture in Christchurch. Innovation in Christchurch church architecture had begun in the 1950s with a number of brick churches, but significant departures from established church building forms did not occur until the 1960s. Our Lady of Victories reflected with particular drama the impact on church architecture of the changes in Roman Catholic liturgy associated with the Second Vatican Council. The paper describes the process through which the radically new design emerged, paying particular attention to the interaction between the architect, C.R. Thomas, and the new Roman Catholic Bishop of Christchurch, Brian Ashby. The paper also sets the design of the church in the context of New Zealand, and international, architectural trends in the late 1950s and 1960s.

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Mogetta, Marcello. "A New Date for Concrete in Rome." Journal of Roman Studies 105 (April 24, 2015): 1–40. http://dx.doi.org/10.1017/s007543581500043x.

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AbstractConcrete is regarded as a quintessentially Roman achievement. The spread of the technology is usually dated to the fourth or third centuriesb.c., and interpreted as a symptom of Rome's early expansion in Italy. In this paper I offer a reappraisal of the available evidence for early concrete construction in Rome. On the basis of stratigraphic evidence, I conclude that a later date should be assigned to most of the remains. I situate the origins of the technological innovation within the radical change in architectural styles that unfolded in the middle of the second centuryb.c., affecting both domestic architecture and public building. The new chronology has an impact on current models of cultural diffusion in Roman Italy, linking the development of Late Republican architecture with the broader debate on the cultural implications of the Roman conquest.

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Cortés Vicente, Ada. "The Republican Houses of the Roman Colonies in Ancient Magna Graecia. Cultural Exchange from a Western Perspective." Światowit, no. 58 (September 14, 2020): 47–57. http://dx.doi.org/10.31338/0082-044x.swiatowit.58.3.

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This article presents an analysis that is being carried out within the framework of the ‘Tetrastylon project’ (Marie Skłodowska-Curie Research Fellowship). This project is designed to create the scientific basis for the identification and definition of a new type of Roman domus. This typological item is the result of the hybridisation of a house scheme drawn from the Greek and Roman conceptions of housing. In the recent decades, some studies have found a particular type of Roman house in different parts of the Empire. The structural scheme of this domus joins, in the first place, the developmental concept of the Greek dwelling with the use of the Roman atrium as the central distribution area of the house. As a result of this cultural symbiosis, it is possible to observe Roman distribution areas within housing built following Greek structural conceptions and the combination of very different architectural influences between both cultures. The house, tentatively termed ‘the tetrastyle courtyard house’, has been observed in different Roman cities with a Greek past, but in different geographical contexts and chronologies. This type of house, with its variants, has not been sufficiently analysed in the Roman domestic architecture studies. This article will present different examples of this type of house within the territorial context of ancient Magna Graecia under the influence of the Roman dominion. This approach will show the same exchanges between the Greeks and the Romans in the East, but from the western perspective and at an earlier chronological stage.

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MacDonald, William L., Pierre Gros, and James E. Packer. "Review Article: Sorting Out Roman Architecture." American Journal of Archaeology 102, no. 3 (July 1998): 614. http://dx.doi.org/10.2307/506405.

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Pier Luigi Tucci. "Red-Painted Stones in Roman Architecture." American Journal of Archaeology 115, no. 4 (2011): 589. http://dx.doi.org/10.3764/aja.115.4.0589.

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Tsakirgis, Barbara, Sarah Macready, and F. H. Thompson. "Roman Architecture in the Greek World." American Journal of Archaeology 93, no. 4 (October 1989): 622. http://dx.doi.org/10.2307/505352.

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Burch, Josep, and Marc Prat. "The Adaptation of Architecture to the Climate during the Roman Period According to Classical Authors." Advanced Materials Research 1149 (August 2018): 10–18. http://dx.doi.org/10.4028/www.scientific.net/amr.1149.10.

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In this paper we will study the relationship between climate and Roman architecture. Specifically, we will analyse the adaptation of Roman architecture to the climate. There are a lot of studies about Roman architecture but only a few focus on climate during the Roman Period. However, the adaptation of architecture is a question which has not been widely studied. In order to achieve this aim we have used the essays written by ancient authors: Pliny the Younger, Columella, Cato, Palladius, Varro and, above all, Vitruvius. In their writings they didn’t talk much about this question. However, they are not totally silent about it either. In certain paragraphs, they explained how to adapt the architecture, among other things, to the climate, through the position of the building.

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Zheng, Hong. "The Expressions of Political Power in Panoramic and Grand Space in Ancient Roman Empire before A.D. 476." British Journal of Multidisciplinary and Advanced Studies 4, no. 2 (March 22, 2023): 53–63. http://dx.doi.org/10.37745/bjmas.2022.0138.

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This article argues the occupation, penetration and radiation of political power in the panoramic space by explaining the typical public architecture and public space in the former Roman Empire. As the most important public space, squares are the places where emperors show their powers. So the political elites try to occupy it. In Colosseum the emperors’ supreme power is thoroughly and incisively expressed by the carefully designed space settings. The public baths with compound decorations and functions are the visual panoramic scene. In this entertaining public space political power penetrates the individual life. The grandness of public architectures in roman city are the result of powers’ ostentation. With the imperial structure the styles and functions of public architectures in roman city radiates the whole empire. With these three relations between power and space this article draws two conclusions. First the ostentatious power based on the competitive power system is the connector between the republic and early empire. The great achievements in public architecture are the fruits of it. Second the super grand territory is the result of the links between military and politics. This links lead to the competitive power system. It also explains why the roman empire is invaded by the barbarians in the west but it continues in the east.

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Gorbyk, Olena. "ARCHITECTURE OF ANCIENT PERSIA: SYNCRETISM OF THE ARCHETYPES OF THE OIKOUMENE." Current problems of architecture and urban planning, no. 62 (January 31, 2022): 29–39. http://dx.doi.org/10.32347/2077-3455.2022.62.29-39.

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The architecture of ancient Persia was an important component ecumenical development of culture and architecture of the ancient editerranean. Syncretism is confirmed in the forms of the order system and the porticos of Persia and Greco-Roman ancient architecture in the courtyards of Persian palaces and Roman court exedra in the form of a cross-domed temple of Persian Zoroastrianism and Byzantine Christianity. In the Achaemenid period of the history of ancient Persia, in the 6th century. B.C. in the Persian-occupied Anatolia and the Ionian Greeks took place an important event in ancient architecture - the birth of the order and the original architectural style. There is no reason to claim that the Persian marble column is a prototype of Greek Ionic marble or vice versa: they appeared synchronously and had common features (column with a developed base, flutes, with paired symmetrical sub-beam volutes) and methods of their monumental facade use (order portico). The archetype of the columned hall in the case of the Persian apadana, in solving its internal space, has certain features in comparison with ecumenical analogues – hypostyle halls of Egypt or Roman basilicas. The space of apadana, evenly marked by rows of slender columns of a unified order, had no difference in width or height nave, had neither deep nor centripetal spatial development. During the Sassanid dynasty in the 6th century. in the border provinces, which were the scene of the struggle between Rome- Byzantium and Sassanid Persia, the formation of the cross-domed system took place – parallel in the cross-domed Zoroastrian temples and Christian Roman-Byzantine. At the Persian University in Gondishapur, where an international team of scientists gathers, in the construction (involving Roman prisoners of war) of the Persian capital Bishapur the formula of ideal (centric, axial) architecture was realized. Zoroastrian temples of the Sassanid era receive a symmetrical shape, cross composition, centricity, trinity, that is, those archetypal themes that are characteristic of the traditions of sacred architecture of the Mediterranean ecumenism, in particular ancient Rome. The shape of the Persian courtyard is a variation of the Roman biaxial cross planning composition found in the architecture of Rome in the city plans, in the courtyards-perestilya with exedra, in the layout of the imperial baths). These examples show that the experience of ancient Persian architecture is not only the original oriental style, but is a variation of the Mediterranean ecumenical stylistic development.

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Loerke, William C. "A Rereading of the Interior Elevation of Hadrian's Rotunda." Journal of the Society of Architectural Historians 49, no. 1 (March 1, 1990): 22–43. http://dx.doi.org/10.2307/990497.

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The Pantheon, in particular the interior of the Rotunda, has posed a paradox: unrestrained praise for its overall effect; severe criticism for its interior elevation. The criticisms were rooted in a Renaissance perception of Roman imperial architecture, a perception based too heavily on a Vitruvian view of Hellenistic trabeate architectural design, largely irrelevant to the Rotunda. This view of the critiques of San Gallo the Younger, Michelangelo, Desgodetz, and Viollet-le-Duc leads one to the Roman aims of the Roman architect who designed this interior. I wish to show how the Hadrianic state of the Rotunda may be taken as a projection of the Roman idea of the templum mundi.

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Trolak, Ana. "Prva monografija stambene arhitekture antičke Enone." Ars Adriatica 9 (February 28, 2020): 220–22. http://dx.doi.org/10.15291/ars.2934.

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The monograph Aenona – Domestic Architecture is a unique study on the domestic architecture of pre-Roman and Roman Aenona, a result of many years of archaeological research conducted by its author, Marija Kolega. Along with domestic architecture, it also presents new insights on the urban development of ancient Aenona.

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Salmon, Frank. "Perspectival Restoration Drawings in Roman Archaeology and Architectural History." Antiquaries Journal 83 (September 2003): 397–424. http://dx.doi.org/10.1017/s000358150007774x.

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This paper is concerned with the graphic means deployed since the Renaissance to restore the appearance of ancient Roman architecture, and specifically with the use of various forms of perspective. Disdained by architectural theorists from Leon Battista Alberti onwards because of its supposed subjectivity, the perspective nonetheless became a valuable tool in the second half of the eighteenth century for studying Roman architecture and urban form in pristine condition. It remained so until, with the consolidation of a more scientific approach to the discipline of archaeology in the last third of the twentieth century, it was reduced to schematic form and supplemented by isometric and axonometric projectional restorations, notably in English-language histories. The discipline of architectural history has not, however, been well served by this development, and an argument is made here for the retention of perspectival restoration and for the furtherance of the recent development of restorations modelled with the aid of computers.

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Constantinescu, Muguraş, and Lucian Constantinescu. "Cultures technique et générale dans la traduction de l’architecture : le cas Cantacuzino." Équivalences 50, no. 1 (2023): 91–112. http://dx.doi.org/10.3406/equiv.2023.1611.

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The Romanian translation of Vitruvius’ treatise De architectura [Ten Books on Architecture], done by architect George Matei Cantacuzino, contains numerous notes on various technical terms as well as an extensive Introduction which places Vitruvius’ work at the crossroads of three cultures : Etruscan, Greek, and Roman.

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Ferris, Iain M. "Invisible Architecture: Inside the Roman Memory Palace." Theoretical Roman Archaeology Journal, no. 1993 (April 16, 1999): 191. http://dx.doi.org/10.16995/trac1993_191_199.

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Vlasov, Viktor G. "ARRHYTHMIA OF COLONNADES IN ROMAN BAROQUE ARCHITECTURE." Architecton: Proceedings of Higher Education, no. 3(71) (September 29, 2020): 5. http://dx.doi.org/10.47055/1990-4126-2020-3(71)-5.

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The article considers the special rhythmic structure inherent in the facades of Roman baroque churches of the late 16th – 17th centuries. Select examples illustrate the relations typical of such architecture between the bottom diameter of columns (embates), intercolumniation, and column height. These relations include the classical ones, which are consistent with the theory of proportions of Pythagoras and the rules of Vitruvius, but the unusual arrhythmic techniques of the composition create a special dissonant resonance with human biorhythms and mental states within the space of Baroque architecture.

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Edwards, Sarah Clough. "Mark Wilson Jones: Principles of Roman Architecture." Nexus Network Journal 7, no. 2 (November 2005): 116–18. http://dx.doi.org/10.1007/s00004-005-0028-9.

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Wightman, Greg. "The Imperial Fora of Rome: Some Design Considerations." Journal of the Society of Architectural Historians 56, no. 1 (March 1, 1997): 64–88. http://dx.doi.org/10.2307/991216.

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Research in ancient Roman architectural design has come increasingly to the view that geometry was often as important as metrication and proportion. The present paper examines the contribution of both geometry and arithmetic to the design of the four imperial fora in Rome, as well as the closely related Temple of Peace. An analysis of the Forum of Augustus-the best-known of the imperial fora-shows that it was designed according to a geometric model with a particular size utilizing a "base dimension" of 146 Roman feet. Analyses of the other fora show that the same geometric model-but with a base dimension of 150 feet-can be used to generate their basic spatial divisions and dimensions. The model accounts not only for straightforward and integral dimensions or proportions, but also for irrational and nonintegral proportions hitherto unexplained. The article argues that the mixture of integral, nonintegral, and irrational metrication was a deliberate aspect of the design process, in line with the Early Imperial propensity to combine rectilinear and curvilinear architectural forms. The article concludes with a suggestion that the model originated in the Etruscan ritual division of space, which was adopted by the Romans and later applied to an increasingly broad range of building types. The model may thus have served as a kind of template or cosmogram whereby each building designed on it could embody essential features of cosmic order. It gave to each Roman building its uniquely "Italic" flavor quite separate from Greek "cosmetics." If the model's application proves to be sufficiently broad, then the possibility is raised of developing a "unified design theory" for Etruscan and Roman architecture. These issues will be broached in future articles.

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Baker, Camille. "How Big Was the Roman Empire?" Mathematics Teaching in the Middle School 1, no. 9 (March 1996): 754–59. http://dx.doi.org/10.5951/mtms.1.9.0754.

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This activity was designed as part of a sixth-grade interdisciplinary unit. “Seeing the World through the Eyes of Ancient Greeks and Romans.” In addition to learning about Greek and Roman geography, economics, government, and societies in social-studies class. students studied ancient scientists, physicians. and inventors in science class. They also explored Greek and Roman myths, religions, languages, and ideas in language-arts classes. In mathe matics classes, students experimented with the golden ratio and the pentagram. wrote an essay on how the Greeks used mathematics to understand their world, examined Greek and Roman architecture, and investigated the physical size of the Roman Empire. To culminate the unit, students worked in small groups on special projects, such as building a scale model of the Parthenon, measuring and creating a cale drawing comparing the soccer field with the Pantheon, creating and performing original myths or plays depicting life in ancient Greece and Rome, and constructing simple machines or demonstrations of the scientists' work in Greek and Roman times.

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Milosevic, Predrag. "Foundations of Byzantine late middle ages architecture thoughtfulness." Facta universitatis - series: Architecture and Civil Engineering 2, no. 5 (2003): 395–404. http://dx.doi.org/10.2298/fuace0305395m.

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Only in the recent few years have a number of facsimile publications on architecture offered a possibility of studying the original texts from different time periods. Those, already rare studies on the theory of architecture in the western civilization, almost regularly completely omit the Byzantine achievements in the so-called entirety of thoughtfulness (enkyklios paideia), that was a main characteristic of Byzantine learning. This learning, based on the ancient Greek and Hellenistic foundations, in many ways concern architecture, especially the architectural theory. That is why writing a good account of the architectural theory of this, historically such an important country as Byzantium, in such a long historical period (since 312 till 1453), has been a difficult task (this contribution is just the initial part of the study). One should not be disregarded that the architectural theories are never completely independent of historical geographical or even personal prejudices of their authors. In this sense, a subject matter of this treatise is just one 1141 year long part of the architectural theory of the West (West - in civilizational terms, not a political West), the part that rests on Christian foundations that is the Orthodox, Roman Catholic and Protestant ones, mainly. It is all treated in order, from ancient pagan Greece and Rome, ancient and Middle Ages Orthodox Byzantium, until Middle Ages and New Age Europe, altogether, Orthodox, Roman Catholic and Protestant Europe, and then those parts of the world in which the said civilizational circle managed to take root in: parts of Asia, North and South America, parts of Africa and Australia.

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Siwicki, Christopher. "Rome Fellowships: What's Greek about Roman architecture? Building identity in the Roman empire." Papers of the British School at Rome 87 (October 2019): 352–53. http://dx.doi.org/10.1017/s0068246219000254.

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Bellia, Angela, and Antonella Bevilacqua. "Rediscovering the Intangible Heritage of Past Performative Spaces: Interaction between Acoustics, Performance, and Architecture." Heritage 6, no. 1 (December 29, 2022): 319–32. http://dx.doi.org/10.3390/heritage6010016.

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The relationship between the shape and social use of Greek and Roman theatres has always been overshadowed by the technical and acoustic analyses of these performance spaces. Relevant ruins illustrate the relationship between performance typology, acoustics, and construction development of ancient theatres, which were mainly determined by the requirements of artistic venues. The music in tragedies and comedies, the dances, and the public speeches performed in the same places helped to shape the constructions according to the requirements of the events. In addition to the need to satisfy social and political interactions, the functions of musical performances and public speeches in theatres were maintained across generations so that they organically coexisted in both Greek and Roman times. This paper presents new insights into the relationships between sound and architecture, focusing on the case study of the Greek–Roman theatre of Katane and its evolution through the centuries. Architectural features have been described in terms of the social functions of the theatre rather than as mere results of geometric rules. A brief comparison with the neighboring odeion of Katane and other Greek–Roman theatres has been made regarding destination use.

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Święch, Jan. "ROMAN TUBAJA (1944–2021)." Muzealnictwo 63 (April 7, 2022): 5–8. http://dx.doi.org/10.5604/01.3001.0015.8229.

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On 17 April 2021, Roman Tubaja, an ethnographer, museum curator, and a long-standing director of the Ethnographic Museum in Toruń named after Maria Znamierowska-Prüffer, passed away. Born on 16 February 1944 in Warlubie, Kociewie, he graduated in ethnography from the Jagiellonian University in 1966. As of 1967, he worked at the Ethnographic Museum in Toruń continuing there throughout all his career, and moving up the entire promotion ladder. Having been appointed Head of the Folk Architecture Department in 1970, in 1978, he was promoted to become Deputy Director for Research, while on 1 April 1980, he was assigned to become Director of the Ethnographic Museum in Toruń, which he remained for almost 30 years until his retirement in 2009. An excellent logistician, during his term of office he consistently extended and modernized the Museum, doubling the volume of the collection; furthermore, he held team stationary ethnographic research in the regions forming Gdansk Pomerania. Roman Tubaja’s academic output is made up of almost 40 papers tackling folk architecture as well as history and theory of ethnographic museology, of conceptual works, and of numerous conference speeches. He also authored several museum exhibitions.

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Packer, James E., and William L. MacDonald. "The Architecture of the Roman Empire, Vol. 2." American Journal of Archaeology 92, no. 1 (January 1988): 147. http://dx.doi.org/10.2307/505885.

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Wittman, Richard. "Architecture in the Roman periodical press, 1770–1848." Journal of Architecture 25, no. 7 (October 2, 2020): 809–43. http://dx.doi.org/10.1080/13602365.2020.1828996.

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Chlepa, Eleni Anna. "The architecture of the Roman Odeion at Kos." Annual of the British School at Athens 94 (November 1999): 415–35. http://dx.doi.org/10.1017/s0068245400000666.

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The Roman Odeion at Kos was a covered rectangular building with four perimeter walls supporting the roof. The design of the koilon in the shape of a hoof follows Vitruvius' rules on Hellenistic theatres. The koilon was built with opus caementicium and it was supported by two vaulted stoas in a circular arrangement. The seats and the staircases were clad with marble. The stage has a peculiar pentagonal shape and its proscenium was rectilinear. The current form of the Odeion corresponds, in its entirety, to the ancient structure. A geometric tracing and a new restored plan of the koilon are presented. Finally, a date for the Odeion's construction in the first half of the second century AD is suggested.

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DODGE, HAZEL. "DECORATIVE STONES FOR ARCHITECTURE IN THE ROMAN EMPIRE." Oxford Journal of Archaeology 7, no. 1 (March 1988): 65–80. http://dx.doi.org/10.1111/j.1468-0092.1988.tb00168.x.

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Dueck, Daniela. "Poetry and Roman technical writing: agriculture, architecture, tactics." Klio 93, no. 2 (December 2011): 369–84. http://dx.doi.org/10.1524/klio.2011.0020.

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Tybout, Rolf A. "Roman wall-painting and social significance." Journal of Roman Archaeology 14 (2001): 33–56. http://dx.doi.org/10.1017/s1047759400019814.

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During the last two decades a spate of publications forcefully brought to our attention the importance of the Roman house in the socio-political life of the élite in the late Republic and early Imperial period, both in Rome and in “provincial” towns like Pompeii, the metropolitan center of power setting the patterns for the lifestyle of local grandees. The focus is on the rôle of architecture in shaping the spatial, and thereby social, articulation of the domus. Literary sources concerning Roman domestic life and known for a long time are scrutinized for the light they might shed on the archaeological evidence, especially on the functions of rooms and other parts of the house. Roman wall-painting also attracts fresh attention in this context. The main focus in recent studies is on its synchronic formal variety, allowing painters, or perhaps rather their commissioners, to underline and at the same time refine the hierarchical organisation of space inherent in the architectural design.

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Pechenkina, Yuliya V. "THE PHENOMENON OF "LIVE" AND "UNALIVE" RESIDENTIAL OBJECTS IN ANCIENT INDIAN ARCHITECTURE." Architecton: Proceedings of Higher Education, no. 3(71) (September 29, 2020): 12. http://dx.doi.org/10.47055/1990-4126-2020-3(71)-12.

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The article considers the rules of creating “live” residential objects based on the principles of ancient Indian architecture, the impact of such objects on the quality of life. For comparison, the impact of “dead” objects on human development is illustrated by examples. The concepts of "live" and "dead" residential objects are defined from the standpoint of ancient Indian architecture. Several basic principles of ancient Indian architecture are described. The importance of applying some of the principles of ancient Indian architecture in the design and construction of residential facilities in Russia. Examples of architectural inventions created by the world-famous architect Dr. Ganapati Sthapati are included. The article has three main sections devoted to the main postulates formulated by the ancient Roman architect Vitruvius.

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Konestra, Ana, Goranka Lipovac Vrkljan, and Bartul Šiljeg. "The assortment of ceramic building materials from the pottery workshop of Sextus Me(u)tillius Maximus at Crikvenica (Croatia)." Prilozi Instituta za arheologiju u Zagrebu 37 (2020): 73–98. http://dx.doi.org/10.33254/piaz.37.3.

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Roman building materials, especially brick and tiles (tegulae and imbex) marked a new era in the architecture of Roman Dalmatia. While imported materials seem to still form the bulk of the evidence, recently identified and definitely located local productions provide the possibility to place these products within a technological and economical framework. The in-depth analysis of the array of ceramic building materials (CBM) of the workshop of Sextus Me(u)tillius Maximus in Crikvenica (north-eastern Adriatic) evidences their forming methods and production technology, while some distribution aspects and their role within the rural economy indicate their relevance within the regional CBM market. This paper will highlight such aspects and place them within a wider debate on the onset of production, the organisation of rural property, and the transmission of technology and knowledge through the adoption of “Roman style” architectural solutions.

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Wiroj Sheewasukthaworn. "Palladian Architecture in Thailand : Its meanings and Evolution." Journal of Electrical Systems 20, no. 4s (April 17, 2024): 1668–77. http://dx.doi.org/10.52783/jes.2230.

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This research aims to study Palladian architecture in Thailand focusing on its meaning and evolution Palladian architecture is originated from an Italian architect, Andrea Palladio, in the Renaissance period. The distinctive identity is that it has beautiful proportions that are harmoniously consistent, with the style which unraveled from ancient Greco-Roman architecture. Around the 17th century, Palladian architectural style was popular in Europe. Therefore, It can be clearly reflects as a symbol of Western architecture. In 19th century, Western powers began to gain more influence in Southeast Asia as well as in Thailand. The arrival of Westerners led to the development of western architecture in many cities. The Palladian architectural style was used as a model for the design of many buildings. This study finds that Western architects worked in Thailand had applied their knowledge of classical architecture to design the buildings according to Thai’s cultures. Palladian architecture in Thailand are mostly applied for large buildings. Its layout is outstanding. The main circulation uses the central hall as a link to different functions. Palladian architecture reflected luxury, simply majestic, easy to be applied to suit the terrain and modernity equivalent to the developed western nations.

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Hub, Berthold. "Filarete and the East: The Renaissance of a Prisca Architectura." Journal of the Society of Architectural Historians 70, no. 1 (March 1, 2011): 18–37. http://dx.doi.org/10.1525/jsah.2011.70.1.18.

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Filarete's Libro Architettonico, written in Milan between 1460 and 1464/66, calls for a rebirth of antiquity. This is conventionally interpreted as a appeal for the emulation of Roman (or Greek) architecture, but Berthold Hub shows that Filarete's designs have noticeable elements in common with the architecture of the Near and Far East. The Libro locates the ideal buildings it describes in "India" and repeatedly mentions Egypt as being the place of origin of all architecture and as the model to be imitated. Filarete and the East: The Renaissance of a Prisca Architectura provides evidence of Filarete's familiarity with the Orient and subjects his designs to detailed comparison with buildings from India and Turkey. The author argues that Filarete was aiming to revive a prisca architectura, analogous to the efforts of humanist contemporaries who were searching for ever-older and more venerable evidence of an original truth, a prisca theologia.

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Häussler, Ralph. "Architecture, Performance and Ritual: The Role of State Architecture in the Roman Empire." Theoretical Roman Archaeology Journal, no. 1998 (April 16, 1999): 1. http://dx.doi.org/10.16995/trac1998_1_13.

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Silverstein, Jay E., Robert J. Littman, Stacey Anne Bagdi, Elsayed F. Eltalhawy, Hamdy Ahmed Mashaly, Emad Hassan Mohamed, and Mohamed Gabr. "Nilometer from Graeco-Roman Thmouis." Journal of Mediterranean Archaeology 35, no. 1 (September 7, 2022): 56–84. http://dx.doi.org/10.1558/jma.23769.

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In 2010, a construction project for a new water pumping station on the west side of Tell Timai (Egyptian Delta) encountered a limestone structure. This discovery triggered a salvage excavation that exposed a rare example of a well-preserved Delta nilometer. The architectural features of the nilometer reveal some specific and even unique adaptations consonant with the hydrological situation of the Graeco-Roman city of Thmouis. Unlike other examples of nilometers, an aqueduct runs from the north, spilling into the stairwell leading down into the stilling well. A dam stone in the aqueduct appears to have regulated the release of water. The nilometer was also articulated with an adjacent hill by a staircase. Folk tradition memorialised the stair and nilometer location in local fertility and healing rituals performed during Nile flood-related festivals; this tradition preserved the sacred space long after the nilometer and its associated architecture were buried and forgotten. The multifaceted role of the Thmouis nilometer in the cultural and economic life of the city and nome carries wider implications for the political organisation of the nome and the dynamic between syncretic forces and imperial appropriation in Graeco-Roman Egypt. Here we review the shape, function, archaeological context, ideological significance and hydrography of the nilometer and consider the implications of the nilometer for the history of the Mendesian nome and its sacred relationship with the Nile River.

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Telminov, Vyacheslav G. "Vectors of Suggestive Visitor Experience on a Roman Villa Maritima." Archives des Sciences 74, no. 2 (May 15, 2024): 24–28. http://dx.doi.org/10.62227/as/74204.

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The article analyzes the scenarios of the emotional state of invidia that could accompany the experience of visitors to the country villas of the Roman nobility. On the basis of literary evidence the presence of multidirectional tendencies in the attitude to envy as a way of stimulating rivalry within the elites is revealed, which allows the possibility of a conscious desire to induce it through visual architectural techniques, especially perspective. On the material of the poem Statius, the images of symbolic control exercised by architecture and its owners over the states of natural elements are considered. The comparison with architectural techniques in the Villa San Marco reveals a number of perspectives in the deep part of the villa, transmitting the idea of control, while the perspectives united by the theme of envy are in the rooms of the entrance group.

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Arnold, Felix. "Mathematics and the Islamic Architecture of Córdoba." Arts 7, no. 3 (August 8, 2018): 35. http://dx.doi.org/10.3390/arts7030035.

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In 10th-century Córdoba, mathematics—and particularly geometry—was applied to architectural design in new ways, constituting a “mathematical turn” of Islamic architecture. In the mosque of Córdoba and in the palaces of Madīnat al-Zahrāʾ, geometry was employed in the design of ground plans, elevations, decorative patterns, and even to measure the human view. While Roman architects like Vitruvius had used mathematics to place each element of a building in its appropriate relation to all other elements of a building, the architects at Córdoba employed geometry to create a spatial web in which all parts are equal to each other and part of a single, unified space. The architects of Córdoba thus pointed the way to new possibilities of designing architecture, possibilities which were to be tested further by architects of Gothic and Renaissance architecture, though to different ends.

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Journal articles on the topic 'Roman architecture'

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