Brunelleschi, Ghiberti, and "L'occhio" "minore" of Florence Cathedral

1983 ◽  
Vol 42 (3) ◽  
pp. 249-257 ◽  
Author(s):  
Marvin Trachtenberg
Keyword(s):  
Architectural Practice ◽  
Filippo Brunelleschi

Florence Cathedral continues to yield surprises, and it is not always necessary to dig for them. A detail as small and seemingly insignificant as a keystone is here revealed as evidence of a trecento project for a set of minor lanterns. Ironically, but for good reasons, this scheme was abandoned by the very architects who in all likelihood actually crafted the keystone, Filippo Brunelleschi and Lorenzo Ghiberti. The detail is full of implications about Early Renaissance architectural practice, and it would be the first documented, completed architectural "work" involving Brunelleschi.

The hyperion tower, an audacious demonstration of the use of materials

2021 ◽  
Author(s):  
Jean-Bernard Datry ◽  
Audrey Zonco ◽  
Etienne Combescure ◽  
Zakaria Kertaoui ◽  
Clement Le Dem ◽  
...  
Keyword(s):  
Reinforced Concrete ◽  
Concrete Core ◽  
Detailed Design ◽  
Train Station ◽  
Cross Laminated Timber ◽  
Architectural Practice ◽  
Jean Paul ◽  
Wood Frame ◽  
Engineering Firm

<p>With a total height of 55m, the Hyperion residential Tower is located near the Saint Jean train Station in Bordeaux France and was designed by the engineering firm Terrell in association with the architectural practice Jean-Paul Viguier &amp; Associates. The structure is braced with a reinforced concrete core, made of cross laminated timber floors, laminated timber beams along the periphery of the building, wood frame walls on the façades, and prefabricated steel balconies placed in situ with cranes. Detailed design of the composite tower was carried out by engineering firm Setec Tpi, through a large use of BIM software’s (Revit and Tekla) from which shop drawings were generated. The main contractor Eiffage had to face many challenges during construction to erect what is now the tallest wooden tower in France.</p>

Arnold Mitchell (1863–1944): ‘Fecundity’ and ‘Versatility’ in an Early Twentieth-Century Architect

2012 ◽  
Vol 55 ◽  
pp. 199-235 ◽  
Author(s):  
Clare Sherriff
Keyword(s):  
Twentieth Century ◽  
Turn Of The Century ◽  
Architectural Practice ◽  
Early Twentieth Century ◽  
Younger Men

The architectural historian Roderick Gradidge, referring to the 1900s, wrote that ‘in architecture there have never been such opportunities for younger men as there were at the turn of the century’. Arnold Mitchell is an architect typical of those who took advantage of such opportunities, a man (women were yet to have the chance) who saw the economic and aesthetic potential for new architecture, both nationally and internationally. Understanding the nature of architectural practice should not be reliant solely upon knowledge of the stellar architects of any given period. It depends upon integrating others, one or two rungs down the ladder but who achieved success in their own sphere, into the corpus examined, in order to achieve a fuller understanding of the profession.

Space and the Nation: Three Texts on Aldo Rossi

1994 ◽  
Vol 12 (3) ◽  
pp. 287-300 ◽  
Author(s):  
Lindsay Bremner
Keyword(s):  
South Africa ◽  
Political History ◽  
Political Practice ◽  
Architectural Practice ◽  
Spatial Dimensions ◽  
History Of

In this paper the spatial dimensions of political practice and the historical dimensions of architectural practice are examined. The author argues that these two practices intersect when, in the life of a city and a nation, time is transformed into space. The productivity of death in this regard is explored. In developing this argument, reference is made to the works and writings of Regis Debray and Aldo Rossi, as well as events in the recent political history of South Africa.

Designing the Person: Sociological Assumptions Embodied within the Architecture of Charles Rennie Mackintosh and Le Corbusier

2005 ◽  
Vol 14 (1) ◽  
pp. 141-162
Author(s):  
Clare Spencer
Keyword(s):  
Social Interaction ◽  
Comparative Study ◽  
Le Corbusier ◽  
Western Society ◽  
Architectural Practice ◽  
Individual Person ◽  
Interesting Insight ◽  
Starting Point ◽  
The Individual ◽  
Insight Into

This essay presents a comparative study of the sociological assumptions implicit, and to some extent explicit, in the work of two famous architects, Charles Rennie Mackintosh and Le Corbusier. The inhabitant implied through the architectural practice of Le Corbusier resembles Elias's homo clausus (closed person), the mode of self experience viewed by Elias as the dominant one in Western society and one which sees the individual person as a ‘thinking subject’ and the starting point of knowledge. Mackintosh's designs, in contrast, imply individual people closer to Elias‘s homines aperti, social beings who are shaped through social interaction and interdependence. This paper demonstrates how, as well as fulfilling social, cultural and political needs, architecture carries, within in its designs, certain assumptions about how people and how they do, and should, live. The adoption of an Eliasian perspective provides an interesting insight into how these assumptions can shape self-experience and social interaction in the buildings of each architect.

scholarly journals The pencil of the 4th and 3rd order surfaces obtained as a harmonic equivalent of the pencil of quadrics through a 4th order space curve of the 1st category

2012 ◽  
Vol 10 (2) ◽  
pp. 193-207 ◽  
Author(s):  
Gordana Djukanovic ◽  
Marija Obradovic
Keyword(s):  
Cross Sections ◽  
Spatial Model ◽  
Spatial Models ◽  
Space Curve ◽  
Parabolic Cylinder ◽  
Triaxial Ellipsoid ◽  
Architectural Practice ◽  
Ordered Space ◽  
Pass Through ◽  
Frontal Projection

This paper shows the process of inverting the 4th ordered space curve of the first category with a self-intersecting point (with two planes of symmetry) and determining its harmonic equivalent. There are harmonic equivalents for five groups of surfaces obtained through the 4th order space curve of the 1st category. Mapping was done through a system of circular cross-sections. Both classical and relativistic geometry interpretations are presented. We also designed spatial models - a spatial model of the pencil of quadrics and a spatial model of the pencil of equivalent quadrics. Besides the boundary surfaces, one surface of the 3rd order, which is an equivalent to a triaxial ellipsoid, passes through this pencil of surface of the 4th order. The center of inversion is located on the contour of the ellipsoid. The parabolic cylinder is mapped into its equivalent, by mapping the contour parabola of the cylinder, in the frontal projection, in relation to the center and the sphere of inversion into a contour curve of the 4th order surface. The generating lines of the parabolic cylinder, which are in a projecting position and pass through the antipode, are mapped into circles (also in a projecting position) whose diameters are from the center of inversion to the contour line. The application of the 4th order surfaces in architectural practice is also presented.

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