Review: Roman Building: Materials and Techniques by Jean-Pierre Adam, Anthony Mathews; Technics and Architecture. The Development of Materials and Systems for Buildings by Cecil D. Elliott; Historical Building Construction, Design, Materials, and Technology by Donald Friedman; The Stone Skeleton. Structural Engineering of Masonry Architecture by Jacques Heyman; Rise of the New York Skyscraper, 1865-1913 by Sarah Bradford Landau, Carl W. Condit; Architectural Technology up to the Scientific Revolution: The Art and Structure of Large-Scale Buildings by Robert Mark; Building the Nineteenth Century by Tom F. Peters

1999 ◽  
Vol 58 (2) ◽  
pp. 233-237
Author(s):  
David Yeomans
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Scientific Revolution ◽  
Structural Engineering ◽  
Large Scale ◽  
Building Materials ◽  
Building Construction ◽  
Historical Building ◽  
Construction Design ◽  
Design Materials

Historical Building Construction: Design, Materials and Technology

APT Bulletin ◽  
1996 ◽  
Vol 27 (3) ◽  
pp. 61
Author(s):  
Daniel F. MacGilvray ◽  
Donald Friedman
Keyword(s):  
Building Construction ◽  
Historical Building ◽  
Construction Design ◽  
Design Materials

Engineering America

2020 ◽  
Author(s):  
Richard Haw
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Large Scale ◽  
Raw Materials ◽  
Suspension Bridge ◽  
The United States ◽  
Natural World ◽  
Nineteenth Century America ◽  
East River ◽  
The World

John Roebling was one of the nineteenth century’s most brilliant engineers, ingenious inventors, successful manufacturers, and fascinating personalities. Raised in a German backwater amid the war-torn chaos of the Napoleonic Wars, he immigrated to the United States in 1831, where he became wealthy and acclaimed, eventually receiving a carte-blanche contract to build one of the nineteenth century’s most stupendous and daring works of engineering: a gigantic suspension bridge to span the East River between New York and Brooklyn. In between, he thought, wrote, and worked tirelessly. He dug canals and surveyed railroads; he planned communities and founded new industries. Horace Greeley called him “a model immigrant”; generations later, F. Scott Fitzgerald worked on a script for the movie version of his life. Like his finest creations, Roebling was held together by a delicate balance of countervailing forces. On the surface, his life was exemplary and his accomplishments legion. As an immigrant and employer, he was respected throughout the world. As an engineer, his works profoundly altered the physical landscape of America. He was a voracious reader, a fervent abolitionist, and an engaged social commentator. His understanding of the natural world, however, bordered on the occult, and his opinions about medicine are best described as medieval. For a man of science and great self-certainty, he was also remarkably quick to seize on a whole host of fads and foolish trends. Yet Roebling spun these strands together. Throughout his life, he believed in the moral application of science and technology, that bridges—along with other great works of connection, the Atlantic cable, the Transcontinental Railroad—could help bring people together, erase divisions, and heal wounds. Like Walt Whitman, Roebling was deeply committed to the creation of a more perfect union, forged from the raw materials of the continent. John Roebling was a complex, deeply divided, yet undoubtedly influential figure, and his biography illuminates not only his works but also the world of nineteenth-century America. Roebling’s engineering feats are well known, but the man himself is not; for alongside the drama of large-scale construction lies an equally rich drama of intellectual and social development and crisis, one that mirrored and reflected the great forces, trials, and failures of the American nineteenth century.

scholarly journals Experimental diagnostics on potential degradation of a selected building construction

2020 ◽  
Vol 15 (2) ◽  
pp. 113-125
Author(s):  
Adriana Eštoková ◽  
Miriama Hološová ◽  
Eva Terpáková
Keyword(s):  
Building Materials ◽  
Fluorescence Analysis ◽  
Building Construction ◽  
Historic Buildings ◽  
Masonry Structures ◽  
Architectural Heritage ◽  
Historical Building ◽  
X Ray ◽  
Experimental Diagnostics ◽  
Very High

AbstractThe aim of the study was to evaluate the historical building of the Old Town Hall of Košice city in terms of degradation processes of building materials. Regular maintenance, especially of historic buildings, is essential in terms of preserving the historic architectural heritage. Research was focused on selected parts of the basement of the historical construction with a special regard to the effect of humidity, salinity and carbonation of masonry structures. Samples were collected in the building basement and subsequently analysed in the laboratory. Chemical analysis of materials was performed by X–ray fluorescence analysis and the soluble salts were investigated by colorimetry. In addition, the content of sulphates was confirmed by infrared spectroscopy. Humidity of individual samples ranged from very low to very high, the highest values were measured around the perimeter of the room (positioning to the outside terrain). The carbonation ranged from grade III to IV, sulphates were detected in practically all samples. The results of study can help to design corrective measures.

Geophysical investigations of medieval paintings at St. Petri Cathedral Schleswig (Germany) with georadar and thermography

2021 ◽  
Author(s):  
Yunus Esel ◽  
Ercan Erkul ◽  
Detlef Schulte-Kortnack ◽  
Christian Leonhardt ◽  
Thomas Meier
Keyword(s):  
Large Scale ◽  
Building Materials ◽  
Moisture Distribution ◽  
Non Destructive Testing ◽  
Destructive Testing ◽  
Historical Building ◽  
Before And After ◽  
Complex Building ◽  
Test Treatments ◽  
Non Destructive

<p>The preservation of culturally significant buildings is challenging due to the variety of historical building materials, the often complex building history and damage patterns. It is usually associated with high financial costs. Non-destructive testing may help to plan, optimize, and monitor conservation measures. Here, we report on non-destructive testing of moisture distribution at the Cathedral St. Petri in Schleswig (Germany) using thermography and georadar measurements.  These methods are standard methods in engineering geology and construction. In the field of heritage conservation, however, the application and especially the combination of several of these methods is not yet established.</p><p>The walls of the ‘Schwahl’ (a three-sided cloister) show medieval paintings from the 14th century. In the Schwahl, large-scale alterations occur due to gypsum deposits and a shellac coating.   Active thermography measurements were taken before and after test treatments to evaluate the effectiveness of the use of different solvents to remove the shellac and the gypsum deposits. Passive thermography and georadar measurements indicate increased moisture content in the area of the gypsum deposits likely caused by a permeable horizontal sealing barrier below the paintings. Examples of the measurements are shown and the processing of the thermography and georadar measurements including the attenuation analysis are discussed.</p>

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

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