Roman Architecture | Arches, Gates and Forts in Roman Architecture

Among the most solidly preserved of all Roman architectural inventions are the monumental arches, buildings of a type devised purely for display. This conversion to monumental form of the temporary structures created for the occasion of military triumphs in Rome is yet another instance of rapid evolution in Augustan architecture. The main arch passage, and any side passages, as on Trajan's Arch at Timgad and that of Septimius Severus in Rome, was flanked by columns, usually in pairs. The intervening spaces might contain aediculae or relief sculpture relevant to the arch's commemorative purpose, as on Trajan's Arch at Benevento and the Arch at Orange. That purpose was made explicit by a prominent inscription on the attic storey above the archway. The whole was surmounted by groups of sculpture, usually in bronze.

The arched gate through a city wall might take much the same form, but its function required that it should have guard chambers at the sides, often contained in projecting towers, and a gallery above, to allow passage across the gateway. The window openings in the gallery might be given additional architectural distinction by schemes of engaged pilasters or columns, with pediments, as on the Porta dei Borsari at Verona, or with a continuous entablature, as on the gates of Nimes and Autun.

Hadrian's Arch at Athens, which led from the old city to the new quarter, is unusual in the combination of its decorative elements. The columns and pilasters of its upper storey do not continue the vertical lines of the pilasters which flanked the archway below, which were taken up by the statuary which stood in the openings of the upper storey. Some second-century and later arches and gates were highly elaborate, with a façade architecture of niched figures framed by luxuriantly decorated pilasters, as on the Porte Noir at Besançon and the London Arch. In contrast, the Porta Nigra at Trier, with quadruple tiers of regularly-spaced columns framing arched openings, is reminiscent of the exteriors of theatres and amphitheatres. The Porta Aurea of Diocletian's Palace at Split, with arcaded entablatures above the entrance, owed more to the traditions of the East, as is emphasized by the great arcades and the Syrian pediment of the ceremonial courtyard within.

There is a clear military influence in the Palace's massive four-square walls, external towers, and the T-Junction formed by its colonnaded streets. Colonnades, and the peristyles of officers' houses in military forts, were derived from what was familiar in civilian building. The plan of the headquarters, with its courtyard and basilican hall, evolved in parallel with the north Italian and Gaulish forum which it so much resembles. The decoration of the most important buildings in some legionary fortresses, like Neuss and Lambaesis, gave them some architectural distinction. Hadrian's Wall, by contrast, had the solid unembellished serviceability which characterized much military building.

Rent one of our Rome apartments, and You'll enjoy the unique atmosphere of the Eternal City.

Daniele Davide, manager of Tredy Sas.

If You rent an apartment in Rome, it will be very interesting to visit this marvelous city, the Eternal City.

Rent one of our Rome apartments to visit the most beautiful monuments in Rome.

Article Source: http://EzineArticles.com/?expert=Daniele_D_Davide

Roman Architecture | Roman Architectures

Roman architecture is a fusion of traditional Greek and the Etruscan elements, where arches were developed and horizontal beams were supported by columns. Later, three dimensional counterpart of the arch, namely the dome was introduced. Apart from this, Roman architects found their inspiration from the Greek architecture at large.

The basic building materials of the Roman architecture are stones, developed concrete, and highly expensive marble. The idea behind mosaic, a decoration of colorful chips of stone inset into cement, was brought from Greece. Roman homes joined the well known mural decorating floors, walls, and grottoes in geometric and pictorial designs.

Architecture of the Romans was always eclectic and was characterized by varying styles attributed to different regional tastes and diverse preferences of a wide range of patrons. In general, Roman monuments were designed to serve the needs of their patrons rather than to express the artistic ability of their makers.

Roman architecture was also considered to be an exact copy of the Greek building style. But, the Romans have also contributed to the classical architectural styles. The two developments of Roman buildings styles are the tuscan and composite orders. Tuscan is a shortened, simplified variant on the doric order of the Greek style. Composite is a tall order with the floral decoration of the Corinthian and the scrolls of the ionic building style of the Greeks.

The Roman Colosseum is the best-known amphitheatre in the world, which is more correctly termed the Amphitheatrum Flavium, after the Flavian dynasty that built it. The Pantheon is a building in Rome, which was originally built as a temple to the seven deities of the seven planets of the Roman state religion. Since 7th century, it has been a Christian church. The Colosseum and the Pantheon are some of the buildings built during this period.

Roman contribution to the architecture of the modern world is the development of concrete for building purposes. And the other contribution is the Empire's style of architecture that can be still seen throughout Europe and North America in the arches and domes of many governmental and religious buildings.

Architecture provides detailed information on Architecture, Architecture Designs, Architecture Schools, Landscape Architecture and more. Architecture is affiliated with Residential Architects [http://www.Architects-Web.com].

Article Source: http://EzineArticles.com/?expert=Kristy_Annely

House Architecture | Architecture and Language

In modernity there are no more steady rules of connections. Connections are elliptical and changing. Syntax and grammar are relational; however, they are not whatever. Modernity is about the freedom of connections which are not reducible to pure logic or rationalism. Modernity is dreaming new languages which are beyond representation. Language is tied to dreaming freedom. Whoever destroys language destroys himself or herself.

Language is a second body. Delaunays' paintings, their "window to the city", the surrealist novel, the nouveau roman all explore language as a second body. It is the materialized soul. With Novalis the body becomes the stream, the night, the day, the cosmos. His "liquid girls" are the secret of language. To know that "milk is black" is also one of the many secrets of language linking us directly to the cosmos. Language is a secret naming.

Language is that which closes itself over the void. Mallarmé and Duchamp show us, that if the universe is language,-its face is empty. Their works are trajectories in search of meaning. Doing Architecture is a love for language. It is like going to the desert and absorbing the lessons of the stream. It is being alone: the horizon and earth meeting, vastness, emptiness, movement, change and space. It is the courage to be able to face the "empty face" of the universe that allows for new possibilities of languages and forms of life.

Language is always somewhat ahead of our thoughts, just like writing or drawing. Surrealist writing, the drawing or sketch in Architecture, are the flow of language, it is a form of swimming, diving into something which is already there, like the city with all its superimpositions. As with the superimpositions found in Cezanne or Schindler's work, the superimposition and layering of space, volumes and colors. Language is ahead of our thoughts. It is more than just a matter of the brain. The heart, the soul, emotions and the body make for the corporeality of language. Language has an intimate connection to experience. It is a part of an intricate weave, like the air we breathe.

This is why language, writing and drawing have a deep and secret power to promote being. The imagination hungers for images. Drawing is not a depiction but a way of thought of expression; it is a figurative language like a form of writing. Scarpa says: " I draw because I want to see." It is a seeing and knowing in the mind. Scarpa's work doesn't so much take place in an arena of visual perception as in the vicinity of a linguistic competence. He never fell into historical styles because his interests were of a relational nature: " A Transparency of relations". According to Octavio Paz "Light is time thinking of itself." Scarpa works the light critically; it is a criticism in the romantic sense, not one of exclusion, but of inclusion of the object and work of art. The work of art becomes aware of itself.
Language is a place; there is a desire in language to orient and to have a standpoint. The language of Architecture is like the eye of language, it is about another kind of seeing. Language is like a plan or a section, it is generative, and it is a relational instrument. Architecture like language is polysemous, polyphonic and polysemantic. Architecture is about giving time and space for the articulation of different visions, voices and their multiple interconnectedness. Architecture and language are, like paintings, in the words of Clemenceau: "A way of looking deep into the eyes of the world."

Questioning and doubt are internal to language and architecture. In Chinese "but" is the radical root of the ideogramme "mouth" and "who" is the radical root of the ideogramme "language". Questioning lies at the heart of language. Words, like walls, planes, light and space, desire to enwrap and to show themselves; to traverse their own space. The issue perhaps is less to just let "words run loose", as to keep them within reach of their possibilities and within reach of their suggestive powers. The desire for words to show themselves also speaks of the strong relationship between language and joy. Words, like materials, space and light are the heaviness of emptiness. Language is that which closes itself over the void.

Language and Architecture are a kind of writing into the void, into the black, the dark and the shadow. It is in this black or shadow where words and architectural elements meet. The darkness of language is like a protection from too much self-reflection.

Language is more than just communication or understanding. It is about being alone and about taking risks. When I enter a building, it is like entering language with all its nuances, shades and inflections; and just like poetry, it likes to have a voice, it likes to be read, to be experienced and it likes to be a challenge.

To hear one word as if it were thousands of words is about the superimposition inherent in language. Language and Architecture exist as superimpositions. There is a presence and absence of language. The passivity of language is a kind of center which allows language to exist, and we should allow a word, like a house, the possibility to open itself unto all possible worlds or experiences which live in it. Writing is a kind of forgetfulness; it is the subconscious of language. Matisse's figures in blue are a kind of writing with the scissors into color. Similarly Yves Klein's body paintings, it is always the whole body which is involved in language and in architecture.

Language is another way of seeing and imagining. It is language which thinks and suffers, just as it is also the imagination which thinks and suffers. There is a subversive power in language, a magic beyond communication. Brancusi's Endless Column has a magical rhythm with which we can catch a glimpse of infinity. The Endless Column is like a revelation. Naming, the innermost nature of language is about naming the unnamable it is about doing the impossible. Herein lays the heart of architecture.
Language is a place and like writing it is about a return to the Zero Point. It is like writing on a blank page. It is about changing the world. Architecture has a memory of this desire for wanting to transform the world. The banal memory is like a dam against creative memory. Banal memory secures against loss, when, on the contrary, loss is a necessary part of memory. Memory is possible because of repetition. It is repetition of metaphors, symbols, words, myth and figures that give to language, to architecture and to the city the space and time to remember.

Language is a promise.

This text has been inspired by Paola Iacucci's
Three Houses and other Buildings by Gangemi
Publishers

Gabrielle is an architect, artist and writer. She completed her studies at Columbia and Princeton Universities in the USA. She currently lives in Switzerland where she has her own architectural practice. Her websites are: http://www.gabriellevonbernstorff.com and http://www.gabriellevonbernstorff.ch.

Article Source: http://EzineArticles.com/?expert=Gabrielle_Grafin_Von_Bernstorff