Second Partie

SECOND PARTIE Habitations modernes (-) Second Partie (II) (33) Einband (-) Villa Lac de Garde (Italie) (33) Villa Lac de Garde (Italie) (34) Maison privee a la Haye (Hollande) (35) Maison privee a Hanovre (Allemagne) (36) Maison privee a Hanovre (Allemagne) (37) Villa a Neuilly (Seine) (38) Villa a Neuilly (Seine) (39) Villa a Neuilly (Seine) (40) Villa a Deauville (Calvados) (41) Maison privee a Paris (42) Maison de Paysan a Chaulgnes (Nievre) (43) Maison privee a Harrow-Weald (Angleterre) (44) Maison privee a Harrow-Weald (Angleterre) (45) Maison privee a Harrow-Weald (Angleterre) (46) Maison privee a Cardiff (Angleterre) (47) Maison privee a Cardiff (Angleterre) (48) Maison privee a Cardiff (Angleterre) (49) Villa a Houlgate (Calvados) (50) Villa a Houlgate (Calvados) (51) Villa a Houlgate (Calvados) (52) Maison de Campagne pres Helsinborg (Suede) (53) Maison de Campagne pres Helsinborg (Suede) (54) Maison de Campagne pres Helsinborg (Suede) (55) Maison de Campagne pres Helsinborg (Suede) (56) Maison privee a Frederiksberg-Copenhague (Danemark) (57) Maison privee a Frederiksberg-Copenhague (Danemark) (58) Maison privee a Frederiksberg-Copenhague (Danemark) (59) Maison privee a Frederiksberg-Copenhague (Danemark) (60) Villa a Aulnaye (Seine) (61) Maison a loyer a Paris (62) Maison a loyer a Paris (63) Maison a loyer a Paris (64) Hotel de Voyageurs a Altona (Allemagne) (65) Hotel de Voyageurs a Altona (Allemagne) (66) Farbinformation (68) Einband (69

Troisième Partie

TROISIÈME PARTIE Habitations modernes (-) Troisième Partie (III) (67) Einband (-) Hotel de Voyageurs a Altona (Allemagne) (67) Hotel de Voyageurs a Altona (Allemagne) (68) Hotel de Voyageurs a Altona (Allemagne) (69) Maison de Fermier pres Ostende (Belgique) (70) Maison privee a Valence (Drome) (71) Maison privee a Valence (Drome) (72) Maison privee a Valence (Drome) (73) Maison de Campagne a Dornach (Bas-Rhin) (74) Maison de Campagne a Dornach (Bas-Rhin) (75) Maison de Campagne a Dornach (Bas-Rhin) (76) Maison de Campagne a Dornach (Bas-Rhin) (77) Maison privee a Paris (78) Villa a Passy (Paris) (79) Villa a Passy (Paris) (80) Maison de Campagne près Montrond (Loire) (81) Maison de Campagne près Montrond (Loire) (82) Maison de Campagne près Montrond (Loire) (83) Maison de Campagne près Montrond (Loire) (84) Maison de Campagne près Montrond (Loire) (85) Hotel privè à Paris (86) Hotel prive a Paris (87) Maison a loyer a Chamonix (Houte Savoie) (88) Maison a loyer a Chamonix (Houte Savoie) (89) Maison privee a Amsterdam (Hollande) (90) Hotel prive a Paris (91) Hotel prive a Paris (92) Maison privee a Epernay (Marne) (93) Maison privee a Epernay (Marne) (94) Cottage a Hatherop (Angleterre) (95) Cottage a Pignell-Lodge (Angleterre) (96) Villa pres Namur (Belgique) (97) Villa pres Namur (Belgique) (98) Villa a San-Remo (Italie) (99) Villa a San-Remo (Italie) (100) Einband (-

Première Partie

PREMIÈRE PARTIE Habitations modernes (-) Première Partie (I) (-) Einband (-) Titelseite (-) Introduction ([1]) L'Habitation moderne ([5]) Table de la première partie ([27]) Maison Privee a Versailles (Seine-et-Oise) (1) Maison privee a Bale (Suisse) (2) Maison privee a Bale (Suisse) (3) Villa pres Scheveningen (Hollande) (4) Villa pres Scheveningen (Hollande) (5) Villa pres Scheveningen (Hollande) (6) Hotel privee a Paris (7) Hotel privee a Paris (8) Hotel privee a Paris (9) Maison a loyer a Chalon (Saone et Loire) (10) Maison a loyer a Chalon (Saone et Loire) (11) Maison a loyer a Chalon (Saone et Loire) (12) Villa a Palaiseau (Seine et Oise) (13) Maison de Campagne pres Bourg (Ain) (14) Maison de Campagne pres Bourg (Ain) (15) Maison de Campagne pres Bourg (Ain) (16) Habitation de fermier (Gaard) pres Nyborg (Danemarck) (17) Habitation de fermier (Gaard) pres Nyborg (Danemarck) (18) Maison a loyer a Hambourg (Allemagne) (19) Maison a loyer a Hambourg (Allemagne) (20) Maison de Campagne pres Grasse (Alpes Mes) (21) Hotel prive a Paris (22) Hotel prive a Paris (23) Hotel prive a Paris (24) Hotel prive a Paris (25) Maison de Jardinier a Clagny-Versailles (Seine et Oise), Maison de Paysan a Colpo (Morbihan) (26) Villa a Pau (Basses pyrenees) (27) Villa a Pau (Basses pyrenees) (28) Villa a Pau (Basses pyrenees) (29) Villa a Pau (Basses pyrenees) (30) Maison privee a Liege (Belgique) (31) Villa Lac de Garde (Italie) (32) Farbinformation (-) Einband (-

Wagons composant le train impérial offert à LL. MM. l'Empereur et l'Impératrice par la Compagnie du Chamin de Fer d'Orléans

Copia digital. España : Ministerio de Cultura y Deporte. Subdirección General de Coordinación Bibliotecaria, 201

The stereotomy of keystones in european early gothic: different geometric designs and construction solutions

[EN] The sexpartite vault was the great protagonist of the beginnings of Gothic architecture in Europe and outstanding vaulting was built using this system in Europe’s important cathedrals and monasteries, such as Notre Dame de Paris or Canterbury. By making a comparative study of the principal examples we have been able to bring to light he knowledge of geometry and construction present in Early Gothic architecture and show how it evolved to the remarkable level of stereotomic development achieved in the High Gothic. The carving of the keystone was one of the most complicated challenges of the vault as it received the different tilted ribs at varying angles on plan and in elevation, which entailed considerable knowledge of geometry. The evolution of Gothic stereotomy is reflected in this element and we found three different solutions that show development using diverse techniques to facilitate geometric design and the carving process.[ES] La bóveda sexpartita es la gran protagonista del gótico primitivo europeo y con ella se llevaron a cabo importantes abovedamientos en las catedrales y monasterios de mayor relevancia, como Notre Dame de París o Canterbury. El estudio comparativo de sus principales ejemplos nos ha permitido poner de manifiesto los conocimientos geométricos y constructivos en el gótico primitivo y su evolución hasta alcanzar el enorme desarrollo estereotómico del gótico clásico.La clave es una de las piezas más complicadas en su talla ya que recibe los distintos nervios de la bóveda con inclinaciones y ángulos diferentes en planta y alzado, lo que requiere importantes conocimientos geométricos. La evolución de la estereotomía gótica quedó reflejada en este elemento donde encontramos tres soluciones que muestran diferentes grados de desarrollo con distintas técnicas para facilitar su diseño geométrico y el trabajo de la labra.Maira Vidal, R. (2017). La estereotomía de las claves en el gótico primitivo europeo: diferentes diseños geométricos y soluciones constructivas. EGA. Revista de Expresión Gráfica Arquitectónica. 22(30):152-159. doi:10.4995/ega.2017.7847.SWORD1521592230Choisy, A., 1996. Histoire de l'architecture. France: Bibliothèque de l'Image.Gómez Martínez, J., 1998. El gótico espa-ol de la Edad Moderna: bóvedas de crucería. Valladolid: Universidad de Valladolid.Maira Vidal, R., 2016. Bóvedas sexpartitas. Los orígenes del gótico. Tesis (Doctoral) E.T.S. Arquitectura (UPM).Palacios Gonzalo, J.C., 2009. La cantería medieval. La construcción de la bóveda gótica espa-ola. Madrid: Munilla-Lería.Viollet Le Duc, E., 1996. La construcción medieval. Madrid: Instituto Juan de Herrera.Willis, R., 1910. On the Construction of the vaults of the Middle Ages. London: The Royal Institute of British Architects

Comparative analysis of inspection and diagnosis tools for ancient buildings

The survey and inspection of the state of conservation of buildings is understood as an active process of selecting information to support decision making in the rehabilitation of the built heritage. The development of new technologies applied to the integrated management of the built heritage resulted in digital tools able to support the technicians in on-site procedures. The purpose of this study was to analyse existing methods for the survey and inspection of the state of conservation of ancient buildings. It uses a qualitative methodology, focused on bibliographical survey and comparative analysis. Only methods with identical characteristics were considered: evaluation based on visual inspection of buildings with heritage value. This research shows that structuring information in computer systems is a solution to overcome the main problems pointed out in previous studies related to survey and inspection: expensive, time-consuming, inconsequential procedures and dispersed information. However, this is only valid if computer-based methods are adapted to the different geographic and chronological contexts. Future research may contribute to the development of a method that brings together this added value with a simple but objective way to diagnose the condition of ancient buildings with heritage value.The authors would like to acknowledge the support granted by the Portuguese Foundation for Science and Technology (FCT), in the scope of the Doctoral Program Eco-Construction and Rehabilitation (EcoCoRe), to the Ph.D. scholarship with the reference PD/BD/127853/2016 that was fundamental for the development of this study.info:eu-repo/semantics/publishedVersio

Polysaccharide remains in Maya mural paintings: is it an evidence of the use of plant gums as binding medium of pigments and additive in the mortar?

A number of monosaccharides characteristic of plant gums were found in paint layers and preparation layers of samples of Maya mural paintings of 10 archaeological sites located in Campeche and Yucatan regions. This finding opens the question about the deliberate use of these organic polymers as additives for improving workability and mechanical properties in the preparation layer mortar and conferring cohesion to the pigments in the paint layer. The study performed by GC-MS has confirmed the presence, in significant amounts, of a series of monosaccharides, being glucose and mannose between the most abundantly found. Nevertheless, the low amount present in most of the samples hindered the quantification of the relative proportion of monosaccharides necessary for identifying the botanical species of the plant gum. According to the accepted methodology used by Maya artists for preparing painting materials, bark of trees containing plant gums was added to the slaked lime stored in pools and that should be consistent with the notable amounts of glucose, mannose and other monosaccharides forming the skeleton of hemicelluloses and cellulose found in most of the samples. Although organic matter can be present in paint samples exposed to the external environment in Mesoamerican region as result of the microbiological activity, marker compounds characteristic of products resulting from their metabolism were not found in the studied sample

Oval Domes: History, Geometry and Mechanics

An oval dome may be defined as a dome whose plan or profile (or both) has an oval form. The word Aoval@ comes from the latin Aovum@, egg. Then, an oval dome has an egg-shaped geometry. The first buildings with oval plans were built without a predetermined form, just trying to close an space in the most economical form. Eventually, the geometry was defined by using arcs of circle with common tangents in the points of change of curvature. Later the oval acquired a more regular form with two axis of symmetry. Therefore, an “oval” may be defined as an egg-shaped form, doubly symmetric, constructed with arcs of circle; an oval needs a minimum of four centres, but it is possible also to build polycentric ovals. The above definition corresponds with the origin and the use of oval forms in building and may be applied without problem until, say, the XVIIIth century. Since then, the teaching of conics in the elementary courses of geometry made the cultivated people to define the oval as an approximation to the ellipse, an “imperfect ellipse”: an oval was, then, a curve formed with arcs of circles which tries to approximate to the ellipse of the same axes. As we shall see, the ellipse has very rarely been used in building. Finally, in modern geometrical textbooks an oval is defined as a smooth closed convex curve, a more general definition which embraces the two previous, but which is of no particular use in the study of the employment of oval forms in building. The present paper contains the following parts: 1) an outline the origin and application of the oval in historical architecture; 2) a discussion of the spatial geometry of oval domes, i. e., the different methods employed to trace them; 3) a brief exposition of the mechanics of oval arches and domes; and 4) a final discussion of the role of Geometry in oval arch and dome design

Design and analysis of cross vaults along history

The history of cross vaults began almost 2,000 years ago with a widespread use during the Middle Ages and Renaissance, becoming nowadays one of the most diffused and fascinating structural typologies of the European building cultural heritage. However, conversely to the undeniable excellence achieved by the ancient masons, the structural behavior of these elements is still at the center of the scientific debate. In this regard, with the aim of reviewing the knowledge on this subject as a concise and valuable support for researchers involved in conservation of historical buildings, with a focus on design rules and structural analysis, the present study firstly introduces the cross vaults from a historical perspective, by describing the evolution of the main geometrical shapes together with basic practical rules used to size them. Then, the article deals with the subsequent advancements in structural analysis methods of vaults, until the development of modern limit analysis.This work was partially carried out under the program "Dipartimento di Protezione Civile - Consorzio RELUIS", signed on 2013-12-27.info:eu-repo/semantics/publishedVersio

Imitation and intangibility: postmodern perspectives on restoration and authenticity at the Hill House Box, Scotland

Restoration is often problematised within built heritage practice as an inauthentic activity of imitation. This is symptomatic of a Western focus on physical heritage sites, which is underpinned by an amalgam of scientific materialism and visual aesthetics. Situated within a postmodern conceptualisation of heritage as increasingly dynamic, social and intangible, this study suggests the relationship between restoration and authenticity is increasingly out of step with contemporary perspectives and would benefit from a critical gaze. Drawing on Baudrillard’s theory of ‘hyperreality’, this study makes space for two key concepts within the built heritage paradigm: authenticity as emergent and fluid; and the legitimisation of imitation as a valid activity. Together, these are explored in relation to the restoration of the Hill House, Scotland, and its encapsulation within the ‘Hill House Box’. From a postmodern, Baudrillardian outlook, the site becomes a dynamic performance between the restored building (a tangible ‘simulation’ of an idealised essence) and the users of the Hill House Box (an intangible, ritualised experience). Consequently, this demonstrates how the amalgamation of imitation and intangibility can overcome binary views of original/copy; authentic/inauthentic, resulting in the creation of emergent authenticity and aura that the Box both creates and is engulfed within