Thursday, 31 January 2013

Romance Romanesque

Architectural Character of Romanesque

   The primary characteristics of Romanesque architecture (or Norman architecture, as northern Romanesque is often known) were Roman in origin, however: large internal spaces were spanned by barrel vaults on thick, squat columns and piers, windows and doors had round-headed arches, and most of the major churches were laid out on the basilican plan, modified by the addition of the buttress, transept, and tower. The buildings are solid, heavy, and, because of the comparatively small windows, dimly lighted, exemplified by Durham Cathedral (begun 1023) in England.

    The walls of Romanesque buildings are often of massive thickness with few and comparatively small openings. They are often double shells, filled with rubble.



   Because of the massive nature of Romanesque walls, buttresses are not a highly significant feature, as they are in Gothic architecture. Romanesque buttresses are generally of flat square profile and do not project a great deal beyond the wall. In the case of aisled churches, barrel vaults, or half-barrel vaults over the aisles helped to buttress the nave, if it was vaulted.

Arcades
    An arcade is a row of arches, supported on piers or columns. They occur in the interior of large churches, separating the nave from the aisles, and in large secular interiors spaces, such as the great hall of a castle, supporting the timbers of a roof or upper floor. Arcades also occur in cloisters and atriums, enclosing an open space.



Columns
   Columns are an important structural feature of Romanesque architecture. Colonnettes and attached shafts are also used structurally and for decoration. Monolithic columns cut from a single piece of stone were frequently used in Italy, as they had been in Roman and Early Christian architecture.

Grace Greek

 Architectural Character of Greek Building

           Constructed of massive masonry, they were several stories high and incorporated large pillared halls, dozens of labyrinthine smaller rooms, sweeping terraces looking to the sea, and plumbing arrangements of astonishing modernity. The walls were decorated with brilliantly colored frescoes and stucco bas-reliefs. 


Columns
   The stone columns are made of a series of solid stone cylinders or “drums” that rest on each other without mortar, but were sometimes centred with a bronze pin.

   Stylistically, Ancient Greek architecture is divided into three “orders”: the Doric Order, the Ionic Order and the Corinthian Order, the names reflecting their origins. 

Doric Order
   The Doric order is recognised by its capital, of which the echinus is like a circular cushion rising from the top of the column to the square abacus on which rest the lintels. 


    Doric columns are almost always cut with grooves, known as "fluting", which run the length of the column and are usually 20 in number, although sometimes fewer. The flutes meet at sharp edges called arrises. At the top of the columns, slightly below the narrowest point, and crossing the terminating arrises, are three horizontal grooves known as the hypotrachelion. Doric columns have no bases, until a few examples in the Hellenistic period.

Ionic Order
   The Ionic Order is recognised by its voluted capital, in which a curved echinus of similar shape to that of the Doric Order, but decorated with stylised ornament, is surmounted by a horizontal band that scrolls under to either side, forming spirals or volutes similar to those of the nautilus shell or ram's horn.


   The horizontal spread of a flat timber plate across the top of a column is a common device in wooden construction, giving a thin upright a wider area on which to bear the lintel, while at the same time reinforcing the load-bearing strength of the lintel itself. Likewise, the columns always have bases, a necessity in wooden architecture to spread the load and protect the base of a comparatively thin upright.

Corinthian Order
   The capital was very much deeper than either the Doric or the Ionic capital, being shaped like a large krater, a bell-shaped mixing bowl, and being ornamented with a double row of acanthus leaves above which rose voluted tendrils, supporting the corners of the abacus, which, no longer perfectly square, splayed above them.

Graveyard - Hisingen Blues

Life Is Psychedelic

 


Tree - Leonardo da Vinci


Can you describe about this picture? How it feels?
Doom? Gloom?

Interior Designer

Keys to Success

    As members of a service profession, interior designers’ fortunes depend on their ability to satisfy clients. Thus, they must understand artistic and technical requirements of a project, interpersonal communication, and management strategies.

    • Artistic and Technical Requirements
      Interior designers must know how to plan a space and how to present that plan visually so that it can be communicated to the client. Interior designers must also know about the materials and products that will be used to create and furnish the space, and how texture, color, lighting and other factors combine and interact to make a space. In addition, interior designers must understand the structural requirements of their plans, the health and safety issues, building codes, and many other technical aspects.
    • Interpersonal Communications Interior designers must be comfortable meeting and dealing with many kinds of people. They must communicate clearly and effectively, as well as be attentive listeners. Because they often must work with architects, contractors and other service providers, interior designers need to be both good team leaders and good team players. They must be willing to negotiate and mediate when necessary to solve problems.
    • Management Strategies
      Interior designers must have excellent time and project management abilities since they frequently work on more than one project at a time under demanding deadlines. Interior designers must understand business planning, and they need to know how to sell their ideas to clients, create informative and persuasive proposals and presentations, and maintain good client relationships.               
  •                                                           Reblog from Career Interior Designer                                           

Poison

Izzy Stradlin

I said him only be my favourite rockstar.



"At the moment, I`m a happy guy, but I`m the same man I`ve always been. I didn`t change anything with my personality, except that from now on, I`m not directed by people who exploit me anymore, which was the case in the recent past. Today, paradoxically, I have more responsibilities than before, but a huge weight has been taken off my shoulders".

Us

“You may not be her first, her last, or her only. She loved before she may love again. But if she loves you now, what else matters? She's not perfect - you aren't either, and the two of you may never be perfect together but if she can make you laugh, cause you to think twice, and admit to being human and making mistakes, hold onto her and give her the most you can. She may not be thinking about you every second of the day, but she will give you a part of her that she knows you can break - her heart. So don't hurt her, don't change her, don't analyze and don't expect more than she can give. Smile when she makes you happy, let her know when she makes you mad, and miss her when she's not there.”- Bob Marley