By Shane Healey
The 200 acre Temples of Karnak, Egypt is the largest group of temples and the largest ancient religious site in the world. This complex includes the Giant Temple of Amen Ra and the Temple of the God Osiris. The Temple of Karnak is located 500 miles from Cairo, Egypt. This complex takes its name from the village el-Karnak, 2.5 meters north of Luxor. These temples, which have witnessed 1,500 years of construction, have been designed, re-designed, laid out and/or constructed by more than thirty different pharaohs in an East/ West axis. Only behind the Great Pyramids of Giza, the Temples at Karnak are the second most visited place in all of Egypt. The Temples at Karnak is divided into four main sections: the Great Temple of Amen Ra, the Temple of Montu, the Temple of the goddess Mut, and the Temple to Aten.
Buildings in Karnak are designed and constructed using a grid system based on the measurement of a cubit. One cubit is equal to 20.7 inches. This made the construction of any item within Karnak very easy when the width, length, and height ended on a grid line. Today, traces of the lines can still be founds on some of the temple sites. Another way buildings were designed was using proportions. In addition, Karnak’s pylons were designed with the proportions of 1:4, 1:5, and 1:6. The brick shrines used the proportions of 1:3 and 1:5. The three main stones used in the temples were sandstone, limestone, and red granite. Some stones, such as black granite and travertine, were used in smaller quantities for details around the temples. Two types of quarrying techniques were used to get soft and hard stone for the temples. Soft stone (limestone and sandstone) were extracted from open quarries located in natural cliff sides. On the other hand, larder stone (granite and quartzite) were much harder to quarry. In the 1,500 years of construction at Karnak, many materials and building styles have changed over time. In the 18th dynasty, limestone was the material of choice; however, in the time of Thutmose III, sandstone was becoming the most popular. In the 18th and 19th dynasty, the building used mainly rectangular stones that had different shapes and sizes. This created layers of varying heights. In the 25th dynasty, standard sizes of stones were becoming the norm through Egypt, thus creating a new style of architecture. In the 30th dynasty, Roman builders introduced a new way of building that incorporated a layer of plaster in between the stones to secure the stones together; giving them added strength and durability. The majority of the floors within Karnak are paved stone floors. However, the temples of the gods were made of red or black granite that was finished with decorations and hieroglyphic symbols. One major challenge that had to be overcome was bringing the massive obelisks to the temples without modern techniques or machines. These obelisks range in sizes from 143 tons to 455 tones. Once these massive stones were extracted from the quarry, they were dragged to the river on 30 meter wooden sledges. To reduce the friction between the ground and the wooden sledges, the path was lined with mud and lime. To drag these massive stones to the river, hundreds of animals and people were used. The exact way they would have been raised is not know; however, there are a number of ways that have been discovered.
They most popular “theory suggests that the obelisk was dragged up a high ramp [that was] constructed next to and over the desired location of the obelisk. A large funnel-shaped hole was left in the ramp directly above the pedestal, and the obelisk’s base was lowered into position as sand was removed from this funnel. The obelisk’s edge was carefully maneuvered to align with a groove carved into the pedestal as it was eased down. Ropes could have been used to then pull the monument vertical, while the pedestal’s groves stabilize the stone as it was slowly raised” (Arnold).
Tuesday, April 5, 2011
Monday, April 4, 2011
Mandapa Structure
By Vincenzo Burdi
In Architectural History III, our class was asked to research a non-western structure and prepare a presentation. There are many interesting structural elements deep within Indian Architecture. I was fortunate enough to come across what is known as a mandapa. A mandapa is a pillared outdoor hall or pavilion structure primarily used for religious dancing and music. A large temple would have many mandapas. When a temple has more than one mandapa, they are given different names. For example, a mandapa dedicated to divine marriage is referred to as a kalyana mandapa. It is a structure within which a Hindu wedding is performed, which is decorated with flowers to celebrate the importance of the occasion. The Bride & Groom encircle a holy fire lit by the officiating priest in the center of the Mandapa.
• Spatial Planning: Open Air Colonnade Structure – Open to public, Outdoor Activity.
• Material Selection: Brick, Wood, Stone, Granite, and Terracotta.
• Decoration: Linens surround entrances, Flowers are used to signify importance.
• Flooring: Granite, often reflective surface and smooth in order to allow for dancing.
• Column: Often wide and short in order to support heavy roof material.
• Central Area: Pit, Fire-sacrifice. Sacred Fire witness Agni fire-deity.
• Details: Intricate Carvings depict the presence of Hindu deities.
Kambadahalli Ganga Mandapa
Source: http://upload.wikimedia.org/wikipedia/en/thumb/a/ad/Mantapa_%28hall%29_in_Panchakuta_Basadi_at_Kambadahalli.jpg/800px-Mantapa_%28hall%29_in_Panchakuta_Basadi_at_Kambadahalli.jpg
In Architectural History III, our class was asked to research a non-western structure and prepare a presentation. There are many interesting structural elements deep within Indian Architecture. I was fortunate enough to come across what is known as a mandapa. A mandapa is a pillared outdoor hall or pavilion structure primarily used for religious dancing and music. A large temple would have many mandapas. When a temple has more than one mandapa, they are given different names. For example, a mandapa dedicated to divine marriage is referred to as a kalyana mandapa. It is a structure within which a Hindu wedding is performed, which is decorated with flowers to celebrate the importance of the occasion. The Bride & Groom encircle a holy fire lit by the officiating priest in the center of the Mandapa.
• Spatial Planning: Open Air Colonnade Structure – Open to public, Outdoor Activity.
• Material Selection: Brick, Wood, Stone, Granite, and Terracotta.
• Decoration: Linens surround entrances, Flowers are used to signify importance.
• Flooring: Granite, often reflective surface and smooth in order to allow for dancing.
• Column: Often wide and short in order to support heavy roof material.
• Central Area: Pit, Fire-sacrifice. Sacred Fire witness Agni fire-deity.
• Details: Intricate Carvings depict the presence of Hindu deities.
Kambadahalli Ganga Mandapa
Source: http://upload.wikimedia.org/wikipedia/en/thumb/a/ad/Mantapa_%28hall%29_in_Panchakuta_Basadi_at_Kambadahalli.jpg/800px-Mantapa_%28hall%29_in_Panchakuta_Basadi_at_Kambadahalli.jpg
Friday, April 1, 2011
Japanese Joinery
By Dustin Stoll
In professor Davey’s Non-Western Architectural History course this semester, we were each assigned to create a structural model that represents some sort of non-western architectural technique or design. This model could encompass the design of an entire building, or simply just the design of an individual wall or detail of a structure.
For my model, I chose to create a piece of Japanese joinery. After much research, I discovered that some of the joints created by the Japanese master craftsmen, were quite complex. Without the natural resources to create masonry structures, the Japanese had to make use of the abundant supply of native trees they had for construction. Japan’s good timber eventually became scarce, thus causing builders to have to resort to using far less superior wood that had been passed over by earlier carpenters. Lower quality wood is much harder to create structure that is true and plum. This resulted in the need to join pieces of wood together to create timbers that would have normally been formed by one higher quality tree, instead of several lower quality trees.
I chose to create a Mortised Rabbeted Oblique Splice Joint. This type of joint was used to splice together ground sills, girders, and beams. Below are some images of the model that I created, along with a computer generated animation that illustrates how the joint works.
In professor Davey’s Non-Western Architectural History course this semester, we were each assigned to create a structural model that represents some sort of non-western architectural technique or design. This model could encompass the design of an entire building, or simply just the design of an individual wall or detail of a structure.
For my model, I chose to create a piece of Japanese joinery. After much research, I discovered that some of the joints created by the Japanese master craftsmen, were quite complex. Without the natural resources to create masonry structures, the Japanese had to make use of the abundant supply of native trees they had for construction. Japan’s good timber eventually became scarce, thus causing builders to have to resort to using far less superior wood that had been passed over by earlier carpenters. Lower quality wood is much harder to create structure that is true and plum. This resulted in the need to join pieces of wood together to create timbers that would have normally been formed by one higher quality tree, instead of several lower quality trees.
I chose to create a Mortised Rabbeted Oblique Splice Joint. This type of joint was used to splice together ground sills, girders, and beams. Below are some images of the model that I created, along with a computer generated animation that illustrates how the joint works.
Thursday, March 31, 2011
Tower of Babel
By Cray Shellenbarger
For our Architecture 532: Non-Western History class we have been asked to write a paper on a piece of architecture. I chose the Tower of Babel. The Tower of Babel as mentioned in Genesis is a well known story. The people of Babylon came together to construct a tower “with its top in the heavens.” God then realized that such a people unified by their language could achieve anything they attempted. So, God decided to confound their speech and spread them across the face of the Earth. Some say that this story was developed to explain the vast diversity of the human race. What if there is some historical significance to the story? Perhaps there is some sort of architectural evidence to compliment the stories. Analyzing the story alone is very interesting but this will look at it from an architectural point of view.
There is actually a large amount of information available on this project. The bible is only the beginning of references to similar buildings and stories. In the Book of Jubilees describes the Tower of Babel as being over 5,400 cubits in height, which would be over 8,000 feet tall. This would dwarf any of our modern buildings by several times. As mentioned earlier, many scholars believe that the story could be a reference to an actual building. One possibility would the ziggurat, Etemenaki. Etemenaki, a temple of the god Marduk, was located roughly fifty miles south of Baghdad. The base of the structure is said to remain there. The base that is supposed to be that of Etemenaki can be seen from satellite photos. Other references claim that the tower was located in Shinar which was a region in Mesopotamia with unknown boundaries. There have been many interpretations of the appearance of the Tower of Babel. Some of them include the images in this article.
It is also said that Etemenaki may have had an influence on the biblical account due to the Babylonian imprisonment of the Hebrews. Regardless, the story of the Tower of Babel is an etiology, an explanation of a phenomenon. This will continue to serve generations to come.
Images courtesy of Wikipedia.org and Joseph Barrigan
For our Architecture 532: Non-Western History class we have been asked to write a paper on a piece of architecture. I chose the Tower of Babel. The Tower of Babel as mentioned in Genesis is a well known story. The people of Babylon came together to construct a tower “with its top in the heavens.” God then realized that such a people unified by their language could achieve anything they attempted. So, God decided to confound their speech and spread them across the face of the Earth. Some say that this story was developed to explain the vast diversity of the human race. What if there is some historical significance to the story? Perhaps there is some sort of architectural evidence to compliment the stories. Analyzing the story alone is very interesting but this will look at it from an architectural point of view.
There is actually a large amount of information available on this project. The bible is only the beginning of references to similar buildings and stories. In the Book of Jubilees describes the Tower of Babel as being over 5,400 cubits in height, which would be over 8,000 feet tall. This would dwarf any of our modern buildings by several times. As mentioned earlier, many scholars believe that the story could be a reference to an actual building. One possibility would the ziggurat, Etemenaki. Etemenaki, a temple of the god Marduk, was located roughly fifty miles south of Baghdad. The base of the structure is said to remain there. The base that is supposed to be that of Etemenaki can be seen from satellite photos. Other references claim that the tower was located in Shinar which was a region in Mesopotamia with unknown boundaries. There have been many interpretations of the appearance of the Tower of Babel. Some of them include the images in this article.
It is also said that Etemenaki may have had an influence on the biblical account due to the Babylonian imprisonment of the Hebrews. Regardless, the story of the Tower of Babel is an etiology, an explanation of a phenomenon. This will continue to serve generations to come.
Images courtesy of Wikipedia.org and Joseph Barrigan
Cairo Public Library & the Cairo Custom House Museum
By Russell Baker
Today, per Professor Davey's recommendation and request, I traveled to Cairo, the southernmost city in Illinois, which also happens to be the location where the confluence of the rivers occurs (the Mississippi and the Ohio Rivers). I went there to investigate a potential example of Guastavino Cohesive Tile Method Construction for my thesis. As it turned out, I was somewhat disappointed to find out that it was not constructed using this method, but the method did appear to be somewhat similar in nature, and the trip was a good educational experience making the trip, still, a worthwhile endeavor. The brick construction method used in the ceiling was only a single layer of bricks with 2" of concrete on top (See Attached Image by this Author). If it were at least two layers, it would have proved to be 100% useful as a local example of Guastavino tiling for my thesis presentation, but I still enjoyed seeing all that I did.
Before visiting the Cairo Custom House Museum (a partially restored "courthouse"), I first visited the Cairo Public Library, which in itself, is a piece of architecture exemplifying beautiful and intricate details. The purpose of stopping by the library was to search and peruse the original architectural drawings in the Rare Books Archives for the Cairo Custom House designed by architect A.B. Mullet. Mrs. Smith retrieved these drawings for me and I was amazed at the level of detail and ornamentation that was used in the drawings a century-and-a-half ago...by hand at that! It really reminded of the simple yet often taken for granted expression, "They don't make 'em like they used to."
Mrs. Monica Smith told and Mrs. Ogg Louise assisted me in my quest at each of these locations. Mrs. Louise mentioned that Professor Swenson and Professor Davey had assisted in some restoration work involving roof and soffit restoration, etc. They were both very helpful and interesting to talk with. She told me that the steel beams in the ceilings were installed before the Bessemer process was introduced to the area!!! (The Bessemer process was patented in 1855, and plans for construction began in 1867 and construction was completed in 1872). That was cool to learn. The building also used cast iron columns and banisters and other supports and had such a sound foundation that it was considered to be a bomb shelter during World War I. Though some spaces are unfinished due to funding issues, the museum is otherwise filled with really interesting historical exhibits and the amount of history displayed there is baffling. So all in all, although the ceilings weren't exactly what I was hoping for, they were still very interesting to see, and I'm glad I made the short trip to visit these two places.
[Two Scanned Brochure Images Courtesy of The Cairo Custom House Museum, 1400 Washington Avenue, Cairo, Illinois 62914]
Today, per Professor Davey's recommendation and request, I traveled to Cairo, the southernmost city in Illinois, which also happens to be the location where the confluence of the rivers occurs (the Mississippi and the Ohio Rivers). I went there to investigate a potential example of Guastavino Cohesive Tile Method Construction for my thesis. As it turned out, I was somewhat disappointed to find out that it was not constructed using this method, but the method did appear to be somewhat similar in nature, and the trip was a good educational experience making the trip, still, a worthwhile endeavor. The brick construction method used in the ceiling was only a single layer of bricks with 2" of concrete on top (See Attached Image by this Author). If it were at least two layers, it would have proved to be 100% useful as a local example of Guastavino tiling for my thesis presentation, but I still enjoyed seeing all that I did.
Before visiting the Cairo Custom House Museum (a partially restored "courthouse"), I first visited the Cairo Public Library, which in itself, is a piece of architecture exemplifying beautiful and intricate details. The purpose of stopping by the library was to search and peruse the original architectural drawings in the Rare Books Archives for the Cairo Custom House designed by architect A.B. Mullet. Mrs. Smith retrieved these drawings for me and I was amazed at the level of detail and ornamentation that was used in the drawings a century-and-a-half ago...by hand at that! It really reminded of the simple yet often taken for granted expression, "They don't make 'em like they used to."
Mrs. Monica Smith told and Mrs. Ogg Louise assisted me in my quest at each of these locations. Mrs. Louise mentioned that Professor Swenson and Professor Davey had assisted in some restoration work involving roof and soffit restoration, etc. They were both very helpful and interesting to talk with. She told me that the steel beams in the ceilings were installed before the Bessemer process was introduced to the area!!! (The Bessemer process was patented in 1855, and plans for construction began in 1867 and construction was completed in 1872). That was cool to learn. The building also used cast iron columns and banisters and other supports and had such a sound foundation that it was considered to be a bomb shelter during World War I. Though some spaces are unfinished due to funding issues, the museum is otherwise filled with really interesting historical exhibits and the amount of history displayed there is baffling. So all in all, although the ceilings weren't exactly what I was hoping for, they were still very interesting to see, and I'm glad I made the short trip to visit these two places.
[Two Scanned Brochure Images Courtesy of The Cairo Custom House Museum, 1400 Washington Avenue, Cairo, Illinois 62914]
Wednesday, March 30, 2011
Net Zero Energy Buildings
By Micah Jacobson
A Net Zero energy building is building with zero net energy used and zero carbon emissions used annually. There are renewable energy systems installed in building with an agreement with the power company. The meter will reflect the flow of energy; positive when power is being consumed by the building and negative if the building is providing more power than needed and therefore giving electricity to the power company; this will add credits to the customer’s bill. The customer is only charged the net power used during a certain interval of time.
Having net zero energy is one of the criteria for the living building challenge. The living building challenge is a philosophy, and advocacy platform and a certification program. It is a standard of performance and a path to restore the future. To qualify you need to have a responsible site plan, limited growth (only build on previous sites), habitat exchange (1 acre per acre exchange for 100 year non-development.), Net Zero energy, no red list materials, construction carbon footprint (builder must purchase carbon offsets for the type and size of the building), responsible industry (wood needs to be FSC certified, salvaged or harvested on site), appropriate materials (materials must be from an appropriate distance), leadership in construction waste (a certain percent of construction waste needs to be diverted from landfills), Net Zero water waste, sustainable water discharge (all storm water handled on site), window in every populated area of building, healthy air-Source control (manages chemicals, paints, adhesives and others), healthy air-Vitalization (building must meet California title 24 requirements), beauty and Inspiration, beauty and spirit (meets aesthetic needs of the visitors), inspiration and education (must be open to the public at least one day a week and educational materials must be available).
The net Zero energy and living building challenge are good programs that help to achieve a truly sustainable built environment.
A Net Zero energy building is building with zero net energy used and zero carbon emissions used annually. There are renewable energy systems installed in building with an agreement with the power company. The meter will reflect the flow of energy; positive when power is being consumed by the building and negative if the building is providing more power than needed and therefore giving electricity to the power company; this will add credits to the customer’s bill. The customer is only charged the net power used during a certain interval of time.
Having net zero energy is one of the criteria for the living building challenge. The living building challenge is a philosophy, and advocacy platform and a certification program. It is a standard of performance and a path to restore the future. To qualify you need to have a responsible site plan, limited growth (only build on previous sites), habitat exchange (1 acre per acre exchange for 100 year non-development.), Net Zero energy, no red list materials, construction carbon footprint (builder must purchase carbon offsets for the type and size of the building), responsible industry (wood needs to be FSC certified, salvaged or harvested on site), appropriate materials (materials must be from an appropriate distance), leadership in construction waste (a certain percent of construction waste needs to be diverted from landfills), Net Zero water waste, sustainable water discharge (all storm water handled on site), window in every populated area of building, healthy air-Source control (manages chemicals, paints, adhesives and others), healthy air-Vitalization (building must meet California title 24 requirements), beauty and Inspiration, beauty and spirit (meets aesthetic needs of the visitors), inspiration and education (must be open to the public at least one day a week and educational materials must be available).
The net Zero energy and living building challenge are good programs that help to achieve a truly sustainable built environment.
A True Record Setter
By Shane Healey
Burj Khalifa, Located in Dubai, United Arab Emirates, became the world’s tallest building on January 4, 2010. Designed by SOM architect Adrian Smith, the 2, 717 foot structure was designed from patterns found in Islamic architecture and from the Hymenocallis desert flower. This structure has made many landmarks in the structural world. The 1.5 billion dollar building took 22 million man hours to build. The two main materials used in the building was 330,000 meters of concrete and 50,000 tons of steel creating a structure that weighs 500, 000 tones. In addition, the amount of steel used if laid end to end would extend over ¼ around the world. With a structure of major importance, symbolism interwoven throughout the design which includes: Dubai’s new wealth, optimism, reaching toward god, and international cooperation. However, with all positives there are negatives. Some believe that the Burj Khalifa symbolizes a decade of excess, fantasy, and recklessness in Dubai. In addition, some see the building as a metaphor for pursuing goals in life that ultimately prove empty. Since its opening, the Burj Khalifa has set many world records ranging from tallest man-made structure and world fastest elevator speed at 40 to highest New Years Eve fireworks displays and worlds highest swimming pool, on 76th floor. The y-shaped building contains 163 habitable floors, seven double story mechanical levels, located every 30 floors, and 2 parking levels in the basement, containing parking 3,000 spaces. In the end, with the completion of this massive structure, Dubai is becoming recognized as a true world city, like New York and London.
Burj Khalifa, Located in Dubai, United Arab Emirates, became the world’s tallest building on January 4, 2010. Designed by SOM architect Adrian Smith, the 2, 717 foot structure was designed from patterns found in Islamic architecture and from the Hymenocallis desert flower. This structure has made many landmarks in the structural world. The 1.5 billion dollar building took 22 million man hours to build. The two main materials used in the building was 330,000 meters of concrete and 50,000 tons of steel creating a structure that weighs 500, 000 tones. In addition, the amount of steel used if laid end to end would extend over ¼ around the world. With a structure of major importance, symbolism interwoven throughout the design which includes: Dubai’s new wealth, optimism, reaching toward god, and international cooperation. However, with all positives there are negatives. Some believe that the Burj Khalifa symbolizes a decade of excess, fantasy, and recklessness in Dubai. In addition, some see the building as a metaphor for pursuing goals in life that ultimately prove empty. Since its opening, the Burj Khalifa has set many world records ranging from tallest man-made structure and world fastest elevator speed at 40 to highest New Years Eve fireworks displays and worlds highest swimming pool, on 76th floor. The y-shaped building contains 163 habitable floors, seven double story mechanical levels, located every 30 floors, and 2 parking levels in the basement, containing parking 3,000 spaces. In the end, with the completion of this massive structure, Dubai is becoming recognized as a true world city, like New York and London.
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