Concrete Vaulted Construction in Imperial Rome: Innovations in Context

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Cambridge University Press, 8 août 2005
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Concrete Vaulted Construction in Imperial Rome examines methods and techniques that enabled builders to construct some of the most imposing monuments of ancient Rome. Focusing on structurally innovative vaulting and the factors that influenced its advancement, Lynne Lancaster also explores a range of related practices, including lightweight pumice as aggregate, amphoras in vaults, vaulting ribs, metal tie bars, and various techniques of buttressing. She provides the geological background of the local building stones and applies mineralogical analysis to determine material provenance, which in turn suggests trading patterns and land use. Lancaster also examines construction techniques in relation to the social, economic, and political contexts of Rome, in an effort to draw connections between changes in the building industry and the events that shaped Roman society from the early empire to late antiquity. This book was awarded the James R. Wiseman Book Award from the Archaeological Institute of America in 2007.
 

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Table des matières

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XXXIX
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XLI
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Droits d'auteur

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Fréquemment cités

Page 240 - ... minus fratribus praeferunt parvo aere empta monilia. Quid ergo inter nos et illos interest, ut Ariston ait, nisi quod nos circa tabulas et statuas insanimus carius inepti ? Illos reperti in litore calculi leves et aliquid habentes varietatis delectant, nos ingentium maculae columnarum, sive ex Aegyptiis harenis sive ex Africae solitudinibus advectae porticum aliquam vel capacem populi cenationem y ferunt.
Page 173 - ... level with the circuit wall of the battlements of the city. Furthermore, the walls, which had been constructed at great expense, were twenty-two . feet thick, while the passage-way between each two walls was ten feet wide. The roofs of the galleries were covered over with beams of stone sixteen feet long, inclusive of the overlap, and four feet wide. The roof above these beams had first a layer of reeds laid in great quantities of bitumen, over this two courses of baked brick bonded by cement,...
Page 173 - The park extended four plethra on each side, and since the approach to the garden sloped like a hillside and the several parts of the structure rose from one another tier on tier, the appearance of the whole resembled that of a theatre. When the ascending terraces had been built, there had been constructed beneath them galleries which carried the entire weight of the planted garden and rose little by little one above the other along the approach; and the uppermost gallery, which was fifty cubits...
Page vii - ... space frames. The forms being experimented with come from a closer knowledge of nature and the outgrowth of the constant search for order. Design habits leading to the concealment of structure have no place in this implied order. Such habits retard the development of art. I believe that in architecture, as in all art, the artist instinctively keeps the marks which reveal how a thing was done.
Page 7 - As the use of buttresses had not been systematised, it would have been impossible for the Romans to build and vault their enormous spans if they had used vaulting of brick or masonry, such as were built in mediaeval times. The Roman concrete vault was quite devoid of any lateral thrust, and covered its space with the rigidity of a metal lid. Such vaults as those over the chief halls of the great Thermae would at once have pushed out their supporting walls if a true arched construction had been used....
Page 174 - So much, indeed, is clear from Dion Cassius' account2: 'Also he (se. Agrippa3) completed the building called the Pantheon. It has this name, perhaps because it received among the images which decorated it the statues of many gods, including Mars and Venus ; but my own opinion of the name is that, because of its vaulted roof, it resembles the heavens.
Page 10 - The center of gravity of an object is the point at which all the weight appears to be concentrated.
Page 174 - ... ever carry such a person beyond an artificial boyhood?" Do not men live contrary to Nature who crave roses in winter, or seek to raise a spring flower like the lily by means of hot-water heaters and artificial changes of temperature ? Do not men live contrary to Nature who grow fruit-trees on the top of a wall ? Or raise waving forests upon the roofs and battlements of their houses — the roots starting at a point to which it would be outlandish for the tree-tops to reach ? Do not men live contrary...
Page 129 - ... crazy over paintings and sculpture, and that our folly costs us dearer ? Children are pleased by the smooth and variegated pebbles which they pick up on the beach, while we take delight in tall columns of veined marble brought either from Egyptian sands or from African deserts to hold up a colonnade or a dining-hall large enough to contain a city crowd ; we admire walls veneered with a thin layer of marble, although we know the while what defects the marble conceals. We cheat our own eyesight,...

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À propos de l'auteur (2005)

Lynne Lancaster is Associate Professor of Classics at Ohio University. A scholar of Roman archaeology and architecture, she has been awarded fellowships from the Samuel H. Kress Foundation, the M. Aylwin Cotton Foundation, and the American Academy in Rome.

Informations bibliographiques