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Domes made of radial trusses were analyzed with a "plane frame" approach, rather than considering three dimensions, until an 1863 Berlin gasometer dome design by engineer Johann Wilhelm Schwedler that became known as the "Schwedler dome". He published the theory behind five such domes and a structural calculation technique in 1866.
The dome design had been altered by Giuliano da Sangallo from being hemispherical to being 9 meters taller, segmental, and ribbed, and he had strengthened the piers and completed building the pendentives. Michelangelo redesigned the dome to have two shells, a mostly brick internal structure, and three iron chains to resist outward pressure. [33]
Domes in pre-Mughal India have a standard squat circular shape with a lotus design and bulbous finial at the top, derived from Hindu architecture. Because the Hindu architectural tradition did not include arches extensively, flat corbels were used to transition from the corners of the room to the dome, rather than squinches. [2]
Drawing of an Assyrian bas-relief from Nimrud. Small domes in corbelled stone or brick over round-plan houses go back to the Neolithic period in the ancient Near East, and served as dwellings for poorer people throughout the prehistoric period, but domes did not play an important role in monumental architecture. [17]
Rounded arches, vaults, and domes distinguish Roman architecture from that of Ancient Greece and were facilitated by the use of concrete and brick. [1] By varying the weight of the aggregate material in the concrete, the weight of the concrete could be altered, allowing lighter layers to be laid at the top of concrete domes.
The meaning of the dome has been extensively analyzed by architectural historians. According to Nicola Camerlenghi, it may not be possible to arrive at a single "fixed meaning and universal significance" for domes across all building types and locations throughout history, since the shape, function, and context for individual buildings were determined locally, even if inspired by distant ...
A lacquered Czech period piece with surprisingly topical interests at its core, “We Have Never Been Modern” rather ambitiously borrows its title from a key text by the late French philosopher ...
The design is for a completely symmetrical building having a square plan with four facades, each of which has a projecting portico. The whole is contained within an imaginary circle which touches each corner of the building and centres of the porticos (illustration, left). The name La Rotonda refers to the central circular hall with its dome.