Building orders in masses. The order of practical work Ionic order construction in modules

Systems of architectural orders continued to be developed in Italy during the Renaissance in the 15th and 16th centuries. and the completed system was obtained from two outstanding architects: Giacomo Barozzi Vignola and Andrea Palladio.

They developed four orders: Tuscan, Doric, Ionic, Corinthian and added a fifth order - composite (or complex, which first appeared in ancient Roman architecture). They based their theories of orders mainly on the treatise of Vitruvius and on the study of monuments of ancient Roman architecture.

The Vignola and Palladio orders can be divided into simple ( Tuscan and Doric ) and complex ( Ionic, Corinthian and Composite ).

General proportioning

Following Vitruvius, Vignola and Palladio, all sizes in orders are determined using a modulus. For Vignola, the module is equal to the lower radius of the column and is divided into 12 desks (parts) in simple orders, and into 18 desks in complex orders.

For Palladio, the module is equal to the lower diameter of the column in the Tuscan, Ionic, Corinthian and Composite orders. This module is divided into 60 minutes (parts). In the Doric order, Palladio takes the lower radius of the column as a module and divides it into 30 minutes. (Later, this system was simplified and the modules of all orders began to be divided into 30 parts.)

With free-standing columns, the order includes a column and an entablature. When a colonnade is combined with an arcade, the order, in addition to the column (which turns into a semi-column) and entablature, also includes a pedestal.

The total height of the entablature in Vignola is equal to one-quarter of the height of the column in simple orders and one-fifth of the height of the column in complex orders.

Column proportions

The general proportions of the columns of the Corinthian and Composite orders in Vignola are the same. In Palladio, the proportions of the columns vary within all five orders. Therefore, in the order diagram below, Vignola orders are depicted as part of four orders (without composite), and Palladio order diagrams as part of all five orders. The order scheme is drawn either in a common height or in a common module.

Intercolumnia

Dimensions of intercolumnia in the Vignola and Palladio orders

Vitruvius established five types of intercolumni in his Ionic order, expressing them in the lower diameters of the columns: 4; 2 ¾; 2 ½; 2; 1 ½.

Palladio adopted this scheme, but unlike Vitruvius, he gave these intercolumni to different orders.

Bummers

The broken orders of Vignola and Palladio are divided according to geometric characteristics into:

1. straight:
   • shelf
   • shelf
2. curvilinear simple:
   • roller
   • shaft or torus
   • quarter shaft
   • fillet
   • reverse fillet
3. curvilinear:
   • jib
     heel
   • reverse heel
   • scotia

In the details of orders, breaks have various compositional functions. In some cases they are supportive, and in others they are supported or crowning, sometimes connecting and sometimes dividing. The heel and quarter shaft, which have strong, elastic outlines, are more often used as supporting forms, the jib with its forms that become lighter from bottom to top - as a final one, and the fillet - as a connecting element.

Column

The column is divided into three main parts: base, trunk and capital.

The column trunk ends at the top with an entablature, at the bottom it ends with a reverse fillet and a shelf (listel, or chimbia). The lower third of the trunk is cylindrical. The upper two-thirds of the trunk has a smooth thinning (entasis).

Flutes

In all orders, except Tuscan, the column trunk is processed with flutes. The Doric column has 20 flutes of shallow profile with sharp ribs. Columns of complex orders have 24 deep profile flutes. These flutes are separated by straps.

The base of the column in all orders has a height equal to the lower radius of the column.

Capitals

Tuscan and Doric capitals share a common structure. Their height is equal to the lower radius of the column; they are divided in height into three equal parts: abacus, echinus with straps and a neck.

The Ionic capital has a height (not counting volutes) equal to 2/3 of the lower radius of the column.

The components of an Ionic capital are: a square abacus, a cushion with volutes, balustrades (from the side facades of the capital) and an echinus decorated with ionics. The structural part of the volute is the peephole, the position of which is slightly different in the capitals of Vignola and Palladio. The volute is drawn according to a system of centers located inside the eye.

The Corinthian capital is 2 1/3 of the lower radius in height. Its main structural parts are the bell and the abacus (curvilinear in plan); its decorative parts are two rows of acanthus leaves, angular and middle volutes emerging from the stems, acanthus leaves matching the volutes, and a flower. The construction of the capital is carried out mainly from a plan along four axes using diagonal and intermediate axes.

Construction of capitals:

Friezes

The frieze of the Doric order, according to ancient tradition, consists of triglyphs and metopes. The location of the triglyphs is related to the axes of the columns. And since triglyphs and metopes have strictly defined proportions (one and a half squares and a square) and a certain height (3/4 of the lower diameter of the column), the distance between the columns in the axes in the Doric order are multiples of the distance between the triglyphs in the axes. Vignola and Palladio adopted the middle version of the intercolumnium “in two triglyphs” in their orders. In practice, in addition, intercolumnium “in one triglyph” is widespread in the Doric order; intercolumnium in “three triglyphs” is also found. In combinations of a colonnade with an arcade, an intercolumn of “three tirglyphs” (without pedestals) and “five triglyphs” (with pedestals) is used.

The sizes and ratios of the various parts of the orders in the masses are sufficient for the transition to their depiction in detail by replacing straight and inclined lines with corresponding profiles.

When drawing out the details of individual orders, it is necessary to pay attention to some parts that are designed very complexly. They are cornices, Ionic and Corinthian capitals.

To ensure stability from tipping over the overhanging part of the cornice, release stones called MODULES are placed in the part supporting it. Their dimensions are usually the following: width along the facade - 1 module; free overhang - slightly larger than the module; the distance between modules is about 1 and 1/2 modules.

Sometimes, instead of strongly protruding and relatively large modules, a number of small parallelepipeds are used in the supporting part of the cornice, located close to each other and called TEETHS and CRUSKS.

Depending on the presence of teeth or modulons in the supporting part of the cornice, the Doric order has two varieties: with teeth and with modulons. In the Ionic order, in the supporting part of the cornice there are only teeth, and in the Corinthian order there are both teeth and modules in the form of brackets.

Architectural order profiles are made up of individual elements called BLOCKS. Breaks can be straight or curved. Straight-line breaks include: belt, shelf and plinth. Curvilinear breaks can be simple, described from one center, or complex, described from two centers. Simple breaks include: straight and reverse shafts, quarter shafts, straight and reverse fillets. Complex ones include straight and reverse jib, straight and reverse heel, scotia. Sometimes there are combinations of two elements that have their own names. So, a roller with a shelf is called an astragalus.

The construction of the breaks is shown in Fig. 6.

In all orders, there is a noticeable desire to avoid monotony, placing parts side by side that are identical in shape, size and meaning. The main elements alternate with secondary ones, wide ones with narrow ones, rectilinear ones with curvilinear ones. This is one of the basic rules of profiling.

The principles for constructing Greek order databases are the same. The construction of details can be considered using the example of an Attic base for the Corinthian order. When building this base in masses, we will divide the height of the base, which is always equal to one module, into three parts, destining the lower part for the plinth, and the upper two for further development (Fig. 7, 8).

The removal of the plinth is determined in a way already known to us. The part of the base above the plinth consists of three parts - two shafts and a scotia, so we divide this height into three equal parts, of which the lower one determines the height of the lower shaft, the next one above it corresponds to the scotia with two narrow shelves above and below, and the upper part determines the second shaft with a shelf above it. Thus, of the two shafts, the lower one naturally turns out to be somewhat heavier than the upper one, which is quite logical. Due to the fact that parts of very small sizes are introduced into the further processing of this base, it is useful to slightly increase the height of the base. To do this, it is better to relate the top shelf of the base to the core of the column, making it from the same piece, while the base itself can even be made of a different material; Thus, for some increase in the parts of the base, we can consider its height to be 1 module, without taking into account the top shelf. The height of the plinth in this case will be, as before, equal to 1/3 of the module; to distribute the remaining parts, you can continue the construction that was indicated above (Fig. 7).

Fig.7 Construction of the Attic base for the Corinthian order

With large order sizes, the scotia appears as a large, somewhat monotonous notch. In this case, it can be divided into two equal parts, each of which contains scotia of much smaller sizes and astragalus. Thus, instead of one scotia, we get two adjacent ones and two astragalus - direct and reverse. By this construction, the base of the Corinthian order is obtained.

The Ionic base is a simplification of the Corinthian, achieved by destroying the lower shaft; yet the remaining parts of the Corinthian base remain.

So, to build an ionic base, we divide its height into three equal parts, occupying one of them with a plinth. The upper part contains the shaft and the scotia, that is, two divisions, so we divide the upper part together with the upper shelf in half. The upper half is occupied by the shaft, and the lower half by scotia.

In Fig. 9 shows one of the simplest ways to build an ENTHASIS column. To do this, a semicircle is drawn at a height of one third of it. A straight line descends from the top edge of the column until it meets a semicircle. The arc enclosed between the verticals of the upper and lower edges of the column is divided into an arbitrary number of identical parts. The part of the column located above is divided by the same number. The intersection of the designed division points allows you to obtain a smooth curve using a pattern.

Fig.8 Construction of bases, capitals and flutes

Fig.9 Construction of entasis

Doric order. The main parts of the Doric orders are shown in Figures 10-14.

The barrel of a Doric order column has a series of longitudinal grooves called FLUTE. Flutes help to better reveal the roundness of the column and enliven it with light reflexes. There are 20 flutes around the entire circumference of the Doric column. Their curvature is constructed using an equilateral or right triangle, as shown in Fig. 8. The frieze of the Doric order is arranged in a unique way. In it, above the axes of all columns and above the spaces between the columns there are TRIGLYPHS. These are thin plates superimposed on the plane of the frieze, having beveled recesses, like three strips put together (Fig. 10). The width of the triglyph is 1 module, the height is 1 and 1/2 modules. All stripes and bevels are easily distributed in the required sizes if the width of the triglyph is divided into 12 parts (12 parts).

The Doric architrave is topped with a shelf supporting six drops in the form of truncated cones. To distribute these drops across the facade at equal distances, it is recommended to use the lines defining the depressions and stripes of the triglyph, as shown in Fig. 10.

The spaces between the triglyphs are filled with special slabs with sculptural relief. They are called METOPES.

For a clear idea of ​​the processing of the lower part of the teardrop stone, Fig. 14 shows the SOFFIT or PLAFOND of the Doric order - a plan of the entablature with a bottom-up view. As can be seen, the wide depression on the lower part of the teardrop is divided into separate rectangles, corresponding to the arrangement of triglyphs and metopes. In places located above the triglyphs, there are groups of drops in three rows in the form of truncated cones, six pieces in each row. Metopes correspond to division by narrow shelves into separate parts in the form of rhombuses, triangles and narrow transverse rectangles. Distinctive features of the Doric order with modulons: the architrave consists of two stepped stripes; in the supporting part of the cornice above the triglyphs there are massive modules, on the underside of which there are 36 drops (6 rows of 6 drops).

Fig. 10 Details of the triglyph

Fig. 11 Doric order with teeth

Fig. 12 Doric order with modulons

Fig. 13 Base and pedestal of the Doric order

Fig. 14 Doric order lampshades with teeth and modulons

The Ionic order is more elegant in its proportions. The main parts of this order are shown in Figures 15-18.

The trunk of the column of the Ionic order is dissected by 24 flutes, which have the shape of a semicircle in plan, and between the flutes there are narrow spaces left - PATHWAYS the width of the first desk.

The construction of flutes is shown in Fig. 8.

Constructing the base of the Ionic order is not difficult and can be done according to the drawing in Fig. 16.

In the capitals of the Ionic order (Fig. 17), as mentioned earlier, there is no neck, and therefore its height is small - 2/3 of the module. Here the abacus is of a completely unusual shape and consists of two parts. The upper abacus is directly raised under the architrave, and the lower one is twisted on two opposite sides in the form of spiral curls or volutes.

Volutes have a smooth field with a protruding shelf that makes three full spiral turns and ends with a small circle in the center - the EYE of the volute. To achieve smooth spiral turns there are a number of practicalities; recommendations for drawing volutes. One of them is given by Prof. Mikhailovsky I.B. and is as follows (Fig. 18). First, the centers of the volute's eyes are located. They lie at a distance of I module from the axis of the column and coincide with the vertical tangent to the outline of the astragalus ridge of the column. The eye of the volute is drawn with a radius of the first part. In the circle, vertical and horizontal diameters are drawn, the ends of which are connected to form a square inscribed in the circle. Perpendiculars (apothems) are lowered from the center of the circle to the sides of the square. The intersection points of the apothems and the sides of the square are designated by the numbers 1, 2, 3,4. Dividing each of the apothems into 3 parts, we get, starting from the apothem going from the center to point 1 - point 5, from the center to point 2 - point 6 and similarly points 7-13. The last point falls in the center of the eye. All points indicated by numbers will serve as the centers of each quarter of the spiral curl of the volute. First, place the leg of the compass at point 1 and describe 1/4 of a circle with a size of 1/2 module until it meets the continuation of the horizontal line 1-2. Then move the leg of the compass to point 2 and continue the spiral curve in 1/4 of the circle until it meets the continuation of straight line 2-3. Next, move the leg of the compass to point 3 and proceed in the same way. From point 4, an arc is described that is slightly larger than 1/4 of a circle so that the curve stops at the continuation of straight line 4-5, etc. This requires correct and accurate drawing. Using points 1-12, we obtain the outer spiral of the volute. To build another internal spiral, it is necessary to determine the position of its centers again. To do this, divide the distance between points 1 and 5 into four parts and mark the first division point, closest to point 1. Do the same with all other gaps between the previous centers and connect the division points so that you get a broken line of the centers of the second spiral and, using new points as centers, a smooth internal turn of the volute is obtained.

The curls of the volutes form two peculiar rollers on the sides of the capital, which are called BALUSTERS. The Ionic order architrave has a height of 1 and 1/4 modules, is topped with a shelf with a heel and consists of three parts.

The Corinthian order is the richest in decoration and light in proportions (Fig. 19, 20). The trunk of the column, just like the Ionic order, is decorated with 24 flutes of the same shape. A distinctive feature of the architrave is the introduction of curvilinear profiles in the indentations. In the supporting part of the cornice, under the tear stone, there are modules in the form of recumbent brackets, and below there is a row of teeth. The dimensions of the modules and the distances between them are consistent with the axes of the columns and the teeth.

The design of the soffit is shown in Fig. 21.

The capital of the Corinthian order has a height of 2 and 1/3 modules - 2 modules are on the main part of the capital, decorated with leaves and curls, 1/3 module is on the abacus. The structural basis of the capital is a special drum or bell, which is a round body with a radius of 5/6 of the module and in profile has the appearance of a highly elongated jib, in the lower part recessed by the size of a flute. Under the abacus there are volute-shaped curls, and under the curls there are two tiers of leaves.

The construction of the Corinthian capital is shown in Fig. 22. It must be borne in mind that some parts of the capital are viewed in a distorted form (foreshortened), therefore, to draw it correctly, two images should be made: a façade and a diagonal.

Fig. 15 Ionic order

Fig. 16 Asia Minor base and pedestal of the Ionic order

Fig. 17 Capital of the Ionic order. Construction of a volute

Fig. 18 Construction of the volute of the Ionic order

Fig. 19 Corinthian order (façade projection)

Fig.20 Base and pedestal of the Corinthian order

Fig.21 Corinthian order lampshade

Fig. 22 Construction of the Corinthian capital (diagonal projection)

To draw an abacus from the center of the columns with a radius of 2 modules, describe a circle whose diameter corresponds to the diagonal of the abacus. A square inscribed in a circle is drawn along the diagonals. The side of this square is taken as the radius to determine the center of the curved concave part of the abacus using serifs. Then a natural profile of the abacus is drawn on a diagonal view, which can then be depicted in plan and on the facade. The next stage is to find 8 points in the plan - three-quarter rollers, which are bunches of leaf stems and volute curls emerging from them, as if supporting the corners of the abacus and rosettes on the depressed parts of the abacus. On the façade of a capital, the corner scrolls are visible in foreshortening, so they are first correctly depicted in a diagonal view, then projected onto the plan, and then the façade projection is performed.

The limits within which the curls are located are preliminarily determined. To do this, the height of the capital in 2 modules is divided into three parts: a lower row of acanthus leaves, an upper row of acanthus leaves and a row of scrolls supported by their leaves. Moreover, the curls account for 2/3 of the upper third of the capital. Then a line is drawn tangent to the astragalus shaft and the abacus quarter shaft. The curls and leaves on the diagonal view of the capital should not extend beyond this tangent. Within these limits are angular curls. Leaves are also first depicted on a diagonal projection, then on a plan, and only then are transferred to the façade projection of the capital.

A complex or composite order is presented in detail in Fig. 23. A detailed description of it is not given due to the fact that after considering the basic principles of constructing other types of orders, identifying the features of this order does not present any significant difficulties.

The arrangement of columns on the façade is determined by INTERCOLUMN. Intercolumnium is the distance between the lower parts of the columns.

In conclusion, in Fig. 24 shows cuttings - ornaments characteristic of broken pieces. The cutting pattern repeats the outline of the break and reveals its shape. This can be noted in the ionics with which the quarter shaft was decorated, in the acanthus leaves on the gooseneck and heel, in the beads on the bolster, etc.

Fig.23 Composite order

Rice. 24 Drawings characteristic of architectural fragments

Tuscan order.

Tuscan order, one of the five Roman architectural orders. The name is associated with Etruscan (Tuscan) architecture. It is absent in the Greek order system, although it is similar to the Greek Doric order, which is simpler in detail, with which it is similar in shape and proportions.

The Tuscan order is an archaic variation of the Doric order.
The Tuscan order has the following features:
- capital. The shape of the capital is complemented by an interception (notch, neck).
- entablature. Consists of two wooden beams lying side by side.
- roof. Acts as a cornice. Hangs heavily in the form of a canopy.
The Tuscan order lacks frieze and flute.

The frieze of the Tuscan order is devoid of triglyphs and metopes. There are no mutulas under the eaves extension slab.

The column trunks, which are thicker than Doric ones, are smooth and without flutes. Extremely simple bases consist only of a plinth and a torus. The height of the column usually corresponded to its seven lower diameters.

The rules for constructing an order are set out by Vitruvius in his treatise On Architecture, 1st century. BC. Externally, the buildings of the Tuscan order looked durable and impressive, therefore they symbolized physical power and strength and were used mainly in economic and military buildings, usually on the first floors.

In its forms, the Tuscan order is distinguished by lightness and grace.
This architectural order arose in Ancient Rome, approximately in the 1st century BC.

Complex or Composite order.

The architects of Ancient Rome not only completely adopted the Greek orders, but also combined the best and most magnificent of the two: Corinthian and Ionic, into one - composite. As the name suggests, composition is a combination, and indeed, the order combines the best features of these rather lush and graceful orders.

In the fifteenth century, when the canons of orders were finally established, it was the composite that took the top position in the hierarchy.
The Composite order is closest in architectural features to the Corinthian order; it adopted the subtlety and lightness of its predecessor, and in proportions it also exactly repeats it.

But at the same time, its capitals always contain Ionic volutes located diagonally, as well as sculptural compositions and various details that are not found in Corinthian. Typically, any magnificent decoration of the capital could only be used in the composite order; it was a kind of quintessence of grace and luxury in this direction of architecture. Columns with a similar design usually crowned the uppermost floors of buildings.

“From an entablature of the Doric order, taken from various fragments of Roman antiquity, I composed an entablature of a complex order, which as a result came into great use.” Vignola.

The proportions of the parts remain exactly the same as in the Corinthian order. The difference between the Corinthian capital and the capital of the complex order is that in the place where the curls and small leaves are located in the Corinthian capital, in the capitals of the complex order there are Ionic volutes.

In the entablature, the proportions of the parts remain the same as in the Corinthian order, if minor changes in the overall composition are not taken into account.

The proportions of the complex order are the same as in the Corinthian order.

They differ only in the composition of the jib and the base of the pedestal. The same applies to the base of the column.

The spread of the composite order was mainly limited to Italy, when Renaissance masters showed keen interest in this ancient art. In almost all buildings in Rome, dating from the fifteenth century and later, one can find the composite order: churches, monasteries, palazzos - all these architectural monuments amaze with their sophistication even today. In France, architects used this element in the construction of the Louvre, but in Spain and the German states it was mainly used in the construction of churches and cathedrals, and was not widely used in urban developments. In Russia, you can also find examples of the composite order in the architecture of the Narva Triumphal Gate, and in the appearance of the Church of St. Catherine.
Even despite the fact that the canons of orders are carefully spelled out, and there is a very strict classification of their types, the composite order is the most decorative and magnificently decorated. Strict rules for decorating capitals are less applicable to it, but the proportions must certainly be observed.

The construction of orders in masses is a simplified image of them, in which small details are excluded, and all curved lines are conditionally replaced by straight ones (Fig. 2, 3).

Due to the fact that the basic proportions of the composite order are the same as the Corinthian, and in terms of the richness of decoration and originality it differs little from the Ionic and Corinthian, four orders are subject to detailed analysis - Tuscan, Doric, Ionic and Corinthian (Fig. 1).

All parts of the order have certain sizes, which are in strict mutual relation. Architects have been searching for the correct relationship between the height of a column and an entablature for many centuries. By studying these dimensions from surviving ancient buildings, the Renaissance theorist Vignola derived some average simple ratios that have become generally accepted.

According to Vignola, the height of the entablature is 1/4, and the height of the pedestal is 1/3 of the height of the column. Therefore, to determine the main parts of the order, it is necessary to divide its entire height into 3 unequal parts, proportional to 1/4:1:1/3 or 3:12:4 (bringing the fractions to a common denominator). Adding these parts, we get 19, i.e. dividing the entire height into 19 parts, 3 upper parts are separated into entablature; 12 middle parts – on the column and 4 lower ones - on pedestal.

Let us consider separately each part included in the order. When comparing those presented in table. 1 of the four orders in the masses it is clear that the Tuscan column differs from other types of columns in its greater massiveness and heaviness of proportions. Its thickness is equal to 1/7 of the height. The thickness of the Doric column is slightly smaller and equal to 1/8 of the height, the Ionic - 1/9, the Corinthian - 1/10.

Since all parts of the order depend on one another in their sizes, there is no place for absolute values ​​such as meter, centimeter.

In each individual case, any part of the order must be taken as a unit of measure. The lower radius of the column was considered such a part and this measure was called MODULE. To display the small details of the order, the module is divided into parts called PARTS; in the Tuscan and Doric orders there are 12, and in the Ionic and Corinthian orders there are 18 parts.

Having understood what a module is and using the data in Table 1, which shows the sizes of the main parts of the order in modules, you can continue building orders in masses.

Table 1

Construction of architectural orders among the masses

The column is a round pillar, somewhat thinning at the top.

This thinning is 1/6 of the lower thickness of the column and usually begins with one third of its height, while the lower third of the column is made cylindrical. Thus, the upper diameter of the column is 5/6 of the lower diameter. When drawing a column on a small scale, the thinning part is shown with slightly slanted lines. On a significant scale, thinning is done along a smooth curve called ENTHASIS.

Having outlined the main middle part of the column, called the ROD or TRUNK, you can move on to building its lower part - the BASE, and then the upper part - the CAPITAL.

Height bases for all orders is equal to one module. The base consists of two parts: the lower part - a square plate - PLINT - makes up the base of the base; the upper part is a RING, round in plan, the transition from the column rod to the plinth (Fig. 2).

In the Tuscan and Doric orders, the ring and plinth are equal in size and the ring in the masses is depicted by an inclined line, expanding downwards at an angle of 45 °, In the Ionic and Corinthian orders, the ring is 2/3 of the height of the base and its downward expansion is shown at an angle of 60°.

The top part of the column is called the CAPITAL.

The height of the capitals of the Tuscan and Doric orders, like bases, is equal to one module. The capital consists of three parts of equal width. The upper part is a square plate – ABAKA; middle – round in plan in the form of a half-shaft – EKHIN; the lower one is a continuation of the column rod - NECK. Dividing the height of the capital into three equal parts, the neck should be considered as a continuation of the column rod; Echinus is shown as an oblique line, widening upward at an angle of 45°; The abacus is depicted by a vertical line directly from the inclined echinus.

The capital of the Ionic order has special spiral curls - VOLUTES and is very different from other capitals. It has an abacus and a shaft, no neck, and the height of the capital is 2/3 of the module. Its construction among the masses is carried out as follows. The total size of the capital is set aside - 2/3 of the module, and then the abacus - 1/6 of the module. On the bottom line of the capital - at a distance of I module from the axis of the column - there are centers of volutes. Conventionally, volutes are depicted as a rectangle. In this case, the values ​​for the distance of the sides of the rectangle from the center of the volute are observed: vertically up - 9 desks, down - 7 desks; horizontally farther from the axis of the column - 8 desks, closer to the axis - 6 desks. With a very small modulus, it is permissible to depict volutes in the shape of a square with a side equal to one modulus (Fig. 4a).

The height of the Corinthian capital is 2 and 1/3 modules; 1/3 of the module falls on the abacus and 2 modules on the rest of the capital, which has a complex treatment in the form of two rows of leaves and curls growing from them. The width of the abacus is three modules. After laying 11/2 modules to one side and the other from the axis from the fixed points, the columns are inclined at an angle of 45° to the axis until they intersect with the bottom line of the abacus, and then continue until they connect with the top of the column trunk (Fig. 4,b) .

Fig.4 Capitals in masses: a) ionic; b) Corinthian

Moving on to the construction of the entablature, it is necessary to remember the RULE OF HANGING, which consists in the fact that the upper parts of the architectural elements should not be wider than the lower ones, i.e. on any image of a corner column, the vertical line of the entablature angle must correspond to the continuation of the outline of the column trunk. Those architectural parts that, for special reasons, have extensions at the top should not bear any load (overhanging part of the cornice).

The entablature consists of three parts: ARCHITRASP, FRIEZE AND CARNICE.

The architrave is the first significant part of the entablature, which consists of horizontal beams that cover the space between the columns. In the first two orders, the architraves have a very simple shape and their size is equal to 1 module. In the Ionic order, this form is divided into three stripes and ends with a profile at the top. The height of the architrave has been increased accordingly – up to 1 and 1/4 modules.

In the Corinthian order, the architrave was further developed and has a height of 1 and 1/2 modules. Considering that in all orders there are protruding elements in the upper part of the architrave, conventionally, when depicting this part of the order in masses, the architrave line slightly expands upward. The middle part of the entablature, the frieze, is placed above the architrave. For all four orders, the frieze is shown by a vertical line coinciding with the line of continuation of the column trunk. The size of the frieze is carried out according to the data given in Table 1.

Above the frieze is the upper part of the entablature - the cornice.

This is one of the most important architectural forms, having an expansion at the top, which is explained by the special purpose of the cornice of the order or building. If the wall of the building ended smoothly at the top, without any protruding parts, and the roof did not directly begin, then dust, along with atmospheric moisture, would flow from the roof along the walls of the building. To avoid this, stone slabs are laid at the top of the wall, protruding forward from the plane of the walls, and the roof begins from these slabs. Such protruding stone slabs constitute the HANGING PART OF THE CORNICE (Fig. 5). Thanks to the hanging eaves slabs, water from the roof flows down the outer vertical plane of these slabs, at some distance from the wall. However, due to the properties of water, some of the liquid blown by the wind may fall on the wall. To prevent this from happening, a depression is made in the lower surface of the hanging stone slab. Drops of water, having reached the recess in the slab, cannot rise up and drip down like tears. This similarity was the reason for giving the groove in the stone the name TEARCHER, and the stone itself being called TEARSTONE.

Fig.5 Elements of cornice

The desire to push this overhanging part forward as much as possible and provide it with balance led to a device for widening the wall under the tear stones, which was called the SUPPORTING PART OF THE CARNICE.

To protect the outer surface of the teardrop stone, brightly illuminated by the sun, from water leaks, the part of the roof located directly on the teardrop is made in the form of an artistically processed gutter. This part of the cornice is called the CROWNING part. It is usually decorated with lion heads and ornaments.

Thus, the cornice consists of three parts: supporting, protruding and crowning. The size of each part of the cornice is indicated in the table. When constructed in masses, the projection of the cornice is conventionally assumed to be equal to its width, so that the most protruding point is determined by drawing an inclined line at an angle of 45° from the bottom of the cornice. The middle part of the cornice projects forward, having an overhang in the form of a horizontal straight line, constituting the lower part of the tear stone.

The depiction of pedestals is not difficult and is not described in detail. You just need to remember that the bases are very important structural parts of the order and the width of the pedestal should be equal to the width of the lower part of the column base.

Having studied all four orders in their main features or in masses, further study of them should follow the path of considering individual details.

1 Ministry of Education and Science of the Russian Federation State educational institution of higher professional education Voronezh State University of Architecture and Civil Engineering Department of design of buildings and structures CONSTRUCTION OF ARCHITECTURAL ORDERS Guidelines for the discipline “Introduction to the specialty” for students of specialty 270114 “Building design” Voronezh 2010 2 UDC 72.014 (07 ) BBK 85.11 ya7 Compiled by F.M. Savchenko, T.V. Bogatova, E.E. Semenova Construction of architectural orders: method. instructions for the discipline “Introduction to the specialty” / Voronezh. state arch. - builds. University; comp.: F.M. Savchenko, T.V. Bogatova, E.E. Semenov. – Voronezh, 2010. – 28 p. The types of architectural orders are presented and the basic rules for their design are outlined. Concepts are given about the composition of the order, its proportions, types, construction in masses and details. Intended for students of specialty 270114 “Building Design”. Il. 19. Bibliography: 4 titles. UDC 72.014 (07) BBK 85.11 ya7 Published by decision of the editorial and publishing council of the Voronezh State University of Architecture and Civil Engineering. Reviewer – D.A. Kazakov, Ph.D., Associate Professor of the Department of Construction Technology, Voronezh State University of Architecture and Civil Engineering. 3 Introduction The course “Introduction to the Specialty” talks about the variety of architectural types of buildings and their details, gives an idea of ​​​​the emergence of structural elements. The purpose of teaching the course “Introduction to the Specialty” is to familiarize students with the historical development of architectural and construction business. The discipline includes a theoretical course and practical work, which allows you to study architectural orders and their construction in more detail. During the learning process, students must learn to evaluate design solutions, identify architectural elements and details of buildings. Studying the artistic and functional aspects of architecture will provide a significant amount of constructive and technical information for creative work. In the future, students will be able to apply this knowledge in coursework and diploma design. 1. GENERAL INFORMATION The word order comes from the Latin word “ordo”, which means order. The order is the combination of a column, pedestal and entablature; the order may be complete or incomplete. The complete order contains an entablature, a column and a pedestal. An incomplete order does not have a pedestal. All parts of the order are in a certain ratio. For this purpose, a unit of measurement has been introduced - the module, which is equal to the lower radius of the column. Humanity has been searching for the relationship between column, entablature and pedestal for many centuries. In order for the column to make a good impression, the largest theorist of the 16th century. Vignola determined the ratio of its parts. The pedestal should be 1/3 of the column, the entablature should be 1/4, and the overall column is defined as 1/4 +1 + 1/3 = 19/12. Thus, if the height of a wall is given, which needs to be supplemented with a full order, then the entire height of the wall is divided into 19 parts. The top three parts will be the entablature, the bottom four will be the pedestal, and the middle twelve will be the column. If the order is incomplete, the height of the wall must be divided into 5 parts. The upper 1/5 part will be an entablature, the remaining four parts will be a column (Fig. 1, a - 1, b). All main parts of the order - pedestal, column, entablature - consist of three parts. The pedestal is a square pillar in plan, expanding upward and downward. The lower extension is called the base, the upper is the cornice, and the middle part is the body of the pedestal or chair. In a column, the middle part is called the trunk (fust), the upper extension is the capital, and the lower extension is the base. The entablature also consists of three parts. The lower wide strip is called an architrave, the middle equally wide strip is a frieze, the upper one is a cornice (Fig. 1, c). 4 Fig.1. Proportions and main parts of the order: a – incomplete order; b – full order; c - general view of the complete order. Roman architecture distinguishes five orders, which are called: Tuscan, Doric, Ionic, Corinthian and complex. The height of a Tuscan column is determined in 14 modules, Doric - 16, Ionic - 18, Corinthian and complex - 20. For the convenience of measuring parts, the module is divided into smaller parts, called desks. The number of desks in the module is different for different columns. For the Tuscan and Doric order, the number of parts in the module is taken to be 12, for the Ionic, Corinthian and complex - 18. 2. CONSTRUCTION OF AN ORDER IN MASSES The study of orders usually begins with constructing them in masses, that is, a simplified schematic representation, when curvilinear forms are replaced by inclined straight lines . The basis for performing the exercise of drawing orders in masses is the task, which is determined by the last digit of the grade book (Table A.1). Four orders in masses with the dimensions of individual parts in modules are shown in Fig. 2. The construction of the cornice and the base of the pedestal, as well as the base of the column, is clear from the figure. The height of the column base for all orders is equal to 1 module. Rice. 2. Construction of orders in masses 5 6 To determine the width of the pedestal chair, it is recommended to use a rule common to all orders. The column base plinth forms a square in plan, the diagonal of which is equal to 4 modules. Based on this, on the axis of the column, and therefore the pedestal, a line is drawn at an angle of 45° and on it, from the point of intersection with the axis, 2 modules are laid in each direction. Vertical lines are drawn through the obtained points, which determine the width of the base plinth of the column, as well as the width of the pedestal chair (Fig. 3). Rice. 3. Determination of the width of the chair of the pedestal of the architectural order: a - base (base); b – chair; c – pedestal cornice; d – column base The height of the capitals of Tuscan and Doric columns is 1 module. The capitals consist of three parts of equal height, 1/3 of each module. The upper square slab is called the abacus, below it the round part in plan is the echinus, below the echinus the continuation of the column rod is the neck. The radius of the neck corresponds to the upper radius of the column. For the Tuscan order, the radius is 4/5 modules, for other orders – 5/6 modules. The height of the Ionic capital is 2/3 of the module, as it is characterized by spiral curls (volutes) in the frontal planes and the absence of a column neck. The Corinthian capital has a height of 2 1/3 modules, including an abacus of 1/3 module, under which there is a bell 2 modules high. The bell is intricately worked with two tiers of leaves with curls, depicted in masses by slanted lines. The construction of the entablature and its components - the architrave, frieze and cornice - is shown in Fig. 2. In this case, the cornice consists of three parts - supporting, hanging and crowning. Column thinning. The column trunk at the bottom 1/3 of the height is built like a cylinder. The upper part, 2/3 of the height, gradually becomes thinner. In the Tuscan order - by 1/5 of the radius of the base of the column on each side, for other orders - by 1/6 of the radius (Fig. 4). The construction of column thinning can be done in two ways. The first method (Fig. 4, a). The height of the column is plotted from point M to point N. The radii of the lower (MA) and upper (NC) sections of the column are plotted from these points. At 1/3 of the height of the column from point B, a quarter circle with radius 0B is drawn, equal to the radius of the lower section. From point C, a vertical line is drawn until it intersects with horizontal lines 1, 2, 3, drawn from the points dividing the line. The parabolic outline of the column is drawn using the found points using a pattern. Rice. 4. Constructing a thinning of the column shaft The second method (Fig. 4, b). The same preliminary constructions were performed, with the same points AC and MN. Then, from point C, a notch is made with the radius of the lower section of the column AM. On the vertical NM, points K and C are connected by an inclined line until it intersects at point 0 with a horizontal line drawn 1/3 of the height from point B. Several inclined straight lines are drawn from point 0, for example 01, 02, 03, etc. On each inclined line from the vertical NM, segments m are plotted equal to the radius of the lower section of the column. The points obtained in this way will be the required points of the parabolic outline of the column. Extensions to parts of an order. All parts of the order have an extension downwards and upwards (see Fig. 2). The downward flare promotes stability. The need for upward expansion can be seen using the example of a cornice (Fig. 5). When constructing the main parts of orders, it is necessary to observe the non-hanging rule. It consists in ensuring that the upward extensions do not carry any load and, therefore, the upper parts of the architectural elements should not be wider than the lower ones. For example, the width of the architrave should be such that its edge is on the same vertical line with the upper diameter of the column trunk, and the width of the pedestal under the column should be equal to the width of the bottom of the column base. In any image of a corner column, the vertical line of the entablature angle must correspond to the continuation of the outline of the column trunk, that is, the supporting elements above and below must be in the same vertical plane (Fig. 6). Fig.5. Expansion upward using the example of a cornice: a – there is no cornice; b – cornice without teardrop; c - cornice with teardrop Fig. 6. Rule of weightlessness: a – the rule is not observed, the dash shows the zone of violation; b – the rule is followed 3. Drawing ORDERS IN DETAILS The basis for performing exercises on drawing architectural profiles (breakdowns) and architectural orders is the task. The guidelines contain tables in which, based on the last digit of the grade book, the student determines the type of order and the size of the module (Appendix 1). 3.1. Elements of profiles In order to consider orders in detail by replacing inclined lines with corresponding profiles, it is necessary to study what profiles there are. Elements of profiles are usually called breaks. As you know, there are two types of profiles - straight and curved. Straight profiles include a belt, a shelf, and a plinth. Curvilinear ones are divided into simple and complex. Simple profiles are built from one center, and complex ones from two centers. There are the following types of breaks (Fig. 7): 9 ● shelf - a profile in the form of a narrow strip protruding from the plane of the wall by no less than its width; Rice. 7. Architectural bummers. The size of the desk is 4.6 mm; ● quarter shaft – a profile having the outline of a quarter circle; ● fillet – a concave profile formed by a quarter circle; ● heel is a complex element that has two curvatures: at the top it forms a convexity, and at the bottom it forms a concavity; ● reverse heel – a complex element that has two curvatures: at the top it forms a concavity, and at the bottom it forms a convexity; ● jib – a profile that also has two curvatures: at the top it is concave, and at the bottom it is convex; ● reverse jib – a profile that has two curvatures: at the top it is convex, and at the bottom it is concave; 10 ● scotia – a concave profile with two curvatures; ● astragalus – a profile combining a shelf with a roller; ● semicircle – a profile that has the outline of a semicircle, but forms a concave profile; ● drain – a profile combining a reverse fillet with a shelf; ● roller and shaft – profiles that have the outline of a semicircle and differ in size; ● plinth – a profile of the lower part of the column base, looking like a low parallelepiped. Looking at these architectural fragments, you can see that the fillet and jib are light forms and unsuitable for supporting gravity. The quarter shaft and heel seem to be designed for this. The shaft is used mainly in bases. 3.2. Tuscan order in detail The Tuscan order is the simplest and heaviest in its proportions (Fig. 8). The height of the column is 7 diameters or 14 modules. The upper diameter of the column is 4/5 of the lower diameter. The column trunk ends at the top with an astragalus. The base, equal in height to the module, is divided into two equal parts: the lower one - a square plinth, and the upper one - a round shaft with a shelf. The transition from the column trunk to the shelf is made by means of a fillet. The module-high capital consists of three parts of the same height: a neck, which forms a continuation of the column; a quarter shaft with a shelf and an abacus in the form of a square slab in plan, which ends with a shelf. The architrave is equal in height to one module and ends with a shelf. Above the architrave there is a frieze 1 module high and 2 desks, without any decoration. The cornice, the upper part of the entablature in this order, is of the simplest form. Its height, equal to 1 module and 4 desks, is divided into three parts. This is the lower, supporting part, the middle part is the hanging part (tear stone or tear stone) and the upper part is the crowning part. The heel is the supporting part. There is a notch made on the lower part of the protruding teardrop (see section in Fig. 8), and the top of the teardrop is decorated with an astragalus. The crowning part is the quarter shaft. The pedestal has a base in the form of a plinth at the bottom with a shelf at the top and a heel-shaped cornice, also with a shelf. The height of both parts is 1/2 module. 3.3. Doric order in detail The Doric order consists of lighter and more developed forms than the Tuscan order. The general view and section of the order are shown in Fig. 9, and the profiles of the main parts of the order with dimensions in desks are given in Fig. 10. 11 The pedestal has a base at the bottom with a height of 5/6 modules or 10 desks. The base consists of two plinths, a reverse heel and a reverse astragalus. The construction of the height of these elements is shown in the section. The cornice of the pedestal is similar to the cornice of the Tuscan order. Rice. 8. Tuscan order: a – general view and section; b – cornice profile; c – profile of the column capital; d – profile of the column base and pedestal cornice; d – profile of the pedestal base with dimensions in desks. The size of the desk is 2 mm 12 Fig. 9. Doric order: general view and section It consists of a heel, a teardrop with a shelf and a quarter shaft with a shelf added on top. A teardropper at the bottom with a small notch. The height of the pedestal cornice is 1/2 module or 6 desks. The height of the column is eight of its diameters or 16 modules. The upper diameter of the column is equal to 5/6 of the lower diameter. The column trunk ends at the top with an astragalus. The side surface of the column trunk is sometimes decorated with longitudinal grooves called flutes. There are 20 flutes around the circumference of the column. The cannelures form semicircular depressions in plan. The radius of the flute is the leg of a right triangle, the hypotenuse of which is equal to the width of the flute. 13 Fig. 10. Profiles of the main parts of the Doric order with dimensions in desks: a – base of the pedestal; b – pedestal cornice; c – column base; g – column capital; d – architrave and frieze; e – cornice. The size of the desk is 3 mm. The base of the column consists of a plinth and a shaft. The shaft ends with a reverse astragalus, which serves as a transition to the column trunk. The height of the base is 1 module. The capital is also equal to 1 module. It is divided into three parts and consists of a neck, quarter shaft and abacus. The abacus is a square slab in plan. Under the 14th quarter shaft there are three narrow shelves arranged in ledges. The abacus ends with a shelf with a heel. The architrave is 1 module high and has a shelf at the top and a frieze 1 1/2 modules high. It is decorated above the center of each column with a triglyph 1 module wide. To form stripes, triglyphs are divided into 12 sections along the width. The strips are accepted to be 2 desks wide, and the bevels of the depressions are 1 desk wide. The spaces between the triglyphs on the frieze form metopes on which relief decorations can be placed. Under the triglyphs below the architrave shelf, six drops are suspended on a special narrow shelf, looking like truncated pyramids or truncated cones. They are located on the continuation of the lines separating the stripes from the depressions on the triglyph. Above the triglyphs and metopes there is a belt, which protrudes somewhat more above the triglyphs. The cornice is 1 1/2 modules high. Half of this value is occupied by the supporting part, which in turn is also divided into two parts. The lower part consists of the above-mentioned belt above the triglyphs and metopes and of the heel that supports the upper part, in the form of a shelf with teeth. On the middle part of the cornice - a teardrop, there is a heel with a shelf on top. There is a semicircular recess on the lower surface, then behind the narrow protruding shelf there is a second wide depression (see section Fig. 9). In this depression, just above the triglyphs, hang three rows of drops, six in a row. The crowning part of the cornice consists of a fillet with a small shelf. 3.4. Ionic order in detail The Ionic order is more perfect in its proportions than the Tuscan and Doric. The pedestal of this order has a base and a cornice 1/2 module high. Above the base plinth, which is square in plan, there is a reverse jib, enclosed between a reverse astragalus at the top and a shelf at the bottom. These parts are twice as high as the plinths. The cornice of the pedestal consists of a teardrop with a shelf and a heel on top and a quarter shaft supporting the teardrop with an astragal at the bottom. The general view, section and profiles of the cornice and base of the pedestal are shown in Fig. 11. A column of the Ionic order is equal in height to nine diameters or 18 modules. Its upper diameter is 5/6 of its lower diameter. The column trunk is decorated with 24 flutes. The flutes in the plan form semicircular depressions, between which there are narrow paths. The flutes end in semicircles at the top and horizontally at the bottom. The column trunk at the bottom begins with a shelf with a fillet, and ends at the top with an astragalus. The column base is equal to 1 module and consists of three parts. The lower part is formed by a plinth, the upper by a shaft, and the middle by a special form consisting of two scotia and two astragalus. To determine the size of the shaft and scaffolds, another shelf of the column trunk is added. 15 The capital of an Ionic column does not have a neck. The height of the capital is 2/3 of the module or 12 desks. On an ordinary quarter shaft, placed above the astragalus of the column, rests a specially shaped abacus, consisting of two parts. Rice. 11. Ionic order: a – general view and section; b – profile of the pedestal cornice; c – profile of the pedestal base. The size of the desk is 4.3 mm. The upper part directly below the architrave is a square slab with a heel profile with a shelf. The lower part consists of two volutes in the form of spiral curls, ending in the center of the eyes - 16 rooms. The radius of the eye is equal to one desk. The centers of the eyes are located on the astragalus line of the column at a distance of 1 module from its axis. The greatest distance from the center to the top point of the volute is 9 parts. Through a quarter circle horizontally this distance is equal to 8 desks. The distance to the bottom point of the volute is measured in 7 parts. To the next point horizontally - 6 desks and to the vertical upwards - 5 desks. This distance is equal to the height of the quarter shaft of the capital, round in plan and protruding between the volutes. The plan of the capital shows how the curls of the volutes form rollers on the sides of the capital, the so-called balustrades, which are decorated with leaves. The profiles of the capital and column base are shown in Fig. 12. The volute spiral can be constructed approximately using points 1-12. The distances from the center of the volute eye to each point are taken in the following sequence: ● to point 1 – 9 desks; ● to point 2 – 8 desks; ● to point 3 – 7 desks; ● to point 4 – 6 desks; ● to point 5 – 5 desks; ● to point 6 – 4 desks; ● to point 7 – 3.7 desks; ● to point 8 – 3 desks; ● to point 9 – 2.4 desks; ● to point 10 – 2 desks; ● to point 11 – 1.6 desks; ● to point 12 – 1.3 desks. The exact construction of the volute of the capital of the Ionic order is given in Appendix 2. The Ionic order entablature has a height of 4 1/2 modules and is divided in the ratio 5:6:7 into an architrave (1 1/3 modules), a frieze (1 1/2 modules) and a cornice (1 3/4 modules). The architrave consists of stripes, and the width of each of them gradually increases in the ratio 5:6:7 and is successively equal from bottom to top to desks 5, 6 and 7. The architrave ends at the top with a heel with a shelf 1/4 module high (Fig. 13). In the cornice, the supporting part occupies half the height and consists of a heel, teeth and a quarter shaft, below which there is a small astragalus. The height of the cornice teardrop is equal to the crowning part. It ends with a shelf with a heel, and in the lower plane it has a wide but shallow recess. The crowning part of the cornice consists of a jib with a shelf (Fig. 14). 17 Fig. 12. Profiles of the capital and base of the column of the Ionic order with dimensions in desks. The size of the desk is 4.6 mm: a – column capital; b - column base 18 Fig. 13. Profiles of the architrave and frieze of the Ionic order with dimensions in desks. The size of the desk is 4.6 mm Fig. 14. Ionic order cornice profile with dimensions in desks. The size of the desk is 4.6 mm 19 20 3.5. Corinthian order in detail The Corinthian order is the lightest in proportions and the richest in decoration and decoration (Fig. 15-18). The pedestal has a base 5/6 module high and consists of a square plinth, a shaft, a reverse jib with a shelf at the bottom and a reverse astragalus at the top. The height of the pedestal cornice is, like the base, 5/6 of the module. The cornice consists of a neck (in the form of a small frieze), separated from the chair by an astragalus; a teardrop topped with a heel with a shelf, and a supporting part in the form of an astragalus with a jib going into the notch of the teardrop. The height of a Corinthian order column is equal to ten diameters or 20 modules. Its upper diameter is 5/6 of its lower diameter. The column trunk is decorated with 24 flutes of the same shape as in the Ionic column, with the only difference being that not only at the top, but also at the bottom they end in curves. The column trunk at the bottom has a shelf with a fillet, and at the top it ends with an astragalus. The base of the column, 1 module high, consists of four parts - a square plinth, a shaft, then a special shape consisting of two scotia and two astragals, and, finally, a second shaft. The division of the base height between these parts is shown in Fig. 15. The capital of a column of the Corinthian order is of a special type. The height of the entire capital is 2 1/3 modules, with 1/3 of the module (6 desks) being the height of the abacus. The abacus looks like a slab with a quarter shaft on top. The corners of this slab are slightly cut off in plan, perpendicular to the diagonals of the square, and the sides are slightly depressed (Fig. 16). Below the abacus there are four scrolls supporting its cut corners, and four smaller scrolls supporting the rosettes located on the depressed parts of the abacus. Under the scrolls in two tiers there are leaves of the capital. The entablature of the order, 5 modules high, consists of an architrave of 1 1/2 modules, a frieze of 1 1/2 modules and a cornice of 2 modules. The architrave in the ratio 5:6:7 is divided into three stripes with small profiles and topped with a heel with a shelf. A frieze in the form of a vertical plane is used for decoration with relief ornaments. And at the top of the frieze there will be a narrow astragalus. The outline of the cornice is very similar to that of the Ionic order. The supporting part, 2/3 of the height of the entire cornice, consists of a heel, a series of teeth and a quarter shaft with an astragal at the top. The teardrop cap is topped with a heel with a shelf. The crowning part consists of a jib and a shelf. In contrast to the Ionic order, on the lower plane of the teardrop there are modillions in the form of brackets, as if supporting the teardrop stone. The height of the cornice is divided to accommodate all these elements into 6 equal parts, each with 12 desks. A modillion is a board on which there is a curl, rounded in different directions. The length of the board is 12 desks, and the width is 7 desks. Modillions are placed above the axes of 21 columns and in the spaces between them at equal distances, not exceeding 1 1/2 modules. Fig. 15. Corinthian order: a - general view and section; b – profile of the pedestal base. Dimensions are given in desks 22 Fig. 16. Profiles of the base of the column and the cornice of the pedestal of the Corinthian order with dimensions in desks: a – base of the column; b – pedestal cornice. The size of the desk is 5 mm 23 Fig. 17. Capital of the Corinthian order: side view and bottom view. The module is 45 mm. Desk size 2.5 mm 24 Fig. 18. Profile of the Corinthian order entablature with dimensions in desks. The size of the desk is 2.5 mm, the size of the module is 45 mm 25 BIBLIOGRAPHICAL LIST 1. General history of architecture: in 12 volumes. Vol.2. Architecture of the ancient world (Greece and Rome) / ch. ed. N.V. Baranov. – M.: Stroyizdat, 1973. – 712 p. 2. Mikhailovsky, I.B. Theory of classical architectural forms / I.B. Mikhailovsky. – M.: Com Book, 2005. – 285 p. 3. Zvyagin, B.K. Handbook of construction drawings / B.K. Zvyagin. – L.: Gosstroyizdat, 1985. – 168 p. 4. Kryukova, M.N. Architectural orders / M.N. Kryukova. - M.: Stroyizdat, 1980. – 42 p. 5. Musatov, A.A. Architecture of ancient Greece and ancient Rome. Sketches for the exam on the General History of Architecture: textbook. manual for universities / A.A. Musatov. – M.: Architecture-S, 2006. – 140 p. 6. Vignola yes, Giacomo Barozzi. Rule of five orders of architecture / Giacomo Barozzi, Vignola da. - M., 2006 – 42 p. 7. Sinebryukhov, V.I. Architectural orders: textbook. manual / Moscow Institute of Agricultural Engineers (MNISP) / V.I. Sinebryukhov. – M., 1983. – 65 p. production 26 APPENDIX 1 TASKS FOR COMPLETING EXERCISES Table P1.1 Architectural orders in masses Height of the full Last digit of the order book number, mm 0 1 2 3 4 5 6 7 8 9 120 + 125 + 130 + 135 + 140 + 145 + 150 + 155 + 160 + 165 + Table A1.2 Desk size, mm 7 6.5 5 5.5 5 Architectural failures Last digit of the grade book number 0.1 2.3 4.5 6.7 8.9 + + + + + Table A1.3 Order type Corinthian Ionic Doric Tuscan Corinthian Ionic Doric Tuscan Corinthian Ionic Architectural orders in detail Size Last digit of the module grade book number, 0 1 2 3 4 5 6 7 8 mm 24 + 22 + 20 + 18 + 22 + 20 + 22 + 20 + 20 + 24 9 + 27 APPENDIX 2 Exact construction of the volute of the Ionic order. The construction of the volute is shown in Fig. P2.1. As already indicated when describing the capital of the Ionic order, the radius of the eye of the volute is equal to 1 part, and the vertical distance to the point of the volute furthest from the center of the eye is equal to 9 parts. In the drawing, the radius is equal to 1/9 of the vertical part OA. An inscribed square is built inside the eye. The midpoints of opposite sides of the square are connected by straight lines 1-3 and 2-4. These lines are divided, each into six equal parts. The resulting points are connected by straight lines, as shown in the right figure of the enlarged drawing of the eye. Lines 1-2, 2-3, 3-4, etc. serve as their continuation as the boundaries of neighboring spiral arcs, and points from 1 to 12 are the centers of these arcs. The first arc of the volute A-I is drawn with a radius I-A from center 1, the second arc I-II is drawn with a radius 2-I from center 2, etc. to the last arc XI-XII, drawn with a radius of 12-XI from the center 12. To obtain the centers for constructing the second revolution of the volute, the distances between the centers used on lines 1-3 and 2-4 are divided into four equal parts. At 1/4 of the distance from point 12, point 13 is thus obtained, from which an arc ae is drawn with a radius of 13a to the intersection with line 14-13. Point 14 is taken at 1/4 of the distance from point 11. From point 14, an arc ef with a radius of 14e is drawn to a straight line 1415. Moreover, point 15 is taken at a distance of 1/4 from point 10. In a similar way, the construction continues to the end. Straight lines, shown in dash-and-dotted lines, serve as the boundaries of adjacent sections of the arcs of the second turn of the volute. In addition, the figure shows the following centers - points 15, 16, 17 and 18. Fig. P2.1. Construction of a volute 28 CONTENTS Introduction ……………………………………………………… 1. General information ……………………………………………………………… … 2. Building an order among the masses……………………………………. 3. Image of orders in detail…………………………….…….. 3.1. Profile elements……………………………………………. 3.2. Tuscan order in detail…………………………..………. 3.3. Doric order in detail……………………………..…… 3.4. Ionic order in detail……………………………..…… 3.5. Corinthian order in detail……………………………..…… Bibliographic list……………………………..…. Applications………………………………………………………. 3 3 4 8 8 10 10 14 20 25 26 CONSTRUCTION OF ARCHITECTURAL ORDERS Guidelines for the discipline “Introduction to the Specialty” for students of specialty 270114 “Building Design” Compiled by: Ph.D., Assoc. Fedor Mironovich Savchenko Assoc. Tatyana Vasilievna Bogatova Ph.D., Assoc. Elvira Evgenievna Semenova Signed for printing on 11/19/10. Format 60x84 1/16. Academic ed. l.1.8. Condition-bake l. 1.9. Writing paper. Circulation 100 copies. Order No. Printed by: department of operational printing of the publishing house of educational literature and teaching aids of the Voronezh State University of Architecture and Civil Engineering 394006. Voronezh, st. 20th anniversary of October, 84