A research report submitted to the Faculty of Engineering and the Built Environment, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Science in Engineering. Johannesburg 2017 / The present study investigates the possibility of designing a catenary barrel vault, which can be implemented in regions where extreme tropical storms are frequently experienced. It moreover investigated the effect of non-uniform wind loads on catenary barrel vaults, and how to solve for these load conditions efficiently. The effects of high, non-uniform wind loads were assessed, and possible solutions were explored to determine a structurally efficient solution in resisting the loads applied. Different analysis and design techniques were explored in this research. These techniques included the optimization of the geometry, in resisting the applied loads most efficiently, as well as the structural design of the section in ensuring a durable and safe structure. The study revealed that the geometry of the structure cannot be optimised to resist the applied loads in a catenary fashion without external aid. By draping the vault in a post-tensioned basalt geogrid mesh, axial compression can be increased in the section and geometry optimisation can be achieved in resisting the applied loads in a catenary fashion. Three post-tensioning techniques were investigated and discussed. / MT 2018

At the turn of the 20th century two contemporaries in their respective fields teamed up to develop a solution to an acoustic problem with the hard-surfaced vaulted ceilings being installed in many large spanning rooms being built at the time. In the spirit of their ingenuity, this research explores a 21st century solution to a similar problem in contemporary buildings; the desire for a durable, hard surface wall or ceiling material treatment that is more sound absorbent than other common surface treatments. To find a material answer to this desire an impedance tube was used to analyze the mid-frequency octave band absorption coefficients of various re-purposed existing materials and tiles created utilizing 3D print technology and Helmholtz resonators. Additionally, an empirical study of Helmholtz resonator geometry was performed by analyzing the sound absorption of resonant cavity shape changes. Finally, plots of the absorption coefficients for each material tested were created to provide a visual comparison against two common surface treatment materials, tectum and gypsum wall board. / Master of Architecture

Les ouvrages d’assainissement en maçonnerie de meulière construits au 19ème siècle à Paris ont une forme ovoïdale et sont soumis à des sollicitations agressives qui ont largement augmenté depuis le début du 20ème siècle. Si la majorité de ces ouvrages continuent à fonctionner, leur état général se dégrade inexorablement. Comme la reconstruction n’est pas toujours possible pour des raisons de coût et d’impact social, la réhabilitation est la solution adoptée par de nombreux maîtres d’ouvrages. La thèse est une partie du projet RESAME qui a pour but de réduire les coûts de réhabilitation, d’améliorer la durabilité des réparations et de diminuer le temps d’intervention sur le site. L’objectif principal de la thèse est de mettre au point de nouvelles méthodes de restructuration plus économiques que les méthodes usuellement utilisées. Après avoir présenté les ouvrages d’assainissement et leurs types de dégradations. Les techniques d’auscultation et de réhabilitation sont données. Une synthèse bibliographique de l’application des matériaux composites sur des structures en maçonnerie est détaillée en première partie. Du fait de la géométrie et des matériaux, des voutes ont été substitué aux ovoïdes pour nos essais présentés en seconde partie. Deux procédés ont été mis au point au cours de la thèse : un chemisage mince par mortier fibré de 3 cm et un renforcement par collage de matériaux composites (Lamelles et tissus). Vingt voûtes ont subi un chargement jusqu’à la rupture. Le but de l’ensemble des essais est de déterminer les mécanismes de ruine, les charges de la première fissuration et les charges à la rupture. Un gain important est alors constaté pour les méthodes de renforcement. Les résultats obtenus sont présentés et discutés. / In 19th century, Sewerage systems constructed in Paris were egg-shaped and made of masonry. Collectors are subjected to aggressive loads which have largely increased since the early 20th century. Even, if the majority of structures are still in service, their general condition deteriorates inexorably, and as the reconstruction is not always possible for reasons of cost and social impact, rehabilitation is the solution adopted by many clients. The thesis is a part of the project RESAME designed to reduce rehabilitation costs, improve the durability of repairs and reduce response times on the site. The main objective of this thesis is to develop new methods of restructuring. After introducing sewerage systems and their types of damage, auscultation techniques and rehabilitation will be presented. A bibliographical survey of the application of composite materials on planes and curved structures masonry is detailed in first time. Because of the complexity of geometry and materials, the vaults were substituted by the ovoid for our tests presented in the second half. Two methods are developed in this thesis: a thin layer of fiber reinforced mortar (FRM) by 3 cm and reinforcement by composite materials. Twenty vaults have been loading up to failure. The purpose of the tests is to determine the failure mechanisms, the first cracking loads and breaking loads. An important gain is then observed as well as a delay in cracking for every reinforcement method. The results are presented and discussed. These two processes will be applicable on several projects soon.

[EN] The fundamental social and economic transformation of the XIX century "Revival" allowed for a truly astonishing number of hundreds of reconstructed or newly-built churches throughout Macedonia. Based on their architectural typology, they comprise a specific architectural "school", established and developed in the XIX century. Extracting its basic forms and patterns from the layers of the Byzantine millennial tradition, paired with stylistic elements from the renaissance, baroque, rococo, Levantine baroque and classicist movement acquired through the intensified contacts of the Macedonian master-builders with the contemporary Western and Central European architecture, this unique "Revival" architecture created its own recognizable vocabulary equally legible in the case of the monumental urban cathedrals as well as the modest village churches built with far less available means. Several basic broad categories emerged within this architectural school: single-nave, three-nave and five-nave basilicas, domed single-nave basilicas and combined typological solutions, predominant in different regions of Macedonia, characteristic for its urban centers as opposed to the monastic communities or rural settlements. Furthermore, these basic manifestations of the basilica encompassed a rich variety of specific sub-typologies derived from their upper construction: a variety of multiple diverse combinations of architrave and coffered ceilings, barrel, groined and boat vaults, blind domes and fully manifested domes elevated upon drums, protruding through the monumental gabled roof covering the entire naos, with the rare exception of the basilica with a central nave clerestory. In addition to their similar architectural composition, the Revival churches also regularly incorporate a meticulous decorative repertoire: stone reliefs, especially within the context of the entrance portals; an exceptionally abundant interior decoration - a tall two or three-tier wood carved iconostasis, adorned with multiple icons and intricate church furnishing set against a background of fresco-painted surfaces, all derived from the diverse contemporary currents within the canonic ancient Byzantine and post-Byzantine artistic traditions. / [ES] La profunda transformación social y económica del movimiento conocido como "Renacimiento del siglo XIX" permitió la construcción o renovación de un número verdaderamente asombroso de cientos de iglesias en toda Macedonia. Basándose en su tipología arquitectónica, éstas conforman una "escuela" arquitectónica específica que se estableció y desarrolló en el siglo XIX. Extrayendo sus formas y patrones básicos de la tradición milenaria bizantina, combinados con elementos estilísticos del movimiento renacentista, barroco, rococó, barroco levantino y clasicista adquiridos a través de la intensificación del contacto de los maestros constructores macedonios con la arquitectura contemporánea de Europa Central y Occidental, esta arquitectura única creó su propio vocabulario reconocible, igualmente legible en el caso de las catedrales urbanas monumentales, así como en las modestas iglesias de aldea construidas con medios mucho menos disponibles. Varias categorías generales básicas surgieron dentro de esta escuela de arquitectura: basílicas de una, tres y cinco naves, basílicas con cúpula y soluciones tipológicas combinadas, predominantes en diferentes regiones de Macedonia, características de sus centros urbanos en contraposición a las comunidades monásticas o asentamientos rurales. Además, estas manifestaciones de la basílica abarcaron una diversa variedad de sub-tipologías específicas derivadas de su construcción superior: múltiples combinaciones de techos artesonados, bóvedas de cañón, de arista y de barco, cúpulas ciegas o elevadas sobre tambores que sobresalen a través de las predominantes cubiertas a dos aguas. Además de su similar composición arquitectónica, las iglesias "renacentistas" del siglo XIX también incorporan regularmente un meticuloso repertorio decorativo: relieves de piedra, especialmente en el contexto de los portales de entrada; una decoración interior excepcionalmente abundante: iconostasios altos de dos o tres niveles tallados en madera, adornados con múltiples íconos y mobiliarios intrincados sobre un fondo de superficies pintadas al fresco, todo derivado de las diversas corrientes contemporáneas dentro de la antigua canónica tradición artística bizantina y post-bizantina. / [CAT] La profunda transformació social i econòmica del moviment conegut com a "Renaixement del segle XIX" va permetre la construcció o renovació d'un nombre veritablement sorprenent de centenars d'esglésies a tota Macedònia. Basant-se en la seua tipologia arquitectònica, aquestes conformen una "escola" arquitectònica específica que es va establir i es va desenvolupar al segle XIX. Extraient les seues formes i patrons bàsics de la tradició mil·lenària bizantina, combinats amb elements estilístics del moviment renaixentista, barroc, rococó, barroc llevantí i classicista adquirits a través de la intensificació del contacte dels mestres constructors macedonis amb l'arquitectura contemporània d'Europa Central i Occidental, aquesta arquitectura única va crear el seu propi vocabulari reconeixible, igualment llegible en el cas de les catedrals urbanes monumentals, així com en les modestes esglésies d'aldees construïdes amb mitjans molt menys disponibles. Diverses categories generals bàsiques van sorgir dins d'aquesta escola d'arquitectura: basíliques d'una, tres i cinc naus, basíliques amb cúpula i solucions tipològiques combinades, predominants en diferents regions de Macedònia, característiques dels seus centres urbans en contraposició a les comunitats monàstiques o assentaments rurals. A més, aquestes manifestacions de la basílica van abastar una diversa varietat de subtipologies específiques derivades de la seua construcció superior: múltiples combinacions de sostres artesonats, voltes de canó, d'aresta i de vaixell, cúpules cegues o elevades sobre tambors que sobresurten a través de les predominants cobertes a dues aigües. A més de la seua similar composició arquitectònica, les esglésies "renaixentistes" també incorporen regularment un meticulós repertori decoratiu: relleus de pedra, especialment en el context dels portals d'entrada; decoració interior excepcionalment abundant: iconòstasis alts de dos o tres nivells tallats en fusta, adornats amb múltiples icones i mobiliaris intricats sobre un fons de superfícies pintades a la fresca, tot derivat de les diversos corrents contemporanis dins de l'antiga canònica tradició artística bizantina i postbizantina. / Apostolova Chalovska, E. (2021). The XIX Century basilicas in Macedonia: origin, typology and influences [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/176001 / TESIS

The current state of research on the design and construction of late Gothic vaults is principally based on the interpretation of sources, but rarely on surveys of existing vaults. In particular the idea for the criteria upon which the radii of the single ribs and arches were determined (so-called "principal arch"), is found to derive from sources dating from later periods when Gothic vaulting was no longer generally practised. In fact, this interpretation cannot be supported by geometric surveys on existing vaults: the plain contradiction to the actual geometric properties of some of the vaults studied so far have called for a critical revision of this interpretation. For investigating the design criteria and procedures starting from the built object, and also debating the methodological aspects of using the "building as source", a rewarding subject is the vault with curvilinear ribs in the "Hall of Arms" in the Albrechtsburg at Meissen (Germany), which was built by Jacob Heilmann in 1521. This is due to its ambitious design, high quality of execution and good state of preservation. A detailed survey of this structure is presented, discussing different aspects of the design, construction, and detailing, e.g.: Investigations on the geometrical concept of the vault by means of "reverse geometric engineering", on the background of the problem mentioned above. Further, the stone-cutting of the single members of the vault, which offers interesting aspects of standardization and its limits in nerves with double curvature: standardization in medieval constructions has been object of discussion, but not yet studied in the ambit of late Gothic vault construction. The question whether and how the vault surface was determined in the design, being the principle structural feature working as a shell structure; this is of particular interest as the relation between the rib system and the shell is complex and has consequences on the stone-cutting of the arches. The question how the design specifications for the single rib members could be derived from the general concept of the curves (clarified in the survey); the context to the graphic sources and technical prose related to late Gothic vault design and structural design. The aim is to understand the entire design process, the criteria of the decisions taken, their relation to the contemporary theory, and the communication process which took place for the creation of this extremely demanding structure.

So far the history of medieval Franciscan Observance has been considered as the history of individual monasteries, or more generally as the history of disputes concerning education, culture and nationality. The aim of the present dissertation is to describe the history in terms of cultural history, to analyze wider issues of architecture regarding monastic buildings of the last big monastic community of The Middle Ages, to describe them and evaluate. The basic structure of the dissertation consists of monographic chapters monitoring the history and building development of fifteen preserved and thirteen extinct monasteries in territory of the Czech monastic province (Bohemia, Moravia, Silesia and Upper Lusatia). The catalogue part is introduced by chapters summarizing the historical context of Franciscan Observants' activities within a short period between the second half of the 15th century and the first half of the 16th century, during which the Observants of the Czech province experienced both the stage of raise and decay. The history of the order is then followed by an essay on the rules of the process of foundation constructions of the convents, the order rules limiting artwork and mainly the character of the order architecture. Key words Franciscan Observants, Late Gothic Architecture,...

The current state of research on the design and construction of late Gothic vaults is principally based on the interpretation of sources, but rarely on surveys of existing vaults. In particular the idea for the criteria upon which the radii of the single ribs and arches were determined (so-called "principal arch"), is found to derive from sources dating from later periods when Gothic vaulting was no longer generally practised. In fact, this interpretation cannot be supported by geometric surveys on existing vaults: the plain contradiction to the actual geometric properties of some of the vaults studied so far have called for a critical revision of this interpretation. For investigating the design criteria and procedures starting from the built object, and also debating the methodological aspects of using the "building as source", a rewarding subject is the vault with curvilinear ribs in the "Hall of Arms" in the Albrechtsburg at Meissen (Germany), which was built by Jacob Heilmann in 1521. This is due to its ambitious design, high quality of execution and good state of preservation. A detailed survey of this structure is presented, discussing different aspects of the design, construction, and detailing, e.g.: Investigations on the geometrical concept of the vault by means of "reverse geometric engineering", on the background of the problem mentioned above. Further, the stone-cutting of the single members of the vault, which offers interesting aspects of standardization and its limits in nerves with double curvature: standardization in medieval constructions has been object of discussion, but not yet studied in the ambit of late Gothic vault construction. The question whether and how the vault surface was determined in the design, being the principle structural feature working as a shell structure; this is of particular interest as the relation between the rib system and the shell is complex and has consequences on the stone-cutting of the arches. The question how the design specifications for the single rib members could be derived from the general concept of the curves (clarified in the survey); the context to the graphic sources and technical prose related to late Gothic vault design and structural design. The aim is to understand the entire design process, the criteria of the decisions taken, their relation to the contemporary theory, and the communication process which took place for the creation of this extremely demanding structure.

Ett nytt badhus i Västertorp, beläget i den bortglömda, av E4:an dammiga, Mellanbergsparken dit folk kan gå för att bada. Det behövs inga fler simhallar i Stockholm, men ett nytt sorts badhus dit alla olika människor av alla åldrar kan komma och bada i en starkt arkitektonisk miljö - det fattas idag. Därför har jag fokuserat på att gestalta starka rumsligheter där vattnet får stå i fokus och förstärka upplevelsen av rummet. Genom badhuset finns tre olika steg på skalan i material och badupplevelser som går från asfalt till skog, från slutet till öppet. Längst ut mot skogen finns en badsal på 24 x 84 meter där en pelarskog av tegelpelare möter vattenytan. En vattenyta sträcker sig genom hela badsalen och speglar taket bestående av kryssvalv i bärande tegel. Från entrén till badhuset ser du tvärs igenom hela huset, genom innergården och skymtar denna magnifika badsal. I badsalen finns en rundsimmningsslinga och bredvid är det endast ankeldjupt. Du kan simma ut under ett stort fönsterparti och under arkaden som skuggar utanför. Här möter du tillslut skogen och E4:ans buller är glömt långt bakom. / A new kind of bath house in Västertorp, situated in the forgotten Mellanbergsparken contaminated by noise and dust from the freeway, where people can go swimming. There is no need for more indoor swimming pools in Stockholm, but a new kind of bath house, where different people of all different ages can go to bathe, swim and relax in a strongly architectural environment is missing. Therefore my focus has been to create powerful spaces where the water is in focus and enhances the architectural experience of the room. Through the bath house there is a scale that evolves from the site: from asphalt to forest, from enclosed to open. From the bath house entrance you get a glimpse through the inner court yard, towards the 24 by 84 meter colonnade hall for swimming. Here brick columns meet the water surface that stretches through the entire hall unbroken and reflects the ceiling made up of load bearing brick lierne vaults. In the bath hall is a loop for swimming and on the sides the water is only ankle-deep. From the loop you can swim out under a colonnade that shades the pool. Finally you meet the forest on the other side and the noise and smell of the freeway is far away and forgotten.

Umeå kommun har sedan 1995, med varierande intensitet, planerat för en ny simhall som ska ersätta den gamla från 1970. Det nu liggande förslaget har mötts med skiftande åsikter och de många kritiska handlar om både förslagets placering (mitt i centrala staden på en all- deles för trång tomt) och programmets omfattning (för lite). Eftersom jag delar dessa kritiska åsikter så har detta gett mig ett ypperligt tillfälle att som mitt examensarbete titta på hur jag anser att placeringen, omfattningen och gestaltningen av ett nytt badhus i Umeå ska se ut. Mina huvudsakliga frågeställningar har varit just placeringen, programmets omfattning samt naturligtvis även gestaltningen av ett badhus för Umeå kommun med sina 110 000 invånare. Jag har utvärderat de alternativa placeringar som föreslagits och samtliga platser har naturligtvis både sina för- och nackdelar men jag har kommit fram till att jag vill placera ett nytt badhus på samma plats som den nuvarande simhallen som planeras att rivas. Det som fick min jämförelse att väga över för min valda plats är att det ligger på randen av Gam- mliaskogen, ett rekreationsområde helt omgivet av stad men där det finns flera skid- och joggingspår. Detta är en möjlighet som är för bra för att försitta. / Umeå municipality have, since 1995, at varying intensity, been planning for a new bath house to replace the existing from 1970. The current proposal has been met with mixed critique and the more critical ones fokus on both the placement (in the city centre on a too narrow lot) and the extent of the programme (too small). Since I share these critical opinions it has given me an excellent opportunity for this thesis work to examine the placement, extent and figuration of a new bath house in Umeå.

The ambitious late Gothic vaults created in the 15th and 16th centuries with their complex shape and complicated meshes of ribs soaring along spatial curves, were extremely demanding in their geometric design. This regards both the design of the whole structure, as also the design specifications for the single stone elements which were prefabricated and fit together on the building site with astonishing precision. In consequence, the particular character of these structures and their geometric features are intrinsically linked to the design routines and the geometric concepts used by the Master Builders. At present, these procedures and methods are not well understood, because they are not documented in original drawings, and because they differ in principle from the modern practice. In consequence, necessary works of repairing and restoring cannot recur to any information related to the original design. Moreover, understanding the characteristics of information transfer from the design to the execution, would cast a light on the information society in which these constructions were created. In several case studies, the geometric concepts of the intricate spatial curve systems of late Gothic vaults have been clarified on the basis of detailed surveys and geometrical analyses carried out on the built objects. On this background, also the existing sources such as historical design treatises could be re-interpreted. In a collaboration between the research group working on the design principles of late Gothic vaults at the Technische Universität Dresden, and expert stone masons specialized on historical working techniques and practical stereotomy at the Cathedral Workshop Œuvre Notre-Dame de Strasbourg, the phases of the design process, such as full-scale drawings on the tracing floor and the production of full-scale models and samples of ribs and keystones, are currently investigated in practical experiments. As result, we propose a complete picture of the design process from the general concept to the setting-out of the single stone elements. Further, we are able to drive general considerations on the Late Medieval and Early Modern design practice for stone structures and trace a new interpretation of the early treatises of stereotomy.