AIEEE (B.ARCH) SYLLABUS



SYLLABUS FOR APTITUDE TEST B. ARCH./B. PLANNING

Part - I  Awareness of persons, places, Buildings, Materials.) Objects, Texture related to
Architecture and build~environment. Visualising three dimensional objects from
two dimensional drawings. Visualising. different sides of three dimensional
objects. Analytical Reasoning Mental Ability (Visual, Numerical and Verbal).

Part - II  Three dimensional - perception: Understanding and appreciation of scale
and proportion of objects, building forms and elements, colour texture, harmony and
contrast. Design and drawing of geometrical or abstract shapes and patterns in pencil.
Transformation of forms both 2 D and 3 D union, substraction, rotation, development of
surfaces and volumes, Generation of Plan, elevations and 3 D views of objects. Creating
two dimensional and three dimensional compositions using given shapes and forms.
 Sketching of scenes and activities from memory of urbanscape (public space,
market, festivals, street scenes, monuments, recreational spaces etc.),
landscape (river fronts, jungles. gardens, tre es, plants etc.) and rural life.

Note:  Candidates are advised to bring pencils, own geometry box set, erasers and
colour pencils and crayons for the Aptitude Test.

RANGOLI



RangoliRangoli, one of the most beautiful and most pleasing art forms of India, is comprised of two words, 'rang' meaning 'color' and 'aavalli' meaning colored creepers' or 'row of colors'. Rangoli basically comprises of the art of making designs or patterns on the walls or the floor of the house, using finely ground white powder along with different colors. Numerous households in the Indian subcontinent make use of Rangoli designs for decorating the courtyard of their house.

Origin of Rangoli 
There are a number of legends associated with the origin of the Rangoli art in India. The earliest mention in regard to this art form is found in Chitralakshana, the earliest Indian treatise on painting. It is said that the death of a high priest's son in a particular kingdom led to widespread despair. The people of that particular kingdom prayed to Lord Brahma, asking Him to bring the boy back to life. Moved by their prayers, Lord Brahma asked the king to paint a portrait of the boy on the floor. Thereafter, He breathed life into the portrait and the boy became alive again. It is believed that this was how the first Rangoli painting got made.

Another legend has it that one day, God, in one of His artistic spells, extracted juice from one of the mango trees to be used as paint. He then used the paint to draw the figure of a beautiful woman. It is said that the painting of the woman was so magnificent that it put the heavenly maidens to shame. Thereafter, Rangoli became a popular form of women self-portrait. Even Chola rulers have been known to make quite extensive use of Rangoli as floor paintings. It is also said that powder or sand is used for making Rangoli designs because the combination of the colors and the design fragility signifies the impermanence of life and maya.

Rangoli Designs & Patterns
The traditional form of Rangoli made use of designs and motifs based on nature, such as mango, creepers, flowers, swans, peacocks, etc. Even the colors in the traditional art form were extracted from natural dyes, like barks of trees, leaves, indigo, etc. However, the practice is not much in use now. These days, synthetic dyes have more or less replaced the natural dyes of the earlier times. The materials used in the Rangoli patterns of today give either a very flat appearance or a 3-D effect. Rangoli designs used presently include, geometrical patterns, the swastika, lotus, trident, fish, conch shell, creepers, leaves, trees, flowers, animals, etc.

Making of the Rangoli
Usually, the colors used for making Rangoli comprises of a coarse grained-powder base into which other colors are mixed. However, one can also make use of colored powder for impressive decorations. It is best to make Rangoli on a coarse base, such as sand, marble dust, saw dust, etc, as it provides a good grip and at the same time, one is able to sprinkle colors with greater control. The colors used are, by and large, very fine pigment powders like gulal or aabir.

One can also try colored powders used at home, like indigo and spices like rawa, turmeric, rice flour, wheat flour, etc. Whatever design you decide to draw, make sure that it is an unbroken line, with no gaps in between. It is said that a broken line gives an opportunity to the evil spirits to gain entry inside the home.

Rangoli and Diwali
Rangoli occupies a special place in the festival of Deepawali or Diwali. Since, the art form is an expression of warm hospitality, it is used by almost everyone to decorate his or her courtyard during the festival. It signifies that the people coming to the house are welcome inside.

Rangoli in Different States
Rangoli art is known by different names in different parts of the country, such as:
  • Chowkpurana (Uttar Pradesh)
  • Madana (Rajasthan)
  • Muggu (Andhra Pradesh)
  • Rangoli (Gujarat, Karnataka and Maharashtra)
In the northern parts of India, Rangoli designs are made with traditional wet colors. On the other hand, in the southern parts of the country, Rangoli patterns drawn with the help of powder colors are more common.

Alpana (Bengal)
Alpana, the form of Rangoli practiced in Bengal, is a natural representation of the artistic sensibility of the people. Practiced usually by the womenfolk of the state, the art form represents an amalgamation of the past experience as well as the contemporary designs. Even though the basic designs are more or less same, new forms and new colors are being tried on a large scale.

Aripana (Bihar)
Aripana art form is a variation of the Rangoli, practiced in the Bihar. It usually comprises of line drawings, illustrated on the floor of the house. Aripana patterns are a part of each and every auspicious ceremony in Bihar, be it a puja, a vrata (fast) or a samskara (mundan, vivah, yajnopavita, etc). On the eve of a ceremony, Aripana designs are prepared in the courtyard, on the door front and a number of other places.

Kolam (Kerala and Tamil Nadu)
Kolam is the name given to the art of Rangoli in southern parts of the country, mainly the states of Kerala and Tamil Nadu. The Hindus residing in these parts make use of this art form on a large scale. The female members of the house usually draw Kolam designs in front of their homes, with the help of rice powder.

Aipan
Aipan is one of the traditional forms of Rangoli, practiced in the state of Uttarakhand, now Uttaranchal. The art is associated with a great degree of social, cultural as well as religious significance. In Uttarakhand, Aipan designs are mainly drawn at places of worship, along with the main entry door and the front courtyard of the house.

FAMOUS PAINTINGS OF INDIA


Indian Paintings

Rajput PaintingThe tradition of painting has been carried on in the Indian subcontinent since the ancient times. Standing as a testimony to this fact are the exquisite murals of Ajanta and Ellora, Buddhist palm leaf manuscripts, Mughal and Kangra schools of miniature Indian paintings, etc. Infact, records have been found that indicate the usage of paintings for decorating the doorways, guest rooms, etc. Some traditional Indian paintings, like those of Ajanta, Bagh and Sittanvasal, depict a love for nature and its forces.

With time, Indian classical paintings evolved to become a sort of blend of the various traditions influencing them. Even the folk painting of India has become quite popular amongst art lovers, both at the national as well as the international level. Most of the folk paintings reflect a heavy influence of the local customs and traditions. In the following lines, we have provided information on the famous paintings of India:

Cave Painting
Cave paintings of India date back to the prehistoric times. The finest examples of these paintings comprise of the murals of Ajanta, Ellora, Bagh, Sittanavasal, etc, which reflect an emphasis on naturalism. Ancient cave paintings of India serve as a window to our ancestors, who used to inhabit these caves.

Madhubani Painting
Madhubani painting originated in a small village, known as Maithili, of the Bihar state of India. Initially, the womenfolk of the village drew the paintings on the walls of their home, as an illustration of their thoughts, hopes and dreams. With time, the paintings started becoming a part of festivities and special events, like marriage.

Miniature Painting
Miniatures paintings are beautiful handmade paintings, which are quite colorful but small in size. The highlight of these paintings is the intricate and delicate brushwork, which lends them a unique identity.

Mughal Painting 
Mughal painting reflects an exclusive combination of Indian, Persian and Islamic styles. As the name suggests, these paintings evolved as well as developed during the rule of Mughal Emperors in India, between 16th century and 19th century.

Mysore Painting
Mysore Painting is a form of classical South Indian painting, which evolved in the Mysore city of Karnataka. During that time, Mysore was under the reign of the Wodeyars and it was under their patronage that this school of painting reached its zenith.

Pahari Painting
Pahari painting is the name given to Rajput paintings, made in the in the Himachal Pradesh and Jammu & Kashmir states of India. These painting developed as well as flourished during the period of 17th to 19th century. Indian Pahadi paintings have been done mostly in miniature forms.

Rajput Painting
Rajput painting originated in the royal states of Rajasthan, somewhere around the late 16th and early 17th century. The Mughals ruled almost all the princely states of Rajasthan at that time and because of this; most of the schools of Rajput Painting in India reflect strong Mughal influence.

Tanjore Painting
Tanjore Painting is one of the most popular forms of classical South Indian painting. It is the native art form of Thanjavur (also known as Tanjore) city of Tamil Nadu. The dense composition, surface richness and vibrant colors of Indian Thanjavur Paintings distinguish them from the other types of paintings.

FAMOUS PAINTERS OF INDIA


Indian Painters

Indian subcontinent is famous for being the home country of a large number of exceptionally brilliant artists, including painters, writers, singers, etc. The art of painting in India dates back to the ancient times, as is evident from the cave paintings of Ajanta and Ellora. Many painters of India have received global recognition also and their paintings have fetched millions of dollars in international auctions. From the paintings revolving around religious topics to the abstract ones, Indian painters have covered almost each and every arena. In the following lines, we have provided information about the famous painters of India:

Abanindranath Tagore
Abanindranath Tagore, the nephew of Rabindranath Tagore, was born on 7th August 1871. He was one of the most prominent artists of the Bengal school of painting, along with being the first major supporter of swadeshi values in the Indian art.

Amrita Shergill
Amrita Shergill, one of the most famous painters of India, was born on 30th January 1913 in Budapest city of Hungary. Her father, Umrao Singh Shergill Majithia was a Sikh aristocrat, who was a scholar in Sanskrit. Her mother was a Hungarian singer, Marie Antoinette Gottesmann.

F.N. Souza
Francis Newton Souza was born in the year 1924 in Saligao, a small town in the state of Goa. Tragedy struck him at a very young age, when he lost his father. He was also bogged down by a serious attack of small pox. Such incidences provoked him to create his own niche in this world.

Jamini Roy
Jamini Roy was one of the greatest painters of the 20th century. He was born in the year 1887, at Beliator village in Bankura district of Bengal. His father, Ramataran Roy, was a middle class man who resigned from government service to pursue his interest in art.

Jatin Das
Jatin Das was born in the year 1941 in the Mayurbhanj district of Orissa. He is counted amongst the most creative artists of India and is proficient in painting, graphic art, sculpture, murals and even poetry. Jatin Das received training in the field of art at Sir J. J. School of Art in Bombay.

M.F. Hussain
M.F. Hussain, or Maqbool Fida Hussain, was born on 17th September 1915 in Pandharpur town of Maharashtra. He is one of the most famous artists of India, both at the national as well as the international level.

Nandlal Bose
Nandlal Bose was born in December 1882 in Bihar. A protégé of Havell and Abanindranath, he is today regarded as one of the most prominent artists of the modern India. Nandlal Bose attended Calcutta Government College of Art between 1905 and 1910.

Rabindranath Tagore
Rabindranath Tagore was a multitalented personality. He was a Bengali poet, a Brahmo Samaj philosopher, a visual artist, a playwright, a novelist, a painter and a composer, all combined into one. Rabindranath Tagore started composing art works at a very tender age.

Raja Ravi Varma
Raja Ravi Varma was born on 29th April 1848, in Kilimanoor, a small town of Kerala. He is known for his amazing paintings, which revolve mainly around the great epics of Mahabharata and Ramayana.

Satish Gujral
Satish Gujral is one of the greatest as well as the most versatile artists of the Indian subcontinent. He is known for making some of the most exquisite paintings, graphics, murals and sculptures, apart from indulging in architecture and interior designing.

S.H. Raza
S.H. Raza was born as Syed Haider Raza in the year 1922, in the state of Madhya Pradesh. One of the most distinguished artists of the Indian subcontinent, Raza has been settled in France since 1950. However, his ties with India remain as strong as ever.

Tyeb Mehta
One of the internationally recognized artists of India, Tyeb Mehta is a multitalented individual. Apart from being an exceptionally good painter, he is also a brilliant filmmake

MONUMENTS OF IMPORTANCE IN INDIA


TAJ MAHAL, AGRA


It stands on the right bank of the Yamuna, about 1.5 km from the Agra Fort. The Taj was built to enshrine the remains of Arjmand Banu Begam entitled Mumtaz Mahal, the consort of Mughal emperor Shah Jahan. Its construction commenced in AD 1631 and completed 17 years later at enormous cost and labour. The architect responsible for the construction was Ustad Ahmed Lahori. Unlike other Mughal garden tombs, the mausoleum is situated at the northern end of a large rectangular area with its central portion divided into a square garden. The entire portion is enclosed within a high boundary wall having broad octagonal pavilions at corners. The Taj is entered through a majestic gateway in the centre of the southern side where there is a spacious quadrangle. Closed on Friday.

FATEHPUR SIKRI, AGRA

In honour of saint Shaikh Salim Chisti, the Mughal emperor, Akbar the great, founded a magnificent city on Sikri ridge. In 1571 he ordered the construction of buildings for his own use and asked the noblemen to build houses for themselves. Within a year, most of the work was finished and within the next few years, a well planned city with administrative, residential and religious buildings came into existence.
The Jami Mosque was perhaps among the first buildings to come up. Its epigraph gives AH 979 (AD 1571-72) as the date of its completion. The Baland-Darwaza was added some five years later.
Among other important buildings are the tomb of Shaikh Salim Chishti, the Naubat-or Naqqar Khana (drum-house), Taksal (mint), Karkhanas (royal workshop), Khazana (treasury), Hakim's quarters, Diwan-i-Am (hall of public audience), house of Maryam also called SUnahra Makan (Golden House), palace of Jodh Bai, Birbal's house, etc.

AGRA FORT, AGRA

It represents first major building project of Akbar, through remains of only a few buildings built by him now survive. Built on the site of an earlier castle in AD 1565-75, the fort, apart from other important units, contains Jahangiri Mahal, Khass Mahal, Diwan-i-Khass, Diwan-i-Am, Machchhi Bhawan and Moti Masjid. Many extant buildings were erected by Shah Jahan (AD 1630-55). Irregularly triangular on plan, it is enclosed by a double battlemented massive wall of red sandstone which is about 2 km in perimetre and interrupted by graceful curves and lofty bastions. Of its four gates, the most impressive is the Delhi Gate on the west.

QUTAB MINAR, DELHI

Qutab Minar in red and buff sandstone is the highest tower in India. It has a diameter of 14.32m at the base and about 2.75m on the top with a height of 72.5m.
Qutbu'd-Din Aibak laid the foundation of Minar in AD 1199 for the use of the mu'azzin (crier) to give calls for prayer and raised the first storey, to which were added three more storeys by his successor and son-in-law, Shamsu'd-Din Iltutmish (AD 1211-36). All the storeys are surrounded by a projected balcony encircling the minar and supported by stone brackets, which are decorated with honey-comb design, more conspicuously in the first storey.
Numerous inscriptions in Arabic and Nagari characters in different places of the minar reveal the history of Qutab. According to the inscriptions on its surface it was repaired by Firuz  Shah Tughlaq (AD 1351-88) and Sikandar Lodi (AD 1489-1517). Major R. Smith also repaired and restored the minar in 1829.
Quwwat-ul-Islam Mosque to the north-east of minar was built by Qutbu'd-Din Aibak in AD 1198. It is the earliest extant mosque built by the Delhi Sultans. It consists of a rectangular courtyard enclosed by cloisters, erected with the carved columns and architectural members of 27 Hindu and Jaina temples which were demolished by Qutbu'd-Din Aibak as recorded in his inscription on the main eastern entrance. Later, a lofty arched screen was erected and the mosque was enlarged by Shamsu'd-Din Iltutmish (AD 1210-35) and Alau'd-Din Khalji. The Iron Pillar in the courtyard bears an inscription in Sanskrit in Brahmi script of fourth century AD, according to which the pillar was set up as a Vishnudhvaja (standard of god Vishnu) on the hill known as Vishnupada in memory of a mighty king named Chandra. A deep socket on the top of the ornate capital indicates that probably an image of Garuda was fixed into it.
The tomb of Iltutmish (AD 1211-36) was built in AD 1235. It is a plain square chamber of red sandstone, profusely carved with inscriptions, geometrical and arabesque patterns in Saracenic tradition on the entrances and the whole of interior. Some of the motifs viz., the wheel, tassel etc., are reminiscent of Hindu designs.
Ala'i-Darwaza, the southern gateway of the Quwwat-ul-Islam mosque was constructed by Alau'd-Din Khalji in AH 710 (AD 1311) as recorded in the inscriptions engraved on it. This is the first building employing Islamic principles of construction and ornamentation.

The first substantial example of a garden tomb on charbagh pattern with high arches and double dome was erected by Humayun's queen Hamida Banu Begam (Haji Begam) in AD 1569 at a cost of 15 lakh rupees (1.5 million).

HUMAYUN'S TOMB, DELHI

The high rubble built enclosure is entered through two lofty double-storeyed gateways on the west and south. A baradar (pavilion) occupies the centre of the eastern wall and a hammam (bath chamber) in the centre of northern wall. The lofty mausoleum is in the centre of the enclosure and rises from podium faced with series of cells having arched openings. The central octagonal chamber contains the cenotaph, encompassed by octagonal chambers at the diagonals and arched lobbies on the sides.  Their openings are closed with perforated screens. Each side is dominated by three arches, the central one being the highest. This plan is repeated on the second storey too. The roof surmounted by a double dome (42.5m) of marble has pillared kiosks (chhatris) placed around it.
Several rulers of the Mughal dynasty lie buried here. Bahadur Shah Zafar had taken refuge in this tomb with three princes during the first war of Independence (AD 1857).
On the southwestern side of the tomb is located barber's tomb (Nai-ka-Gumbad) which stands on a raised platform, reached by seven steps from the south. The building is square on plan and consists of a single compartment covered with a double-dome.

ELEPHANTA CAVES, MUMBAI

Elephanta anciently known as Gharapuri, the island capital of Konkan Mauryas, is celebrated for its colossal image of Mahesa-murti with three heads each representing a different form.
in fact, there are seven caves out of which the most important is the Mahesa-murti cave. The main body of the cave, excludin-g the porticos on the three open sides and the back isle, is 27 metres square and is supported by rows of six columns each. The gigantic figures of dvarapalas or doorkeepers here are very impressive.
There are sculptured compartments in this cave with remarkable images of ardhanarisvara, Kalyana-sundara Siva, Ravana lifting Kailasa, Andhakari-murti (slaying of Andhaka demon) and Nataraja Siva.
AJANTA CAVES, AURANGABAD

The caves including the unfinished ones are thirty in number, of which five (9, 10, 19, 26 and 29) are chaitya-grihas and the rest aresangharamas or viharas (monasteries). After centuries of oblivion, these caves were discovered in AD 1819. They fall into two distinct phases with a break of nearly four centuries between them. All the caves of the earlier phase date between 2nd century BC-AD.
The caves of the second phase were excavated during the supremacy of the Vakatakas and Guptas. According to inscriptions, Varahadev, the minister of the Vakataka king, Harishena (c.475-500 AD), dedicated Cave 16 to the Buddhist sangha while Cave 17 was the gift of the prince a feudatory. An inscription records that Buddha image in Cave 4 was the gift of some Abhayanandi who hailed from Mathura.
A few paintings which survive on the walls of Caves 9 and 10 go back to the 2nd century BC-AD. The second group of the paintings started in about the fifth century AD. The second group of the paintings started in about the fifth century AD and continued for the next two centuries as noticeable in later caves. The themes are intensely religious in tone and centre round Buddha, Bodhisattvas, incidents from the life of Buddha and the Jatakas. The paintings are executed on a ground of mud-plaster in the tempera technique.
ELLORA CAVES, AURANGABAD

The magnificent group of rock-cut shrines of Ellora, representing three different faiths, Buddhist, Brahmanical and Jaina were excavated during the period from 5th to the 13th century AD. The Buddhist Caves (1 to 12) were excavated between the 5th and the 7th centuries AD, when the Mahayana sects were flourishing in the region. Important in this group are Caves 5, 10 and 12. Cave 10 is a chaitya-hall and is popularly known as 'Visvakarma'. It has a highly ornamental facade provided with in gallery and in the chaitya-hall is a beautiful image of Buddha set on a stupa. Among the viharas, Cave 5 is the largest. The most impressive vihara is the three - storeyed cave called 'Tin - Tala'. It has a large open-court in front which provides access to the huge monastery. The uppermost storey contains sculptures of Buddha.
The Brahmanical caves numbering 13 to 29 are mostly Saivite. Kailasa (Cave 16) is a remarkable example of rock-cut temples in India on account of its striking proportion, elaborate workmanship, architectural content and sculptural ornamentation. The whole temple consists of a shrine with linga at the rear of the hall with Dravidian sikhara, a flat-roofed mandapa supported by sixteen pillars, a separate porch for Nandi surrounded by an open-court entered through a low gopura. There are two dhvaja-stambhas, or pillars with the flagstaff, in the courtyard. The grand sculpture of Ravana attempting to lift mount Kailasa, the abode of Siva, with his full might is a landmark in Indian art.
The Jaina Caves (30 to 34) are massive, well-proportioned, decorated and mark the last phase of the activity at Ellora.

THE SUN TEMPLE, KONARAK

Kainapara of the Periplus (first century AD), is an important port of the Orissan coast. The most notable marvel of Orissan art is the stately Sun Temple. Built in c.AD 1250, during the reign of the Eastern Ganga King Narasimhadeva-I (AD 1238-64), it was to enshrine an image of Sun (Arka), the patron deity of the place. The entire complex was designed in the form of a huge chariot drawn by seven spirited horses on twelve pairs of exquisitely carved wheels. The sanctum symbolises the majestic stride of the Sun-god and marks the culmination of the Orissan architectural style. The vimana of the deul has collapsed, while that of jagamohana and the nata-mandapa are better preserved, The walls of the temple contain superb carving of divine, semi-divine, human and animal figures amidst floral and geometric ornamentations. The vivaciouskanyas and danseuse are remarkable for their sensuous modelling, pulsating with human emotions which are absorbed in a variety of gestures and rhythmic actions. Such sculptures render the Orissan temple a class unto themselves. Mighty simha-gajas welcome the visitor at the porches.
MAHABALIPURAM, GROUP OF MONUMENTS

Mamallapuram, the city of Mamalla, is after the title of great Pallava ruler Narasimhavarman-I (AD 630-68). It was a sea-port during the time ofPeriplus (1st century AD) and Ptolemy (AD 140) and many Indian colonists sailed to south-east Asia through this port town. While there is some evidence of architectural activity going back to the period of Mahendravarman-I (AD 600-30), the father of Mamalla, most of the monuments like rock-cut rathas, sculptured scenes on open rocks like Arjuna's penance, the caves of Goardhanandhari and Mahishasuramardini, the Jala-Sayana Perumal temple (the sleeping Mahavishnu or Chakrin at the rear part of the Shore temple complex) are attributed to the period of Narasimhavarman-I Mamalla.
The monolithic rathas from single to triple-storeyed, display a variety of architectural forms. While the Dharmaraja, Arjuna and Draupadi rathasare square on plan, the Bhima and Ganesa rathas are rectangular and Sahadeva ratha apsidal. Though monilithic sculpturing, both cut-in and cut-out, continued even during later periods (Atiranachanda cave, Pidari rathas and Tiger-cave), the structural architecture was introduced on a grand scale by Pallava Rajasimha (AD 700-28), culminating in erection of the world famous Shore temple. After Rajasimha there is lull in the architectural activity of the place, save a few additions during late-Pallava and Chola times. The grandiose Vijayanagara phase here is represented by the Raja Gopurams and the Sthala-Sayana temple, juxtaposed to the carved boulder of Arjuna's penance.

GOA, CHURCHES AND CONVENTS

The most comprehensive group of churches and cathedrals built during 16th and 17th century AD at Old Goa comprise of the following:
Se'Cathedral, Church and Convent of St. Francis of Assisi, Chapel of St. Catherine, Basilica of Born Jesus; Church of Lady of Rosary; Church of St. Augustine.
The Church of St. Cajetan is modelled on the original design of St. Peter's Church in Rome. The Church of Bom Jesus with its facade decorated with lonic, Doric and Corinthian pilasters, shows the application of the Classical order. The Se'Cathedral, with its Tuscan exterior the Corinthian columns at its portals, the raised platform with steps leading to the entrance, the barrel-vault above the nave, is yet another example of Renaissance.
The paintings in the churches were done on wooden borders and fixed between panels having floral designs as in the chapels housing the tomb of St. Xavier, the arches above the altars in the transept of the Se'Cathedral and in the nave on either side of the main altar in the Church of St. Francis of Assisi. Excepting a few which are in stone, the statues are mostly in wood delicately carved and painted to adorn the altars. They depict mostly the saints, Mother Mary and Jesus on the cross.
KHAJURAHO GROUP OF MONUMENTS

Khajuraho, the ancient Kharjjuravahaka, was the principal seat of authority of the Chandella rulers who adorned it with with numerous tanks, scores of lofty temples of sculptural grace and architectural splendour. The local tradition lists eighty-five temples but now only twenty-five are standing examples in various stages of preservation. But for Chausath-Yogini, Brahma and Mahadeva which are of granite, all the other temples are of fine grained sandstone, buff, pink or pale yellow in colour.
Yasovarman (AD 954) built the temple of Vishnu, now famous as Lakshmana temple is an ornate and evolved example of its time proclaiming the prestige of the Chandellas.
The Visvanatha, Parsvanatha and Vaidyanatha temples belong to the time of king Dhanga, the successor of Yasovarman. The Jagadambi, Chitragupta are noteworthy among the western group of royal temples of Khajuraho. The largest and grandest temple of Khajuraho is the immortal Kandariya Mahadeva which is attributed to king Ganda (AD 1017-29).  The other examples that followed viz., Vamana, Adinatha, Javari, Chaturbhuj and Duladeo, are smaller but elaborately designed. The Khajuraho group of temples are noted for lofty terraces (jagati) and functionally effective plans. The sculptural embellishments include, besides the cult images; parivara, parsva, avarana devatas, dikpalas, the apsarases and sura-sundaris which win universal adminration for their ornamentation embrace the winsome grace and charm.

GROUP OF MONUMENTS AT HAMPI

Traditionally known as Pampakshetra of Kishkindha. Hampi is situated on the southern bank of the river Tungabhadra. Once it was the seat of the mighty Vijayanagara empire.
The monuments of Vijayanagara city, also known as Vidyanagara in honour of the sage Vidyaranya were built between AD 1336-1570, from the times of Harihara-I to Sadaviva Raya. A large number of royal buildings were raised by Krishnadeva Raya (AD 1509-30), the greatest ruler of the dynasty. The period witnessed resurgence of Hindu religion, art, architecture in an unprecedented scale. The contemporary chroniclers who came from far off countries - such as Arabia, Italy, Portugal and Russia visited the empire, have left graphic and glowing accounts of the city. It covers an area of nearly 26 sq. km and is stated to be enclosed by seven lines of fortifications.
Extensive remains of the palaces can be seen within innermost enclosure of the ancient Vijayanagara. The various religious and secular structures which include Hindu and Jain temples, audience hall of the king, the magnificent throne platform to witness the festivals and other events, the king's balance (tulabhara) are awe-inspiring.
Temples of this city are noted for their large dimensions, florid ornamentation, bold and delicate carvings, stately pillars, magnificent pavilions and a great wealth of iconographic and traditional depictions which include subjects from the Ramayana and the Mahabharata. The largest extant temple is that of Pampapati (now in worship) was extensively renovated. Its magnificent entrance tower was caused by Krishnadeva Raya. The Vitthala temple is an excellent example of Vijayanagara style. The monilithic statues of Lakshmi, Narasimha and Ganesa are noted for their massiveness and grace. The Krishna temple, Pattabhirama temple, Hazara Ramachandra and Chandrasekhara temple as also the Jaina temples, are other examples. Majority of these temples were provided with widespread bazaars flanked on either side by storyed mandapas. Among secular edifices mention may be made of the Zenana enclosure wherein a massive stone basement of the Queen's palace and an ornate pavilion called 'Lotus-Mahal' are only remnants of a luxurious antahpura. The corner towers of arresting elevation, the Dhananayaka's enclosure (treasury), the Mahanavami Dibba carrying beautifully sculptured panels, a variety of ponds and tanks, mandapas, the elephant's stables and the row of pillared mandapas are some of the important architectural remains of this city.
Recent excavations at the site have brought to light a large number of palatial complexes and basements of several platforms. Interesting finds include a large number of stone images, both in round and relief, beautiful terracotta objects and stucco figures that once embellished the palaces. In addition many gold and copper coins, household utensils, a square stepped-tank (sarovara) at the south-west of Mahanavami Dibba, and a large number of ceramics including the important variety of porcelain and inscribed Buddhist sculptures from sunrise to sunset.

GROUP OF MONUMENTS, PATTADAKAL

Pattadakal was not only popular for Chalukyan architectural activities but also a holy place for royal coronation, 'Pattadakisuvolal'. Temples constructed here mark the blending of the Rekha Nagara Prasada and the Dravida Vimana styles of temple building.
The oldest temple at Pattadakal is Sangamesvara built by Vijayaditya Satyasraya (AD 697-733). It is a simple but massive structure.
Virupaksha temple of the Chalukyan period served as a model for the Rashtrakuta ruler to carve out the great Kailasa at Ellora. The sculptural art of the early Chalukyas is characterised by grace and delicate details. The ceilinig panels of the navagrahas, dikpalas, the dancing Nataraja, the wall niches containing Lingodbhava, Ardhanarisvara, Tripurari, Varahavishnu, Trivikrama bear ample testimony to the sculptor's skill as well as the cult worship in vogue. The narrative reliefs illustrating certain episodes from the Ramayana, Mahabharata, Bhagavata and Panchatantra fitted well with these grand religious edifices.
BRIHADISVARA TEMPLE, THANJAVUR

This celebrated Saiva temple, appropriately called Brihadisvara and Daksinameru, is the grandest creation of the Chola emperor Rajaraja (AD 985-1012). It was inaugurated by the king himself in his 19th regnal year (AD 1009-10)  and named it after himself as Rajesvara Peruvudaiyar. Architecturally, it is the most ambitious structural temple built of granite. The temple is within a spacious inner prakara of 240.90m long (east-west) and 122m broad (north-south), with a gopura at the east and three other ordinary torana entrances on at each lateral sides and the third  at rear. The prakara is surrounded by a double-storeyed malika and parivaralayas.
The sikhara, a cupolic dome, is otagonal and rests on a single block of granite, a square of 7.8m weighing 80tons. The majestic upapitha andadhishthana and common to all the axially placed entities like the ardhamaha and mukha-mandapas and linked to the main sanctum but approached through a north-south transept across the ardha-mandapa which is marked by lofty sopanas. The moulded plinth is extensively engraved with inscriptions by its royal builder who refers to his many endowments, pious acts and organisational events connected to the temple. The brihad-linga within the sanctum is 8.7m high. Life-size iconographic representations on the wall niches and inner passages inlude Durga, Lakshmi, Sarasvati and Bhikshatana, Virabhadra, Kalantaka, Natesa, Ardhanarisvara and Alingana forms of Siva. The mural paintings on the walls of the lower ambulatory inside are finest examples of Chola and later periods.
Sarfoji, a local Maratha ruler, rebuilt the Ganapati shrine. The celebrated Thanjavur school of paintings of the Nayakas are largely superimposed over the Chola murals.

BUDDHIST MONUMENTS AT SANCHI

Sanchi, variously known as Kakanaya. Kakanava, Kakanadabota and Bota-Sriparvata in ancient times, has a singular distinction of having remarkable specimen of Buddhist art and architecture right from the early Mauryan period (c.thirth century BC to twelfth century AD).
Sanchi is famous in the world for stupas, monolithic Asokan pillar, temples, monasteries and sculptural wealth. During Sunga times, several edifices were raised at Sanchi and its surrounding hills. The Asokan stupa was enlarged and faced with stones and decorated with blustrades, staircases and a harmika on the top. The reconstruction of Temple 40 and erection of Stupas 2 and 3 also seem to date back around the same time. In the first century BC the Andhra-Satavahanas, who had extended their sway over the eastern Malwa, caused the elaborately carved gateways to Stupa 1. From the second to fourth century AD Sanchi and Vidisha came under the Kushanas and Kshatrapas and subsequently passed on to the hand of the Guptas. During the Gupta period some temples were built and sculptures were added. Shrines and monasteries were also constructed at the site during seventh and twelfth centuries AD.
Since the fourteenth century Sanchi remained deserted and uncared for till 1818 when General Taylor rediscovered the site, Sir John Marshall established an archaeological museum  in 1919, which was later transformed into the present site museum at Sanchi.

PERSPECTIVES

Definition: Perspective drawing is a system of representing the way that objects appear to get smaller and closer together, the further away they are.

What Does Perspective Look Like?

Imagine driving along a very straight open road - the road, the fences and power-poles all diminishing towards a single spot far ahead of you. That's single-point perspective. Single- or one-point perspective is a simplest method of making objects look three-dimensional. It is often used for interior views or trompe l'oeil (trick-the-eye) effects. Objects must be placed to that the front sides are parallel to the picture plane, with the side edges receding to a single point.


Is that the same as Linear Perspective?

When we talk about perspective drawing, we usually mean linear perspective. Linear Perspective is a geometric method of representing the apparent diminishing of scale as the distance from object to viewer increases. Each set of horizontal lines has its own vanishing point. For simplicity, artists usually focus on correctly rendering one, two or three vanishing points.

One Point Perspective

In one-point perspective, the horizontals and verticals which run across the field of view remain parallel, as their vanishing points are at 'infinity', with horizontals which are perpendicular to the viewer vanish towards a point near the center of the image.

Two Point Perspective

In two point perspective, the viewer is positioned such that objects (such as boxes or buildings) are viewed from one corner, so that two sets of horizontals diminish towards vanishing points at the outer edges of the picture plane, while only verticals remain perpendicular. It is slightly more complex, as both the front and back edges, and side edges, of an object must be diminished towards vanishing points. Two-point perspective is often used when drawing buildings in the landscape.


Three Point Perspective

In three point perspective the viewer is looking up or down so that the verticals also converge on a vanishing point at the top or bottom of the image.


Atmospheric Perspective

Atmospheric perspective is not linear perspective, but rather attempts to use control of focus, shading, contrast and detail to duplicate the visual effect of near objects being crisp and clear, while distant objects may be less distinct and muted.


Commonly used Architectural terms


A

  • Aisle - subsidiary space alongside the body of a building, separated from it by columns, piers, or posts.
  1. raised panel below a window or wall monument or tablet.
  2. open portion of a marine terminal immediately adjacent to a vessel berth, used in the direct transfer of cargo between the vessel and the terminal.
  3. concrete slab immediately outside a vehicular door or passageway used to limit the wear on asphalt paving due to repetitive turning movements.
  • Apse - vaulted semicircular or polygonal end of a chancel or chapel.
  • Arcade - passage or walkway covered over by a succession of arches or vaults supported by columns. Blind arcade or arcading: the same applied to the wall surface.
  • Arch - a curved structure capable of spanning a space while supporting significant weight.
  • Architrave - formalized lintel, the lowest member of the classical entablature. Also the moulded frame of a door or window (often borrowing the profile of a classical architrave).
  • Arris - sharp edge where two surfaces meet at an angle.
  • Articulation - articulation is the manner or method of jointing parts such that each part is clear and distinct in relation to the others, even though joined.
  • Ashlar - masonry of large blocks cut with even faces and square edges.
  • Atrium - (plural: atria) inner court of a Roman or C20 house; in a multi-storey building, a toplit covered court rising through all storeys.


B

  • Bahut - a small parapet or attic wall bearing the weight of the roof of a cathedral or church
  • Ball flower - an architectural ornament in the form of a ball inserted in the cup of a flower, which came into use in the latter part of the 13th, and was in great vogue in the early part of the 14th century.
  • Baluster - small moulded shaft, square or circular, in stone or wood, sometimes metal, supporting the coping of a parapet or the handrail of a staircase; a series of balusters supporting a handrail or coping.

A page of fanciful balusters
  • Barrel vault - an architectural element formed by the extrusion of a single curve (or pair of curves, in the case of a pointed barrel vault) along a given distance
  • Basement - lowest, subordinate storey of building often either entirely or partially below ground level; the lowest part of classical elevation, below the piano nobile.
  • Basilica - originally a Roman, large roofed hall erected for transacting business and disposing of legal matters.; later the term came to describe an aisled building with a clerestory. Medieval cathedral plans were a development of the basilica plan type.
  • Batter - upwardly receding slope of a wall or column.
  • Bays - internal compartments of a building; each divided from the other by subtle means such as the boundaries implied by divisions marked in the side walls (columns, pilasters, etc) or the ceiling (beams, etc). Also external divisions of a building by fenestration (windows).
  • Bay window - window of one or more storeys projecting from the face of a building. Canted: with a straight front and angled sides. Bow window: curved. Oriel: rests on corbels or brackets and starts above ground level; also the bay window at the dais end of a medieval great hall.
  • Belfry Chamber or stage in a tower where bells are hung. The term is also used to describe the manner in which bricks are laid in a wall so that they interlock.
  • Boss - roughly cut stone set in place for later carving.
Also, an ornamental projection, a carved keystone of a ribbed vault at the intersection of the ogives.
  • Bossage - uncut stone that is laid in place in a building, projecting outward from the building, to later be carved into decorative moldings, capitals, arms, etc. Bossages are also rustic work, consisting of stones which seem to advance beyond the surface of the building, by reason of indentures, or channels left in the joinings; used chiefly in the corners of buildings, and called rustic quoins. The cavity or indenture may be round, square, chamfered, beveled, diamond-shaped, or enclosed with a cavetto or listel.
  • Bond - brickwork with overlapping bricks. Types of bond include stretcher, English, header, Flemish, garden wall, herringbone, basket, American, and Chinese.
  • Boutant - type of support. An arc-boutant, or flying buttress, serves to sustain a vault, and is self-sustained by some strong wall or massive work. A pillar boutant is a large chain or jamb of stone, made to support a wall, terrace, or vault. The word is French, and comes from the verb bouter, "to butt" or "abut".
  • Brise soleil - projecting fins or canopies which shade windows from direct sunlight.
  • Bressummer - (literally "breast- beam") - large, horizontal beam supporting the wall above, especially in a jettied building.
  • Bulwark - barricade of beams and soil used in 15th and 16th century fortifications designed to mount artillery. On board ships the term refers to the woodwork running round the ship above the level of the deck. Figuratively it means anything serving as a defence. Dutch loanword; Bolwerk
  • Buttress - vertical member projecting from a wall to stabilize it or to resist the lateral thrust of an arch, roof, or vault. A flying buttress transmits the thrust to a heavy abutment by means of an arch or half-arch.


C

  • Cancellus - (plural: Cancelli) Barriers which correspond to the modern balustrade or railing, especially the screen dividing the body of a church from the part occupied by the ministers hence chancel. The Romans employed cancelli to partition off portions of the courts of law.
  • Cantilever - An unsupported overhang acting as a lever, like a flagpole sticking out of the side of a wall.
  • Casement window - window hung vertically, hinged one side, so that it swings inward or outward.
  • Cauliculus, or caulicole - stalks (eight in number) with two leaves from which rise the helices or spiral scrolls of the Corinthian capital to support the abacus.
  • Cella - the inner chamber of a temple in classical architecture
  • Chalcidicum - in Roman architecture, the vestibule or portico of a public building opening on to the forum, as in the basilica of Eumactria at Pompeii, and the basilica of Constantine at Rome, where it was placed at one end. See: Lacunar.
  • Chandrashala - the circular or horseshoe arch that decorates many Indian cave temples and shrines
  • Chresmographion - chamber between the pronaos and the cella in Greek temples where oracles were delivered.
  • Cincture - ring, list, or fillet at the top and bottom of a column, which divides the shaft from the capital and base.
  • Cinque cento - style which became prevalent in Italy in the century following 1500, now usually called 16th-century work. It was the result of the revival of classic architecture known as Renaissance, but the change had commenced already a century earlier, in the works of Ghiberti and Donatello in sculpture, and of Brunelleschi and Alberti in architecture.
  • Cippus - low pedestal, either round or rectangular, set up by the Romans for various purposes such as military or milestones, boundary posts. The inscriptions on some in the British Museum show that they were occasionally funeral memorials.
  • Circulation - describes the flow of people throughout a building.
  • Cleithral - term applied to a covered Greek temple, in contradistinction to hypaethral, which designates one that is uncovered; the roof of a cleithral temple completely covers it.
  • Coffer - a coffer, in architecture, is a sunken panel in the shape of a square, rectangle, or octagon that serves as a decorative device, usually in a ceiling or vault. Also called caissons, or lacunar.
  • Colarin - (also colarino, collarino, or hypotrachelium) The little frieze of the capital of the Tuscan and Doric column placed between the astragal, and the annulets. It was calledhypotrachelium by Vitruvius.
  • Compluvium - Latin term for the open space left in the roof of the atrium of a Roman house (domus) for lighting it and the rooms round.
  • Coping - the capping or covering of a wall.
  • Cornice - upper section of an entablature, a projecting shelf along the top of a wall often supported by brackets.
  • Cross Springer - block from which the diagonal ribs of a vault spring or start. The top of the springer is known as the skewback.
  • Crypto-porticus - concealed or covered passage, generally underground, though lighted and ventilated from the open air. One of the best-known examples is the crypto-porticus under the palaces of the Caesars in Rome. In Hadrians villa in Rome they formed the principal private intercommunication between the several buildings.
  • cyrto-style - circular projecting portico with columns, like those of the transept entrances of St Paul's cathedral and the western entrance of St Mary-le-Strand, London.[13]


D

  • Diaulos - peristyle round the great court of the palaestra, described by Vitruvius, which measured two stadia (1,200 ft.) in length, on the south side this peristyle had two rows of columns, so that in stormy weather the rain might not be driven into the inner part. The word was also used in ancient Greece for a foot race of twice the usual length.
  • Diazoma - a horizontal aisle in an ancient Greek theater that separates the lower and upper tiers of semi-circular seating and intersects with the vertical aisles.
  • Dikka - Islamic architectural term for the tribune raised upon columns, from which the Koran is recited and the prayers intoned by the Imam of the mosque.
  • Dipteral - temples which have a double range of columns in the peristyle, as in the temple of Diana at Ephesus.
  • Distyle - portico which has two columns between antae, known as distyle-in-antis.
Classical orders from the Encyclopedie.png
  • Doric order - one of the three orders or organisational systems of Ancient Greek or classical architecture characterised by columns which stood on the flat pavement of a temple without a base, their vertical shafts fluted with parallel concave grooves topped by a smooth capitalthat flared from the column to meet a square abacus at the intersection with the horizontal beam that they carried.
  • Dormer - a structural element of a building that protrudes from the plane of a sloping roof surface. Dormers are used, either in original construction or as later additions, to create usable space in the roof of a building by adding headroom and usually also by enabling addition of windows.
  • Dosseret, or impost block - cubical block of stone above the capitals in a Byzantine church, used to carry the arches and vault, the springing of which had a superficial area greatly in excess of the column which carried them.
  • Dromos - entrance passage or avenue leading to a building, tomb or passageway. Those leading to beehive tombs are enclosed between stone walls and sometimes in-filled between successive uses of the tomb. In ancient Egypt the dromos was straight, paved avenue flanked by sphinxes.


E

  • Ephebeum - large hall in the ancient Palaestra furnished with seats, the length of which should be a third larger than the width. It served for the exercises of youths of from sixteen to eighteen years of age
  • Epinaos - open vestibule behind the nave. The term is not found in any classic author, but is a modern coinage, originating in Germany, to differentiate the feature from the opisthodomos, which in the Parthenon was an enclosed chamber.
  • Estrade - French term for a raised platform or dais. In the Levant, the estrade of a divan is called a Sopha, from which comes our word 'sofa'.


F-

 Fanlight - window, semicircular or semi-elliptical in shape, with glazing bars or tracery sets radiating out like an open fan.

  • Feretory - enclosure or chapel within which the ferreter shrine, or tomb (as in Henry VII.'s chapel), was placed.[29]
  • Flushwork - the decorative combination on the same flat plane of flint and ashlar stone. It is characteristic of medieval buildings, most of the survivors churches, in several areas of Southern England, but especially East Anglia. If the stone projects from a flat flint wall, the term is proudwork - as the stone stands "proud" rather than being "flush" with the wall.
  • Flying rib - an exposed structural beam over the uppermost part of a building which is not otherwise connected to the building at its highest point. A feature of H frame constructed concrete buildings and some modern skyscrappers.
  • Foot-stall - literally translation of “pedestal”, the lower part of a pier in architecture.
  • Formeret - French term for the wall-rib carrying the web or filling-in of a vault.


G

  • Gable - a triangular portion of a wall between the edges of a sloping roof
  • Gablets - triangular terminations to buttresses, much in use in the Early English and Decorated periods, after which the buttresses generally terminated in pinnacles. The Early English gablets are generally plain, and very sharp in pitch. In the Decorated period they are often enriched with paneling and crockets. They are sometimes finished with small crosses, but more often with finials.
  • Gadrooning - carved or curved molding used in architecture and interior design as decorative motif, often consisting of flutes which are inverted and curved. Popular during the Italian Renaissance.
  • Gambrel - a symmetrical two-sided roof with two slopes on each side
  • Galletting (also Garretting) - the process in which the gallets or small splinters of stone are inserted in the joints of coarse masonry to protect the mortar joints. They are stuck in while the mortar is wet.
  • Gauged brickwork (also rubbed brickwork) - brickwork constructed of soft bricks rubbed to achieve a fine smooth finish with narrow joints between courses.
  • Gazebo - a freestanding pavilion structure often found in parks, gardens and public areas
  • Geison -  the part of the entablature that projects outward from the top of the frieze in the Doric order and from the top of the frieze course of the Ionic and Corinthan orders; it forms the outer edge of the roof on the sides of a structure with a sloped roof.


H

  • Hip roof - a type of roof where all sides slope downwards to the walls
  • Hyphen - possibly from an older term "heifunon"[35] - a structural section connecting the main portion of a building with its projecting "dependencies" or wings.


J

  • Jagati - a raised surface, platform or terrace upon which an Indian temple is placed
  • Jettying - a building technique used in medieval timber frame buildings in which an upper floor projects beyond the dimensions of the floor below.


K

  • Keystone - the architectural piece at the crown of a vault or arch and marks its apex, locking the other pieces into position.


L

  • Latticework - an ornamental, lattice framework consisting of a criss-crossed pattern
  • Lintel - a horizontal block that spans the space between two supports
  • Loggia - a gallery formed by a colonnade open on one or more sides. The space is often located on an upper floor of a building overlooking an open court or garden.
  • Lunette - a half-moon shaped space, either masonry or void


M

  • Mansard roof (French roof) - a curb hip roof in which each face has two slopes, the lower one steeper than the upper; from the French mansarde after the accomplished 17th-century French architect noted for using (not inventing) this style, François Mansart, d. 1666.
  • Marriage stone - a stone lintel, usually carved, with a marriage date.
  • Modillion - enriched block or horizontal bracket generally found under the cornice and above the bedmold of the Corinthian entablature. It is probably so called because of its arrangement in regulated distances.
  • Monotriglyph - interval of the intercolumniation of the Doric column, which is observed by the intervention of one triglyph only between the triglyphs which come over the axes of the columns. This is the usual arrangement, but in the Propylaea at Athens there are two triglyphs over the central intercolumniation, in order to give increased width to the roadway, up which chariots and beasts of sacrifice ascended.
  • Molding - decorative finishing strip.
  • Mullion - vertical bar of wood, metal or stone which divides a window into two or more parts.
  • Mutule - rectangular block under the soffit of the cornice of the Greek Doric temple, which is studded with guttae. It is supposed to represent the piece of timber through which the wooden pegs were driven in order to hold the rafter in position, and it follows the sloping rake of the roof. In the Roman Doric order the mutule was horizontal, with sometimes a crowning fillet, so that it virtually fulfilled the purpose of the modillion in the Corinthian cornice.


N

  • Niche - in classical architecture is an exedra or an apse that has been reduced in size, retaining the half-dome heading usual for an apse.


O

  • Oillets - arrow slits in the walls of medieval fortifications, but more strictly applied to the round hole or circle with which the openings terminate. The same term is applied to the small circles inserted in the tracery-head of the windows of the Decorated and Perpendicular periods, sometimes varied with trefoils and quatrefoils.
  • Order - An order refers to each of a series of mouldings most often found in Romanesque and Gothic arches.
  • Orthostatae (Greek: ὀρθοστάτης, standing upright) - Greek architecture term for the lowest course of masonry of the external walls of the naos or cella, consisting of vertical slabs of stone or marble equal in height to two or three of the horizontal courses which constitute the inner part of the wall.
  • Orthostyle (Greek: ὃρθος, straight, and στῦλος, a column) - a range of columns placed in a straight row, as for instance those of the portico or flanks of a classic temple.


P

  • Parclose - screen or railing used to enclose a chantry, tomb or chapel, in a church, and for the space thus enclosed.[43]
  • Pavilion (structure) - a free standing structure near the main building or an ending structure on building wings
  • Pedestal (also Plinth)- the base or support on which a statue, obelisk, or column is mounted.
  • Pediment - (Gr. ἀετός, Lat. fastigium, Fr. ponton), in classic architecture the triangular-shaped portion of the wali above the cornice which formed the termination of the roof behind it. The projecting mouldings of the cornice which surround it enclose the tympanum, which is sometimes decorated with sculpture.
  • Pendentive - three-dimensional spandrels supporting the weight of a dome over a square or rectangular base.
  • Peripteral - a temple or other structure where the columns of the front portico are returned along its sides as wings at the distance of one or two intercolumniations from the walls of the naos or cella. Almost all the Greek temples were peripteral, whether Doric, Ionic, or Corinthian
  • Phiale - a building or columned arcade around a fountain
  • Pilaster - a slightly-projecting column built into or applied to the face of a wall.
  • Planceer or Planchier - building element sometimes used in the same sense as a soffit, but more correctly applied to the soffit of the corona in a cornice.
  • Plinth - the base or platform upon which a column, pedestal, statue, monument or structure rests.
  • Poppy heads - finials or other ornaments which terminate the tops of bench ends, either to pews or stalls. They are sometimes small human heads, sometimes richly carved images, knots of foliage or finials, and sometimes fleurs-de-lis simply cut out of the thickness of the bench end and chamfered. The term is probably derived from the French poupee doll or puppet used also in this sense, or from the flower, from a resemblance in shape.
  • Porte-cochère - a porch- or portico-like structure at a main or secondary entrance to a building through which a horse and carriage (or motor vehicle) can pass in order for the occupants to alight under cover, protected from the weather.
  • Portico - a series of columns or arches in front of a building, generally as a covered walkway.
  • Prick post - old architectural name given sometimes to the queen posts of a roof, and sometimes to the filling in quarters in framing.
  • Prostyle - free standing columns that are widely spaced apart in a row. The term is often used as an adjective when referring to a portico which projects from the main structure.
  • Pseudodipteral - a temple which is like the dipteral temple except for omitting the inner row of columns.
  • Pseudo-peripteral - temple in which the columns surrounding the naos have had walls built between them, so that they become engaged columns, as in the great temple at Agrigentum. In Roman temples, in order to increase the size of the celia, the columns on either side and at the rear became engaged columns, the portico only having isolated columns.
  • Pteroma - in Classical architecture, the enclosed space of a portico, peristyle, or stoa, generally behind a screen of columns.
  • Pycnostyle - term given by Vitruvius to the intercolumniation between the columns of a temple, when this was equal to 11/2 diameters.


Q

  • Quadriporticus - also known as a quadriportico - a four-sided portico. The closest modern parallel would be a colonnaded quadrangle.


R

  • Rear vault - vault of the internal hood of a doorway or window to which a splay has been given on the reveal, sometimes the vaulting surface is terminated by a small rib known as the scoinson rib, and a further development is given by angle shafts carrying this rib, known as scoinson shafts.
  • Return - receding edge of a flat face. On a flat signboard, for example, the return is the edge which makes up the board's depth.
  • Revolving Door - an entrance door for excluding drafts from an interior of a building. A revolving door typically consists of three or four doors that hang on a center shaft and rotate around a vertical axis within a round enclosure.
  • Rib vault - The intersection of two or three barrel vaults
  • Roof comb - the structure that tops a pyramid in monumental Mesoamerican architecture


S

  • Sommer or Summer - girder or main "summer beam" of a floor: if supported on two storey posts and open below, also called a "bress" or "breast-summer". Often found at the centerline of the house to support one end of a joist, and to bear the weight of the structure above.
  • Spandrel - in a building fascade, esp. glass, the section covering floor partions.
  • Squinch - a piece of construction used for filling in the upper angles of a square room so as to form a proper base to receive an octagonal or spherical dome.
  • Squint - an opening, often arched, through an internal wall of a church providing an oblique view of the altar.


  • Timber framing - is the method of creating structures using heavy timbers jointed by pegged Mortise and tenon joints.
  • Transom - window or element above a door but within its vertical frame.
  • Tympanum (architecture) -  the triangular space enclosed between the horizontal cornice of the entablature and the sloping cornice of the pediment. Though sometimes left plain, it is often decorated.

from wikipedia ..