Medieval Construction

Until recently, studies in the architectural history of medieval and early modern Europe have assumed an all-male labor force on the construction site and in the related building trades.  Historical chronicles and manuscript illuminations of construction sites support this notion, purporting the total exclusion of women from this complex industry.  This chapter demonstrates the true nature of women's contribution to construction sites from the 13th to the 17th centuries in western Europe, uncovering a wide range of occupations in which they engaged: poor women hired for manual labor, women working as slaves, women working with their husbands and fathers in the building trades, widows continuing the workshops of their deceased husbands, and women supplying building materials for particular sites.  There is a history to be told of women's repeated participation in and subsequent denial from working in the building trades that echoes a theme between towns and across language barriers and indicates a common experience shared by women in this era.

The mendicant orders had a profound impact on urban space.  Their focus on the externalization of religion through outdoor preaching meant that initially church spaces for the laity were not essential; as a result, the churches of the friars were erected in episodic phases.

This essay follows the historical development of the construction technique known as "a tufelli", from its first appearance at the end of the XII century, until its consumption at the end of the second half of the XV century, focusing on an area around the city of Rome which appeared to be linked by political, administrative and economic ties. The analysis of the monuments, fully documented with original drawings and photographs, have allowed the author to identify local influences in the inspiration and employ of this technique, and to advance new suggestions for its conservation and restoration.

The building of the Cistercian abbey of Tarouca was initiated in 1152 and the church was consecrated in 1169. In 1834 the monastery was secularised.
The inside quietude and the formal and semantic expression of the church corresponds to the monastic mentality of the first local Cistercians.
The investigations and the profuse recording of measures carried out in the church enable us to identify the use of an orthogonal modular structure as methodological principle for its architectural composition. The unit of linear measure adopted was the old king's foot (“pied du roi”). The fundamental module is 8 king's feet sideways.
As we can verify, the plan of the Tarouca temple yields to the usual proportionateness of the Cistercian churches following the Bernardin model.

En la primera parte de la "General estoria" de Alfonso X leemos un relato completo de los hechos de la reina Semíramis (Génesis, libro IV, capítulos XXI-XXX). Los alfonsíes toman de Orosio y de Godofredo de Viterbo la mayoría de las informaciones que, como es habitual en el taller, son modificadas y reescritas en una nueva narración. La figura de la reina se construye en torno a dos aspectos principales: su delicada situación política como reina viuda y regente, madre de un único heredero enfermo y su labor extraordinaria de mecenas en la
reconstrucción de Babilonia. El análisis de los procedimientos de reescritura de las fuentes en la "estoria" muestra el doble objetivo que persiguen los castellanos: primero, el de señalar el cuidado de las infraestructuras del reino y el desarrollo del mecenazgo arquitectónico civil como actividades fundamentales de gobierno, del rey o de la reina, y, segundo, justificar las duras y, en ocasiones, crueles decisiones a las que los reyes y las reinas deben enfrentarse tanto en situación de guerra como frente a un conflicto político o familiar.

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Dans la première partie de la "General estoria" du roi Alphonse X, nous trouvons un récit complet des faits de la reine Sémiramis (Genèse, livre IX, chapitres XXI-XXX). Les alphonsins puisent chez Orose et Godefroi de Viterbe la majorité des informations qui, comme c'est l'usage dans l'atelier royal, sont modifiées et réécrites en une narration nouvelle. La figure de la reine qui émerge ainsi se construit à partir de deux aspects principaux : sa situation politique délicate en tant que reine, mère veuve et régente d'un unique héritier malade, et son travail extraordinaire de mécène dans la reconstruction de Babylone. L'analyse des procédés de réécriture des sources dans l'"estoria" montre le double objectif poursuivi par les Castillans : d'une part, montrer l'attention apportée aux infrastructures du royaume et le développement du mécénat de l'architecture civile comme actes fondamentaux d'un gouvernement, que ce soit celui d'un roi ou d'une reine ; d'autre part, justifier les décisions dures, voire cruelles auxquelles rois et reines sont amenés, tant en situation de guerre que face à un conflit politique ou familial.

El 5 de febrero de 1483 se colocaba la primera piedra
para la construcción de la Lonja de Valencia, el edificio que debería representar los ideales de la próspera burguesía mercantil valenciana en un momento de incertidumbre sobre el futuro del comercio en todo el Mediterráneo. Como suele ocurrir en gran parte de la arquitectura tardogótica, el mero análisis formal o compositivo es insuficiente para valorar la obra en toda su complejidad. Esto es patente, sobre todo, con las bóvedas de la Sala de Contratación (1483–1498) Nos encontramos ante uno de los primeros ejemplos de rampante redondo, con un perfil muy pronunciado que a simple vista se aproxima a una bóveda baída. Sin embargo, tras esta apariencia casi esférica se esconde una geometría muy particular de la que nadie parece haberse ocupado en detalle hasta la fecha.

During decades of archaeological investigations at the monastery of St. John in Müstair, a World Heritage site located in the canton of Grisons, Switzerland, more than 5000 mortar samples dated between about AD 775 and AD 1800 have been recovered. The site also features the remains of five mechanical mortar mixers dating from the 8th to the 10th century. This monastery acts as a case study to recount materials and methods in medieval and early modern construction sites. The proposed paper will focus on the earliest construction phase, which has been dated by dendrochronology between AD 775 and 788. A large number of archaeological features can be attributed to the Carolingian construction site: trenches, post-holes, fills, deposits of lime and plaster, as well as imprints on soil and mortar. They offer insights into the organization of the building site and the progression of the work. The petrographic analyses of mortars and raw materials further complement and expand our knowledge of Carolingian building techniques, so that different mortar groups have been identified with different petrographic characteristics.

Bei einer Rettungsgrabung auf der Parzelle Nr. 13 in Češnovice wurde ein rechteckiges Objekt mit Eingang entdeckt, das als Keller mit Eingangsrampe interpretierbar ist. Dieser Keller gehorte wahrscheinlich zu einem Dorfhaus, das aufgrund der archaologischen Funde in das 14. bis 15. Jh. datierbar ist. Das durch einen Brand zerstorte Haus kann hypothetisch in die Jahre zwischen 1460 und 1492 datiert werden. Es ist moglich, dass das Haus schon im Spatmittelalter mit seiner Dachtraufe zur heutigen Strase orientiert war, eine ganz ungewohnliche Losung. Wenn wir einen quadratischen Querschnitt des Kellers mit Eingagnsrampe annehmen, wurde ihre Flache 24 m2 erreichen. Die Tiefe von max. 1 m belegt, dass es sich um einen Halbkeller handelt. Der vertiefte Teil des Kellers bestand aus einer Holzkonstruktion, wahrscheinlich einer Rahmenkonstruktion. Das belegen viele Huttenlehmfragmente mit vielen Holzabdrucken, die auserdem auch aus einer Decke stammen – dazu entsprechen zahlreiche Huttenlehmfragmente mit den Abdrucken von Rundholzern. Ein einzigartiges Fragment (Abb. 10:4) belegt in einer Ecke uberkammte, mit einer Sage geschnittene Rundholzer, wobei es sich um den ersten Beleg fur die Anwendung einer Sage im dorflichen Milieu in Bohmen und Mahren.

A euritmia arquitectónica resulta de um desenho assente em factores conjugados de número e medida. As pesquisas efectuadas em diferentes exemplos de antigas construções religiosas no país – catedrais, mosteiros e conventos – testemunham a aplicação atenta e consciente desses preceitos básicos de racionalidade e estética no seu traçado morfológico.
    Como propósito deste colóquio temático, visa-se suscitar o interesse por um saber técnico específico do domínio da Arquitectura, ainda pouco valorizado e explorado em Portugal e a exigir maior debate e aprofundamento críticos. A determinação da métrica adoptada num edifício de outrora é de importância decisiva para o investigador da Construção. Na sua utilidade e imprescindibilidade, o conhecimento e o respeito pelos princípios geométricos essenciais (regularidade, ordem e proporção) possibilitam um acertado juízo da obra e garantem conclusões significativas acerca da integralidade e coerência tridimensional dos espaços gerados. Auxiliam, como ferramentas de trabalho, a fixar os pontos necessários para eventuais e ponderadas intervenções de restauro ou de projectos de reconstrução histórica ou de ampliação contemporânea.
    A análise e a discussão especializadas desta matéria congregam estudiosos de diversas áreas disciplinares, sobretudo arquitectos, engenheiros e historiadores.

L’installation progressive des papes et de la curie pontificale à Avignon ainsi que les ravages des guerres modifient les formes de l’habitat de la région avignonnaise. La papauté prend alors des décisions drastiques pour démolir des bâtiments ou des hameaux susceptibles de nuire à sa politique de défense du territoire ou entreprend les réparations nécessaires à leur mise en sécurité. Cette politique de contrôle des fortifications menée par les papes et leurs officiers territoriaux favorise l’affirmation du pouvoir pontifical. On constate dans le même temps des évolutions de formes et de fonctions de l’habitat intimement liées aux choix résidentiels des grandes familles seigneuriales qui conduisent à la disparition des modèles les plus vétustes et obsolescents. Les quelques marques et traces qui subsistent de ces bâtiments sont interrogées selon des méthodes pluridisciplinaires qui retracent les étapes de rénovations ou de démolitions afin d’étudier le disparu, l’invisible.

Trois quartiers fondés au XIIIe siècle à Perpignan : Saint‐Matthieu, Saint‐Jacques et La Réal, se caractérisent par leurs élévations en terre crue massive, reconnues par l’archéologie des élévations. L’étude des archives a précisé la chronologie et les modalités de leur construction, depuis l’attribution des terrains à bâtir, en îlots réguliers, jusqu’aux transformations au long des siècles. Le rôle des Templiers et celui du roi dans le lotissement de ces quartiers a été mis en lumière. La connaissance de l’implantation des îlots, des dimensions des maisons, de leur mode de construction et de leur agencement intérieur permet d’approcher la formation de quartiers populaires d’artisans et de néo‐urbains, parmi lesquels furent installés les juifs du call.

The important archives available allow to explain the development of the city of Argentan, from its beginning as a castle controlling a cross roads and the river Orne, till the end of the middle Ages. They also permit to knovv the political évolution, the social structures and the economy of this small Normandy city. In that context, the different local institutions - lords, urban organisation and parishes -become real through buildings - castle, city walls, churches and hospitals, always rebuilt from the 13* to the 15 century. The organisation of those works depends on the institution which is building. The decision, the direction and the following of those works are explained for churches, hospitals and the castle. The question of materials - how they are chosen and moved to the building area, where they are from, which quality - permit to discover a good exploitation of local resources. Building workers. Mainly from the close area, are able to work on différent kind of buildings and to do very different operations on the building and also have good technical capacities, learned in the family.

Art historians agree that the court of the Valois Kings and princes did much to support artistic and architectural creation at the end of the 14th century. The uneasy peace which followed the signing of the treaty of Brétigny (1361) allowed Charles V then Charles VI to launch a great number of ambitious projects in Paris. They renewed and developed buildings dating from the reigns of their predecessors Philip Augustus, Louis IX and Philip the Fair. Charles V fortified the northern extension of the city and worked on the Bastille which guarded access from the east He also renovated the Louvre and the Palais de la Cité while guarding a particular place in his heart for his Paris residence , the Hôtel Saint-Paul . His crowning achievement however was the completion of the donjon of Vincennes and the construction of its outer defences.
Major projects were set in motion by the great Royal princes: Jean, Duke de Berry, Philip the Bold, Louis of Anjou and Louis of Orléans. Major provincial towns saw the construction of sumptuous buildings displaying the glory of the reigning family. Paris, centre of power par excellence, also benefited from their prodigality. The younger princes undertook to restore their private mansions for example. Thus the emergence of the Valois dynasty and the renewed importance of Royal power was made manifest in stone. The King encouraged great figures beyond the Valois family, Beauvais and La Grange for example, to take an active part in the revival and the enrichment of Parisian architecture, followed thereafter by the entire aristocracy, both lay and church.