no be small thing o; to dey write ur mind a day at a time as the thing dey come.
i pick up dis habit to see how d thing be sef. u go open ur box everytime and you go see say one person just dey load u wit all manner of mails i come dey wonder when dem dey get time siddon write the thing cos i don try to dey write everyday but d thing no just pure. maybe wit time sha.
we go catch 2moro(hopefully)
na me Demola
The Architect Writer e.t.c
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Thursday, April 5, 2007
Monday, March 26, 2007
Re: FG and HND.(to guardian papers)
Sir,
I write in reaction to a piece I read on this page last week Tuesday, March 20th, 2007.
I appreciate the intention of Government in trying to make HND and B. Sc. to be at par with one another; I would just like to add that some grey areas still need immediate attention.
I currently am running a PGD (post-graduate diploma) program just for the simple reason that I am an HND holder interested in a Master’s Degree. I would like to know the future of PGD as far as this new policy is concerned.
Presently PGD is for HND graduates who want to get a Master’s Degree and University graduates who graduated with Third Class or Pass; it usually lasts for about 3 to 4 semesters depending on course of study.
My concern is that: If with implementation of this new policy HND holders can proceed directly for Master’s and PGD becomes irrelevant (for HND holders that is);
- Will present PGD students be allowed to finish their programs before going on for Master’s or what?
- Will PGD henceforth become only for “Third Class” and “Pass” University Graduates?
- When exactly will this policy be implemented?
On a final note, just as John the Baptist sent his Disciples to ask of Jesus if they were to expect another Messiah; we ask our Education Minister: “Is this policy the “Messiah” we have been expecting, or do we expect another.
ABEJOYE ADEMOLA
LAGOS.
I write in reaction to a piece I read on this page last week Tuesday, March 20th, 2007.
I appreciate the intention of Government in trying to make HND and B. Sc. to be at par with one another; I would just like to add that some grey areas still need immediate attention.
I currently am running a PGD (post-graduate diploma) program just for the simple reason that I am an HND holder interested in a Master’s Degree. I would like to know the future of PGD as far as this new policy is concerned.
Presently PGD is for HND graduates who want to get a Master’s Degree and University graduates who graduated with Third Class or Pass; it usually lasts for about 3 to 4 semesters depending on course of study.
My concern is that: If with implementation of this new policy HND holders can proceed directly for Master’s and PGD becomes irrelevant (for HND holders that is);
- Will present PGD students be allowed to finish their programs before going on for Master’s or what?
- Will PGD henceforth become only for “Third Class” and “Pass” University Graduates?
- When exactly will this policy be implemented?
On a final note, just as John the Baptist sent his Disciples to ask of Jesus if they were to expect another Messiah; we ask our Education Minister: “Is this policy the “Messiah” we have been expecting, or do we expect another.
ABEJOYE ADEMOLA
LAGOS.
western Architecture(futa pgd1)
A pendentive is a constructive device permitting the placing of a circular dome over a square room or an elliptical dome over a rectangular room. The pendentives, which are triangular segments of a sphere, taper to points at the bottom and spread at the top to establish the continuous circular or elliptical base needed for the dome. In masonry the pendentives thus receive the weight of the dome, concentrating it at the four corners where it can be received by the piers beneath. Prior to the pendentive's development, the device of corbelling or the use of the squinch in the corners of a room had been employed. The first attempts at pendentives were made by the Romans and full achievement of the form was reached in Hagia Sophia at Constantinople (6th cent.) by the Eastern Roman Byzantine Empire. Pendentives were commonly used in Renaissance and baroque churches, with a drum often inserted between the dome and pendentives.
A squinch in architecture is 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. It was the primitive solution of this problem, the perfected one being eventually provided by the pendentive. Squinches may be formed by masonry built out from the angle in corbelled courses, by filling the corner with a vise placed diagonally, or by building an arch or a number of corbelled arches diagonally across the corner.
In Islamic architecture, especially in Persia, where it may have been invented, the squinch took the form of a succession of corbelled stalactite-like structures known as muqarnas. It was also commonly used in the early churches of Europe and the East.
Athena Review, Vol. 4, No. 2
________________________________________
Gothic Architecture
________________________________________
Development of Gothic architecture: Gothic sculpture is linked to the rise in Gothic architecture, which began at the Abbey Church of Saint-Denis (fig.2) in about AD 1130, then spreading to the cathedrals of Sens (1140), Noyons (1150), Senlis (1151), Paris (1163), Laon (1165), and Chartres (1194). By the 13th century, Gothic architecture and sculpture had become fully developed in the cathedrals of Amiens and Reims, and spread to major towns in Britain, Iberia, and Germany.
The Romans, who were influenced by the techniques of the Etruscans, began the development of a mature vaulting system in the 1st century AD, which included both the barrel and the groined vault (fig.1), The groined vault is the intersection of two barrel vaults, producing a surface that has arched openings on its four sides, and thus divides the area to be vaulted into squares known as bays. Rediscovered by Romanesque architects, this type of vault became the basis for a more complex and varied type of vault construction in the Middle Ages (Bony 1983; Fitchen 1961).
The main shift of the Gothic era occurred from the older, heavier style of Romanesque architecture, based on a solid stone vault, to the lighter, elevated Gothic style based on both the Romanesque and Islamic use of the pointed arch and cross-ribbed vault. This shift coincided with widespread rebuilding of many older Romanesque cathedrals which had been destroyed by fire. The different phases of Gothic architectures in northern France progressed from the Early Gothic to the High Gothic and Rayonnant styles and the eventual Flamboyant style.
[Fig.1: Diagram of Romanesque vs. Gothic vaults].
The two main structural innovations of Gothic architecture were pointed arches and ogival or ribbed vaulting (Bony 1983). By the 12th century, architects realized the superiority of the groined vault compared to the barrel vault and started to add ribs, which were used to support the weight of the vault. Cross-ribbed vaulting functions in much the same manner as plain groined vaulting, except that it is reinforced with ribs, and can be made much thinner. The vault uses a diagonally reinforced arch resting on thin pillars, permitting the walls to be hollowed out (and thus, filled with windows), while also allowing the vaults to extend higher. At Amiens, for example, the introduction of an extra transverse rib between the diagonal ribs of the vault allowed for a lighter and more elevated interior. Such light, skeletal construction employing cross ribbed-vaults and other thin carrying structures (interior columns, exterior flying buttresses), replaced the massiveness of Romanesque vaults. This had the revolutionary effect of opening up the interior space of a large building such as a church. As the Gothic era progressed, vaulting became increasing complex and saw the development of more varied forms such as the quatri-partite vault and the sexpartite vault. Slender columns and stained glass windows also gave the church a more spacious and heightened effect (fig.3).
Initially occurring at the Abbey Church of Saint-Denis, architects now linked the transept and the choir together, often reducing the size of the transept, and creating single or double ambulatories with radiating chapels and side aisles (fig.2). The church exterior was also characterized by double span flying buttresses and the light admitting rose window along with a wealth of sculpture that became much more realistic as the Middle Ages progressed. Increasing amounts of tracery, pinnacles, and gargoyles also became another common feature.
Sources of architectural influence: The new Gothic architecture in France had its roots in older Romanesque forms of England, Italy, and Normandy. The origin of the Gothic style has a strong Norman influence in the cathedrals of Jumièges, Evreux, and Lesay, which inspired several architects in the Paris region. By the late 11th century, there had already been efforts to increase the height of Norman churches at Caen, Bayeux, Jumièges, or Mont-Saint-Michel.
[Fig.2: Saint Denis ambulatory (1140-1144), showing ribbed vaults supported by a slender column (photo: Athena Review)].
By the early 12th century, prototypes of ribbed vaults and pointed arches had developed at the Rivolta d'Adda in Italy (1100), Durham cathedral in England (1093), and Jumièges in Normandy (ca.1120-1125). Some scholars also suggest that the ribbed vault may have first appeared at the Church of Sant' Ambrogio in Milan (1060). As noted, ribbed vaulting may have originated in Islamic Spain, where it had appeared as early as the second half of the 10th century (Bony 1983).
Likewise, the pointed arch has its origin in the Islamic architecture of the near East of the 8th century which then spread rapidly throughout Egypt and Tunisia into Moorish Spain and towards Italy. According to one theory (Bony 1983), the pointed arch may have been used on the island of Sicily, which soon spread to France via the Norman Conquests of the island in the 1060s and 1070s.
The spread of Gothic architecture from northern France to other regions occurred partly through the movement of architects and master masons or sculptors to new building projects or, through widespread competition between bishops, monasteries, and other patrons of cathedrals (see Funding the Construction of Gothic Cathedrals by Wolfgang Schöller). The Gothic style was quickly absorbed in England, which then had political ties with France. Durham cathedral, consecrated in AD 1133 (which had already pioneered the use of ribbed vaults) showed continuing early Gothic influences in its construction. The main breakthrough in England occurred in the 1170s with the cathedrals of Canterbury, Lincoln, and slightly later at Salisbury. Soon the first Gothic cathedrals were erected on the Iberian peninsula, starting in the 1190s at Evora in Portugal, and from the 1220s at Léon, Burgos, and Toledo in Spain.
The influence on cathedral art within the territories of present-day Germany, the Netherlands, and Italy started slightly later at about 1230-50, although some earlier buildings had already introduced initial elements of the Gothic style. Whereas Gothic architecture had difficulty establishing a secure foothold in Italy, with its artistic traditions inspired by the classical style, it had an enormous impact in Germany, which eventually took over the leading role as an innovative center of the Gothic tradition. As in England, where also specific, but more nationally restricted Gothic styles developed, the German late Gothic art survived into the 16th century.
[Fig.3: Nave and choir of Noyon cathedral, showing the increased height of the Gothic style (photo: Athena Review)].
References:
Bony, J. 193. French Gothic Architecture of the 12th and 13th centuries. Berkeley, Los Angeles, and London, University of California Press.
Fitchen, J. 1961. The Construction of Gothic Cathedrals: A Study of Medieval Vault Erection. Oxford, Oxford University Press.
________________________________________
A squinch in architecture is 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. It was the primitive solution of this problem, the perfected one being eventually provided by the pendentive. Squinches may be formed by masonry built out from the angle in corbelled courses, by filling the corner with a vise placed diagonally, or by building an arch or a number of corbelled arches diagonally across the corner.
In Islamic architecture, especially in Persia, where it may have been invented, the squinch took the form of a succession of corbelled stalactite-like structures known as muqarnas. It was also commonly used in the early churches of Europe and the East.
Athena Review, Vol. 4, No. 2
________________________________________
Gothic Architecture
________________________________________
Development of Gothic architecture: Gothic sculpture is linked to the rise in Gothic architecture, which began at the Abbey Church of Saint-Denis (fig.2) in about AD 1130, then spreading to the cathedrals of Sens (1140), Noyons (1150), Senlis (1151), Paris (1163), Laon (1165), and Chartres (1194). By the 13th century, Gothic architecture and sculpture had become fully developed in the cathedrals of Amiens and Reims, and spread to major towns in Britain, Iberia, and Germany.
The Romans, who were influenced by the techniques of the Etruscans, began the development of a mature vaulting system in the 1st century AD, which included both the barrel and the groined vault (fig.1), The groined vault is the intersection of two barrel vaults, producing a surface that has arched openings on its four sides, and thus divides the area to be vaulted into squares known as bays. Rediscovered by Romanesque architects, this type of vault became the basis for a more complex and varied type of vault construction in the Middle Ages (Bony 1983; Fitchen 1961).
The main shift of the Gothic era occurred from the older, heavier style of Romanesque architecture, based on a solid stone vault, to the lighter, elevated Gothic style based on both the Romanesque and Islamic use of the pointed arch and cross-ribbed vault. This shift coincided with widespread rebuilding of many older Romanesque cathedrals which had been destroyed by fire. The different phases of Gothic architectures in northern France progressed from the Early Gothic to the High Gothic and Rayonnant styles and the eventual Flamboyant style.
[Fig.1: Diagram of Romanesque vs. Gothic vaults].
The two main structural innovations of Gothic architecture were pointed arches and ogival or ribbed vaulting (Bony 1983). By the 12th century, architects realized the superiority of the groined vault compared to the barrel vault and started to add ribs, which were used to support the weight of the vault. Cross-ribbed vaulting functions in much the same manner as plain groined vaulting, except that it is reinforced with ribs, and can be made much thinner. The vault uses a diagonally reinforced arch resting on thin pillars, permitting the walls to be hollowed out (and thus, filled with windows), while also allowing the vaults to extend higher. At Amiens, for example, the introduction of an extra transverse rib between the diagonal ribs of the vault allowed for a lighter and more elevated interior. Such light, skeletal construction employing cross ribbed-vaults and other thin carrying structures (interior columns, exterior flying buttresses), replaced the massiveness of Romanesque vaults. This had the revolutionary effect of opening up the interior space of a large building such as a church. As the Gothic era progressed, vaulting became increasing complex and saw the development of more varied forms such as the quatri-partite vault and the sexpartite vault. Slender columns and stained glass windows also gave the church a more spacious and heightened effect (fig.3).
Initially occurring at the Abbey Church of Saint-Denis, architects now linked the transept and the choir together, often reducing the size of the transept, and creating single or double ambulatories with radiating chapels and side aisles (fig.2). The church exterior was also characterized by double span flying buttresses and the light admitting rose window along with a wealth of sculpture that became much more realistic as the Middle Ages progressed. Increasing amounts of tracery, pinnacles, and gargoyles also became another common feature.
Sources of architectural influence: The new Gothic architecture in France had its roots in older Romanesque forms of England, Italy, and Normandy. The origin of the Gothic style has a strong Norman influence in the cathedrals of Jumièges, Evreux, and Lesay, which inspired several architects in the Paris region. By the late 11th century, there had already been efforts to increase the height of Norman churches at Caen, Bayeux, Jumièges, or Mont-Saint-Michel.
[Fig.2: Saint Denis ambulatory (1140-1144), showing ribbed vaults supported by a slender column (photo: Athena Review)].
By the early 12th century, prototypes of ribbed vaults and pointed arches had developed at the Rivolta d'Adda in Italy (1100), Durham cathedral in England (1093), and Jumièges in Normandy (ca.1120-1125). Some scholars also suggest that the ribbed vault may have first appeared at the Church of Sant' Ambrogio in Milan (1060). As noted, ribbed vaulting may have originated in Islamic Spain, where it had appeared as early as the second half of the 10th century (Bony 1983).
Likewise, the pointed arch has its origin in the Islamic architecture of the near East of the 8th century which then spread rapidly throughout Egypt and Tunisia into Moorish Spain and towards Italy. According to one theory (Bony 1983), the pointed arch may have been used on the island of Sicily, which soon spread to France via the Norman Conquests of the island in the 1060s and 1070s.
The spread of Gothic architecture from northern France to other regions occurred partly through the movement of architects and master masons or sculptors to new building projects or, through widespread competition between bishops, monasteries, and other patrons of cathedrals (see Funding the Construction of Gothic Cathedrals by Wolfgang Schöller). The Gothic style was quickly absorbed in England, which then had political ties with France. Durham cathedral, consecrated in AD 1133 (which had already pioneered the use of ribbed vaults) showed continuing early Gothic influences in its construction. The main breakthrough in England occurred in the 1170s with the cathedrals of Canterbury, Lincoln, and slightly later at Salisbury. Soon the first Gothic cathedrals were erected on the Iberian peninsula, starting in the 1190s at Evora in Portugal, and from the 1220s at Léon, Burgos, and Toledo in Spain.
The influence on cathedral art within the territories of present-day Germany, the Netherlands, and Italy started slightly later at about 1230-50, although some earlier buildings had already introduced initial elements of the Gothic style. Whereas Gothic architecture had difficulty establishing a secure foothold in Italy, with its artistic traditions inspired by the classical style, it had an enormous impact in Germany, which eventually took over the leading role as an innovative center of the Gothic tradition. As in England, where also specific, but more nationally restricted Gothic styles developed, the German late Gothic art survived into the 16th century.
[Fig.3: Nave and choir of Noyon cathedral, showing the increased height of the Gothic style (photo: Athena Review)].
References:
Bony, J. 193. French Gothic Architecture of the 12th and 13th centuries. Berkeley, Los Angeles, and London, University of California Press.
Fitchen, J. 1961. The Construction of Gothic Cathedrals: A Study of Medieval Vault Erection. Oxford, Oxford University Press.
________________________________________
Thursday, March 22, 2007
today 220307
Jhazmin (3/21/2007 8:29:54 AM): Bible researchers interviewed Hausa, Ibo & Yoruba folks to know what they would rather change in the bible if they were given the chance. The Hausa man said "walahi, the adulteress whom Jesus asked to go should have been stoned .." The Ibo man said ,"Nna, I can't understand why Judas returned the money after selling Jesus . In short he is not a good businessman. " The Yoruba man said ,"Jesus should have waited just one more day before raising Lazarus from the dead. We had already paid for the 'aso-ebi'. At least he should have allowed us enjoy the 'owambe' before performing His miracles. DON'T ASPIRE TO CHANGE ANYTHING IN THE BIBLE. RATHER LET THE BIBLE CHANGE YOU TO REFLECT GOD'S GLORY Do have a stress-free day
Jhazmin (3/22/2007 8:12:59 AM): Facts in the World ........ nice facts Fact 1: You cannot touch all your teeth with your Tongue Fact 2: After reading the first fact, all fools try it. Fact 3: Fact1 is false Ha Ha Ha Ha Ha.................. Fact 4: Now u are laughing !!! bcoz u became a fool !!! Fact 5: you want to fool ur friends also.. so forward this soon
Jhazmin (3/22/2007 8:12:59 AM): Facts in the World ........ nice facts Fact 1: You cannot touch all your teeth with your Tongue Fact 2: After reading the first fact, all fools try it. Fact 3: Fact1 is false Ha Ha Ha Ha Ha.................. Fact 4: Now u are laughing !!! bcoz u became a fool !!! Fact 5: you want to fool ur friends also.. so forward this soon
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