From the concrete structure of the Baroque - amazonia.fiocruz.br

Abstract The Baroque has been traditionally a style minimized by its tendency to decoration and its lack of the systematic. Gradually it has left demonstrating that this was a prejudice and that the architectural values were of first magnitude, comparable to the biggest landmarks of classic styles. As for the structural aspects we want Barlque demonstrate that they overcome to as much as it was made previously by their space wealth, their economy of means and the intelligence of their solutions.

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Somehow they represent an antecedent of the shell architecture that so much it would make an exhibition with the Reinforced Concrete and the analytic techniques of dimensioning. With less means but with great intuition, the Baroque, invented forms of a complexity that today is still difficult to understand, at least geometrically. Paradoxically there are no investigations that help us to clarify the structural miracle of the Baroque since up to now it has been in historians' hands and not those of architects or engineers. This article tries to open the road in this unexplored field. Introduction To speak of shell structures in the mathematical and modem sense of the term, in designs previous to and in materials different to the reinforced concrete it seems an excessive license.

However, since in the XIX century the brick vaults already demonstrated a good capacity to adopt capricious forms in absence of flexions and with the brick and the mortar like only materials. It is logical to think that the construction of this shells is previous to their analytic tools, so previous justification that it can be extrapolated to the Byzantine construction in that churches like Serlio and Bacchus or Sta. Sofia, they have been able to be designed like membranes, with great precision if we compare them with the results From the concrete structure of the Baroque by Finite Elements.

However the first properly shells concrette not found until the Baroque architecture, and not in fact in the Italian where architects like Brunelleschi, Miguel Angel or Palladia did great achievements to overcome the structural challenges of the. It is Jater, when the economy of means that the XVllI Century imposed to the hte, when 3 great quantity of apprentices, that were formed in San Pedro's factory, were disseminated by Europe to create some national styles, rich ill way, splendid of concept and good structurally. The Baroque structures The new generation that was in Italy, following Miguel Angelo and Borromini guidelines, preferred to materialize their structures in nerves and complex 'laces very of the medieval style.

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Guarini Fig. Bernardino in Chieri by Vittone Fig. Charles in Vienna Fischer von Erlach. Who moved to the north they preferred to still use continuous forms more complex than the mentioned nerves, although link under a dense ornamental layer of stuccos and paintings, Fischer von Erlach, patriarch of all them, in Austria, the family Dientzenhofer in Prague and Neuman in Gennany are some few ones of among the dozens of architects that we could mention that, with its differences they dedicated to create suggestive and complex spaces with minimum structures. While Fischer was devoted to explore the elliptic spaces Fig. Zimmerman gets geometries that don't have recognisable forms Fig, 6.

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When we begun the study on the structures of the Baroque, we were surprised by the lack of bibliography and of specific studies. It is accentuated it in the case of the Central European Baroque, in the which, apart analysis made for consolidation works and repair or reconstruction, doesn't exist practically any research. We except Jager and Croci although they have not intervened in particular aspects of shells. It is for it that we contribute the data that continue with intention of to open the road and to demonstrate the great structural interest that has a recently valued style.

The work is wide and it will embrace the different types of Baroque membrane. But structufe this time it is logical to begin with important and very wellknown monuments, like they can be:. It is necessary to keep in mind that the cornices, in the Baroque, define the form in plant and that what there are under them is well rested. The resulting graphics will represent the efforts and displacements in the considered surface.]