1-Brunelleschi’s Dome: Revolutionalizing architecture and construction

The structure of the dome is a double-shell structure consisting of an inner dome as well as an outer
dome.

Each architectural element contributes to the stability of the dome as it stands without supporting
structures.

The work on the dome, the lantern and the exedra occupied most of the remainder of Brunelleschi's life.

Brunelleschi used more than four million bricks in the construction of the octagonal dome.

Notably, Brunelleschi left behind no building plans or diagrams detailing the dome's structure; scholars'
surmise that he constructed the dome as though it were hemispherical, which would have allowed the
dome to support itself.

These two layers are structurally connected by masonry joining elements that start from the octahedral
ring beam and continue until the oculus, the top level of the Dome.

The whole structure of the Dome was built by Brunelleschi without formwork, the circular profiles of the
ribs and rings seems to be maintained by a system of measuring wires fixed at the centres of curvature.

The method used by Brunelleschi to build the Dome without the use of a supporting framework, was to
complete each of the masonry rings that compose the dome in succession.

The whole structure of the dome is designed to be light and slim in both form and substance.

From an octagonal drum of the dome stand eight segments, the sails, arranged on two shells separated
by a space.

The Impact Brunelleschi's dome still rises from the terra-cotta sea of Florence's roof tiles, itself terra-
cotta clad yet harmoniously proportioned, like a Greek goddess in homespun.
The dome is a masterpiece of beauty and engineering, a pioneering construction for its time, and in
many ways remains unmatched.

The construction of its dome sparked years of debate on what was the "magic trick that provided the
result that lay in front of everyone, i.e., how the octagonal dome was able to stand! Even today,
although extensive studies have been carried out and many new discoveries have been made, there is
still a debate on what was the ingenious solution found by the architect Filippo Brunelleschi.

The Mystery No one was able to develop a workable plan for building a dome nearly 150 feet across that
would have to rest 180 feet above the ground on top of the existing walls, which were built to form an
approximate octagon without a true centre.

Almost 600 years ago after it was built, Filippo Brunelleschi's dome of Santa Maria del Fiore in Florence,
Italy, remains the largest masonry dome ever built.

The dome of the Cathedral of Santa Maria Del Fiore in Florence, European country was engineered and
completed in 14386 by a genius mastermind Filippo Brunelleschi.

Each subject field part contributes to the soundness of the dome because it stands while not supporting
structures.

The entire structure of the dome is intended to be light-weight and slim in each type and substance.

Another big issue was that the tholobate or drum got accomplished on a not precise polygonal shape
base, so while not a true center, creating the look even a lot of complicated Building the dome The
dome couldn't be curved because: one it absolutely was impracticable to use centering, 2 thrust
problems Associate in Nursingd three it was necessary to create the dome from the eight sides of the
base.

Filippo Brunelleschi designed a dome with a better curvature and truly fashioned by 2 shells: an inner
and an outer one to hide the first.

2-The Dome of St Peter's: Structural Aspects of its Design and Construction

The main difference between Bramante's design and that of the Pantheon is that where the dome of the
Pantheon is supported by a continuous wall, that of the new basilica was to be supported only on four
large piers.
Bramante's dome was to be surmounted by a lantern with its own small dome but otherwise very
similar in form to the Early Renaissance lantern of Florence Cathedral designed for Brunelleschi's dome
by Michelozzo.

Bramante had envisioned that the central dome would be surrounded by four lower domes at the
diagonal axes.

At each corner of the building was to stand a tower, so that the overall plan was square, with the apses
projecting at the cardinal points.

The main change in his plan is the nave of five bays, with a row of complex apsidal chapels off the aisles
on either side.

Raphael's plan for the chancel and transepts made the squareness of the exterior walls more definite by
reducing the size of the towers, and the semi-circular apses more clearly defined by encircling each with
an ambulatory.

In 1520 Raphael also died, aged 37, and his successor Baldassare Peruzzi maintained changes that
Raphael had proposed to the internal arrangement of the three main apses, but otherwise reverted to
the Greek Cross plan and other features of Bramante.

In 1527 Rome was sacked and plundered by Emperor Charles V. Peruzzi died in 1536 without his plan
being realized.

At this point Antonio da Sangallo the Younger submitted a plan which combines features of Peruzzi,
Raphael and Bramante in its design and extends the building into a short nave with a wide façade and
portico of dynamic projection.

His proposal for the dome was much more elaborate of both structure and decoration than that of
Bramante and included ribs on the exterior.

Like Bramante, Sangallo proposed that the dome be surmounted by a lantern which he redesigned to a
larger and much more elaborate form.
Sangallo's main practical contribution was to strengthen Bramante's piers which had begun to crack.

The dome of selimiyye in edrine The Selimiye Mosque was built by the great Ottoman architect, Sinan, in
an area called Kavak Meydanı or Sarıbayır.

Two of the bays of the portico for latecomers have panelled vaults, while the rest are covered with
domes.

The monumental dome, 31.28 m in diameter, is carried on eight 12-sided pillars.

In the Selimiye Mosque, Sinan abandoned the half-domes and secondary domed spaces he had used in
his other buildings with centralised plans; he thus solved the problem of the unity of the interior space.

The main outer walls of the building are covered with ashlar, while elements like the main portal, the
mihrab, and the minbar are covered with marble.

The walls of the domed space for the mihrab, the walls of the sultan's loge, the tympana of the windows
and the spandrels of the women's gallery are decorated with underglaze-painted Iznik tiles.

In the muezzin mahfili and the dome, the decoration consists of painted floral designs.

3: Sinanomania; the effect of the Architecture of Sinan on later mosque buildings.

The dome is framed by the four loftiest minarets in Turkey.

As a result, the large central dome became the put concentration around which the design of the rest of
the structure was developed.

Sinan pioneered the utilization of smaller domes, and buttresses to guide the attention up the mosque's
exterior to the central dome at its apex, and he used tall, slender minarets at the corners to border the
whole structure.