Pre-Hellenic civilizations (Cretan civilization and Mycenaean civilization) developed different building typologies; The Cretan palace was characterized by a labyrinthine structure, very visible in its plan, with a large surface area reserved for storage of all types of products (a characteristic function of this maritime State of merchant-princes). The Mycenaean cities were characterized by their Cyclopean fortifications and the megaron, for both civil and religious use, as the main building of the acropolis. The circular Mycenaean tombs - a typology called tholos, like the treasure of Atreus - represent the transition from the prehistoric tradition of megalithic collective burials to the architecture of ashlars in isodomous rig.

After the dark ages, already in Greek civilization itself, the archaic age definitively determined the shape and location of the Greek temple, derived from those of the megaron.

Roman civilization, which starts from Italic elements (especially Etruscan), became deeply Hellenized in the final Republican era, so that the High Empire homogenized the entire Mediterranean space with an identity of forms, also visible in the floor plans of buildings with all types of functions (religious - Roman temple -, recreational - theater, amphitheater, circus -, military - castrum, burgum -, civil -basilica-, residential —domus, villa—, etc.)[8]​.

In addition to the floor plans of the buildings, the urban layout of the buildings around certain spaces (agora, forum "Forum (architecture)") that characterize the polis (classical or Hellenistic) and the Roman city is of particular importance.

Some schematic representations from the Roman period have been preserved, more cartographic than architectural, such as the cadastral plans of Orange").[13]

Contenido

En el arte cristiano, la historiografía ha establecido denominaciones para las plantas de las iglesias "Iglesia (edificio)"), con criterios formales. Tales formas se establecieron convencionalmente desde la Antigüedad Tardía y la Edad Media hasta el Renacimiento y el Barroco, innovándose conceptualmente en la arquitectura contemporánea.[14]​[15]​[16]​[17]​.

San Carlos Borromeo (Instrucciones de la fábrica y el ajuar eclesiásticos) prefiere la planta de cruz latina sobre las centralizadas, al considerar que estas fueron utilizadas para «la adoración a los ídolos».[18]​.

Los particulares requisitos de la vida consagrada según las distintas reglas monásticas se vieron reflejado en las plantas de los monasterios medievales. La tipología es notablemente diferente en Oriente y Occidente, donde la forma más evidente es la del claustro.[25]​.

La presencia de iglesias en los monasterios, así como de claustros en buena parte de las iglesias occidentales, hace que la apariencia formal de las plantas de muchas iglesias y muchos monasterios sea similar.

Study of the transformation of buildings through their floors

The construction times of religious buildings, which lasted through the centuries, caused many of them to radically change their plans when the project criteria changed. In other cases they were the result of partial or total destruction.

The cathedral of Siena in 1339 was planned to be expanded in an extraordinary way (converting the main arm into the transept), although the plague of 1348 forced the works to be left unfinished (the currently called facciatone).[26] That of Gerona, whose head responds to Gothic conventions (division into several naves), was completed in the century with a diaphanous nave of extraordinary width and height, projected in 1416 by Guillermo Bofill.

The plans of the mosques of the different territories incorporated in the expansion of Islam over the centuries and responded to the adaptation of the basic religious requirements (theoretically derived from the house of Muhammad in Medina) to the local architectural traditions (Byzantine, Persian, Visigothic, Hindu, etc.)[27]​.

The Roman castra and burgi had regular plans, with a quadrangular base (many cities with an orthogonal urban layout were built on them).

Medieval castles very often adapted to the topography, resulting in irregular floor plans. The Italian layout was a response to the challenge that the artillery posed for the walls of the walls.[31]​.

Singular elements, clearly visible on the floors of castles and fortified palaces, such as the keep (donjon), the parade ground or the hall (hall) called in Latin curia regis (cour in French or court in Spanish), with a representative function that goes beyond the strictly military, were widespread in the palatial architecture of the Modern Age. The same French concept of château came to refer to a rural palace (Versailles or the châteaux de la Loire), while that of palais was reserved for the urban palace (the Louvre or the Palais Royal). Locally the names, typologies and predominance of the defensive or residential function vary extraordinarily (towers, tower-houses), strong houses), pazos, manor houses"), etc.)[33]​.

The generalized model was that of a rectangle of proportions approximate to the golden ratio[6]​ around an axis of symmetry (astronomically oriented from east to west in certain cases)[7]​ that marked the access through an avenue of sphinxes "Sphinx (mythology)") through a door flanked by thick pylons. The different porticoed courtyards and rooms (hypostyle room, hypetra room) with roofs supported by thick columns "Column (architecture)") become increasingly smaller until the most sacred sanctuary, which is usually designated with the Latin expression sancta sanctorum.

Pre-Hellenic civilizations (Cretan civilization and Mycenaean civilization) developed different building typologies; The Cretan palace was characterized by a labyrinthine structure, very visible in its plan, with a large surface area reserved for storage of all types of products (a characteristic function of this maritime State of merchant-princes). The Mycenaean cities were characterized by their Cyclopean fortifications and the megaron, for both civil and religious use, as the main building of the acropolis. The circular Mycenaean tombs - a typology called tholos, like the treasure of Atreus - represent the transition from the prehistoric tradition of megalithic collective burials to the architecture of ashlars in isodomous rig.

After the dark ages, already in Greek civilization itself, the archaic age definitively determined the shape and location of the Greek temple, derived from those of the megaron.

Roman civilization, which starts from Italic elements (especially Etruscan), became deeply Hellenized in the final Republican era, so that the High Empire homogenized the entire Mediterranean space with an identity of forms, also visible in the floor plans of buildings with all types of functions (religious - Roman temple -, recreational - theater, amphitheater, circus -, military - castrum, burgum -, civil -basilica-, residential —domus, villa—, etc.)[8]​.

In addition to the floor plans of the buildings, the urban layout of the buildings around certain spaces (agora, forum "Forum (architecture)") that characterize the polis (classical or Hellenistic) and the Roman city is of particular importance.

Some schematic representations from the Roman period have been preserved, more cartographic than architectural, such as the cadastral plans of Orange").[13]

Contenido

En el arte cristiano, la historiografía ha establecido denominaciones para las plantas de las iglesias "Iglesia (edificio)"), con criterios formales. Tales formas se establecieron convencionalmente desde la Antigüedad Tardía y la Edad Media hasta el Renacimiento y el Barroco, innovándose conceptualmente en la arquitectura contemporánea.[14]​[15]​[16]​[17]​.

San Carlos Borromeo (Instrucciones de la fábrica y el ajuar eclesiásticos) prefiere la planta de cruz latina sobre las centralizadas, al considerar que estas fueron utilizadas para «la adoración a los ídolos».[18]​.

Los particulares requisitos de la vida consagrada según las distintas reglas monásticas se vieron reflejado en las plantas de los monasterios medievales. La tipología es notablemente diferente en Oriente y Occidente, donde la forma más evidente es la del claustro.[25]​.

La presencia de iglesias en los monasterios, así como de claustros en buena parte de las iglesias occidentales, hace que la apariencia formal de las plantas de muchas iglesias y muchos monasterios sea similar.

Study of the transformation of buildings through their floors

The construction times of religious buildings, which lasted through the centuries, caused many of them to radically change their plans when the project criteria changed. In other cases they were the result of partial or total destruction.

The cathedral of Siena in 1339 was planned to be expanded in an extraordinary way (converting the main arm into the transept), although the plague of 1348 forced the works to be left unfinished (the currently called facciatone).[26] That of Gerona, whose head responds to Gothic conventions (division into several naves), was completed in the century with a diaphanous nave of extraordinary width and height, projected in 1416 by Guillermo Bofill.

The plans of the mosques of the different territories incorporated in the expansion of Islam over the centuries and responded to the adaptation of the basic religious requirements (theoretically derived from the house of Muhammad in Medina) to the local architectural traditions (Byzantine, Persian, Visigothic, Hindu, etc.)[27]​.

The Roman castra and burgi had regular plans, with a quadrangular base (many cities with an orthogonal urban layout were built on them).

Medieval castles very often adapted to the topography, resulting in irregular floor plans. The Italian layout was a response to the challenge that the artillery posed for the walls of the walls.[31]​.

Singular elements, clearly visible on the floors of castles and fortified palaces, such as the keep (donjon), the parade ground or the hall (hall) called in Latin curia regis (cour in French or court in Spanish), with a representative function that goes beyond the strictly military, were widespread in the palatial architecture of the Modern Age. The same French concept of château came to refer to a rural palace (Versailles or the châteaux de la Loire), while that of palais was reserved for the urban palace (the Louvre or the Palais Royal). Locally the names, typologies and predominance of the defensive or residential function vary extraordinarily (towers, tower-houses), strong houses), pazos, manor houses"), etc.)[33]​.