{"id":{"repo_id":"mit","oai_identifier":"oai:dspace.mit.edu:1721.1/74754"},"canonical_url":"https://search.dev.ndltd.org/etd/mit/oai:dspace.mit.edu:1721.1/74754","repository":{"repo_id":"mit","name":"MIT","base_url":"https://dspace.mit.edu/oai/request"},"display":{"title":"Towards a renaissance of curved spanning structures","abstract":"Today, as always, there is a great need for expressiveness in design. There are a multitude of forms which, over the years, have been stripped from the designer's repertoire in the name of economics. There exists a sub-group amongst the lost forms which can be categorized under the heading, \"Curves . \" Where have all the curves gone? The Dutch de Stijl and the German Bauhaus movements aid much to make things unpleasant for the curve in the twentieth century. The ever increasing demand for cheap construction methods brought with it a demand for cheap to build forms. Curves have always been more complex to imagine and more difficult to build than straight lines. The appearance of new arches and vaults were common events in the Renaissance. But, since then the demise of the curve has been slow and unrelenting. Curves are now the property of engineers. We see them used in bridges. I do not propose to show how to build arches and vaults cheaper than lintels and flat ceilings. I will, however, restate the structural merits of the curve and show methods for understanding the variety of curves and their relationship to several kinds of loadings. In addition, I present an argument for the union of the curve and the straight line in that modest, but ubiquitous container of humanity, the room; the room with a rectilinear floor plan and a vaulted ceiling. The wedding of these forms has been tried many times before, more often in the more distant than the recent past. Now it is rarely seen, but in a museum or historic building. The juxtaposition of curved ceiling forms and orthogonal floor plans should be revived for it was a lively combination and brought cheer to many.","abstract_html":"Today, as always, there is a great need for expressiveness in design. There are a multitude of forms which, over the years, have been stripped from the designer's repertoire in the name of economics. There exists a sub-group amongst the lost forms which can be categorized under the heading, "Curves . " Where have all the curves gone? The Dutch de Stijl and the German Bauhaus movements aid much to make things unpleasant for the curve in the twentieth century. The ever increasing demand for cheap construction methods brought with it a demand for cheap to build forms. Curves have always been more complex to imagine and more difficult to build than straight lines. The appearance of new arches and vaults were common events in the Renaissance. But, since then the demise of the curve has been slow and unrelenting. Curves are now the property of engineers. We see them used in bridges. I do not propose to show how to build arches and vaults cheaper than lintels and flat ceilings. I will, however, restate the structural merits of the curve and show methods for understanding the variety of curves and their relationship to several kinds of loadings. In addition, I present an argument for the union of the curve and the straight line in that modest, but ubiquitous container of humanity, the room; the room with a rectilinear floor plan and a vaulted ceiling. The wedding of these forms has been tried many times before, more often in the more distant than the recent past. Now it is rarely seen, but in a museum or historic building. The juxtaposition of curved ceiling forms and orthogonal floor plans should be revived for it was a lively combination and brought cheer to many.","abstract_has_math":false,"creators":["Hartshorne, Thomas Hunter"],"institution":"Massachusetts Institute of Technology","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":"Massachusetts Institute of Technology. Dept. of Architecture.","school":null,"contributors":[],"advisors":["Waclaw P. Zalewski."],"committee_chairs":[],"committee_members":[],"year":1983,"date_issued":"1983","date_published":"1983","updated_at":"2026-07-22T22:21:12Z","subjects":["Architecture."],"languages":["eng"],"rights":["M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission."],"rights_urls":["http://dspace.mit.edu/handle/1721.1/7582"],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/1721.1/74754","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Waclaw P. Zalewski."]},{"key":"dc:contributor.department","label":"Department","values":["Massachusetts Institute of Technology. Dept. of Architecture."]},{"key":"dc:contributor.other","label":"Dc Contributor Other","values":["Massachusetts Institute of Technology. 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They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission."]},{"key":"dc:rights.uri","label":"Rights URI","values":["http://dspace.mit.edu/handle/1721.1/7582"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/1721.1/74754"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1983.","MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH","Includes bibliographical references (p. 141-143)."]},{"key":"dc:description.abstract","label":"Abstract","values":["Today, as always, there is a great need for expressiveness in design. There are a multitude of forms which, over the years, have been stripped from the designer's repertoire in the name of economics. There exists a sub-group amongst the lost forms which can be categorized under the heading, \"Curves . \" Where have all the curves gone? The Dutch de Stijl and the German Bauhaus movements aid much to make things unpleasant for the curve in the twentieth century. The ever increasing demand for cheap construction methods brought with it a demand for cheap to build forms. Curves have always been more complex to imagine and more difficult to build than straight lines. The appearance of new arches and vaults were common events in the Renaissance. But, since then the demise of the curve has been slow and unrelenting. Curves are now the property of engineers. We see them used in bridges. I do not propose to show how to build arches and vaults cheaper than lintels and flat ceilings. I will, however, restate the structural merits of the curve and show methods for understanding the variety of curves and their relationship to several kinds of loadings. In addition, I present an argument for the union of the curve and the straight line in that modest, but ubiquitous container of humanity, the room; the room with a rectilinear floor plan and a vaulted ceiling. The wedding of these forms has been tried many times before, more often in the more distant than the recent past. Now it is rarely seen, but in a museum or historic building. The juxtaposition of curved ceiling forms and orthogonal floor plans should be revived for it was a lively combination and brought cheer to many."]},{"key":"dc:description.degree","label":"Dc Description Degree","values":["M.Arch."]},{"key":"dc:title","label":"Title","values":["Towards a renaissance of curved spanning structures"]}]}],"canonical_facts":{"dc:contributor.advisor":["Waclaw P. 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The Dutch de Stijl and the German Bauhaus movements aid much to make things unpleasant for the curve in the twentieth century. The ever increasing demand for cheap construction methods brought with it a demand for cheap to build forms. Curves have always been more complex to imagine and more difficult to build than straight lines. The appearance of new arches and vaults were common events in the Renaissance. But, since then the demise of the curve has been slow and unrelenting. Curves are now the property of engineers. We see them used in bridges. I do not propose to show how to build arches and vaults cheaper than lintels and flat ceilings. I will, however, restate the structural merits of the curve and show methods for understanding the variety of curves and their relationship to several kinds of loadings. In addition, I present an argument for the union of the curve and the straight line in that modest, but ubiquitous container of humanity, the room; the room with a rectilinear floor plan and a vaulted ceiling. The wedding of these forms has been tried many times before, more often in the more distant than the recent past. Now it is rarely seen, but in a museum or historic building. The juxtaposition of curved ceiling forms and orthogonal floor plans should be revived for it was a lively combination and brought cheer to many."],"dc:description.degree":["M.Arch."],"dc:identifier.uri":["http://hdl.handle.net/1721.1/74754"],"dc:language.iso":["eng"],"dc:publisher":["Massachusetts Institute of Technology"],"dc:rights":["M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission."],"dc:rights.uri":["http://dspace.mit.edu/handle/1721.1/7582"],"dc:subject":["Architecture."],"dc:title":["Towards a renaissance of curved spanning structures"],"dc:type":["Thesis"]},"updated_at":"2026-07-22T22:21:12Z"}