For the largest collection of photographs of medieval Carpentry, head over to http://www.medievalarchitecture.net/photo_archive.html
Category Archives: research
The main focus of this thesis is to establish the usefulness of a timber joint typology, produced by dendrochronology between AD1250 and 1530, in the dating of previously undated buildings, along with the recalibration of Cecil Hewett’s published typologies (Hewett 1980). This contention is addressed, in Hampshire, through the physical surveying of 95 properties, and through the recalibration of Hewett by surveying 9 of his case studies, from outside the county, to act as a control set. A primary aim is to explore the wider material culture surrounding the late-medieval carpenter, to address Richard Harris’s suggestion that timber-framing was a result of “cultural activities” and, therefore, “no building form or method of construction was ever determined by timber, stone, rainfall or sunshine” (Harris 1989, 1). When this is taken into consideration, it is clear to see that an understanding of the “cultural activities” that occurred between 1250 and 1530, needs to be investigated in order to understand the structures designed and built within that culture, for that culture. As the collation of published works regarding the “crisis” of the 14th century will show, the attitudes toward death of the survivors of famines, wars and the Black Death (1348-50) changed. Chapter 6 will give evidence for how the shifting cultural values shifted in the wake of the pandemic through its depiction in art, burial, church architecture and social-economic upheaval. Though the study of such is well represented in the literature, especially with regard to the Black Death, it is how carpentry was affected by these “cultural activities” within Hampshire that is ground breaking.
Because the research included the photographic survey of joints using a digital camera, and locations recorded via a Global Positioning System (GPS), a computer based methodology was applied. This also permitted the creation of a geo-database that also included original graphical information, regarding the various joint types, through the medium of three dimensional (3D) modelling. The result of which is both novel and cutting edge within the field of buildings archaeology and dendro-archaeology and inextricably linked with the expansion of this dataset in the future. This will be facilitated by enabling researchers in other areas to access, query and ultimately update the information contained within. Therefore ensuring longevity and promoting the significance of this pilot, regional study. This also means that now it is possible to emulate this research by accessing the database, rather than the structures themselves. This may not be an issue for those researchers living within the area, but for peers researching from another country, the placing of the information online is invaluable. Attention is therefore drawn throughout to the power of Information Communications Technologies (ICT), to illustrate how the ensuing data were managed and recorded.
The thesis, representing an unprecedented, systematic study of a near comprehensive corpus of scientifically dated structures in Hampshire between 1250 and 1530, is supported by references to printed primary sources and accompanied by an associated website http://www.medievalarchitecture.net/. The site was created to both support and disseminate the findings of this new research into joint typologies; together with engaging the wider community in interacting with a visual database, resulting from the unique photographic surveys. While the previous works of Cecil Hewett and Edward Roberts have greatly informed and inspired this research, the systematic recording of timber joints in Hampshire is unique to this project, and although regional in its scope, the novel methodology designed to record and collate the masses of data means the work can be expanded to incorporate other regional studies and ultimately inform a general examination of English Late-medieval carpentry in greater detail in the future.
This is a set of photos taken of Stonehenge (Wiltshire) on 18/10/2008. The sky was just perfect and I was lucky to get some great shots. Hope you enjoy them as much as I. (sorry it only works on a pc)
I have been selected to give a paper at this years Theoretical Archaeology Group (TAG) conference at the University of Southampton (southern England) in the <TAG 2.0/>: Archaeological theory in the light of contemporary computing session.
Title : Building on Fear?
The role of Digital Archaeology to aid the study and analysis of structural carpentry techniques in central southern England, c1180 – c1500, the era of the Black Death and successive plagues.
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I have been interested in photography and its development for sometime but I have been utterly blown away by Microsoft’s new release!
its is truly amazing and needs to be seen to be believed so go and check it out http://photosynth.net
It enables you to create a 3D world from a collection of photos. My humble words can not do this project justice, please visit the site and enjoy the future now!
It has the potential to revolustionise digital archaeology and virtual archaeology
Here is a synth I created
A Photosynth “how to” from http://blogs.msdn.com/photosynth/
Because Photosynth uses photos differently than other photographic processes, it means you’re going to have to shoot your scene or object in a way you may not be used to. Among the things we did lots of times before learning not to:
– Not taking enough pictures. Photosynth requires lots of images. With memory card prices going down and sizes going up, go crazy and take more than you think you’ll need. You really want to cover your subject thoroughly. But don’t just shoot random pictures—think about how they’re going to tie together, and how you’ll be navigating through your synth. Be methodical about how you shoot.
– Taking pictures that don’t knit together. We repeat this lot, but that’s because it’s so important: each of your pictures should have at least 50% overlap from the previous picture. When you take pictures at drastically different angles Photosynth can’t match them up and you end up with ‘orphans’, pictures that don’t connect to any others. So even though you’ve taken lots of pictures (because you read the paragraph just above this one), that doesn’t mean you should use them all –leave out the ones that won’t connect to the others.
– Poor choice of subject. Things with extremely complex or repeating patterns don’t usually work very well (like a willow tree, for example). Things that are really colorful make great pictures, but not great synths, because Photosynth doesn’t look at color, it looks at texture. Look at the ‘Nice and Synthy’ section of the photosynth.com site, and see what worked. Look at the 2-D view of the pictures and see how they fit together, how many pictures were used, and the angle at which they were taken.
So, let’s get synthing!
Synthing tips: How to synth a room
Maybe you want to show off your newly-remodeled downstairs. Or you want to let your friends see how you’ve decorated your room. Or you want to remember the amazing luxury condo you went through. Photosynth can help. Here are some tips so you’ll get the best synth of an interior space:
1. Start by standing in the center of the room and shooting a panorama—turn slightly and take pictures 360-degrees all around you. Make sure you have lots of overlap between pictures—50% works really well. Make sure you use a tripod and that your camera stays level throughout the panorama—otherwise it won’t synth very well. Start with your camera zoomed out as far as you can for the widest possible shots—then do it again with the camera zoomed in progressively closer , so for each position you’ve got a wide shot, medium shot and close-up.
Shoot a panorama from the center of the room
2. Next, stand in each of the room’s corners and shoot the rest of the room, again with lots of overlap between shots, first wide, then closer. Then stand in the center of each wall and do the same thing.
Shoot from the corners, then from the center of each wall
3. Don’t forget the ‘rule of 3’: each part of your scene should appear in at least three different photos.