Column in the context of Post (structural)

Coastal erosion is the loss or displacement of land, or the long-term removal of sediment and rocks along the coastline due to the action of waves, currents, tides, wind-driven water, waterborne ice, or other impacts of storms. The landward retreat of the shoreline can be measured and described over a temporal scale of tides, seasons, and other short-term cyclic processes. Coastal erosion may be caused by hydraulic action, abrasion, impact and corrosion by wind and water, and other forces, natural or unnatural.

On non-rocky coasts, coastal erosion results in rock formations in areas where the coastline contains rock layers or fracture zones with varying resistance to erosion. Softer areas become eroded much faster than harder ones, which typically result in landforms such as tunnels, bridges, columns, and pillars. Over time the coast generally evens out. The softer areas fill up with sediment eroded from hard areas, and rock formations are eroded away. Also erosion commonly happens in areas where there are strong winds, loose sand, and soft rocks. The blowing of millions of sharp sand grains creates a sandblasting effect. This effect helps to erode, smooth and polish rocks. The definition of erosion is grinding and wearing away of rock surfaces through the mechanical action of other rock or sand particles.

The Palatine Chapel /ˈpælətaɪn ˈtʃæpəl/ (Italian: Cappella Palatina) is the royal chapel of the Norman Palace in Palermo, Sicily. This building is a mixture of Byzantine, Norman and Fatimid architectural styles, showing the tricultural state of Sicily during the 12th century after Roger I and Robert Guiscard conquered the island.

Also referred to as a Palace church or Palace chapel, it was commissioned by Roger II of Sicily in 1132 to be built upon an older chapel (now the crypt) constructed around 1080. It took eight years to build, receiving a royal charter the same year, with the mosaics being only partially finished by 1143. The sanctuary, dedicated to Saint Peter, is reminiscent of a domed basilica. It has three apses, as is usual in Byzantine architecture, with six pointed arches (three on each side of the central nave) resting on recycled classical columns. The muqarnas ceiling of the nave and the chapel's rectilinear form show the Fatimid influence in the building's construction.

A caryatid (/ˌkɛəriˈætɪd, ˌkær-/ KAIR-ee-AT-id, KARR-; Ancient Greek: Καρυᾶτις, romanized: Karuâtis; pl. Καρυάτιδες, Karuátides) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head. The Greek term karyatides literally means "maidens of Karyai", an ancient town on the Peloponnese. Karyai had a temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis: "As Karyatis she rejoiced in the dances of the nut-tree village of Karyai, those Karyatides, who in their ecstatic round-dance carried on their heads baskets of live reeds, as if they were dancing plants".

An atlas or atlantid or telamon is a male version of a caryatid, i.e., a sculpted male statue serving as an architectural support.

The Doric order is one of the three orders of ancient Greek and later Roman architecture; the other two canonical orders were the Ionic and the Corinthian. The Doric is most easily recognized by the simple circular capitals at the top of the columns. Originating in the western Doric region of Greece, it is the earliest and, in its essence, the simplest of the orders, though still with complex details in the entablature above.

The Greek Doric column was fluted, and had no base, dropping straight into the stylobate or platform on which the temple or other building stood. The capital was a simple circular form, with some mouldings, under a square cushion that is very wide in early versions, but later more restrained. Above a plain architrave, the complexity comes in the frieze, where the two features originally unique to the Doric, the triglyph and gutta, are skeuomorphic memories of the beams and retaining pegs of the wooden constructions that preceded stone Doric temples. In stone they are purely ornamental.

A portico is a porch leading to the entrance of a building, or extended as a colonnade, with a roof structure over a walkway, supported by columns or enclosed by walls. This idea was widely used in ancient Greece and has influenced many cultures, including most Western cultures.

Porticos are sometimes topped with pediments. Palladio was a pioneer of using temple-fronts for secular buildings. In the UK, the temple-front applied to The Vyne, Hampshire, was the first portico applied to an English country house.

In classical architecture, a colonnade is a long sequence of columns joined by their entablature, often free-standing, or part of a building. Paired or multiple pairs of columns are normally employed in a colonnade which can be straight or curved. The space enclosed may be covered or open. In St. Peter's Square in Rome, Bernini's great colonnade encloses a vast open elliptical space.

When in front of a building, screening the door (Latin porta), it is called a portico. When enclosing an open court, a peristyle. A portico may be more than one rank of columns deep, as at the Pantheon in Rome or the stoae of Ancient Greece.

An order in architecture is a certain assemblage of parts subject to uniform established proportions, regulated by the office that each part has to perform.Coming down to the present from Ancient Greek and Ancient Roman civilization, the architectural orders are the styles of classical architecture, each distinguished by its proportions and characteristic profiles and details, and most readily recognizable by the type of column employed. The three orders of architecture—the Doric, Ionic, and Corinthian—originated in Greece. To these the Romans added, in practice if not in name, the Tuscan, which they made simpler than Doric, and the Composite, which was more ornamental than the Corinthian. The architectural order of a classical building is akin to the mode or key of classical music; the grammar or rhetoric of a written composition. It is established by certain modules like the intervals of music, and it raises certain expectations in an audience attuned to its language.

Whereas the orders were essentially structural in Ancient Greek architecture, which made little use of the arch until its late period, in Roman architecture where the arch was often dominant, the orders became increasingly decorative elements except in porticos and similar uses. Columns shrank into half-columns emerging from walls or turned into pilasters. This treatment continued after the conscious and "correct" use of the orders, initially following exclusively Roman models, returned in the Italian Renaissance. Greek Revival architecture, inspired by increasing knowledge of Greek originals, returned to more authentic models, including ones from relatively early periods.

The Ionic order is one of the three canonic orders of classical architecture, the other two being the Doric and the Corinthian. There are two lesser orders: the Tuscan (a plainer Doric), and the rich variant of Corinthian called the composite order. Of the three classical canonic orders, the Corinthian order has the narrowest columns, followed by the Ionic order, with the Doric order having the widest columns.

The Ionic capital is characterized by the use of volutes. Ionic columns normally stand on a base which separates the shaft of the column from the stylobate or platform while the cap is usually enriched with egg-and-dart.

A leg is a weight-bearing and locomotive anatomical structure, usually having a columnar shape. During locomotion, legs function as "extensible struts". The combination of movements at all joints can be modeled as a single, linear element capable of changing length and rotating about an omnidirectional "hip" joint.

As an anatomical animal structure, it is used for locomotion. The distal end is often modified to distribute force (such as a foot). Most animals have an even number of legs.

A wall is a structure and a surface that defines an area; carries a load; provides security, shelter, or soundproofing; or serves a decorative purpose. There are various types of walls, including border barriers between countries, brick walls, defensive walls in fortifications, and retaining walls that hold back dirt, stone, water, or noise. Walls can also be found in buildings, where they support roofs, floors, and ceilings, enclose spaces, and provide shelter and security.

The construction of walls can be categorized into framed walls and mass-walls. Framed walls transfer the load to the foundation through posts, columns, or studs and typically consist of structural elements, insulation, and finish elements. Mass-walls are made of solid materials such as masonry, concrete, adobe, or rammed earth. Walls may also house utilities like electrical wiring or plumbing and must conform to local building and fire codes.

A viaduct is a bridge that consists of a series of arches, piers or columns supporting a long elevated railway or road. Typically a viaduct connects two points of roughly equal elevation, allowing direct overpass across a wide valley, road, river, or other low-lying terrain features and obstacles. The term viaduct is derived from the Latin via meaning "road", and ducere meaning "to lead". It is a 19th-century derivation from an analogy with ancient Roman aqueducts. Like the Roman aqueducts, many early viaducts comprised a series of arches of roughly equal length.

A portal is an opening in a wall of a building, gate or fortification, especially a grand entrance to an important structure.

Doors, metal gates, or portcullis in the opening can be used to control entry or exit. The surface surrounding the opening may be made of simple building materials or decorated with ornamentation. The elements of a portal can include the voussoir, tympanum, an ornamented mullion or trumeau between doors, and columns with carvings of saints in the westwork of a church.

In ancient Greek and Roman architecture, a peristyle (/ˈpɛrɪˌstaɪl/; Ancient Greek: περίστυλον, romanized: perístulon) is a continuous porch formed by a row of columns (a colonnade) surrounding the perimeter of a building or a courtyard. Tetrastoön (τετράστῳον/τετράστοον, tetrástōion/tetrástoon, 'four arcades') is a rarely used archaic term for this feature. The peristyle in a Greek temple is a peristasis (περίστασις, perístasis). In the Christian ecclesiastical architecture that developed from the Roman basilica, a courtyard peristyle and its garden came to be known as a cloister.

A monolithic column or single-piece column is a large column of which the shaft is made from a single piece of stone instead of in vertical sections. Smaller columns are very often made from single pieces of stone, but are less often described as monolithic, as the term is normally reserved for less common, larger columns made in this way. Choosing to use monolithic columns produces considerable extra difficulties in quarrying and transport, and may be seen as a statement of grandeur and importance in a building.

As an example of this level of choice, Shoghi Effendi cabled Bahá'ís of the world in 1948 about the Shrine of the Báb on December 10, 1948:

In astronomy, axis mundi is the Latin term for the axis of Earth between the celestial poles. In a geocentric coordinate system, this is the axis of rotation of the celestial sphere. Consequently, in ancient Greco-Roman astronomy, the axis mundi is the axis of rotation of the planetary spheres within the classical geocentric model of the cosmos.

In 20th-century comparative mythology, the term axis mundi – also called the cosmic axis, world axis, world pillar, center of the world, or world tree – has been greatly extended to refer to any mythological concept representing "the connection between Heaven and Earth" or the "higher and lower realms". Mircea Eliade introduced the concept in the 1950s. Axis mundi closely relates to the mythological concept of the omphalos (navel) of the world or cosmos.Items presented as examples of the axis mundi by comparative mythologists include plants (notably a tree but also other types of plants such as a vine or stalk), a mountain, a column of smoke or fire, or a product of human manufacture (such as a staff, a tower, a ladder, a staircase, a maypole, a cross, a steeple, a rope, a totem pole, a pillar, a spire). Its proximity to heaven may carry implications that are chiefly religious (pagoda, Temple Mount, minaret, church) or secular (obelisk, lighthouse, rocket, skyscraper). The image appears in religious and secular contexts. The axis mundi symbol may be found in cultures utilizing shamanic practices or animist belief systems, in major world religions, and in technologically advanced "urban centers". In Mircea Eliade's opinion: "Every Microcosm, every inhabited region, has a Centre; that is to say, a place that is sacred above all."

An arcade is a succession of contiguous arches, with each arch supported by a colonnade of columns or piers. Exterior arcades are designed to provide a sheltered walkway for pedestrians; they include many loggias, but here arches are not an essential element. An arcade may feature arches on both sides of the walkway. Alternatively, a blind arcade superimposes arcading against a solid wall.

Blind arcades are a feature of Romanesque architecture that influenced Gothic architecture. In the Gothic architectural tradition, the arcade can be located in the interior, in the lowest part of the wall of the nave, supporting the triforium and the clerestory in a cathedral, or on the exterior, in which they are usually part of the walkways that surround the courtyard and cloisters.

A mandapa or mantapa (Sanskrit: मण्डप, romanized: maṇḍapa) is a pillared hall or pavilion for public rituals in Indian architecture and Nepalese Pagoda Design, especially featured in Hindu temple architecture and Jain temple architecture.

Mandapas are described as "open" or "closed" depending on whether they have walls or inner ceiling of pagoda. In temples, one or more mandapas very often lie between the sanctuary and the temple entrance, on the same axis. In a large temple other mandapas may be placed to the sides, or detached within the temple compound.