History of architecture in the context of "Reinforced concrete"

Bucharest (UK: /ˌbuːkəˈrɛst/ BOO-kə-REST, US: /ˈbuːkərɛst/ -⁠rest; Romanian: București [bukuˈreʃtʲ] ) is the capital and largest city of Romania. The metropolis stands on the River Dâmbovița in south-eastern Romania. Its population is officially estimated at 1.71 million residents within a greater metropolitan area of 2.31 million residents, which makes Bucharest the 8th most-populous city by population within city limits in the European Union. The city area measures 240 km (93 sq mi), while the metropolitan area covers 1,811 km (699 sq mi). The city proper is administratively known as the "Municipality of Bucharest" (Romanian: Municipiul București), and has the same administrative level as that of a national county, being further subdivided into six sectors, each governed by a local mayor. Bucharest is a major cultural, political and economic hub, the country's seat of government, and the capital of the Muntenia region.

Bucharest was first mentioned in documents in 1459. The city became the capital in 1862 and is the centre of Romanian media, culture, and art. Its architecture is a mix of historical (mostly Eclectic, but also Neoclassical and Art Nouveau), interbellum (Bauhaus, Art Deco, and Romanian Revival architecture), socialist era, and modern. In the period between the two World Wars, the city's elegant architecture and the sophistication of its elite earned Bucharest the nicknames of Little Paris, or Paris of the East. Although buildings and districts in the historic city centre were heavily damaged or destroyed by war, earthquakes, and even Nicolae Ceaușescu's program of systematization, many survived and have been renovated. In recent years, the city has been experiencing an economic and cultural boom. It is one of the fastest-growing high-tech cities in Europe. In 2016, the historical city centre was listed as "endangered" by the World Monuments Watch.

The architecture of the United Kingdom, or British architecture, consists of a combination of architectural styles, dating as far back to Roman architecture, to the present day 21st century contemporary. England has seen the most influential developments, though Ireland, Scotland, and Wales have each fostered unique styles and played leading roles in the international history of architecture. Although there are prehistoric and classical structures in the United Kingdom, British architectural history effectively begins with the first Anglo-Saxon Christian churches, built soon after Augustine of Canterbury arrived in Great Britain in 597. Norman architecture was built on a vast scale throughout Great Britain and Ireland from the 11th century onwards in the form of castles and churches to help impose Norman authority upon their dominions. English Gothic architecture, which flourished between 1180 until around 1520, was initially imported from France, but quickly developed its own unique qualities.

Throughout the United Kingdom, secular medieval architecture has left a legacy of large stone castles, with a concentration being found lining both sides of the Anglo-Scottish border, dating from the Wars of Scottish Independence of the 14th century. The invention of gunpowder and cannons made castles redundant, and the English Renaissance that followed facilitated development of new artistic styles for domestic architecture: Tudor style, English Baroque, Queen Anne Style, and Palladian. Georgian, Scots Baronial and Neoclassical architecture advanced after the Scottish Enlightenment, and since the 1930s various modernist forms appeared, though traditionalist resistance movements continue with support from Charles, Prince of Wales.

Anglo-Saxon architecture was a period in the history of architecture in England from the mid-5th century until the Norman Conquest of 1066. Anglo-Saxon secular buildings in Britain were generally simple, constructed mainly using timber with thatch for roofing. No universally accepted example survives above ground. Generally preferring not to settle within the old Roman cities, the Anglo-Saxons built small towns near their centres of agriculture, at fords in rivers or sited to serve as ports. In each town, a main hall was in the centre, provided with a central hearth.

There are many remains of Anglo-Saxon church architecture. At least fifty churches are of Anglo-Saxon origin with major Anglo-Saxon architectural features, with many more claiming to be, although in some cases the Anglo-Saxon part is small and much-altered. It is often impossible to reliably distinguish between pre- and post-Conquest 11th century work in buildings where most parts are later additions or alterations. The round-tower church and tower-nave church are distinctive Anglo-Saxon types. All surviving churches, except one timber church, are built of stone or brick, and in some cases show evidence of re-used Roman work.

This is a list of Roman domes. The Romans were the first builders in the history of architecture to realize the potential of domes for the creation of large and well-defined interior spaces. Domes were introduced in a number of Roman building types such as temples, thermae, palaces, mausolea and later also churches. Semi-domes also became a favoured architectural element and were adopted as apses in Christian church architecture.

Monumental domes began to appear in the 1st century BC in Rome and the provinces around the Mediterranean Sea. Along with vaults and trusses, they gradually replaced the traditional post and lintel construction which makes use of the column and architrave. The construction of domes was greatly facilitated by the invention of concrete, a process which has been termed the Roman Architectural Revolution. Their enormous dimensions remained unsurpassed until the introduction of structural steel frames in the late 19th century (see List of largest domes).

Civilisation: A Personal View by Kenneth Clark is a 1969 British television documentary series written and presented by the art historian Sir Kenneth Clark.

Its thirteen episodes outline the history of Western art, architecture and philosophy since the Dark Ages. It was produced by the BBC and aired from February to May 1969 on BBC2. Then, and in later transmissions in Britain, the United States and other countries, it reached an unprecedented number of viewers for an art series. Its production standards were praised and set the pattern for subsequent television documentary series. The New Yorker described it as revelatory for the general viewer.