Tamazight-NLP/NLLB-Seed_Tamasheq-Tifinagh-Script huggingface dataset:
English: The most important aspect of beauty was, therefore, an inherent part of an object, rather than something applied superficially, and was based on universal, recognisable truths.
Tamasheq: ⵜⵉⵜⴱⴰⵈⴻⵜ ⵜⴰ ⵜ ⵓⵋⵋⴰⵔⴰⵜ ⵏ ⵜⵉⵂⵓⵙⴰⵉ ⵜⴰⵈⵈⴰⵍ ⴰⵛⵔⵓⵜ ⵏ ⵂⴰⵔⴰⵜ oⵂⵓⵏ ⵂⴰⵔⴰⵜ ⵉⵍⵜⴰⵗⴰⵏ ⵜoⵍⴰⵙ ⵉⵋⵋⴰ ⴼⴰⵍ ⵜⵉⴷⵉⵜⴻⵏ ⵉⵍⵙⴰⵏⴻⵏ ⴰⵍⵗⴰⵍⵉⵎ, ⴼⴰⵍ ⵜⵉⵋⵋⴰ ⵜⴰⵔⵉⴷⴰⵓⵜ
English: In the 16th century, Italian Mannerist architect, painter and theorist Sebastiano Serlio wrote Tutte L’Opere D’Architettura et Prospetiva (Complete Works on Architecture and Perspective).
Tamasheq: ⴻⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1600, ⴰⵍⴱⴰⵏⵏⴰ ⵏ ⵎⴰⵏⵏⴻⵔⵉⵙⵜ ⵓⴰⵏ Iⵜⴰⵍⵉⴰ, ⴰⵎⴰⴷⵍⵓⵋ ⴷ ⵙⴻⴱⴰⵙⵜⵉⴰⵏo ⵙⴻⵔⵍⵉo ⵉⴾⵜⴰⴱⴰⵏ ⵟⵓⵜⵜⴻ ⵍ’Oⴱⴻⵔⴻ ⵉⴰⵔⵛⵂⵉⵜⴻⵜⵜⵓⵔⴰ ⴻⵜ ⴱⵔoⵙⴱⴻⵜⵉvⴰ (ⴰⵍⵆⵉⴷⵎⴰⵜⴻⵏ ⵉⵎⴷⴰⵏⴻⵏ ⴼⴰⵍ ⴰⵔⵛⵂⵉⵜⴻⵛⵜⵓⵔⴻ ⴷ ⴱⴻⵔⵙⴱⴻⵛⵜⵉⴱⴻ)
English: Gothic architecture, Pugin believed, was the only "true Christian form of architecture."
Tamasheq: “ⴻⴷⴻⵉ ⵓⴰⵏ ⵗⵓⵜⵂⵉⵛ, ⴱⵓⴶⵉⵏ ⵓⵔⴷⴰ ⴰⵙ ⴻⵈⵈⴰⵍ “””ⴷⵓⵎⵓ ⵏ ⴻⴷⴻⵉ ⵓⴰⵏ ⵜⵉⴷⵉⵜⵜ ⵏ ⴾⵔⵉⴾⴻⵏ ⵜⴰⵏ”””.
English: Among the philosophies that have influenced modern architects and their approach to building design are Rationalism, Empiricism, Structuralism, Poststructuralism, Deconstruction and Phenomenology.
Tamasheq: ⴻⴰⵗ ⵜⵉⵗⵉⵔ ⵜⵉⵏ ⵉⵛⵉⴾⵉⵍ ⵏ ⵎⵓⵙⵏⴰⵜ ⵜⵉ oⵔⵏⴰⵏⴻⵏ ⴰⵍⴱⴰⵏⵏⴰ ⵜⴰⵏ ⵓⵉⵏ ⴰⵎⴰⵔⴰⴷ ⴷ ⵜⴰⵣⵓⵋⵉⵛⵜ ⵏ ⵉⵗⴰⵏⵏⴰⵏ ⵓⵉⵏ ⵉⴷⴻⵉⴰⵏ ⵉⵎoⵙⴰⵏ ⵔⴰⵜⵉoⵏⴰⵍⵉⵙⵎ, ⴻⵎⴱⵉⵔⵉⵛⵉⵉⵙⵎ , ⵔⵜⵔⵓⵛⵜⵓⵔⴰⵍⵉⵙⵎ; ⴱoⵙⵜⵙⵜⵔⵓⵛⵜⵓⵔⴰⵍⵉⵙⵎ, ⴰⴼⴰⵜⴰⵉ ⵏ ⵉⴷⴻⵉⴰⵏ ⴷ ⴱⵂⴻⵏⵓⵎⴻⵏⵓⵍⵓⴶⵉ.
English: The architecture and urbanism of the Classical civilizations such as the Greek and the Roman evolved from civic ideals rather than religious or empirical ones and new building types emerged.
Tamasheq: ⴻⴷⴻⵉ ⴷ ⴰⵈⵈⵓⴷ ⵏⴰⵙⴰⵏ ⵏ ⴰⵍⵆⴰⵍⴰⵏ ⵓⵉ oⵍⴰⵗⵏⴻⵏ ⵏ ⴰⵍⴰⵙⴰⵍ ⵛⵓⵏⴷ ⵗⵔⴻⴻⴾ ⵔⴰⵎⴰⵏ ⵉⵣⵋⴰⵔⴰⵏ ⵉⴷ ⴰⵏⵏⵉⵉⴰⵜⴻⵏ ⵏ ⴰⴷⴷⵉⵏⴰⵜ oⵂⵓⵏ ⵓⵉⵏ ⴾⴻⵍ ⴰⴷⴷⵉⵏ ⵜoⵍⴰⵙ ⵉⵛⵉⴾⵉⵍⴰⵏ ⵉⴷⴻⵉⴰⵏ ⴻⵉⵏⴰⵉⵏⴻⵏ ⵉⵣⵋⴰⵔⴰⵏ ⵉⴷ
English: Texts on architecture have been written since ancient time.
Tamasheq: Iⴾⵉⵜⴱⴰⵏ ⴼⴰⵍ ⴻⴷⴻⵉ ⵉⴾⵜⴰⴱⴰⵏ ⴷⴰⵗ ⴰⵍⵓⴰⵈ ⵓⴰⵏ ⴰⵔⵓ
English: Buddhist architecture, in particular, showed great regional diversity.
Tamasheq: ⴻⴷⴻⵉ ⵂⵓⵍⵍⴰⵏ ⵓⴰⵏ ⴱⵓⴷⴷⵉⵙⵜ ⵉⵙⵉⴾⵏⴰ ⵉⵋⵋⵉⵜ ⵏ ⵓⵣⵍⴰⵉ ⴷⴰⵗ ⵔⴻⵋⵉoⵏ ⵜⴰⵏ
English: The role of architect was usually one with that of master mason, or Magister lathomorum as they are sometimes described in contemporary documents.
Tamasheq: ⴻⴰⵣⵉⵍⵣⵉⵎⵜ ⵜⴰⵏ ⴰⵍⴱⴰⵏⵏⴰ ⵜⴰⵈⵈⴰⵍ ⵂⴰⵔⴾⵓⴾ ⵜⴰⵏ ⵎⴰⵙⵜⴻⵔ ⵎⴰⵙⵓⵏ ⵎⴻⵗ ⵎⴰⴶⵉⵙⵜⴻⵔ ⵍⴰⵜⵂoⵎⵓⵔⵓⵎ ⵛⵓⵏⴷ ⵉⵎⵎⵉⴾ ⵓⴰ ⵙ ⴰⴼⴼⵉⵙⴰⵔⴰⵏ ⴰⵍⵓⴰⵈⵈⴰⵏ ⵉⵉⵉⴰⴷ ⴷⴰⵗ ⴰⵍⴾⵉⵜⵜⴰⴱⴰⵏ ⵓⵉⵏ ⴰⵎⴰⵔⴰⴷ
English: Buildings were ascribed to specific architects – Brunelleschi, Alberti, Michelangelo, Palladio – and the cult of the individual had begun.
Tamasheq: Iⵂⴰⵏⴰⵏ ⵓⵉ ⵎⴰⵈⵈoⵔⵏⴻⵏ ⵜⴰⵓⴰⵗⵔⵉⵏ ⵙ ⵉⵙⵉⵎ ⵏ ⴰⵍⴱⴰⵏⵏⴰ ⵜⴰⵏ - ⴱⵔⵓⵏⴻⵍⵍⴻⵙⵛⵂⵉ, ⴰⵍⴱⴻⵔⵜⵉ, ⵎⵉⵛⵂⴻⵍⴰⵏⴶⴻⵍo, ⴱⴰⵍⵍⴰⴷⵉo - ⵜoⵍⴰⵙ ⵉⵙⵙⵉⵏⵜⴰ ⵉⴷ ⴰⵎⵎⴰⵏ ⵙ ⴰⵓⴰⴷⵉⵎ
English: Formal architectural training in the 19th century, for example at École des Beaux-Arts in France, gave much emphasis to the production of beautiful drawings and little to context and feasibility.
Tamasheq: ⵜⵗⴰⵔⴻ ⵜⴰⵏ ⴻⴷⴻⵉ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1900 , ⵙ ⴰⵍⵎⵉⵜⴰⵍ ⴷⴰⵗ Eⵛoⵍⴻ ⴷⴻⵙ ⴱⴻⴰⵓⵆ-ⴰⵔⵜⵙ ⵓⴰⵏ ⴼⵔⴰⵏⵛⴻ ⵉⴾⴼⴰ ⵜⵉⵜⴱⴰⵈⴻⵜ ⵉ ⵉⵗⴰⵏⵏⵉ ⵏ ⵉⴷⴰⵍⵓⵋⴰⵏ ⵂⵓⵙⴾⵉⵜⵏⴻⵏ ⴷ ⵉ ⵎⴰⴷⵔⵓⵉⵏⴻⵏ ⴷ ⵜⵓⴷⴰⴱⴰⵜ ⵏ ⵉⵋⵉ ⵏⴻⵜ
English: Notable among these is the Deutscher Werkbund, formed in 1907 to produce better quality machine-made objects.
Tamasheq: ⵓⴰ ⵉⵜ ⴰⵓ ⴰⵙⵙⴰⵏⴰⵏ ⵂⵓⵍⵍⴰⵏ ⴷⴰⵗ ⵓⵉⵏ ⴰⵎoⵙ ⴻⴻⵓⵜⵙⵛⵂⴻⵔ ⵓⴻⵔⴾⴱⵓⵏⴷ ⴻⵗⵔⴰⵏ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1907 ⵉ ⴻⵗⵏⵓ ⵉⵙⵓⵋ ⵏ ⵎⴰⵔⵛⵉⵏ ⵜⴰⵏ ⵉⴾⴰⵏⴻⵏ ⵜⵓⵍⴰⵗⴰⵉ.
English: When modern architecture was first practised, it was an avant-garde movement with moral, philosophical, and aesthetic underpinnings.
Tamasheq: ⴰⵍⵓⴰⵈ ⵓⴰ ⵉⴷ ⵉ ⵜⴰⵓ ⴰⵆⴷⴰⵎ ⴻⴷⴻⵉ ⵙ ⵜⵉⵣⴰⵔⴰⵜ, ⴻⵈⵈⴰⵍ ⵜⴰⵎⴰⵜⵉⴾⵓⴰⵉⵜ ⵜⵉⵍⴰⵜ ⵜⵉⵋⵉⵜⵜⴰⵓⴻⵏ ⵏ ⴰⵍⵎⴰⵗⵏⴰ, ⵏ ⵉⵛⵉⴾⵉⵍ ⵏ ⵎⵓⵙⵏⴰⵜ ⴷ ⵜⵉⵂⵓⵙⴰⵉ
English: The approach of the Modernist architects was to reduce buildings to pure forms, removing historical references and ornament in favor of functional details.
Tamasheq: ⵜⴰⵣⵓⵋⵉⵛⵜ ⵜⴰⵏ ⴰⵍⴱⴰⵏⵏⴰ ⵜⴰⵏ ⵓⵉⵏ ⵓⵛⵔⴰⵉ ⵜⴰⵈⵈⴰⵍ ⴰⴼⴰⵏⴰⵣ ⵏ ⵉⴷⴻⵉⴰⵏ ⵏ ⵉⵂⴰⵏⴰⵏ ⵎⴰⵈⵈoⵔⵏⴻⵏ ⵙ ⴷⵓⵓ ⵜⴰⵏ ⵗⴰⵙ ⵉⵜⴰⴾⴰⵙⴰⵏ ⵙⴰⵎⴰⵍⴰⵏ ⵓⵉⵏ ⴰⵜⵜⴰⵔⴻⵆ ⴷ ⵉⴷⴰⵍⵓⵋⴰⵏ ⵙ ⵜⵓⴼⵉⵜ ⵏ ⵜⵉⵜⴱⴰⵈⵈⴰ ⴰⵆⴷⴰⵎⵏⴻⵏ
English: Architects such as Mies van der Rohe, Philip Johnson and Marcel Breuer worked to create beauty based on the inherent qualities of building materials and modern construction techniques, trading traditional historic forms for simplified geometric forms, celebrating the new means and methods made possible by the Industrial Revolution, including steel-frame construction, which gave birth to high-rise superstructures.
Tamasheq: ⴻⴰⵣⵓⵋⵉⵛⵜ ⵜⴰⵏ ⴰⵍⴱⴰⵏⵏⴰ ⵜⴰⵏ ⵓⵉⵏ ⵓⵛⵔⴰⵉ ⵜⴰⵈⵈⴰⵍ ⴰⴼⴰⵏⴰⵣ ⵏ ⵉⴷⴻⵉⴰⵏ ⵏ ⵉⵂⴰⵏⴰⵏ ⵎⴰⵈⵈoⵔⵏⴻⵏ ⵙ ⴷⵓⵓ ⵜⴰⵏ ⵗⴰⵙ ⵉⵜⴰⴾⴰⵙⴰⵏ ⵙⴰⵎⴰⵍⴰⵏ ⵓⵉⵏ ⴰⵜⵜⴰⵔⴻⵆ ⴷ ⵉⴷⴰⵍoⵋⴰⵏ ⵙ ⵜⵓⴼⵉⵜ ⵏ ⵜⵉⵜⴱⴰⵈⵈⴰ ⴰⵆⴷⴰⵎⵏⴻⵏ
English: The preparatory processes for the design of any large building have become increasingly complicated, and require preliminary studies of such matters as durability, sustainability, quality, money, and compliance with local laws.
Tamasheq: ⵜⵉⵎⵉⵜⵉⴾⵓⴰⵉⴻⵏ ⵜⵉⵏ ⵜⵉⵣⴰⵔⴰⵜ ⵉ ⴰⵗⴰⵏⵏⵉ ⵏ ⴻⵂⴰⵏ ⴼⵓⴾ ⵎⴰⵈⵈoⵔⴰⵏ ⵉⴾⵏⴰⵏⴰⵜ ⴰⵙⵉⵎⵎⴰⵗⵉⵜⴰⵔ ⵂⵓⵍⵍⴰⵏ ⵜoⵍⴰⵙ ⴰⵣⵉⵍⵣⴰⵎⵏⴰⵜ ⵜⵉⵗⵉⵔ ⴰⵣⵣⴰⵔⵏⴻⵏ ⵏ ⵂⴰⵔⴰⵜⴰⵏ ⵛⵂⵓⵏⴷ ⵜⴰⵂⴰⵋⵋⵉⵜ, ⵉⵛⵂⵉⴾⵉⵍ, ⵜⴰⵗⵔⵉⵙ, ⴰⵣⵔⵓⴼ ⴷ ⵙⴻⵎⵗⴰⵔ ⵉ ⴰⵛⵂⴰⵔⴻⵗⴰ ⵜⴰⵏ ⵓⵉⵏ ⴰⴾⴰⵍ
English: Environmental sustainability has become a mainstream issue, with a profound effect on the architectural profession.
Tamasheq: ⵜⴰⵗⵔⵉⵙⵜ ⵏ ⴰⵂⵉⵏⵣⴰⵣⴰⵗ ⵜⴰⵈⵈⴰⵍ ⵎⵓⵛⴰⴾⵉⵍ ⵎⴰⵈⵈⵓⵔⴰⵜ ⵜ ⵓⵔⵏⴰⵂ ⴰⵜ ⴰⵍⵆⵉⴷⵎⴰⵜ ⵜⴰⵏ ⴻⴷⴻⵉ
English: This major shift in architecture has also changed architecture schools to focus more on the environment.
Tamasheq: ⴰⵎⵓⵜⵜⵉ ⵓⴻⵏ ⵎⴰⵈⵈⵓⵔⴰⵏ ⴷⴰⵗ ⴻⴷⴻⵉ ⵉⵏⵜⴰ ⴷⴻⵗ ⵙ ⴰⵎⵎⵓⵜⴰⵉ ⵉⴷⴻⵉⴰⵏ ⵓⵉⵏ ⵍⴰⴾⴾⵓⵍⴰⵏ ⴼⴰⵍ ⴰⴶ-ⴰⵣ ⵏ ⴰⵂⵉⵏⵣⴰⵣⴰⵗ
English: The U.S. Green Building Council's LEED (Leadership in Energy and Environmental Design) rating system has been instrumental in this.
Tamasheq: ⵗⵔⴻⴻⵏ ⴱⵓⵉⵍⴷⵉⵏⴶ ⵛⵓⵓⵏⵛⵉⵍ ⵏ ⵍⴻⴻⴷ ⵏ ⴰⵎⵔⵉⴾ ⵓⴰ ⴷⴰⵍⴻⵏ ( ⵟⵉⵣⵔⵜ ⴷⴰⵗ ⴻⵏⴻⵔⴶⵉ ⴷ ⵉⵗⴰⵏⵏⵉ ⵏ ⴰⵂⵉⵏⵣⴰⵣⴰⵗ) ⵙⵉⵙⵜⴻⵎ ⵏⴻⵜ ⵓⴰⵏ ⴻⵛⵓⴰⵍ ⵉⵙⵙⴻⵓⴰⴷ ⵓⴻⵏ
English: It can also be the initial design and plan for use, then later redesigned to accommodate a changed purpose, or a significantly revised design for adaptive reuse of the building shell.
Tamasheq: ⴰⴷⴷⵓⴱⴰⵜ ⴰⴷ ⴻⵈⵈⵉⵍ ⵉⵗⴰⵏⵏⵉ ⵓⴰⵏ ⵜⵉⵣⴰⵔⴰⵜ ⴷ ⴰⴷⴷⴰⴱⴰⵔⴰ ⵉ ⴰⵆⴰⴷⴰⵎ ⵎⴻⵗ ⵉⵗⴰⵏⵏⵉ ⵉⴾⵏⴰⵏ ⴰⵎⵓⵜⵜⵉ ⵉ ⴰ ⴻⵋ ⵉ ⴰⵍⵆⵉⴷⵎⴰⵜ ⵏⴻⵜ ⵜⴰⵏ ⵉⴷⴻⵉⴰⵏ
English: Preliminary design of the vessel, its detailed design, construction, trials, operation and maintenance, launching and dry-docking are the main activities involved.
Tamasheq: Iⵗⴰⵏⵏⵉ ⵏ ⴱⴻⵙⵙⴻⵍ ⵓⴰ ⴻⵣⵣⴰⵔⴰⵏ, ⵉⵗⴰⵏⵏⵉ ⵏⴻⵜ ⵓⴰ , ⴻⴷⴻⵉ , ⴻⵔⴻⵎ ⵏⴻⵜ, ⴰⵆⴰⴷⴰⵎ, ⴷ ⴰⵎⵓⴾⵉⵏ,ⴰⵙⵉⵍⵎⴰⴷ ⴷ ⴰⵙⵉⴱⴰⴷ ⵏⴻⵜ ⴰⵈⵈⴰⵍⴰⵏ ⵜⵉⵎⴰⵛⵗⵓⵍⴻⵏ ⵜⵉ ⴰⵂⴰⵏⴻⵏ
English: Conversely, sacred architecture as a locale for meta-intimacy may also be non-monolithic, ephemeral and intensely private, personal and non-public.
Tamasheq: Iⴷⴻⵉⴰⵏ ⵓⵉⵏ ⴰⵍⵓⴰⵍⵉ ⵜⴰⵏ ⵛⵓⵏⴷ ⵓⵉⵏ ⵉⵂⴰⵏⴰⵏ ⵓⵉⵏ ⴰⵍⵆⴰⵔⴰⵎ ⴰⴷⴷⵓⴱⴻⵏ ⴰⴷ ⵓⴰⵔ ⵓⵍⴻⵏ, ⴰⵓⴰ ⵓⴰⵔ ⵏ ⵉⵜⵉⵂⵉⵋ, ⵜⵓⵍⴰⵙ ⵉⵙⴾⴰⵜⴰⵏ ⵂⵓⵍⵍⴰⵏ, ⵓⴰⵔ ⵂⴻⵔⴰⵏ
English: With the rise of Christianity and Islam, religious buildings increasingly became centres of worship, prayer and meditation.
Tamasheq: ⵜⵉⵓ-ⴰⵜ ⵜⴰⵏ ⴰⴷⴷⵉⵏ ⵓⴰⵏ ⴾⵔⵉⴾⴻⵏ ⵜⴰⵏ ⴷ ⴰⵍ-ⵉⵙⵍⴰⵎ , ⵉⵂⴰⵏⴰⵏ ⵓⵉⵏ ⴰⵗⴰⴱⴰⴷ ⴰⵈⵈⴰⵍⴰⵏ ⵂⵓⵍⵍⴰⵏ ⵉⵂⴰⵏⴰⵏ ⵓⵉⵏ ⴰⵗⴰⴱⴰⴷ, ⴰⵎⵓⴷ ⴷ ⴰⵙⵓⵗⴰⵍ ⵏ ⵉⵏⴰⵙⵋⴰⵎ.
English: India was crisscrossed by trading routes of merchants from as far away as Siraf and China as well as weathering invasions by foreigners, resulting in multiple influences of foreign elements on native styles.
Tamasheq: Iⵏⴷⵉⴰ ⴰⵗⵍⴰⵉⴰⵏ ⵜⴰⵜ ⵉⴷ ⴰⴱⴰⵔⴰ ⵜⴰⵏ ⵏ ⵎⴰⵎⴰⵍⴰ ⵏ ⴰⵍⵎⵓⵙⴰⴱⴱⵉⴱⴰⵏ ⵉⴷ ⵉⴼⴰⵍⵏⴻⵏ ⵙⵉⵔⴰⴼ ⴷ ⵛⵂⵉⵏⴻ ⵂⴰⴾ ⵉⴷ ⵉⵏⴰⴼⴰⵣⴰⵏ ⵏ ⵉⵏⴰⴼⵜⴰⵗⴰⵏ ⴷⴰⵗ ⴰⵣⵣⴰⵎⴰⵏⴰⵏ ⵉⵛⵔⴰⵉⴰⵏ ⵙ ⴰⵙⵙⴰⵂⴰⵜⴻⵏ ⴰⵋⵋⵓⵜⵏⴻⵏ ⵏ ⵉⴷⵉⵔⵛⴰⵏ ⵏ ⵉⵏⴰⴼⵜⴰⵗⴰⵏ ⴼⴰⵍ ⵉⵛⵉⴾⵉⵍⴰⵏ ⵓⵉⵏ ⴾⴰⵍ ⴰⴾⴰⵍ
English: An existing example is at Nalanda (Bihar).
Tamasheq: ⴰⵍⵎⵉⵜⴰⵍ ⵉⵜ ⵉⵍⵍⴰⵏ ⴻⵈⵈⴰⵍ ⵏⴰⵍⴰⵏⴷⴰ (ⴱⵉⵂⴰⵔ)
English: In accordance with changes in religious practice, stupas were gradually incorporated into chaitya-grihas (stupa halls).
Tamasheq: ⴻⴰⵗ ⵙⴻⵎⵗⴰⵔ ⵏ ⵜⴰⵎⴰⵜⵜⵉⵜ ⵏ ⴰⵆⴰⴷⴰⵎ ⵏ ⴰⴷⴷⵉⵏ , ⵙⵜⵓⴱⴰⵙ ⵜⴰⵋⴰⵛ ⵏⴰⵜ ⵛⴰⵉⵜⵉⴰ-ⴶⵔⵉⵂⴰⵙ ⵜⴰⵏ (ⵙⵜⵓⴱⴰ ⵂⴰⵍⵍⵙ)
English: Buddhist temples were developed rather later and outside South Asia, where Buddhism gradually declined from the early centuries CE onwards, though an early example is that of the Mahabodhi Temple at Bodh Gaya in Bihar.
Tamasheq: Iⵂⴰⵏⴰⵏ ⵏ ⴰⵗⴰⴱⴰⴷ ⵓⵉⵏ ⴱⵓⴷⴷⵉⵙⵜ ⵉⵋⵋⴰ ⴻⴼⴻⵙ ⵏⴰⵙⴰⵏ ⴷⴰⵗ ⵓⵛⵔⴰⵉ ⵜoⵍⴰⵙ ⴷⴰⵗ ⴰⵋⵋⴰⵎⴰ ⵏ ⴰⵙⵉⴰ ⵜⴰⵏ ⴰⴶⴰⵍⴰ ⵙ ⵉⵏⵜⴰ ⴰ ⴷⴰⵗ ⵉⴷ ⵉⴼⴰⵏⵏⴰⵣ ⴱⵓⴷⴷⵉⵙⵎ ⵗⵓⵔ ⵉⵓⵉⵜⵉⴰⵏ ⴰⵣⵣⴰⵔⵏⴻⵏ ⵏ ⵛE, ⴾⵓⴷⴷⴻⵗ ⴰⵙ ⴰⵍⵎⵉⵜⴰⵍ ⴻⵣⵣⴰⵔⴰⵏ ⴻⵈⵈⴰⵍ ⴻⵂⴰⵏⴰⵏ ⵏ ⴰⵗⴰⴱⴰⴷ ⵓⴰⵏ ⵎⴰⵂⴰⴱⴱⴷⵂⵉ ⴷⴰⵗ ⴱoⴷⵂ ⵗⴰⵉⴰ ⵓⴰⵏ ⴱⵉⵂⴰⵔ
English: In Hindu belief, the temple represents the macrocosm of the universe as well as the microcosm of inner space.
Tamasheq: ⴻⴰⵗ ⴰⴷⴷⵉⵏ ⵓⴰⵏ ⵂⵉⵏⴷⵓ ⵜⴰⵏ, ⴻⵂⴰⵏ ⵓⴰⵏ ⴰⴷⴷⵉⵏ ⴻⵈⵈⴰⵍ ⵜⵉⵎⵗⴰⵔⴻ ⵏ ⴰⵍⵗⴰⵍⵉⵎ ⵂⴰⴾ ⵉⴷ ⵜⴰⵏ ⵏ ⴰⵎⵎⴰⵙ ⵏ ⵉⵛⵉⵏⵏⴰⵓⴰⵏ
English: It evolved over a period of more than 2000 years.
Tamasheq: ⴰⵎⵎⵓⵜⵜⴰⵉ ⴷⴰⵗ ⴰⵣⵣⴰⵎⴰⵏ ⵙ ⵓⵋⵋⴰⵔⴰⵏ 2000 ⵏ ⴰⵓⴰⵜⴰⵉ
English: In addition, brick replaced stone, classical order was less strictly observed, mosaics replaced carved decoration, and complex domes were erected.
Tamasheq: ⵜoⵍⴰⵙ ,Iⴱⵍⴰⴶ ⵉⵛⵔⴰⵉ ⵜⴰⵂⵓⵏⵜ, ⴰⵏⵎⵉⵍⵍⴰⵍ ⵓⴰⵏ ⴰⵍⴰⵙⴰⵍ ⵓⵔ ⵉⵍⴾⴻⵎ ⵉ ⴰⵛⴰⵔⴻⵗⴰ, ⵎoⵙⴰⵉⴾ ⵜⴰⵏ ⵉⵋⵋⴰⵛ ⵏⴰⵜ ⴻⴷⴰⴶ ⵏ ⴰⴷⴰⵍoⵋ ⵉⵏⵋⴰⴼⴰⵏ ⴷ ⴷoⵎⴻ ⵜⴰⵏ ⵎⴰⵈⵈⴻⵔⵏⴻⵏ ⵉⴷⴰⵉⴰⵏ
English: The earliest styles in Islamic architecture produced 'Arab-plan' or hypostyle mosques during the Umayyad Dynasty.
Tamasheq: Iⵛⵉⴾⵉⵍⴰⵏ ⵓⵉ ⴰⵣⵣⴰⵔⵏⴻⵏ ⵏ ⵉⴷⴻⵉⴰⵏ ⵓⵉⵏ ⴰ-ⵉⵙⵍⴰⵎ ⴻⵔⴰⵓⴰⵏ ⵉⴷ “ⴰⴷⴷⴰⴱⴰⵔⴰ ⵏ ⴰⵔⴰⴱⴰⵏ” ⵎⴻⵗ ⵜⵉⵎⵉⵣⴷⵋⵉⴷⵓⴻⵏ ⵓⴰⵔⴰ ⵏⵉ ⵍⴰ ⴰⴼⴰⵍⴰ ⴷⴰⵗ ⵎⴰⵍⵉⴾⵉⵉⴰ ⵜⴰⵏ ⵓⵎⴰⵉⵉⴰⴷ.
English: In iwan mosques, one or more iwans face a central courtyard that serves as the prayer hall.
Tamasheq: ⴻⴰⵗ ⵜⵉⵎⵉⵣⵋⵉⴷⴰⵓⴻⵏ ⵜⵉⵏ Iⵓⴰⵏ , ⵉⵉⵉⴰⵏ ⵎⴻⵗ ⵉⵓⴰⵏ ⵜⴰⵏ ⴰⵋⵋoⵜⵏⴻⵏ ⵉⴾⵉⴰⴷⴰⵏ ⵙⵉⵂⴰ ⵙ ⴰⵗⴰⵍⴰⵉ ⴻⵈⵈⴰⵍⴰⵏ ⵓⴰⵏ ⴰⵎⵓⴷ
English: The top of the minaret is always the highest point in mosques that have one, and often the highest point in the immediate area.
Tamasheq: Iⵙⵉⴾⵏⵜⴰⵎⵉⵣⵋⵉⴷⴰⴻⵈⵈⴰⵍⵂⴰⵔⴾⵓⴾⴻⴷⴰⴶⵓⴰ oⵋⵋⴰⵔⴰⵏⵂⵓⵍⵍⴰⵏⵜⵉⵛⵉⵋⵔⵉⵜⴷⴰⵗⵜⵉⵎⵉⵣⵋⵉⴷⴰⵓⴻⵏⵉⵍⴰⵏⴻⵏⵉⵉⵉⴰⵏⴷⴰⵍⵓⴰⵈⵈⴰⵏⵉⵉⵉⴰⴷⴻⴷⴰⴶⵓⴰ oⵋⵋⴰⵔⴰⵏⵜⵉⵛⵉⵋⵔⵉⵜⴷⴰⵗⴻⴷⴰⴶⴻⵂoⵣⴰⵏ
English: Consequently, mosque architects borrowed the shape of the bell tower for their minarets, which were used for essentially the same purpose – calling the faithful to prayer.
Tamasheq: ⴰⵍⴱⴰⵏⵏⴰⵜⴰⵏⵓⵉⵜⵉⵎⵉⵣⵋⵉⴷⴰⵓⴻⵏⵉⴶⵔⴰⵓⴰⵏⵉⴷⴷⵓⵎⵓⵏⵜⴰⵣoⵍⵉⵜⴰⵏⴻⵎⴰⵙⵍⵉⵉⵉⵙⵉⴾⵏⵜⵉⵎⵉⵣⵋⵉⴷⴰⵓⴻⵏⵙⴾⴰⵍⴰⴰⵆⴷⴰⵎⴰⵏⴷⴰⵗⵉⵜⵜⵓⵙ oⵍⴰⵂⴰⵏⵏⵉⵏⴰⵗⴱⴰⴷⴰⵏⵙⴰⵎⵓⴷ
English: Although domes normally took on the shape of a hemisphere, the Mughals in India popularized onion-shaped domes in South Asia and Persia.
Tamasheq: ⵆⵓⴷⴷⴻⵗⴰⵙⴷoⵎⴻⵜⴰⵏⵉⵜⴾⴰⵍⴰⵏⴷⵓⵎⵓⵜⴰⵏⵏⵂⴻⵎⵉⵙⴱⵂⴻⵔⴻ , ⵎⵓⴶⵂⴰⵍⵙⴷⴰⵗ Iⵏⴷⵉⴰⵉⵣⵉⵣⵋⴰⵔⵉⵙⵎⴰⵓⴰⵏⵏⴷoⵎⴻⵜⴰⵏⵓⵉⵉⵋⵋⴰⵏⴻⵏⴷⵓⵎⵓⵓⴰⵏⴰⵍⴱⴰⵙⴰⵍⴷⴰⵗⴰⵙⵉⴰⵜⴰⵏⴰⴶⴰⵍⴰⴱⴰ ⴻⵔⵙⵉⴰ
English: Usually opposite the entrance to the prayer hall is the qibla wall, which is the visually emphasized area inside the prayer hall.
Tamasheq: ⵂⴰⵔⴾⵓⴾⴻⵎⵓⴰⵏⵓⵋⵋⵉⵛⵏⴰⵎⵉⵍⴰⵍⵍⴰⵉⴼⴰⵍⴻⴷⴰⴶⵓⴰⵏⴰⵎⵓⴷⵉⵎoⵙⴰⵏⴰⵗⴰⵍⴰⵉⵓⴰⵏⴰⵍⵈⵉⴱⵍⴰⵜⴻⵈⵈⴰⵍⴰⵏⴻⴷⴰⴶⵓⴰⵉⵍⴰⵏⴰⴾⴰⵉⴰⴷⵂⵓⵍⵍⴰⵏⴷⴰⵗⴻⴷⴰⴶⵓⴰⵏⴰⵎⵓⴷ
English: In the qibla wall, usually at its center, is the mihrab, a niche or depression indicating the'qibla wall.
Tamasheq: ⴻⴰⵗⴰⵗⴰⵍⴰⵉⵓⴰⵏⴰⵍⵈⵉⴱⵍⴰⵜ ,ⵂⴰⵔⴾⵓⴾⴷⴰⵗⴰⵎⵎⴰⵙⵏⴻⵜⵉⵍⵍⴻⵎⵉⵂⵔⴰⴱ, ⴻⴷⴰⴶⵎⴻⵗⴰⴷⴰⴱoⵏⵉⵙⵙⵉⴾⴰⵏⴰⵗⴰⵍⴰⵉⵓⴰⵏⴰⵍⵈⵉⴱⵍⴰⵜ
English: The mihrab serves as the location where the imam leads the five daily prayers on a regular basis.
Tamasheq: ⵎⵉⵂⵔⴰⴱⴻⴷⴰⴶⵓⴰⴷⴰⵗⵉⵜⴰⵋⴰⵍ-ⵉⵎⴰⵎⵉⵎⴰⴷⴷⴰⵏⵓⵉⵏⵙⴰⵎⵎoⵙⴷⴰⵗⴰⵛⴰⵍ
English: It consists of a nave, transepts, and the altar stands at the east end (see cathedral diagram).
Tamasheq: ⴻⵂⴻⵏⴰvⴻ, ⵜⵔⴰⵏⵙⴻⴱⵜⵙⴷⴰⵍⵜⴰⵔⴰⵣⵣⵓⴾⴻⵏⵙⵉⵂⴰⵙⴰⵛⵔⵓⵜⵓⴰⵏⴰⵍⵈⵉⴱⵍⴰⵜ (ⵉⴾⵉⵉⴷⴷⴰⵗⵆⴰⵜⴻⴷⵔⴰⵍⴷⵉⴰⴶⵔⴰⵎ).
English: Most architectural historians regard Michelangelo's design of St. Peter's Basilica in Rome as a precursor to the Baroque style; this can be recognized by broader interior spaces (replacing long narrow naves), more playful attention to light and shadow, extensive ornamentation, large frescoes, focus on interior art, and frequently, a dramatic central exterior projection.
Tamasheq: ⵉⵛⵉⴾⵉⵍⵓⴰⵏⴱⴰⵔⵓⵈⵓⴻ:ⴰⵓⴻⵏⴰⴷⴷⵓⴱⴰⵜⵜⵉⵎⴰⵣⵣⵓⵉⵜⵏⴻⵜⵙⵉⵂⴰⵏⴷⴰⴶⴰⵏⵓⵉⵏⴰⵎⵎⴰⵙⵎⴰⵈⵈⵓⵔⵏⴻⵏ (ⵛⴰⵔⵔⴻⵉⵏⴻⵏⵏⴰvⴻⵜⴰⵏⴷⴰⵔoⵙⵏⴻⵏ) ⵉⵉⵋⵉⵏⴰⵏⵏⵉⵉⴰⵜⵂⵓⵍⵍⴰⵏⵉⴻⴼⴻⵓⴷⵜⴻⵍⴰⵉ, ⴰⴷⴰⵍoⵋⵉⵏⴾⴰⵛⴰⵏ, ⴼⵔⴻⵙⵛo ⵜⴰⵏⵎⴰⵈⵈoⵔⵏⴻⵏ, ⵉⵋⵋⵉⵏⴰⵏⵏⵉⵉⴰⵜⴷⴰⵗⵜⴰⵎⴰⵛⵗⵓⵍⵜⵜⴰⵏⴰⵎⵎⴰⵙⴷⴰⵙⵓⴾⵏⵉⴷⴰⵗⴰⵋⵋⴰⵎⴰ
English: While secular structures clearly had the greater influence on the development of modern architecture, several excellent examples of modern architecture can be found in religious buildings of the 20th century.
Tamasheq: ⵆⵓⴷⴷⴻⵗⴰⵙⵉⴷⴻⵉⴰⵏⵓⴰⵔ oⵂⴻⵔⴰⵏⵂⴰⵔⴰⵜⵉⴷⴰⴷⴷⵉⵏⵉⵍⴰⵏⴰⵙⵙⴰⵂⴰⵜⵎⴰⵈⵈⵓⵔⴰⵜⴼⴰⵍⴻⴼⴻⵙⵏⵉⴷⴻⵉⴰⵏⵓⵉⵏⵓⵛⵔⴰⵉ, ⴰⵍⵎⵉⵜⴰⵍⴰⵏⴰⵋⵋⵓⵜⵏⴻⵏ ⵓⵍⴰⵗⵏⴻⵏⵏⵉⴷⴻⵉⴰⵏⵓⵉⵏⵓⵛⵔⴰⵉⴰⴷⴷⵓⴱⴻⵏⴰⴷⴰⵜⴰⵋⵔⴰⵓⴰⵏⴷⴰⵗⵉⵂⴰⵏⴰⵏⵏⴰⴷⴷⵉⵏⵎⴰⵈⵈⵓⵔⵏⴻⵏⵏⴰⵓⴰⵜⴰⵉⵓⴰⵏ 2000
English: It has been described as a "phalanx of fighters" turned on their tails and pointing heavenward.
Tamasheq: “Iⵜⴰⵓⴰⵗⵉⵔⵙⵉⵙⵉⵎⵓⴰⵏ “ⴱⵂⴰⵍⴰⵏⵆⵓⴰⵏⵉⵎⴰⴾⴾⵓⵏⵏⴰⵙ”” ⵛⵉⵓⴰⴾⴾⴰⵜⵏⴻⵏⴼⴰⵍⵜⵉⴷⵉⵎⴱⵓⵓⴻⵏⵏⴰⵙⴰⵏⴰⵂⴰⵍⴰⵏⵙⴰⵙⴰⵍⵣⴰⵏⵏⴰⵜ”
English: The Temple at Independence, Missouri was conceived by Japanese architect Gyo Obata after the concept of the chambered nautilus.
Tamasheq: ⴻⵂⴰⵏⵗⵓⵔⴰⵍⵉⵙⵜⴻⵆⵍⴰⵍⵍ ,ⵎⵉⵙⵙoⵓⵔⵉⵉⴾⵏⴻⴰⵍⴱⴰⵏⵏⴰⵏ ⴰⴱoⵏⵙⵉⵙⵉⵎⵏⴻⵜⵗⵉo Oⴱⴰⵜⴰⴷⴰⵔⴰⵜⵉⵙⵉⵎⵓⴰⵏⵛⵂⴰⵎⴱⴻⵔⴻⴷⵏⴰⵓⵜⵉⵍⵓⵙ
English: The Basilica of Our Lady of Licheń on the other hand is a much more traditional edifice.
Tamasheq: ⴱⴰⵙⵉⵍⵉⵛⴰⵜⴰⵏ Oⵓⵔⵍⴰⴷⵉⵜⴰⵏⵍⵉⵛⵂⴻⵏⵜⴰⵈⵈⴰⵍⵙⴻⴷⴰⴶⵉⵉⵉⴰⵏⵂⵓⵍⵍⴰⵏⴻⵂⴰⵏⵓⴰⵏⴰⵍⴰⵙⴰⵍ
English: An architectural style is a set of characteristics and features that make a building or other structure notable or historically identifiable.
Tamasheq: Iⵛⵉⴾⵉⵍⵏⴻⴷⴻⵉⴻⵈⵈⴰⵍⵜⴰⴾⴰⵎⵎⵓⵙⵜⵏⵙⴰⵎⴰⵍⴰⵏⵉⵎⵎoⵋⴰⵗⵏⴻⵏⴻⴷⴻⵉⵎⴻⵗⴰⵜⵉⵉⴾⴼⴰⵏⴰⴾⴰⵉⴰⴷⴷⴰⵗⴰⵜⵜⴰⵔⴻⵆ
English: Most architecture can be classified within a chronology of styles which changes over time reflecting changing fashions, beliefs and religions, or the emergence of new ideas, technology, or materials which make new styles possible.
Tamasheq: Iⴷⴻⵉⴰⵏⴼⵓⴾⴰⴷⴷoⴱⴻⵏⴰⴷⴰⵣⵓⵏⴰⵏⴷⴰⵗⴰⵏⵎⵉⵍⵍⴰⵍⵏⵉⵛⵛⵉⴾⵉⵍⴰⵏⵜⵉⵎⵓⵜⵉⵏⴻⵏⴷⴰⵗⴰⵣⵣⴰⵎⴰⵏⴰⵂⴰⵏⴻⵏⵉⴷⴰⴶⴰⵏⵏⴷⵓⵎⵓⵜⴰⵏ, ⵎⵉⵔⴷⴰⵜⴰⵏⵏⴰⵙⴰⵏⴷⴰⴷⴷⵉⵏⵜⴰⵏⵏⴰⵙⴰⵏⵎⴻⵗⴰⵋⵋⴰⵔⴰⵓⵏⴰⵏⵏⵉⵉⴰⵜⴻⵏⴻⵉⵏⴰⵉⵏⴻⵏ, ⵜⴻⴾⵏⵓⵍⵓⵋⵉⵎⴻⵗⵉⵙⵓⵋⵙⴰⵔⵗⴰⵙⵏⴻⵏⵉⵛⵛⴾⵉⵍⴰⵏⴻⵉⵏⴰⵉⵏⴻⵏ.
English: At any time several styles may be fashionable, and when a style changes it usually does so gradually, as architects learn and adapt to new ideas.
Tamasheq: ⵙⴰⵍⵓⴰⵈⴼⵓⴾⵉⵛⵉⴾⵉⵍⴰⵏⴰⵋⵋⵓⵜⵏⴻⵏⴰⴷⴷⵓⴱⴻⵏⴰⴷⴰⵗⵏⵉⵏⵜoⵍⴰⵙⴰⵍⵓⴰⵈⵓⴰⵉⴷⴰⵎⵎⵓⵜⴰⵉⵉⵛⵉⴾⵉⵍ , ⴰⵍⵓⴰⵈⵈⴰⵏⵉⵉⵉⴰⴷⵉⵜⴰⵋⴰⵓⴻⵏⵙⵓⵍⵍⴰⵏⴼⴰⵍⴰⵙⴰⵍⴱⴰⵏⵏⴰⵜⴰⵏⴰⵗⵔⴰⵏⵜoⵍⵙⵉⵋⵋⵔⴰⵓⴰⵏⵜⴰ-ⵉⵜⴻⵜⴻⵉⵏⴰⵉⴰⵜ
English: For instance, Renaissance ideas emerged in Italy around 1425 and spread to all of Europe over the next 200 years, with the French, German, English, and Spanish Renaissances showing recognisably the same style, but with unique characteristics.
Tamasheq: ⴻⴰⵗⴰⵍⵎⵉⵜⴰⵍ, ⴰⵏⵏⵉⵉⴰⵜⴻⵏⵜⵉⵏⵈⴻⵏⴰⵉⵙⵙⴰⵏⵛⴻ, ⵜⴰⵓⴰⵋⵋⵔⴰⵓⵏⴰⵜⵜⴰⵏ Iⵜⴰⵍⵉⴰⴻⴷⴻⵙⵏⴰⵓⴰⵜⴰⵉⵓⴰⵏ 1425 ⴷⵉⵂⴻⵏⴰⴷⵉⵍⵙⴰⵏⴰⵜⴻⵔoⴱⴰⴷⴰⵗ 200 ⵏⴰⵓⴰⵜⴰⵉⵜⵉⵉⵍⴾⴰⵎⵏⴻⵏⵉⴷⵈⴻⵏⴰⵉⵙⵙⴰⵏⵛⴻⵜⴰⵏⴼⵔⴰⵏⵛⴻ, ⵗⴻⵔⵎⴰⵏⵉ,ⴱⵔⵉⵜⴰⵏⵉⴰⴷⵚⵒⴰⵏⵉⴰⵙⴰⴾⵏⵉⵏⴻⵏⵉⵛⵉⴾⵉⵍ oⵍⴰⵂⴰⵏⵎⵓⵛⴰⵏⵙⵙⴰⵎⴰⵍⴰⵏⵉⵉⵉⴰⴷ
English: After an architectural style has gone out of fashion, revivals and re-interpretations may occur.
Tamasheq: ⴻⴰⵔⴰⵜⴰⵙⵉⴱⴰⵙⵉⵏⴼⴰⴻⴷⴻⵉⵂⴰⵔⴰⵜ, ⵉⵙⵉⵙⵙⵉⵏⵉⵉⴰⵏⴷⵉⴶⴰⵎⴰⴾⴰⵏⵉⵉⵉⴰⴷⴰⴷⴰⵋⵋⵉⵏ
English: The Spanish mission style was revived 100 years later as the Mission Revival, and that soon evolved into the Spanish Colonial Revival.
Tamasheq: Iⵛⵛⵉⴾⵉⵍⵏⴻⵔⴰⴾⴰⴼⵓⴰⵏⵚⵒⴰⵏⵉⴰⵉⵏⴾⴰⵔⵉⴷⴷⴰⵗ 100 ⵏⴰⵓⴰⵜⴰⵉⴷⴰⵔⴰⵜⴰⵓⴰⴼⴰⵍⵜⴰⵏⴰⴾⵔⴰⵏⴻⵔⴰⴾⴰⴼⴷⵉⵂⴻⵏⵉⵏⴾⴰⵛⵂⵙⴰⵙⴱⴻⵔⴻⵏⵜⴰⵏⴰⴾⵔⴰⵏⵜⴰⴾⴾⵉⵍⵓⵓⴰⵏⵙⴱⴰⵏⵉⴰ
English: An example of Mannerist architecture is the Villa Farnese at Caprarola in the rugged country side outside of Rome.
Tamasheq: ⴰⵍⵎⵉⵜⴰⵍⵏⴻⴷⴻⵉⵏⵎⴰⵏⵏⴻⵔⵉⵙⵜⴻⵈⵈⴰⵍⵠⵉⵍⵍⴰⴼⴰⵔⵏⴻⵙⴻⴷⴰⵗⵛⴰⴱⵔⴰⵔoⵍⴰⴷⴰⵗⴰⵛⵔⵓⵜⵏⴰⴷⴷⴰⵓⵍⴰⵜⵓⴰⴻⵛⵗⴰⴷⴰⴾⵉⵏⵏⴰⵙⴷⴰⵗⴰⵋⵋⴰⵎⴰⵏⵈoⵎⴰ
English: Through Antwerp, Renaissance and Mannerist styles were widely introduced in England, Germany, and northern and eastern Europe in general.
Tamasheq: ⵙⴰⵏⵜⵓⴻⵔⴱ, ⵉⵛⵛⵉⴾⵉⵍⴰⵏⵓⵉⵏⵈⴻⵏⴰⵉⵙⵙⴰⵏⵛⴻⴷⵎⴰⵏⵏⴻⵔⵉⵙⵜⵉⴾⵏⴰⵏⵉⵋⵋⵓⵛⵂⵓⵍⵍⴰⵏⵏⴻⵏⴶⵍⴰⵏⴷ, ⵗⴻⵔⵎⴰⵏⵉⴷⵜⴰⵎⴰⵙⵏⴰⴷⴰⵍⵈⵉⴱⵍⴰⵜⵏⴻⵔoⴱⴰ
English: The Renaissance ideal of harmony gave way to freer and more imaginative rhythms.
Tamasheq: Iⵜⵜⵓⵙ ⵏ ⵈⴻⵏⴰⵉⵙⵙⴰⵏⵛⴻ ⵉⵋⵋⴰ ⴰⴱⴰⵔⴰ ⵉ ⴰⵍⵆoⵔⵉⵉⴰ ⴷ ⵉⵎⵉⵜⵉⴾⵓⵉⵉⴰⵏ ⵉⴷ ⴰⵏⴰⵣⵋⵓⵎ ⵂⵓⵍⵍⴰⵏ
English: Architectural theory is the act of thinking, discussing, and writing about architecture.
Tamasheq: ⵎⵉⵔⴷⴰ ⵓⴰⵏ ⴻⴷⴻⵉ ⵉⵎoⵙ ⴰⵣⴰⵏⵏⵉⵙⵋⵓⵎⵉ, ⴰⵙⵉⵓⵉⵍ ⴷ ⴰⴾⴰⵜⴰⴱ ⴼⴰⵍ ⴻⴷⴻⵉ
English: Architectural theory is often didactic, and theorists tend to stay close to or work from within schools.
Tamasheq: ⵎⵉⵔⴷⴰ ⵓⴰⵏ ⴻⴷⴻⵉ ⴰⵍⵓⴰⵈ ⵉⵉⵉⴰⵏ ⵏ ⵜⴻⵗⴰⵔⴻ ⵜoⵍⴰⵙ ⴾⴻⵍ ⵎⵉⵔⴷⴰ ⵜⴰⵏ ⵓⵔⴰⴾⴰⵏ ⵂⵓⵍⵍⴰⵏ ⵙ ⵎⴻⵗ ⴰⵆⴷⴰⵎⴰⵏ ⴷⴰⵗ ⵍⴰⴾⴾⵓⵍⴰⵏ
English: This does not mean, however, that such works did not exist, given that many works never survived antiquity.
Tamasheq: ⴰⵓⴻⵏ ⵓⴰⵔ ⴻⵈⵈⴻⵍ ⴰⵙ ⴰⵍⵆⵉⴷⵎⴰⵜⴻⵏ ⵛⵓⵏⴷ ⵜⵉⵏ ⵓⴰⵔ ⵜⵉ ⵉⵍⵍⴻⵏⴰⵜ ⵉⵛⵎⴰⴷ ⴰⵍⵆⵉⴷⵎⴰⵜⴻⵏ ⴰⵋⵋⵓⵜⵏⴻⵏ ⵉⵛⵔⴰⵉⵏⴰⵜ ⵉⴷ ⵉⵓⵉⵜⵉⴰⵏ ⵓⵉⵏ ⴰⵔⵓ
English: Probably written between 27 and 23 BC, it is the only major contemporary source on classical architecture to have survived.
Tamasheq: ⴻⵂⴰⵎⵉⵛ ⵉⴾⵜⴰⴱ ⵋⵉⵔ 27 ⴷ 23 ⵏ ⴰⵓⴰⵜⴰⵉ ⴷⴰⵜⴰ ⴰⵏⵏⴰⴱⵉ ⵗⵉⵙⴰ , ⴻⵈⵈⴰⵍ ⵜⴰⴶⵓⵂⴻ ⵗⴰⵙ ⵜⴰⵏ ⵉⵉⵉⴰⵜ ⵎⴰⵈⵈⵓⵔⴰⵜ ⴷⴰⵗ ⵓⵛⵔⴰⵉ ⴼⴰⵍ ⴻⴷⴻⵉ ⵏ ⴰⵍⴰⵙⴰⵍ ⵓⴰ ⵉⴷ ⵉⴶⴰⵗⴰⵔⴰⵏ
English: It also proposes the three fundamental laws that architecture must obey, in order to be so considered: firmitas, utilitas, venustas, translated in the 17th century by Sir Henry Wotton into the English slogan firmness, commodity and delight (meaning structural adequacy, functional adequacy, and beauty).
Tamasheq: Iⵋⵋⴰ ⵂⴰⵔ ⴰⵋⵋⵓⴷⵉ ⴰⴷⴷⴰⴱⴰⵔⴰ ⵜⴰⵏ ⵏ ⴾⴰⵔⴰⴷⴰⵜ ⴰⵛⵛⴰⵔⴻⵗⴰ ⵙ ⵉⵍⵣⴰⵎ ⴰ ⵂⴰⵙⵏⴰⵜ ⴻⵔⴷⴰⵗ ⴻⴷⴻⵉ ⴰ ⴼⵍ ⴻⵔⵂⴰ ⴰⴷ ⴻⵈⵈⴰⵍ: ⴼⵉⵔⵎⵉⵜⴰⵙ, ⵓⵜⵉⵍⵉⵜⴰⵙ, vⴻⵏⵓⵙⵜⴰⵙ, ⵉⴼⴼⴰⵙⴰⵔ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1700 Hⴻⵏⵔⵉ ⵓoⵜⵜoⵏ ⴷⴰⵗ ⵜⴰⵏⴶⵉⵍⵉⵙⵜ ⵙ ⴰⴶⵍⵓⵉ ⵏ ⵜⴰⵏⴶⴰⵍⵜ, ⵉⵍⴰⵍⴰⵏ ⴷ ⵜⴰⵣⵓⴷⴻ (ⵙ ⴰⵍⵎⵗⵏⴰ ⵏⴻⵜ ⴰⵈⵈⴰⴷ ⵏ ⵜⵉⵋⵉⵜⵜⴰⵓⵜ, ⴰⵈⵈⴰⴷ ⴻⵆⴷⴰⵎⴰⵏ ⴷ ⵜⵉⵂⵓⵙⵙⴰⵉ)
English: Since the architectural theories were on structures, fewer of them were transcribed.
Tamasheq: ⴰⵍⵓⴰⵈ ⵓⴰ ⵎⵉⵔⴷⴰ ⵜⴰⵏ ⵓⵉⵏ ⴻⴷⴻⵉ ⴰⵈⵈⴰⵍⴰⵏ ⴼⵍ ⵜⵉⵋⵉⵜⵜⴰⵓⴻⵏ, ⵉ ⵎⴰⴷⵔⵓⵉⵏⴻⵏ ⴷⴰⵗ ⵙⴰⵏ ⵗⴰⵙ ⴰⴼⵉⵙⴰⵔ ⵏⴻⵏ
English: These theories anticipated the development of Functionalism in modern architecture.
Tamasheq: ⵎⵉⵔⴷⴰ ⵜⴰⵏ ⵓⵉⵏ ⴰⵛ-ⴰⵔⴰⵏ ⵉⴷ ⵉ ⴻⴼⴻⵙ ⵏ ⴼⵓⵏⵛⵜⵉoⵏⴰⵍⵉⵙⵎ ⴻⴷⴻⵉ ⵓⴰⵏ ⵓⵛⵔⴰⵉ
English: This in turn formed the basis for Art Nouveau in the UK, exemplified by the work of Charles Rennie Mackintosh, and influenced the Vienna Secession.
Tamasheq: ⴰⵓⴻⵏ ⴻⵈⵈⴰⵍ ⵜⵉⵏⴰⵜⵜⵉⵜ ⵉ ⴰⵔⵜ ⵏⵓⵓvⴻⴰⵓ ⴷⴰⵗ ⵓⵆ ⵙ ⴻⵈⵈⴰⵍ ⴰⵍⵆⵉⴷⵎⴰⵜ ⵓⴰⵏ ⵛⵂⴰⵔⵍⴻⵙ ⵈⴻⵏⵏⵉⴻ ⵎⴰⵛⴾⵉⵏⵜⵓⵙⵂ ⴰⵍⵎⵉⵜⴰⵍ ⴷ ⴰⵙⴰⵔⵓ ⵂⵓⵍⵍⴰⵏ ⴷⴰⵗ ⴰⴾⵉⵏⵏⴰⵙ ⵏ ⵜⴰⵣⵓⵏⵜ ⵓⴰⵏ ⵠⵉⴻⵏⵏⴰ
English: The generation born during the middle-third of the 19th century was largely enthralled with the opportunities presented by Semper's combination of a breathtaking historical scope and a methodological granularity.
Tamasheq: ⴰⴷⴷⵉⵏⴰⵜ ⵓⵉ ⵙ ⵜⵉⵋⵋⴰ ⵜⵉⵓⵉⵜ ⵏⴰⵙⴰⵏ ⴷⴰⵗ ⴰⵎⵎⴰⵙ ⵏ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1900 ⴰⵙⵉⴷⴰⵓⴰⵜ ⵜⴰⵏ ⵂⵓⵍⵍⴰⵏ ⵜⴰⴼⴼⴰⵓⴻⵏ ⵜⵉⵏ ⴰⵙⴰⵔⵜⵉ ⵓⴰ ⵉⵋⵋⴰ ⵙⴻⵎⴱⴻⵔ ⵉ ⵜⴰⵂⵉⵔⵉⴾ ⵏ ⴰⵜⴾⵓⵍ ⵏ ⵓⵏⴼⴰⵙ ⵉ ⴰⵜⵜⴰⵔⴻⵆ ⴷ ⵉⴷⴷⵉⴾⵓⴷ ⵉⵍⴾⴰⵎⴰⵏ ⵉ ⴰⵍⵎăⵗⵏⴰ
English: The Modern Movement rejected these thoughts and Le Corbusier energetically dismissed the work.
Tamasheq: ⵜⴰⵈⵈⵉⵎⵜ ⵜⴰⵏ ⵓⵛⵔⴰⵉ ⵜⴰⵏⵈⵓⵔ ⵜⴰ-ⵉⵜⴻ ⵜⴰⵏ ⵜⵉⵏ ⵜⵓⵍⴰⵙ ⵛⵓⵔⴱⵓⵙⵉⴻⵔ ⵉⴱⴷⴰ ⵉⴷ ⴰⵍⵆⵉⴷⵎⴰⵜ ⵜⴻⵏ
English: Another influential planning theorist of this time was Ebenezer Howard, who founded the garden city movement.
Tamasheq: ⴰⵓ ⵎⵉⵔⴷⴰ ⵏ ⴰⴷⴷⴰⴱⴰⵔⴰ ⵉⵉⵉⴰⵏ ⵏ ⴰⵣⵣⴰⵎⴰⵏ ⴻⵏ ⴻⵈⵈⴰⵍ ⴻⴱⴻⵏⴻⵣⴻⵔ ⵂⵓⵓⴰⵔ ⴰ ⴻⵗⵏⴰⵏ ⴶⴰⵔⴷⴻⵏ ⵛⵉⵜⵉ ⵎovⴻⵎⴻⵏⵜ
English: An early use of the term modern architecture in print occurred in the title of a book by Otto Wagner, who gave examples of his own work representative of the Vienna Secession with art nouveau illustrations, and didactic teachings to his students.
Tamasheq: ⴰⵍⵆⵉⴷⵎⴰⵜ ⵜⴰ ⵜⴰⵣⵣⵔⴰⵜ ⵙ ⵉⵙⵉⵎ ⵏ ⴻⴷⴻⵉ ⵓⴰⵏ ⵓⵛⵔⴰⵉ ⵉⵓⴰⵔⴰⵏ ⵉⵍⴾⴰⴷⴰⵏ ⵉⵋⵋⴰ ⴼⴰⵍ ⵜⴰⵙⴰⵙⵙⴰⵗⵔⴰⵓⵜ ⵏ ⴰⵍⴾⵉⵜⵜⴰⴱ ⵓⴰⵏ oⵜⵜⵓ ⵓⴰⴶⵏⴻⵔ ⵉⴾⴼⴰⵏ ⴰⵍⵎⵉⵜⴰⵍⴰⵏ ⴰⵋⵋⵓⵜⵏⴻⵏ ⵏ ⴰⵍⵆⵉⴷⵎⴰⵜ ⵏⴻⵜ ⵜⵉⵋⵋⴰⵜ ⴼⴰⵍ ⴰⴾⵉⵏⵏⴰⵙ ⵓⴰⵏ ⵜⴰⵣⵓⵏⵜ ⵏ ⵠⵉⴻⵏⵏⴰ ⵉⴷ ⴰⵙⵉⴷⴷⵉⵜⵉ ⵜⴰⵏ ⵏ ⴰⵔⵜ ⵏⵓⵓⴱⴻⴰⵓ ⴷ ⴰⵙⴰⵙⵙⴰⵗⵉⵔ ⵏ ⴰⵜⵜⴰⵍⴰⴱⴰ
English: Frank Lloyd Wright, while modern in rejecting historic revivalism, was idiosyncratic in his theory, which he conveyed in copious writing.
Tamasheq: ⴼⵔⴰⵏⴾ ⵍⵍⵓⵉⴷ ⵓⵔⵉⴶⵂⵜ , ⴾⵓⴷⴷⴻⵗ ⴰⵙ ⵉⵛⵔⴰⵉ ⴷⴰⵗ ⴰⵏⴾⵓⵔ ⵏ ⴰⵙⴰⵏⴾⴰⵔ ⵏ ⴰⵜⵜⴰⵔⴻⵆ ⴻⵈⵈⴰⵍ ⵉⴷⵉⵓⵙⵉⵏⵛⵔⴰⵜⵉⵛ ⴷⴰⵗ ⴰⵜⵜⴰⵔⴻⵆ ⵙ ⴰⵙⵉⵍⵎⴰⴷ ⴷⴰⵗ ⴰⴾⴰⵜⴰⴱ ⴰⵋⵋⴻⵏ
English: Wright was more poetic and firmly maintained the 19th-century view of the creative artist as unique genius.
Tamasheq: ⵓⵔⵉⴶⵂⵜ ⴻⵈⵈⴰⵍ ⴰⵓⴰⴷⵉⵎ ⵏ ⵜⵉⵏⴼⵓⵙⴻⵏ ⵂⵓⵍⵍⴰⵏ ⵜoⵍⴰⵙ ⵉⴾⵏⴰ ⴰⴶ-ⴰⵣ ⵏ ⴰⴾⴰⵉⴰⴷ ⵏ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1900 ⴰⵓⵏⴰⵂⴰⴷ ⴻⵈⵈⴰⵍⴰⵏ ⴰⵍⵛⵂⵉⵏ
English: This has also been the case with educators in academia like Dalibor Vesely or Alberto-Perez Gomez, and in more recent years this philosophical orientation has been reinforced through the research of a new generation of theorists (E.G. Jeffrey Kipnis or Sanford Kwinter).
Tamasheq: ⴰⵓⴻⵏ ⴷⴰⵗ ⵉⴷⴰⵙ ⵉⵎⴰⵙⴰⵗⵔⴰⵏ ⴷⴰⵗ ⴰⵛⴰⴷⴻⵎⵉⴰ ⵛⵓⵏⴷ ⴻⴰⵍⵉⴱⵓⵔ ⵠⴻⵙⴻⵍⵉ ⵎⴻⵗ ⴰⵍⴱⴻⵔⵜⵓ-ⴱⴻⵔⴻⵣ ⵗⵓⵎⴻⵣ ⴷ ⴷⴰⵗ ⵉⵓⵉⵜⵉⴰⵏ ⵂⵉⵏ ⵓⴾⴰⵉⵏⴻⵏ ⵜⴰⵙⵉⴷⵉⴾ ⵏ ⵜⴻⵗⴰⵔⴻ ⵏ ⵎⵓⵙⵏⴰⵜ ⵜⴻⵏ ⵜⴰⵙⵙoⵂⴰⵜ ⵙ ⴼⴰⵔⴰⴾ ⵏ ⵜⴰⵈⵈⵉⵎⵜ ⵏ ⴰⴷⴷⵉⵏⴰⵜ ⵏ ⴰⵓ ⵎⵉⵔⴷⴰ ⵜⴰⵏ ⴻⵉⵏⴰⵉⵏⴻⵏ ( ⴻ.ⵗ ⵋⴻⴼⴼⵔⴻⵉ ⵆⵉⴱⵏⵉⵙ ⵎⴻⵗ ⵙⴰⵏⴷⴼⵓⵔⴷ ⵆⵓⵉⵏⵜⴻⵔ)
English: Others, like Beatriz Colomina and Mary McLeod, expand historical understandings of architecture to include lesser or minor discourses that have influenced the development of architectural ideas over time.
Tamasheq: Iⵉⵉⴰⴷ ⵛⵓⵏⴷ ⴱⴻⴰⵜⵔⵉⵣ ⵛⵓⵍⵓⵎⵉⵏⴰ ⴷ ⵎⴰⵔⵉ ⵎⵛLⴻoⴷ ⵉⵙⵙⴻⵓⴰⴷⴰⵏ ⴰⴼⴰⵂⴰⵎ ⵏ ⴰⵜⵜⴰⵔⴻⵆ ⵓⴰⵏ ⴻⴷⴻⵉ ⴻⵂⴰ ⴰⴼⴰⵏⴰⵣ ⵎⴻⵗ ⴰ ⴰⵏⴷⴰⵔⵔⴰⵏ ⴷⴰⵗ ⵎⴰⵋⵔⴰⴷ ⴰⵈⵈⴰⵍⵏⴻⵏ ⴰⵙⴰⵔⵓ ⵉ ⴻⴼⴻⵙ ⵏ ⵜⴰ-ⵉⵜⴻ ⵜⴰⵏ ⵏ ⴻⴷⴻⵉ ⴷⴰⵗ ⴰⵣⵣⴰⵎⴰⵏ
English: In their theories, architecture is compared to a language which can be invented and re-invented every time it is used.
Tamasheq: ⴰⴻⴰⵗ ⵎⵉⵔⴷⴰ ⵜⴰⵏ ⵏⴰⵙⴰⵏ, ⴻⴷⴻⵉ ⴰⵏⵉⵎⴰⴾⴾⴰ ⵉⴷ ⴰⵓⴰⵍ ⴰⴷⴷⵓⴱⴻⵏ ⴰⴷ ⴻⵗⵏⵓ ⵜⵓⵍⴰⵙ ⴰⵍⵉⵙ ⴻⵗⴰⵏⵏⵉ ⴰⵣⵣⴰⵎⴰⵏ ⴼⵓⴾ ⵉⴷ ⴻⵆⴷⴰⵎ
English: Since 2000, architectural theory has also had to face the rapid rise of urbanism and globalization.
Tamasheq: ⴰ ⵉⵋⵋⴰ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 2000, ⵎⵉⵔⴷⴰ ⵓⴰⵏ ⴻⴷⴻⵉ ⵉⵍⵣⴰⵎ ⵜⵉ ⴰⴾⴰⵉⴰⴷ ⴷⴰⵗ ⴰⵔⴰⵎⴰⴷ ⵏ ⵜⵉⵓ-ⴰⵜ ⵏ ⵉⴷⴻⵉⴰⵏ ⴷⴰⵗ ⵉⵗⵉⵔⵎⴰⵏ ⴷ ⴰⵏⵏⴰⵎⵉⵜⵜⴰⴼ ⵓⴰ ⵉⵋⵋⴰⵏ ⵋⵉⵔ ⴰⴷⴷⴰⵓⵍⴰ ⵜⴰⵏ
English: In the past decade, there has been the emergence of the so-called "Digital" Architecture.
Tamasheq: “ⴻⴰⵗ ⵎⴰⵔⴰⵓ ⵉⵓⵉⵜⵉⴰⵏ ⵓⵉ ⵂⵉⵏ ⵓⴾⴰⵉⵏⴻⵏ, ⵉⵎⴰⵍ ⵜⵉ ⵜⵉⵓ-ⴰⵜ ⵏ ⴰⵓⴰ ⵙ ⵉⵜⴰⵓⴰⵏ ⴻⴷⴻⵉ ⵓⴰⵏ ““ⴻⵉⴶⵉⵜⴰⵍ””
English: Architects also design organic-looking buildings in the attempt to develop a new formal language.
Tamasheq: ⴰⵍⴱⴰⵏⵏⴰ ⵜⴰⵏ ⵜoⵍⴰⵙ ⴰⵗⵏⴰⵏ ⵉⴷ ⵉⵂⴰⵏⴰⵏ ⵎⴰⵈⵈⵓⵔⵏⴻⵏ ⵓⵔⴰⴾⵏⴻⵏ ⵙ ⵉⵂⵉⵛⴾⴰⵏ ⴷⴰⵗ ⴻⵔⴻⵎ ⵏ ⴻⴼⴻⵙ ⵓⴰⵏ ⴰⵓⴰⵍ ⴻⵉⵏⴰⵉⴰⵏ
English: Since these new architectural tendencies emerged, many theorists and architects have been working on these issues, developing theories and ideas such as Patrick Schumacher's Parametricism.
Tamasheq: ⴰⵍⵓⴰⵈ ⵓⴰ ⵙ ⴰⵏⵏⵉⵉⴰⵜⴻⵏ ⵜⵉⵏ ⴻⵉⵏⴰⵉⵏⴻⵏ ⵏ ⴻⴷⴻⵉ ⵉⵓ-ⵓⵉⴷ ⵏⴰⵜ , ⴰⵓ ⵎⵉⵔⴷⴰ ⵜⴰⵏ ⴰⵋⵋⵓⵜⵏⴻⵏ ⴷ ⴰⵍⴱⴰⵏⵏⴰ ⵜⴰⵏ ⴰⵋⵋⵓⵜⵏⴻⵏ ⴰⵆⴷⴰⵎⴰⵏ ⴼⴰⵍ ⵎⴰⵔⵙⴰⵍⴰⵏ ⵓⵉⵏ , ⵙ ⵉⵋⵋⴰⵏ ⴻⴼⴻⵙ ⵏ ⵎⵉⵔⴷⴰ ⵜⴰⵏ ⴷ ⵜ-ⵉⵜⴻ ⵜⴰⵏ ⵛⵓⵏⴷ ⴱⴰⵔⴰⵎⴻⵜⵔⵉⵛⵉⵙⵎ ⵓⴰⵏ ⴱⴰⵜⵔⵉⵛⴾ ⵙⵛⵂⵓⵍⴰⵛⵂⴻⵔ
English: Byzantine architecture is the architecture of the Byzantine Empire, or Eastern Roman Empire.
Tamasheq: ⴻⴷⴻⵉ ⵓⴰⵏ ⴱⵉⵣⴰⵏⵜⵉⵏ ⵜⴰⵏ ⴻⵈⵈⴰⵍ ⴻⴷⴻⵉ ⵓⴰⵏ ⵎⴰⵍⵉⴾⵉⵉⴰ ⵜⴰⵏ ⴱⵉⵣⴰⵏⵜⵉⵏ ⵜⴰ ⵎⴻⵗ ⵎⴰⵍⵉⴾⵉⵉⴰ ⵏ ⵈoⵎⴰ ⵜⴰⵏ ⴰⵍⵈⵉⴱⵍⴰⵜ
English: Magnificent golden mosaics with their graphic simplicity brought light and warmth into the heart of churches.
Tamasheq: ⵎⵓⵙⴰⵉⴾ ⵜⴰⵏ ⴰⵋⵋⵓⵜⵏⴻⵏ ⵓⵍⴰⵗⵏⴻⵏ ⵙ ⴰⴷⴰⵍⵓⵋ ⵏⴰⵙⴰⵏ ⵔⴰⵈⵈⵓⵙ ⵉⵜⴰⵓⴰⵉ ⵉⴷ ⴻⴼⴻⵓ ⴷ ⵜⵓⴾⵉⵙⴻ ⴷⴰⵗ ⵓⵍⵂⴰⵓⴰⵏ ⵏ ⴻⴶⵍⵉⵣ ⵜⴰⵏ
English: Some of the columns were also made of marble.
Tamasheq: Iⵜⴰⵔⵜⴰⵔⴰⵏ ⵉⵉⵉⴰⴷ ⵉⵋⵋⴰⵏ ⵙ ⵜⴻⴾⴰⴷⴰⵉⵜ
English: Precious wood furniture, like beds, chairs, stools, tables, bookshelves and silver or golden cups with beautiful reliefs, decorated Byzantine interiors.
Tamasheq: Iⵙⵓⵋ ⵏ ⴰⵂⵉⵛⴾ ⵓⵉ ⵓⵍⴰⵗⵏⴻⵏ ⵂⵓⵍⵍⴰⵏ ⵛⵓⵏⴷ ⵜⴰⵙⵉⴼⵜⴰⵈ, ⵜⴰⵆⵉⴰⵎⴻⵏ, ⵉⵙⴾⴰⴾ ⵓⵉⵏ ⴰⵍⴾⵉⵜⵜⴰⴱⴰⵏ ⴷ ⴰⵣⵔⵓⴼ ⵎⴻⵗ ⴾⵓⴱ ⵜⴰⵏ ⵏ ⵓⵔⴰ ⵉⴷ ⵉⴾⴰⵍⵍⴰⵏ ⵂⵓⵙⴾⴰⵜ ⵏⴻⵏ, ⴰⵎⵎⴰⵙⴰⵏ ⵉⵋⵋⴰⵏ ⴰⴷⴰⵍoⵋ ⵓⴰⵏ ⴱⵉⵣⴰⵏⵜⵉⵏ ⵜⴰⵏ
English: For Classical temples, only the exterior was important, because only the priests entered the interior, where the statue of the deity to whom the temple was dedicated was kept.
Tamasheq: ⴰI ⵉⴷⴻⵉⴰⵏ ⵓⵉⵏ ⴰⵍⴰⵙⴰⵍ ⴻⵈⵈⴰⵍ ⴰⵋⵋⴰⵎⴰ ⵏⴰⵙⴰⵏ ⴻⴷⴰⴶ ⵓⴰ ⴰⵙⵙⵓⵂⴻⵏ ⴼⴰⵍ ⴰⵙ ⵉⵏⵜⴰ ⵙ ⵜⴰⵋⵋⴰⵛⴰⵏ ⴱⵓⵎⴱⴻⵔ ⵜⴰⵏ ,ⴻⴷⴰⴶ ⵙ ⵉⵏⵜⴰ ⴰ ⵜⵉⵍⵍⴰ ⵙⵜⴰⵜⵓⴻ ⵜⴰⵏ ⴰⵗⴰⴱⴰⴷ ⵙ ⴻⵈⵈⴰⵍ ⴰⵙ ⵉⵏⵜⴰ ⴰ ⵜⴰⵗⵍⴰⵙⴰⵜ ⴻⴷⴻⵉ
English: Those in the Cathedral of Saint Mark, Venice (1071) specially attracted John Ruskin's fancy.
Tamasheq: ⵓⵉ ⴰⵂⴰⵏⴻⵏ ⵆⴰⵜⴻⴷⵔⴰⵍ ⵜⴰⵏ ⵙⴰⵉⵏⵜ ⵎⴰⵔⴾ, ⵠⴻⵏⵉⵛⴻ (1071) ⴰⵔⴾⴰⴱⴰⵏ ⴰⵏⴰⵣⵋⵓⵎ ⵏ ⵋⵓⵂⵏ ⵔⵓⵙⴾⵉⵏ
English: On eastern columns the eagle, the lion and the lamb are occasionally carved, but treated conventionally.
Tamasheq: ⴼⴰⵍ ⵉⵜⴰⵔⵜⴰⵔⴰⵏ ⵓⵉⵏ ⴰⵍⵈⵉⴱⵍⴰⵜ ⴻⴶⴰⴷⴰⵔ, ⴰⵂⵉⵔ ⴷ ⵜⴻⵂⴻⵍⴻ ⵂⴰⵔⴾⵓⴾ ⵉⵏⵋⴰⴼⴰⵏ ⵎⵓⵛⴰⵎ ⵜⴰⵋ ⵉⵏ ⴰⵙⴰⴼⴰⵔ ⴻⵂⴰⵏ ⴻⴷⴰⴶ ⵏⴻⵜ
English: Composite columns line the principal space of the nave.
Tamasheq: Iⵉⴰⴾⴰ ⵓⴰⵏ ⵉⵜⴰⵔⵜⴰⵔⴰⵏ ⴰⵔⵜⴰⵉⵏⴻⵏ ⴻⵈⵈⴰⵍ ⴻⴷⴰⴶ ⵓⴰⵏ ⵏⴰⴱⴻ
English: The columns are filled with foliage in all sorts of variations.
Tamasheq: Iⵜⴰⵔⵜⴰⵔⴰⵏ ⵉⴷⵏⴰⵉⴰⵏ ⵉⴼⵔⵉⵏⴾⵉⵜⵜⴰⵏ ⴷⴰⵗ ⵉⵛⵛⵉⴾⵉⵍ ⵏ ⵉⵎⵓⵜⵉⵉⴰⵏ ⴼⵓⴾ
English: Other structures include the ruins of the Great Palace of Constantinople, the innovative walls of Constantinople (with 192 towers) and Basilica Cistern (with hundreds of recycled classical columns).
Tamasheq: Iⴷⴻⵉⴰⵏ ⵉⵉⵉⴰⴷ ⴻⵂⴰ ⵉⵗⴰⵛⴰⴷⴰⵏ ⵏ ⵗⵔⴻⵜ ⴱⴰⵍⵛⴻ ⵓⴰⵏ ⵛⵓⵏⵙⵜⴰⵏⵜⵉⵏoⵓⴱⵍⴻ, ⵉⵗⴰⵍⴰⵉⴰⵏ ⴰⵗⵏⴰⵏⴻⵏ ⵏ ⵛⵓⵏⵙⵜⴰⵏⵜⵉⵏⵓ ⵍⴻ (ⵉⵍⴰⵏ 192 ⵏ ⵜⵓⵓⴻⵔ) ⴷ ⴱⴰⵙⵉⵍⵉⵛⴰ ⵛⵉⵙⵜⴻⵔⵏ ( ⵉⵍⴰⵏ ⵜⵉⵎⴰⴷ ⵏ ⵉⵜⴰⵔⵜⴰⵔⴰⵏ ⵏ ⴰⵍⴰⵙⴰⵍ oⵍⴰⵙⵏⴻⵏ ⵜⴻⵉⵏⴰⵉⴰ)
English: The Paleologan period is well represented in a dozen former churches in Istanbul, notably St Saviour at Chora and St Mary Pammakaristos.
Tamasheq: ⴰⵣⵣⴰⵎⴰⵏ ⵓⴰⵏ ⴱⴰⵍⴻⵓⵍⵓⴶⴰⵏ ⵉⴾⵏⴰ ⴻⵎⴻⵍ ⴷⴰⵗ ⵎⴰⵔⴰⵓ ⴻⴶⵍⵉⵣ ⵜⴰⵏ ⴰⵔⵓ ⵏⴻⵏ ⴷⴰⵗ Iⵙⵜⴰⵏⴱⵓⵍ ⵂⵓⵍⵍⴰⵏ ⵙⵜ ⵙⴰⴱⵉⵓⵓⵔ ⴷⴰⵗ ⵛⵂⵓⵔⴰ ⴷ ⵙⵜ ⵎⴰⵔⵉ ⴱⴰⵎⵎⴰⴾⴰⵔⵉⵙⵜⵓⵙ
English: The Church of the Holy Apostles (Thessaloniki) is cited as an archetypal structure of the late period with its exterior walls intricately decorated with complex brickwork patterns or with glazed ceramics.
Tamasheq: ⴻⴶⵍⵉⵣ ⵓⴰⵏ ⴱoⵎⴱⴻⵔ ⵜⴰⵏ ⵓⵉⵏ ⴰⵍⵓⴰⵍⵉ ⵜⴰⵏ (ⵟⵂⴻⵙⵙⴰⵍoⵏⵉⴾⵉ) ⵉⵜ ⴰⵓ ⴻⵎⴻⵍ ⴰⵙ ⴻⵈⵈⴰⵍ ⴰ ⵓⵍⴰⵂⴰⵏ ⵉⴷ ⴻⴷⴻⵉ ⵓⴰⵏ ⴰⵣⵣⴰⵎⴰⵏ ⵏ ⵓⵛⵔⴰⵉ ⵉⵍⴰⵏ ⵉⵗⴰⵍⴰⵉⴰⵏ ⵏ ⴰⵋⵋⴰⵎⴰ ⵉⴾⵏⴰⵏⴻⵏ ⴰⴷⴰⵍoⵋ ⵙ ⵉⵛⵛⵉⴾⵉⵍ ⵏ ⵉⴱⵉⵍⵗⴰⵏ ⵎⴰⵈⵈⵓⵔⵏⴻⵏ ⵎⴻⵗ ⵛⴻⵔⴰⵎⵉⵛⵙ ⵜⴰⵏ ⵉⵓⴰⵔ ⴱⴻⵔⵏⵉⵙ
English: At Saint Sergius, Constantinople, and San Vitale, Ravenna, churches of the central type, the space under the dome was enlarged by having apsidal additions made to the octagon.
Tamasheq: ⴻⴰⵗ ⵙⴰⵉⵏⵜ ⵙⴻⵔⴶⵉⵓⵙ, ⵛⵓⵏⵙⵜⴰⵏⵜⵉⵏⵙⵓⵍⴻ ⴷ ⵙⴰⵏ ⵠⵉⵜⴰⵍⴻ, ⵕⴰⴱⴻⵏⵏⴰ, ⴻⴶⵍⵉⵣ ⵜⴰⵏ ⵏ ⵉⵛⵛⵉⴾⵉⵍ ⵓⴰⵏ ⴰⵎⵎⴰⵙ ⴻⴷⴰⴶ ⴻⵂⴰⵏ ⵙⵉⴷⴻⵔ ⵏ ⴷⵓⵎⴻ ⵂⴰⵔⵉⴾ ⵙ ⵜⵉⵙⵉⵓⴰⴷ ⵏ ⴰⵙⴱⵙⴻ ⵜⴰⵏ ⵉⵋⵋⴰⵏⴻⵏ ⵂⴰⵔ Oⵛⵜⴰⴶⵓⵏ
English: This unbroken area, about 260 ft (80 m) long, the larger part of which is over 100 ft (30 m) wide, is entirely covered by a system of domical surfaces.
Tamasheq: ⴻⴷⴰⴶ ⵓⴻⵏ ⵓⴰⵔ ⵉⴷⴻⵙ ⵜⴻⵔⴰⵣⴻ ⵉⵋⵋⴰ ⵜⵉⵛⵉⵋⵔⵉⵜ ⵏ 260 ⵏ ⴰⵜⴾⵓⵍ (80 ⵏ ⴰⵗⵉⵍ), ⴰⵛⵔⵓⵜ ⵓⴰ ⵎⴰⵈⵈoⵔⴰⵏ ⵙ ⴷⴰⵗ ⵉⵙ 100 ⵏ ⴰⵜⴾⵓⵍ (30 ⵏ ⴰⵗⵉⵍ) ⵂⴰⵔⵉⴾ, ⵉⵍⵙⴻ ⴼⵓⴾ ⵏⴻⵜ ⵙⵉⵙⵜⴻⵎ ⵏ ⴰⵔⵓⵔⵉ ⵜⴰⵏ ⵏ ⴷⵓⵎⴻ
English: At the Holy Apostles (6th century) five domes were applied to a cruciform plan; the central dome was the highest.
Tamasheq: ⴻⴰⵗ ⴱoⵎⴱⴻⵔ ⵜⴰⵏ ⵏ ⴰⵍⵓⴰⵍⵉ ⵜⴰⵏ (ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 6) , ⵙⴰⵎⵎoⵙ ⴷoⵎⴻ ⵜⴰⵏ ⵉⵋⵋⴰⵏⴻⵏ ⵉ ⴰⴷⴷⴰⴱⴰⵔⴰ ⵓⴰⵏ ⵉⵛⵉⴾⵉⵍ ⵓⴰⵏ ⵛⵔoⵉⵆ, ⴷoⵎⴻ ⵓⴰⵏ ⴰⵎⵎⴰⵙ ⴻⵈⵈⴰⵍ ⵓⴰ oⵋⵋⴰⵔⴰⵏ ⵂⵓⵍⵍⴰⵏ
English: Sometimes the central space was square, sometimes octagonal, or at least there were eight piers supporting the dome instead of four, and the nave and transepts were narrower in proportion.
Tamasheq: ⴰⵍⵓⴰⵈⵈⴰⵏ ⵉⵉⵉⴰⴷ ⴻⴷⴰⴶ ⵓⴰⵏ ⴰⵎⵎⴰⵙ ⵓⴶⴷⴰⵂ, ⴰⵍⵓⴰⵈⵈⴰⵏ ⵉⵉⵉⴰⴷ ⵛⵓⵏⴷ oⵛⵜⴰⴶⵓⵏ ⵎⴻⵗ ⴰⵓⴰ ⵉⴷ oⵔⴰⴾⴰⵏ ⵉⵍⵍⴰⵏ ⵜⵉ ⴰⵜⵜⴰⵎⴰⵜ ⵜⵉⵋⵋⵉⵜⵜⴰⵓⴻⵏ ⵉⵜ ⴰⴼⵏⴻⵏ ⴷoⵎⴻ ⵓⴰⵔ ⴰⴾⴾoⵣⴰⵜ ⴷ ⵏⴰⴱⴻ ⴷ ⵜⵔⴰⵏⵙⴻⴱⵜ ⵜⴰⵏ ⵙⴰⴷⵓⴷⵏⴻⵏ
English: Still in front put a square court.
Tamasheq: ⵂⴰⵔ ⴰⵋⵋⵓⴷⵉ ⴷⴰⵗ ⵙ ⴷⵜⴰ ⵉⵋⵋⴰ ⴰⵗⴰⵍⴰⵉ oⴶⴷⴰⵂⴰⵏ
English: Directly under the center of the dome is the ambo, from which the Scriptures were proclaimed, and beneath the ambo at floor level was the place for the choir of singers.
Tamasheq: ⵙⵉⴷⴻⵔ ⵏ ⴰⵎⵎⴰⵙ ⵓⴰⵏ ⴷoⵎⴻ ⵉⵍⵍⴻ ⴰⵎⴱo ⵙ ⵉⵏⵜⴰ ⴰ ⵗⵓⵔ ⵜ ⴰⵓ ⴰⵗⵔⵉⵏ ⵉⴾⵉⵜⴱⴰⵏ ⵜoⵍⴰⵙ ⵙⵉⴷⴻⵔ ⵏ ⴰⵎⴱo ⵙ ⴰⴾⴰⵍ ⵉⵍⵍⴻ ⴻⴷⴰⴶ ⵓⴰⵏ ⵉⵙⴰⵂⴰⵗⴰⵏ
English: Rows of rising seats around the curve of the apse with the patriarch's throne at the middle eastern point formed the synthronon.
Tamasheq: Iⵜⴰⵔⵜⴰⵔⴰⵏ ⵏ ⵜⴰⵆⵉăⵎⴻⵏ ⴻⴷⴻⵙ ⵏ ⴰⴱⵙⴻ ⵓⴰ ⵉⴾⵔⴰⵎⴱⴰⵉⴰⵏ ⵜ ⵉⵓⴰⵔ ⵜⴰⵆⵉⴰⵎⵜ ⵜⴰⵏ ⴰⵓⵉⵛⵂⴰⵔ ⴷⴰⵗ ⴰⵛⵔⵓⵜ ⵓⴰⵏ ⴰⵍⵈⵉⴱⵍⴰⵜ ⴻⵈⵈⴰⵍⴰⵏ ⵙⵉⵏⵜⵂⵔⵓⵏⵓⵏ
English: The domes and vaults to the exterior were covered with lead or with tiling of the Roman variety.
Tamasheq: ⴻⵉⵎⴻ ⵜⴰⵏ ⴷ ⵜⵉⵋⵉⵜⵜⴰⵓⴻⵏ ⵜⵉ ⴰⵋⵋⴰⵎⴰ ⵉⵍⵙⴰⵏⴰⵜ ⵙ ⵍⴻⴰⴷ ⵎⴻⵗ ⵜⵉⵍⵉⵏⴶ ⵏ ⴰⵏⵏⵓⵗⴰⵏ ⵓⵉⵏ ⵈoⵎⴰ
English: There are considerable Byzantine influences which can be detected in the distinctive early Islamic monuments in Syria (709–715).
Tamasheq: ⴻⵉⵍⵍⴻ ⴰⵙⵙⴰⵂⴰⵜ ⵎⴰⵈⵈoⵔⴰⵜ ⵏ ⴱⵉⵣⴰⵏⵜⵉⵏ ⵜⴰⵏ ⵙ ⵜⵉ ⵉⵍⵍⴰ ⴰⵋⴰⵎoⵍ ⵏⴻⵜ ⴷⴰⵗ ⵉⴷⴻⵉⴰⵏ ⵓⵉⵏ ⵜⵉⵣⴰⵔⴰⵜ ⵉⵋⵋⴰⵏ ⵉⵏⴰⵙⵍⵉⵎⴰⵏ ⴷⴰⵗ ⵙⵉⵔⵉⴰ (ⵋⵉⵔ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 709 ⵂⴰⵔ 715)
English: Bricks 70 cm x 35 cm x 5 cm were used, and these bricks were glued together using mortar approximately 5 cm thick.
Tamasheq: Iⴱⵉⵍⵗⴰⵏ ⵏ 70 ⵏ ⵛⵎ ⵆ 35 ⵛⵎ ⵆ 5 ⵛⵎ ⴰ ⴰⵆⴷⴰⵎⵏⴻⵏ ⵜoⵍⴰⵙ ⵉⴱⵉⵍⵗⴰⵏ ⵓⵉⵏ ⵉⵍⵜⴰⵗⴰⵏ ⴷⴰⵗ ⴻⴷⴰⴶ ⵉⵉⵉⴰⵏ ⵙ ⵙⵉⵎⴰⵓ ⵏ 5 ⵛⵎ ⵜⴰⵏ
English: Perhaps the most definite feature of the Hagia Irene is the strict contrast between the interior and exterior design.
Tamasheq: ⴻⵂⴰⵎⵉⵛⵂ ⵙⴰⵎⴰⵍ ⵓⴰ ⵉⵎⴷⴰⵏ ⴼⵓⴾ ⵏ Iⵔⴻⵏⴻ ⵂⴰⴶⵉⴰ ⵉⵎoⵙ ⴰⵏⴰⵎⵉⵛⵔⴰⵉ ⵋⵉⵔ ⵉⵗⴰⵏⵏⵉ ⵓⴰⵏ ⴰⵎⵎⴰⵙ ⴷ ⵓⴰⵏ ⴰⵋⵋⴰⵎⴰ.
English: This style influenced the construction of several other buildings, such as St. Peter's Basilica.
Tamasheq: Iⵛⵛⵉⴾⵉⵍ ⵓⴻⵏ ⴻⵈⵈⴰⵍ ⴰ oⵔⵏⴰⵂⴰⵏ ⴻⴷⴻⵉ ⵏ ⵉⵂⴰⵏⴰⵏ ⵉⵉⵉⴰⴷ ⵎⴰⵈⵈoⵔⵏⴻⵏ ⵛⵓⵏⴷ ⴱⴰⵙⵉⵍⵉⵛⴰ ⵜⴰⵏ ⵙⵜ. ⴱⴻⵜⴻⵔ
English: The construction of the final version of the Hagia Sophia, which still stands today, was overseen by Emperor Justinian.
Tamasheq: ⴻⴷⴻⵉ ⵓⴰⵏ ⵙ ⴰⵎⵉⵏⴷⵉ ⵏ ⵂⴰⴶⵉⴰ ⵙⵓⴱⵂⵉⴰ ⵜⵉ ⵉⵍⵍⴰⵏ ⵂⴰⵔ ⴰⵛⴰⵍ ⵉⴷ ⵉⵋⵋⴰⵙ ⵂⴰⵙ ⴻⵎⴱⴻⵔoⵔ ⵋⵓⵙⵜⵉⵏⵉⴰⵏ ⴰⵏⵏⵉⵉⴰⵜ
English: Gothic architecture (or pointed architecture) is an architectural style that was particularly popular in Europe from the late 12th century to the 16th century, during the High and Late Middle Ages, surviving into the 17th and 18th centuries in some areas.
Tamasheq: ⴻⴷⴻⵉ ⵓⴰⵏ ⵗoⵜⵂⵉⵛ (ⵎⴻⵗ ⴻⴷⴻⵉ ⵓⴰ ⵉⵣⵣⴰⴶⴰⵏ) ⴻⵈⵈⴰⵍ ⵉⵛⵛⵉⴾⵉⵍ ⵏ ⴻⴷⴻⵉ ⵉⴾⵏⴰ ⵜⵉⵍⴰ ⵏ ⵉⵙⵉⵎ ⵂⵓⵍⵍⴰⵏ ⴷⴰⵗ ⴻⵔoⴱⴰ ⵗⵓⵔ ⵓⵛⵔⴰⵉ ⵏ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1200 ⵂⴰⵔ 1600 ⵗⵓⵔ ⵉⵓⵉⵜⵉⴰⵏ ⵓⵉⵏ ⴷⴰⵜⴰ ⴰⵏⵏⴰⴱⵉ ⵗⵉⵙⴰ ⵂⴰⵔ ⵓⵉⵏ ⴷⴰⵔⴰⵜ ⵏⴻⵜ ⵙ ⵜⵉⵛⵔⴰⵉ ⵜⴰⵎⵓⴷⵔⴻ ⵏⴻⵜ ⵂⴰⵔ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1700 ⴷ 1800 ⴷⴰⵗ ⵉⵂⴰⵏⴷⴰⴶⴰⵏ ⵉⵉⵉⴰⴷ.
English: The style at the time was sometimes known as opus Francigenum (lit.
Tamasheq: Iⵛⵛⵉⴾⵉⵍ ⵓⴰⵏ ⴰⵣⵣⴰⵎⴰⵏ ⵓⴻⵏ ⴻⵈⵈⴰⵍ ⴰⵙ ⵉⵙⵉⵎ ⵏⴻⵜ Oⴱⵓⵙ ⴼⵔⴰⵏⵛⵉⴶⴻⵏⵓⵎ (ⵍⵉⵜ)
English: The primary engineering innovation and one of the other characteristic design components is the flying buttress.
Tamasheq: Iⵗⴰⵏⵏⵉ ⵓⴰⵏ ⴰⵏⵋⴻⵏⵉⴻⵔ ⵜⴰⵏ ⴻⵣⵣⴰⵔⴰⵏ ⴷ ⵉⵉⵉⴰⵏ ⴷⴰⵗ ⵜⵉⵜⴱⴰⵈⵈⴰ ⵏ ⵉⵛⵛⵉⴾⵉⵍ ⴻⵈⵈⴰⵍ ⴼⵍⵉⵉⵏⴶ ⴱⵓⵜⵜⵔⴻⵙⵙ
English: However, there is no evidence to indicate that there was a connection between Armenian architecture and the development of the Gothic style in Western Europe.
Tamasheq: ⵂⴰⴾ ⵉⴷ ⵉⵋⵋⴰ ⴰⵓⴻⵏ , ⵓⴰⵔ ⵜ ⵉⵍⵍⴰ ⵜⴰⴶⵓⵂⴻ ⵙ ⴰⴷ ⴻⵍⵍⴰⵗⴰⵜ ⴰⵓⴰⴷⵉⵎ ⴰⵙ ⵜⵉⵍⵍⴻ ⴰ oⵂⴰⵔ ⵓⴰⵏ ⴻⴷⴻⵉ ⵏ ⴰⵎⵔⵉⴾ ⴷ ⴻⴼⴻⵙ ⵏ ⵉⵛⵂⵉⴾⵉⵍ ⵓⴰⵏ ⵗoⵜⵂⵉⵛ ⴷⴰⵗ ⴻⵔoⴱⴰ ⵜⴰⵏ ⴰⵜⴰⵔⴰⵎ
English: Thus the Gothic style, being in opposition to classical architecture, from that point of view was associated with the destruction of advancement and sophistication.
Tamasheq: Iⵛⵛⵉⴾⵉⵍ ⵓⴰⵏ ⵗoⵜⵂⵉⵛ, ⴰⵏ ⵎⴰⵛⵔăⵉⴰⵏ ⵉⴷ ⴻⴷⴻⵉ ⵓⴰⵏ ⴰⵜⵜⴰⵔⴻⵆ, ⴷⴰⵗ ⴰⴾⴰⵉⴰⴷ ⴻⵔⵜⴰⵉ ⵉⴷ ⴰⵗⴰⵛⴰⴷ ⵓⴰⵏ ⵉⴾⵉ ⵏ ⵙ ⴷⴰⵜⴰ ⴷ ⵎⵉⵍⵗⴰⵓ
English: The term ‘Saracen’ was still in use in the 18th century and it typically referred to all Muslim conquerors, including the Moors and Arabs.
Tamasheq: Iⵙⵉⵎ ⵓⴰⵏ “ⵙⴰⵔⴰⵛⴻⵏ” ⵉⵍⵍⴻ ⴻⵆⴷⴰⵎ ⵂⴰⵔ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1800 ⵜoⵍⴰⵙ ⴻⵈⵈⴰⵍ ⵜⴰⵙⵉⵎⴰⵍⵜ ⵏ ⵉⵏⴰⵙⵍⵉⵎⴰⵏ ⴼⵓⴾ ⵓⵉⵏ ⵉⵎⴰⴾⴾⵓⵏⴰⵙ ⴰⵂⴰⵏ ⵎooⵔⵙ ⴷ ⴰⵔⴰⴱⴰⵏ
English: His aversion of the style was so strong that he refused to put a Gothic roof on the new St. Paul's, despite being pressured to do so.
Tamasheq: ⵎⵉⴾⴷⴰ ⵏⴻⵜ ⵉⴷ ⵉⵛⵛⵉⴾⵉⵍ ⵉⴾⵏⴰ ⴰⵙⵙⴰⵂⴰⵜ ⵂⴰⵔ ⵓⵏⵋⴰⵉ ⴰⴷ ⴻⵋ ⵜⴰⵏⴷⴰ ⵏ ⵗⵓⵜⵂⵉⵛ ⴼⴰⵍ ⵙⵜ.ⴱⴰⵓⵍ ⵓⴰ ⴻⵉⵏⴰⵉⴰⵏ ⴾⵓⴷⴷⴻⵗ ⵙ ⴰⵣⵣⵉⴶⴻⵏ ⵜⵉ ⴰⴷⴷⵉⵏⴰⵜ ⵉ ⴰⴷ ⴻⵋ ⴰⵓⴻⵏ.
English: Several authors have taken a stance against this allegation, claiming that the Gothic style had most likely filtered into Europe in other ways, for example through Spain or Sicily.
Tamasheq: Iⵍⵍⴰⵏ ⵜⵉ ⴰⴷⴷⵉⵏⴰⵜ ⴰⵋⵋoⵜⵏⴻⵏ ⵓⴰⵔ ⵏ ⴰⵆⵉⴻⵣ ⵙ ⵎⴰⵋⵔⴰⴷ ⵓⴻⵏ ⴷⴰⵗ ⴰⵍⵍⴰⵗⴻⵏ ⴰⵙ ⵉⵛⵛⵉⴾⵉⵍ ⵓⴰⵏ ⵗoⵜⵂⵉⵛ ⵉⴾ ⵏ ⴰⵎⵉⵛ ⵂⵓⵍⵍⴰⵏ ⴰⵙ ⵉⵣⵋⴰⵔ ⵉⴷ ⴻⵔoⴱⴰ ⵙ ⵉⵎⵎⵉⴾⴰⵏ ⵉⵉⵉⴰⴷ ⴷⴰⵗ ⴰⵍⵎⵉⵜⴰⵍ ⵙⴰ ⵙ ⵙⴱⴰⵏⵉⴰ ⵎⴻⵗ ⵙⵉⵛⵉⵍⵉ.
English: It was also influenced by theological doctrines which called for more light and by technical improvements in vaults and buttresses that allowed much greater height and larger windows.
Tamasheq: oⵔⵏⴰⵏ ⵜⵉ ⵎⵉⵔⴷⴰ ⵜⴰⵏ ⵓⵉⵏ ⴾⴻⵍ ⴰⴷⴷⵉⵏ ⵗⴰⵔⵔⵉⵏⴻⵏ ⵙ ⴻⴼⴻⵓ ⴰⵋⵋⴻⵏ ⴷ ⵉⵙⴰⵎⵎⵓⵜⵉⵉⴰⵏ ⵏ ⵜⵉⴾⴰⵔⵙⴰⵉ ⴷⴰⵗ ⵜⵉⵋⵉⵜⵜⴰⵓⴻⵏ ⴷ ⴱⵓⵜⵜⵔⴻⵙⵙ ⵜⴰⵏ ⵉⴾⴼ-ⴰⵏⴻⵏ ⵙ ⵜⵉⵛⵉⵋⵔⵉⵜ ⵂⵓⵍⵍⴰⵏ ⴷ ⴼⴰⵏⴻⵜⵉⵔ ⵜⴰⵏ ⵎⴰⵈⵈoⵔⵏⴻⵏ
English: Rib-vaults were employed in some parts of the cathedral at Durham (1093–) and in Lessay Abbey in Normandy (1098).
Tamasheq: ⵈⵉⴱ-ⴱⴰⵓⵍⵜ ⵜⴰⵏ ⴰⵆⴷⴰⵎⴰⵏ ⴷⴰⵗ ⵉⵛⵔⵓⵜⴰⵏ ⵏ ⵆⴰⵜⴻⴷⵔⴰⵍ ⵜⴰⵏ ⴹⵓⵔⵂⴰⵎ ⵗⵓⵔ ⴰⵓⵜⴰⵉ (1093) ⴷ ⴷⴰⵗ Lⴻⵙⵙⴰⵉ ⴰⴱⴱⴻⵉ ⴷⴰⵗ ⵏoⵔⵎⴰⵏⴷⵉ (1098)
English: The Duchy of Normandy, part of the Angevin Empire until the 13th century, developed its own version of Gothic.
Tamasheq: ⴻⵓⵜⵛⵂⵉ ⴰⵏ ⵏoⵔⵎⴰⵏⴷⵉ, ⴰⵛⵔⵓⵜ ⵏ ⴰⵏⴶⴻⴱⵉⵏ ⴻⵎⴱⵉⵔⴻ ⵂⴰⵔ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1300 ⴻⵗⵏⴰ ⵉⵛⵛⵉⴾⵉⵍ ⵏ ⵗoⵜⵂⵉⵛ ⵓⴰⵏ ⵉⵎⴰⵏ ⵏⴻⵜ.
English: One example of early Norman Gothic is Bayeux Cathedral (1060–70) where the Romanesque cathedral nave and choir were rebuilt into the Gothic style.
Tamasheq: ⴰⵍⵎⵉⵜⴰⵍ ⵉⵉⵉⴰⵏ ⵏ ⵗoⵜⵂⵉⵛ ⵓⴰⵏ ⵏoⵔⵎⴰⵏ ⵓⵉ ⴰⵣⵣⴰⵔⵏⴻⵏ ⴻⵈⵈⴰⵍ ⵆⴰⵜⴻⴷⵔⴰⵍ ⵜⴰⵏ ⴱⴰⵉⴻⵓⵆ ⵗⵓⵔ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ (1060 ⵂⴰⵔ ⵓⴰⵏ 70) ⵙ ⵉⵏⵜⴰ ⴰⴷ ⵜⵉⴷⴰⵉ ⴾⴰⵜⴻⴷⵔⴰⵍ ⵏⴰvⴻ ⵜⴰⵏ ⵈoⵎⴰⵏ ⴷ ⴻⴷⴰⴶ ⵓⴰⵏ ⵉⵙⵓⵂⴰⵗ ⴷⴰⵗ ⵉⵛⵛⵉⴾⵉⵍ ⵏ ⵗoⵜⵂⵉⵛ
English: Coutances Cathedral was remade into Gothic beginning about 1220.
Tamasheq: ⵆⴰⵜⴻⴷⵔⴰⵍ ⵛoⵓⵜⴰⵏⵛⴻⵙ ⵜⵉⴷⴰⵉ ⵂⴰⵔ ⴰⵋⵋⵓⴷⵉ ⴷⴰⵗ ⴰⵙⵉⵏⵜⵉ ⵏ ⵗoⵜⵂⵉⵛ ⵗⵓⵔ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1220
English: Suger reconstructed portions of the old Romanesque church with the rib vault in order to remove walls and to make more space for windows.
Tamasheq: Iⵂⴰⵏⴷⴰⴶⴰⵏ ⵏ ⵙⵓⴶⴻⵔ ⵓⵉ oⵍⴰⵙⵏⴻⵏ ⴻⴷⴻⵉ ⵏ ⴻⴶⵍⵉⵣ ⵜⴰⵏ ⵈoⵎⴰⵏ ⵏ ⴰⵔⵓ ⵜⵉⴷⴰⵉⴰⵜ ⵙ ⵔⵉⴱ vⴰⵓⵍⵜ ⵉ ⴰⴷ ⴰⵎⵎⵓⴾⵉⵙⴰⵏ ⵉⵗⴰⵍⴰⵉⴰⵏ ⵜoⵍⴰⵙ ⴻⵎⴻⵍ ⵏ ⴻⴷⴰⴶ ⵉ ⴼⴰⵏⴻⵜⵉⵔ ⵜⴰⵏ
English: In addition, he installed a circular rose window over the portal on the facade.
Tamasheq: ⴻⵓⵍⴰⵙ, ⵉⴷⴰⵉ ⴼⴰⵏⴻⵜⵉⵔ ⵛⴰⴶⴰⵗⴰⵏ ⵜⴰⵗⵉⵍⴰⵍⵓⴰⵉⴰⵜ ⴼⴰⵍ ⴰⵍⴱⴰⴱ ⵓⴰⵏ ⵓⵋⵋⵉⵛ
English: Durham Cathedral was the first cathedral to employ a rib vault, built between 1093 and 1104.
Tamasheq: ⵆⴰⵜⴻⴷⵔⴰⵍ ⵜⴰⵏ ⴻⵓⵔⵂⴰⵎ ⵜⴰⵈⵈⴰⵍ ⴾⴰⵜⴻⴷⵔⴰⵍ ⵜⴰⵏ ⵜⵉⵣⴰⵔⴰⵜ ⵜⴰ ⵙ ⴰⵆⴰⴷⴰⵎⴰⵜ ⵔⵉⴱ vⴰⵓⵍⵜ, ⵜⵉⴷⴰⵉⴰⵜ ⵋⵉⵔ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1093 ⴷ ⵓⴰ 1104.
English: One of the builders who is believed to have worked on Sens Cathedral, William of Sens, later travelled to England and became the architect who, between 1175 and 1180, reconstructed the choir of Canterbury Cathedral in the new Gothic style.
Tamasheq: Iⵉⵉⴰⵜ ⴷⴰⵗ ⴰⵍⴱⴰⵏⵏⴰ ⵜⴰⵏ ⴻⵗⵉⵍⴰⵏ ⴰⵙ ⴻⵆⴷⴰⵎ ⴼⴰⵍ ⵚⴻⵏⵙ ⵛⴰⵜⵂⴻⴷⵔⴰⵍ , ⵓⵉⵍⵍⵉⴰⵎ ⵓⴰⵏ ⵙⴻⵏⵙ, ⵉⵙⵙoⴾⴰⵍ ⴷⴰⵔⴰⵜ ⴰⵓⴰ ⵙ ⴻⵏⴶⵍⴰⵏⴷ ⴷⵉⵂⴻⵏ ⴻⵈⵈⴰⵍ ⴰⵍⴱⴰⵏⵏⴰ ⵓⴰ ⵙ oⵍⴰⵙⴰⵏ ⴻⴷⴻⵉ ⵏ ⴻⴷⴰⴶ ⵓⴰⵏ ⵉⵙⵓⵂⴰⵗ ⴷⴰⵗ ⴾⴰⵜⴻⴷⵔⴰⵍ ⵛⴰⵏⵜⴻⵔⴱⵓⵔⵉ ⵙ ⵉⵛⵛⵉⴾⵉⵍ ⵏ ⵗoⵜⵂⵉⵛ ⵓⴰ ⴻⵉⵏⴰⵉⴰⵏ.ⴻⴶⵍⵉⵣ ⵜⴰⵏ ⵏ ⵗoⵜⵂⵉⵛ ⵜⴰⵏ ⵓⵉ ⵜⴰⴾⴼⵉⵔⵜ ⵉⴾⵏⴰⵏ ⵜⴰⵏ ⵜⴰⵔⵏⴰ ⵛⵂⴰⴱⴻⵍ ⵜⴰⵏ ⴼⵓⴾ ⵓⵉ ⵛⴰⵓⴰⵏⴾⴰⵜ ⵏⴻⵏ ⴷ ⵓⵉⵏ ⴻⴷⴻⵙ ⵏ ⴻⴷⴰⴶ ⵓⴰⵏ ⵉⵙⵓⵂⴰⵗ ⴷⴰⵗ ⵙⴰⵉⵏⵜ-ⴻⴻⵏⵉⵙ ⴷ ⵟoⵓⴻⵔ ⵜⴰⵏ ⵜⵉⵏ ⵜⵉⴾⵏⴻⵓⴻⵏ ⴷ ⴰⵍⴱⴰⴱⴰⵏ ⵓⵉⵏ ⴾⴰⵔⴰⵜ ⴼⴰⵍ ⴻⵎ ⵓⴰⵏ ⵉⵋⵋⵓⵛ ⵙ ⴰⵜⴰⵔⴰⵎ.
English: French Gothic churches were heavily influenced both by the ambulatory and side-chapels around the choir at Saint-Denis, and by the paired towers and triple doors on the western façade.
Tamasheq: ⴻⴶⵍⵉⵣ ⵜⴰⵏ ⵏ ⵗoⵜⵂⵉⵛ ⵜⴰⵏ ⵓⵉ ⵜⴰⴾⴼⵉⵔⵜ ⵉⴾⵏⴰⵏ ⵜⴰⵏ ⵜⴰⵔⵏⴰ ⵛⵂⴰⴱⴻⵍ ⵜⴰⵏ ⴼⵓⴾ ⵓⵉ ⵛⴰⵓⴰⵏⴾⴰⵜ ⵏⴻⵏ ⴷ ⵓⵉⵏ ⴻⴷⴻⵙ ⵏ ⴻⴷⴰⴶ ⵓⴰⵏ ⵉⵙⵓⵂⴰⵗ ⴷⴰⵗ ⵚⴰⵉⵏⵜ-ⴻⴻⵏⵉⵙ ⴷ ⵟoⵓⴻⵔ ⵜⴰⵏ ⵜⵉⵏ ⵜⵉⴾⵏⴻⵓⴻⵏ ⴷ ⴰⵍⴱⴰⴱⴰⵏ ⵓⵉⵏ ⴾⴰⵔⴰⵜ ⴼⴰⵍ ⴻⵎ ⵓⴰⵏ ⵉⵋⵋⵓⵛ ⵙ ⴰⵜⴰⵔⴰⵎ.
English: The builders of Notre-Dame went further by introducing the flying buttress, heavy columns of support outside the walls connected by arches to the upper walls.
Tamasheq: ⴰⵍⴱⴰⵏⵏⴰ ⵜⴰⵏ ⵓⵉⵏ ⵏoⵜⵔⴻ-ⴹⴰⵎⴻ ⵉⴾⴰⵛⵂⴰⵏ ⵉ ⵂⵓⵍⵍⴰⵏ ⵂⴰⵔ ⵉⴷ ⵉⵋⵋⴰⵏ ⴱⵓⵜⵜⵔⴻⵙⵙ ⴼⵍⵉⵉⵏⴶ , ⵉⵜⴰⵔⵜⴰⵔⴰⵏ ⵏ ⵉⴷⵓⴼ ⵏ ⵉⵗⴰⵍⴰⵉⴰⵏ ⵓⵉⵏ ⴰⵋⵋⴰⵎⴰ oⵙⴰⵗⵏⴻⵏ ⵉⴷ ⵜⵉⵛⵂⴰⵏⴶⵉⵓⴻⵏ ⵏ ⵉⵗⴰⵍⴰⵉⴰⵏ ⵓⵉⵏ ⴰⴼⴰⵍⵍⴰ
English: His work was continued by William the Englishman who replaced his French namesake in 1178.
Tamasheq: ⴰⵍⵆⵉⴷⵎⴰⵜ ⵏⴻⵜ ⵉⵙⵙⴻⵓⴰⴷ ⵜⴰⵜ ⵓⵉⵍⵍⵉⴰⵎ ⵓⴰⵏ ⴻⵏⴶⵍⴰⵏⴷ ⵉⵙⴰⵎⵎⵓⵜⵉⵉⴰⵏ ⵉⵙⵉⵎ ⵏⴻⵜ ⵓⴰⵏ ⴰⴾⴰⵍ ⵏⴻⵜ ⵓⴰⵏ ⴼⵔⴰⵏⵛⴻ ⵗⵓⵔ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1178.
English: Tiercerons – decorative vaulting ribs – seem first to be have been used in vaulting at Lincoln Cathedral, installed c.1200.
Tamasheq: ⵜⵉⴻⵔⵛⴻⵔoⵙ- ⴱⴰⵓⵍⵜ-ⵔⵉⴱ ⵜⴰⵏ ⵉⴷⵍⴰⵋⵏⴻⵏ - oⵍⴰⵂ ⵏⴰⵜ ⵉⴷ ⵜⵉⵋⵉⵜⵜⴰⵓⴻⵏ ⵜⵉ ⵙ ⵜⴰⵆⴷⴰⵎ ⵆⴰⴷⴻⵜⵔⴰⵍ ⵜⴰⵏ ⵍⵉⵏⵛoⵍⵏ ⵜⵉⴷⴰⵉⴰⵜ ⵗⵓⵔ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1200.
English: The first building in the High Gothic was Chartres Cathedral, an important pilgrimage church south of Paris.
Tamasheq: ⴻⴷⴻⵉ ⵓⴰ ⴻⵣⵣⴰⵔⴰⵏ ⴷⴰⵗ ⵗoⵜⵂⵉⵛ ⵛⴰⵋⵔⴻⵏ ⵉⵎoⵙ ⵓⴰⵏ ⵆⴰⵜⴻⴷⵔⴰⵍ ⵛⵂⴰⵔⵜⵔⴻⵙ, ⴻⴶⵍⵉⵣ ⵎⴰⵈⵈoⵔⴰⵜ ⵏ ⴰⵂⵓⵋⵉⵋ ⴷⴰⵗ ⴰⴶⴰⵍⴰ ⵉ ⵒⴰⵔⵉⵙ
English: The walls were filled with stained glass, mainly depicting the story of the Virgin Mary but also, in a small corner of each window, illustrating the crafts of the guilds who donated those windows.
Tamasheq: Iⵗⴰⵍⴰⵉⴰⵏ ⵉⵜⴾⴰⵔⴰⵏ ⴰⵍⴾⴰⵙⴰⵏ ⵉⴷⵍⴰⵋⵏⴻⵏ ⵂⵓⵍⵍⴰⵏ ⵜⴰⵏⴼⵓⵙⵜ ⵜⴰⵏ ⵎⴰⵔⵉⴰⵎⴰ ⵎⵓⵛⴰⵎ ⵂⴰⴾ ⵉⴷ ⴷⴰⵗ ⵜⴰⵙⴰⵋⴰ ⴼⵓⴾ ⴰⵏⴷⴰⵔⵔⴰⵜ ⵏ ⴼⴰⵏⴻⵜⵉⵔ ⴼⵓⴾ, ⵉⵙⵉⵍⵎⴰⴷⴰⵏ ⵙ ⵜⴰⵎⴰⵛⵗⵓⵍⵜ ⵏ ⵉⵏⵂⴰⴷⴰⵏ ⵏ ⵜⴰⴶ-ⴶⴰⵉⴻⵏ ⵜⵉ ⵉⴾⴼⴰⵏⴻⵏ ⴼⴰⵏⴻⵜⵉⵔ ⵜⴰⵏ
English: In central Europe, the High Gothic style appeared in the Holy Roman Empire, first at Toul (1220–), whose Romanesque cathedral was rebuilt in the style of Reims Cathedral; then Trier's Liebfrauenkirche parish church (1228–), and then throughout the Reich, beginning with the Elisabethkirche at Marburg (1235–) and the cathedral at Metz (c.1235–).
Tamasheq: ⴻⴰⵗ ⴻⵔoⴱⴰ ⵜⴰⵏ ⴰⵎⵎⴰⵙ, ⵉⵛⵛⵉⴾⵉⵍ ⵏ ⵗⵓⵜⵂⵉⵛ ⵓⴰ ⵛⴰⵋⵔⴻⵏ ⵉⵣⵋⴰⵔ ⵉⴷ ⴷⴰⵗ ⴻⵎⴱⵉⵔⴻ ⵏ ⵈⵓⵎⴰ ⵓⴰⵏ ⴰⵍⵓⵉⵍⵉ, ⵙ ⵜⵉⵣⴰⵔⴰⵜ ⴷⴰⵗ ⴰⵜ ⵟⵓⵓⵍ ⵗⵓⵔ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ (1220-) ⵙ ⴾⴰⵜⴻⴷⵔⴰⵍ ⵏⴻⵜ ⵜⴰⵏ ⵈoⵎⴰⵏ ⵜoⵍⴰⵙ ⴻⴷⴻⵉ ⵉⵉⵉⴰⵏ ⴷⴰⵗ ⵉⵛⵛⵉⴾⵉⵍ ⵓⴰⵏ ⴾⴰⵜⴻⴷⵔⴰⵍ ⵜⴰⵏ ⵈⴻⵉⵎⵙ;ⴷⵉⵂⴻⵏ ⴻⴶⵍⵉⵣ ⵜⴰⵏ ⵟⵔⵉⴻⵔ'ⵙ ⵍⵉⴻⴱⴼⵔⴰⵓⴻⵏⴾⵉⵔⵛⵂⴻ ⵒⴰⵔⵉⵙⵂ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ (1228- ) ⵜoⵍⴰⵙ ⵉⴷ ⴷⴰⵗ ⵈⴻⵉⵛⵂ ⴼⵓⴾ ⵏⴻⵜ ⵉⵙⵙⵉⵏⵜⴰⵏ ⵙ ⴻⵍⵉⵙⴰⴱⴻⵜⵂⴾⵉⵔⵛⵂⴻ ⴷⴰⵗ ⵎⴰⵔⴱⵓⵔⴶ ⵗⵓⵔ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ (1235- ) ⴷ ⴾⴰⵜⴻⴷⵔⴰⵍ ⵜⴰⵏ ⵎⴻⵜⵣ ⵗⵓⵔ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ (ⵛ. 1235)
English: Lancet windows were supplanted by multiple lights separated by geometrical bar-tracery.
Tamasheq: ⴼⴰⵏⴻⵜⵉⵔ ⵜⴰⵏ ⵓⵉⵏ ⵍⴰⵏⵛⴻⵜ ⵉⵛⵔⴰⵉⴰⵏ ⵜⴰⵏ ⴻⴼⴻⵓⴰⵏ ⴰⵋⵋoⵜⵏⴻⵏ ⵙ ⴱⴰⵔ-ⵜⵔⴰⵛⴻⵔⵉ ⵉⵋⵋⴰⵏ ⵜⴻⴶⴰⵎⵛⴰⴾⵜ
English: Other characteristics of the High Gothic were the development of rose windows of greater size, using bar-tracery, higher and longer flying buttresses, which could reach up to the highest windows, and walls of sculpture illustrating biblical stories filling the facade and the fronts of the transept.
Tamasheq: ⵙⴰⵎⴰⵍⴰⵏ ⵉⵉⵉⴻⴷ ⵏ ⵗoⵜⵂⵉⵛ ⵜⴰ ⵛⴰⵋⵔoⵜⵏⴻⵏ ⴰⵈⵈⴰⵍⴰⵏ ⴻⴼⴻⵙ ⵏ ⴼⴰⵏⴻⵜⵉⵔ ⵜⴰⵏ ⵛⴰⵋⵋⴰⵗⵏⴻⵏ ⵏ ⴰⵣⵓⴾ ⵎⴰⵈⵈoⵔⴰⵏ, ⵉⵋⵋⴰⵏ ⵙ'ⵉⴱⴰⴶⴰⵏ, ⴱⵓⵜⵜⵔⴻⵙⵙ ⵛⴰⵋⵔⴻⵏ, ⵜoⵍⴰⵙ ⴰⴷ ⴰⵓⵉⴷ ⵂⴰⵔ ⴼⴰⵏⴻⵜⵉⵔ ⵜⴰⵏ ⵓⵉ oⵋⵋⴰⵔⵏⴻⵏ ⵜⵉⵛⵉⵋⵔⵉⵜ ⴷ ⵉⵗⴰⵍⴰⵉⴰⵏ ⵜⴰⵍⴰⵗⴰⵜ ⵏⴻⵏ ⵜⵉⵏⴼⵓⵙⴻⵏ ⵜⵉⵏ ⴰⵍⵉⵏⵋⵉⵍ ⵉⴷⵏⴰⵉⴰⵏ ⴷⴰⵜⴰ ⵜⴰⵏ ⵏ ⵜⵔⴰⵏⵙⴻⴱⵜ.
English: The high and thin walls of French Rayonnant Gothic allowed by the flying buttresses enabled increasingly ambitious expanses of glass and decorated tracery, reinforced with ironwork.
Tamasheq: Iⵗⴰⵍⴰⵉⴰⵏ ⵓⵉ ⵎⴰⵈⵈoⵔⵏⴻⵏ ⴷ ⵓⵉ ⵙⴰⴷⵉⴷⵏⴻⵏ ⵏ ⵗoⵜⵂⵉⵛ ⵜⴰⵏ ⴼⵔⴻⵏⵛⵂ ⵈⴰⵉoⵏⵏⴰⵏⵜ ⵉⴷ ⴻⵔⴰⵓ ⵉⴷ ⴼⵍⵉⵉⵏⴶ ⴱⵓⵜⵜⵔⴻⵙⵙ ⵉⵙⵙⴻⵓⴰⴷⴰⵏ ⵂⵓⵍⵍⴰⵏ ⴰⵙⴰⵂⵔⵉⴾ ⵏ ⵉⵍⴾⴰⵙⴰⵏ ⴷ ⵜⵔⴰⵛⴻⵔⵉ ⵜⵉⴷⵍⴰⵋⴰⵜ ⵜⴰⵙⵉⵙⴰⵂⴰⵜ ⵜⴰⵣoⵍⵉ
English: Masons elaborated a series of tracery patterns for windows – from the basic geometrical to the reticulated and the curvilinear – which had superseded the lancet window.
Tamasheq: ⴰⵍⴱⴰⵏⵏⴰ ⵜⴰⵏ ⵉⴾⵏⴰⵏ ⵉⵛⵛⵉⴾⵉⵍⴰⵏ ⵏ ⵜⵔⴰⵛⴻⵔⵉ ⴰⵋⵋoⵜⵏⴻⵏ ⵉ ⴼⴰⵏⴻⵜⵉⵔ ⵜⴰⵏ - ⵗⵓⵔ ⵜⴻⴶⴰⵎⵛⴰⴾⵜ ⵏⴰⵙⴰⵏ ⵜⴻⵙⴰⵍⵙⵉⵜ ⴷ ⵉⵉⴰⴾⴰ ⵜⴰⵏ ⴰⴾⵔⴰⵎⴱⴰⵉⵏⴻⵏ- ⵉⵛⵔⴰⵉⵏⴻⵏ ⴼⴰⵏⴻⵜⵉⵔ ⵓⴰⵏ ⵍⴰⵏⵛⴻⵜ
English: Churches with features of this style include Westminster Abbey (1245–), the cathedrals at Lichfield (after 1257–) and Exeter (1275–), Bath Abbey (1298–), and the retro choir at Wells Cathedral (c.1320–).
Tamasheq: ⴻⴶⵍⵉⵣ ⵜⴰⵏ ⵉⵍⴰⵏⴻⵏ ⵙⴰⵎⴰⵍⴰⵏ ⵏ ⵉⵛⵛⵉⴾⵉⵍ ⵓⴻⵏ ⴻⵂⴰⵏ ⵓⴻⵙⵜⵎⵉⵏⵙⵜⴻⵔ ⴰⴱⴱⴻⵉ (1245–) ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ (1245–) ⵆⴰⵜⴻⴷⵔⴰⵍ ⵜⴰⵏ ⴷⴰⵗ ⵍⵉⵛⵂⴼⵉⴻⵍⴷ (ⴷⴰⵔⴰⵜ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1257- ) ⴷ ⴻⵆⵜⴻⵔ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ (1275- ) , ⴱⴰⵜⵂ ⴰⴱⴱⴻⵉ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ (1298) ⴷ ⵛⵂoⵔⴰⵍⴻ ⵜⴰⵏ ⵔⵓⵓⴻⵏ ⴷⴰⵗ ⵓⴻⵍⵍⵙ ⵆⴰⵜⴻⴷⵔⴰⵍ (ⵛ. 1320).
English: Use of ogees was especially common.
Tamasheq: ⴰⵙⴰⵆⴷⴰⵎ ⵏ Oⴶⴻⴻⵙ ⵉⵋⵋⴰ ⵂⵓⵍⵍⴰⵏ
English: Examples of French flamboyant building include the west façade of Rouen Cathedral, and especially the façades of Sainte-Chapelle de Vincennes (1370s) and choir Mont-Saint-Michel's abbey church (1448).
Tamasheq: ⴰⵍⵎⵉⵜⴰⵍⴰⵏ ⵏ ⴻⴷⴻⵉ ⵓⴰⵏ ⴼⵔⴻⵏⵛⵂ ⴼⵍⴰⵎⴱⵓⵉⴰⵏⵜ ⴻⵂⴰ ⴷⴰⵜⴰ ⵓⴰⵏ ⴰⵜⴰⵔⴰⵎ ⵏ ⵆⴰⵜⴻⴷⵔⴰⵍ ⵜⴰⵏ ⵈoⵓⴻⵏ, ⴷ ⴷⴰⵜⴰ ⵜⴰⵏ ⵏ ⵙⴰⵉⵏⵜⴻ-ⵛⵂⴰⵒⴻⵍⵍⴻ ⴷⴻ ⵠⵉⵏⵛⴻⵏⵏⴻⵙ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ (1370) ⴷ ⴻⴶⵍⵉⵣ ⵓⴰⵏ ⵛⵂoⵉⵔ ⵎoⵏⵜ-ⵙⴰⵉⵏⵜ-ⵎⵉⵛⵂⴻⵍ’ⴰⴱⴱⴻⵉ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ (1448)
English: It first appeared in the cloisters and chapter-house (c. 1332) of Old St Paul's Cathedral in London by William de Ramsey.
Tamasheq: Iⵣⵋⴰⵔ ⵉⴷ ⵙ ⵜⵉⵣⴰⵔⴰⵜ ⴷⴰⵗ ⵛⵍoⵉⵙⵜⴻⵔⵙ ⴷ ⵛⵂⴰⴱⵜⴻⵔ-ⵂoⵓⵙⴻ (ⵛ.1332) ⵜⴰⵏ ⵆⴰⵜⴻⴷⵔⴰⵍ ⵏ Oⵍⴷ ⵙⵜ ⴱⴰⵓⵍ ⴷⴰⵗ ⵍoⵏⴷoⵏ ⵉⵋⵋⴰ ⵓⵉⵍⵍⵉⴰⵎ ⴷⴻ ⵔⴰⵎⵙⴻⵉ
English: Perpendicular is sometimes called Third Pointed and was employed over three centuries; the fan-vaulted staircase at Christ Church, Oxford built around 1640.
Tamasheq: ⴻⴰⵣⵗⴰⵈⵜ ⵉⵙⵉⵎ ⵏⴻⵜ ⴰⵍⵓⴰⵈⵈⴰⵏ ⵉⵉⵉⴰⴷ ⵜⵉⵜⴱⴰⵈⵈⴻⵜ ⵜⴰⵏ ⴾⴰⵔⴰⴷⴰⵜ ⵜoⵍⴰⵙ ⴻⵆⴷⴰⵎ ⵙⵉⵙⵉⵎ ⵓⴻⵏ ⵂⴰⵔ ⵉⵋⵋⴰ 300 ⵏ ⴰⵓⴰⵜⴰⵉ; ⴼⴰⵏ-vⴰⵓⵍⵜⴻⴷ ⵙⵜⴰⵉⵔⵛⴰⵙⴻ ⴷⴰⵗ ⴻⴶⵍⵉⵣ ⵜⴰⵏ ⵛⵂⵔⵉⵙⵜ, ⵉⴷⴰⵉⴰⵏ ⴷⴰⵗ Oⵆⴼoⵔⴷ ⴻⴷⴻⵙ ⵏ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1640.
English: The Kings of France had first-hand knowledge of the new Italian style, because of the military campaign of Charles VIII to Naples and Milan (1494), and especially the campaigns of Louis XII and Francis I (1500–1505) to restore French control over Milan and Genoa.
Tamasheq: ⴰⵍⵎⴰⵍⵉⴾ ⵜⴰⵏ ⵓⵉⵏ ⴼⵔⴰⵏⵛⴻ ⵉⵍⴰⵏ ⵎⵓⵙⵏⴰⵜ ⵜⴰⵏ ⵜⵉⴷⵉⵜⵜ ⵏ ⵉⵛⵉⴾⵉⵍ ⵓⴰⵏ Iⵜⴰⵍⵉⴰ ⴼⴰⵍ ⵉⵙⴰⵗⵍⵉⵉⴰⵏ ⵏ ⵎⵉⵍⵉⵜⴻⵔ ⵜⴰⵏ ⵓⵉⵏ ⵛⵂⴰⵔⵍⴻⵙ ⵠII ⵂⴰⵔ ⵏⴰⴱⵍⴻⵙ ⴷ ⵎⵉⵍⴰⵏ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ (1494) ⴷ ⵉⵙⴰⵗⵍⵉⵉⴰⵏ ⵓⵉⵏ ⵍoⵓⵉⵙ ⵆII ⴷ ⴼⵔⴰⵏⵛⵉⵙ I (1500 ⵂⴰⵔ 1505) ⵉ ⴰⵙⵓⵗⵉⵍ ⵏ ⵜⵉⵍⴰ ⵜⴰⵏ ⴼⵔⴰⵏⵛⴻ ⴼⴰⵍ ⵎⵉⵍⴰⵏ ⴷ ⵗⴻⵏoⴰ
English: The Château de Blois (1515–24) introduced the Renaissance loggia and open stairway.
Tamasheq: ⵛⵂⴰⵜⴻⴰⵓ ⴷⴻ ⴱⵍoⵉⵙ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ (1515 ⵂⴰⵔ 24) ⵜ ⵉⵋⵋⴰ ⵉⴷ ⵈⴻⵏⴰⵉⵙⵙⴰⵏⵛⴻ ⵍoⴶⴶⵉⴰ ⴷ ⴰⵙⵉⴼⵜⴰⵏ ⵓⴰ ⵙ ⵉⵜⴰⵓⴰⵏ ⵙⵜⴰⵉⵔⵓⴰⵉ.
English: Under Henry VIII and Elizabeth I, England was largely isolated from architectural developments on the continent.
Tamasheq: ⴰⵣⵣⴰⵎⴰⵏ ⵓⴰⵏ ⵂⴻⵏⵔⵉ ⵠIII ⴷ ⴻⵍⵉⵣⴰⴱⴻⵜⵂ I, ⴻⵏⴶⵍⴰⵏⴷ ⵜⵉⴾⵏⴰ ⴰⵎⵓⵣⵣⵉ ⵏ ⵉⴷ ⴻⴼⴻⵙ ⵓⴰⵏ ⵉⴷⴻⵉⴰⵏ ⴼⴰⵍ ⴰⵎⴰⴷⴰⵍ ⵓⴰⵏ ⴻⵔoⴱⴰ.
English: Shute published the first book in English on classical architecture in 1570.
Tamasheq: ⵂⵓⵜⴻ ⵉⵙⵉⵍⵎⴰⴷ ⴼⴰⵍ ⴰⵍⴾⵉⵜⵜⴰⴱ ⵏⴻⵜ ⴷⴰⵗ ⵜⴰⵏⴶⵉⵍⵉⵙⵜ ⵓⴰ ⴻⵣⵣⴰⵔⴰⵏ ⴼⴰⵍ ⴻⴷⴻⵉ ⵓⴰⵏ ⴰⵍⴰⵙⴰⵍ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1570
English: The pointed arch did not originate in Gothic architecture; they had been employed for centuries in the Near East in pre-Islamic as well as Islamic architecture for arches, arcades, and ribbed vaults.
Tamasheq: ⵙⵟⵉⵛⴰⵏⴶⴰⵉ ⵜⴰ ⵜⵉⵣⵣⴰⴶⴰⵜ ⵓⴰⵔ ⴻⵈⵈⴻⵍ ⴰⵍⴰⵙⴰⵍ ⵏⴻⵜ ⴻⴷⴻⵉ ⵓⴰⵏ ⵗoⵜⵂⵉⵛ; ⵜ ⴰⵓ ⴰⵆⴷⴰⵎ ⵏⴰⵜ ⴷⴰⵗ ⵜⵉⵎⴰⴷ ⵏ ⵉⵓⵉⵜⵉⴰⵏ ⴻⴷⴻⵙ ⵏ ⴰⵍⵈⵉⴱⵍⴰⵜ ⴷⴰⵗ ⴻⴷⴻⵉ ⵓⴰⵏ ⴷⴰⵜⴰ ⴰⵍ-ⵉⵙⵍⴰⵎ ⴷ ⵓⴰⵏ ⴰⵍ-ⵉⵙⵍⴰⵎ ⵉ ⵜⵉⵛⴰⵏⴶⵉⵓⴻⵏ, ⴰⵔⵛⴰⴷⴻ ⵜⴰⵏ ⴷ ⵜⵉⵋⵉⵜⵜⴰⵓⴻⵏ.
English: They were also sometimes used for more practical purposes, such as to bring transverse vaults to the same height as diagonal vaults, as in the nave and aisles of Durham Cathedral, built in 1093.
Tamasheq: ⴰⵍⵓⴰⵈⵈⴰⵏ ⵉⵉⵉⴰⴷ ⵜ ⴰⵓ ⴰⵆⴷⴰⵎⴰⵏ ⴷⴰⵗ ⵉⵜⵜⵓⵙⴰⵏ ⴰⵋⵋoⵜⵏⴻⵏ ⵛⵓⵏⴷ ⴰⴶ-ⴰⵉ ⵏ ⵜⵔⴰⵏⵙvⴻⵔⵙⴻ vⴰⵓⵍⵜ ⵜⴰⵏ ⵙ ⴻⴷⴰⴶ oⴶⴷⴰⵂⴰⵏ vⴰⵓⵍⵜ ⵜⴰⵏ ⵓⵉⵏ ⴷⵉⴰⴶoⵏⴰⵍ ⵛⵓⵏⴷ ⴷⴰⵗ ⵏⴰvⴻ ⴷ ⵜⵉⵛⴰⵔⵉⵜⴻⵏ ⵏ ⵆⴰⵜⴻⴷⵔⴰⵍ ⵜⴰⵏ ⴻⵓⵔⵂⴰⵎ ⵜⵉⴷⴰⵉⴰⵜ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1093.
English: Unlike the semi-circular barrel vault of Roman and Romanesque buildings, where the weight pressed directly downward, and required thick walls and small windows, the Gothic rib vault was made of diagonal crossing arched ribs.
Tamasheq: ⴰ ⵓⴰⵔ ⵏ ⵉⵎoⵙ ⵜⵉⵋⵉⵜⵜⴰⵓⵜ ⵜⴰⴾⵔⴰⵎⴱⴰⵉⴰⵜ ⵏ ⵉⴷⴻⵉⴰⵏ ⵓⵉⵏ ⵕoⵎⴰⵏ ⵉⴷ ⵈoⵎⴰⵏⴻⵙⵈⵓⴻ ⵙ ⴻⴷⴰⴶ ⵓⴰⵏ ⴰⵣⵓⴾ ⵏⴻⵜ ⴻⵂⴰⵍ ⵙⵉⴷⴻⵔ, ⵜoⵍⴰⵙ ⴰⵣⵣⵉⵍⵣⴰⵎ ⵉⴱⵉⵍⵗⴰⵏ ⵙⴰⴷⴻⴷⵏⴻⵏ ⵉⴷ ⴼⴰⵏⴻⵜⵉⵔ ⵜⴰⵏ ⵎⴰⴷⵔoⵉⵏⴻⵏ, ⵜⵉⵋⵉⵜⵜⴰⵓⵜ ⵜⴰⵏ ⵗoⵜⵂⵉⵛ ⵜⵉⵋⵋⴰ ⵙ ⵜⵉⵋⵉⵜⵜⴰⵓⵜ ⵜⵉⴾⵉⵉⴰⵜ ⴼⴰⵍ ⵜⵉⵛⴰⵏⴶⴰⵉ.
English: The outward thrust against the walls was countered by the weight of buttresses and later flying buttresses.
Tamasheq: ⵜⴰⵙⵉⵏⵜⴰⴾⵜ ⵜⴰⵏ ⵉⵗⴰⵍⴰⵉⴰⵏ ⵉⵎⵂⴰⵍ ⴰⵙ ⴰⵣⵓⴾ ⵏ ⴱⵓⵜⵜⵔⴻⵙⵙⴻⵙ ⴷ ⵓⴰⵏ ⴼⵍⵉⵉⵏⴶ ⴱⵓⵜⵜⵔⴻⵙⵙⴻⵙ
English: They were very difficult to build, and could only cross a limited space.
Tamasheq: ⴰⵙⵙoⵂⴰⵜ ⴻⴷⴻⵉ ⵏⴰⵙⴰⵏ ⵜoⵍⴰⵙ ⵓⴰⵔ ⴰⴷⴷoⴱⴻⵏ ⵜⵉⴾⵉⵜ ⵗⴰⵙ ⴰⵔ ⴷⴰⵗ ⴻⴷⴰⴶ ⴾⴰⵓⵣⴰⵏ.
English: The alternating rows of alternating columns and piers receiving the weight of the vaults was replaced by simple pillars, each receiving the same weight.
Tamasheq: Iⵜⴰⵔⵜⴰⵔⴰⵏ ⴷ ⵓⵉⵏ ⴰⵏ ⵎⴰⵛⵔⴰⵉⴰⵏ ⴷ ⵜⵉⵋⵉⵜⵜⴰⵓⴻⵏ ⵜⵉ ⵉⵎⵂⴰⵍ ⵏⴻⵏ ⴰⵣⵓⴾ ⵏ vⴰⵓⵍⵜ ⵜⴰⵏ ⵉⵛⵔⴰⵉⴰⵏ ⵜⵉ ⵜⵉⵋⵉⵜⵜⴰⵓⴻⵏ ⵔⴰⵈⵈoⵙⵏⴻⵏ , ⵉⵉⵉⴰⵜ ⴼⵓⴾ ⵉⵓⴰⵔ ⵜⴰⵜ ⴰⵣⵓⴾ oⵍⴰⵂⴰⵏ
English: The first of these new vaults had an additional rib, called a tierceron, which ran down the median of the vault.
Tamasheq: ⵓⴰ ⴻⵣⵣⴰⵔⴰⵏ ⴷⴰⵗ vⴰⵓⵍⵜ ⵜⴰⵏ ⵓⵉⵏ ⴻⵉⵏⴰⵉⵏⴻⵏ ⵉⵍⴰ ⵜⵉⵋⵉⵜⵜⴰⵓⵜ ⵏ ⵜⴰⵙⵉⵓⵉⵜ ⵙ ⵉⵙⵉⵎ ⵏⴻⵜ ⵜⵉⴻⵔⵛⴻⵔoⵏ ⵜⵉⵛⵉⵍⴰⵜ ⴼⴰⵍ ⵜⵉⴶⴷⴰⵂⵜ ⵏ vⴰⵓⵍⵜ
English: These vaults often copied the forms form of the elaborate tracery of the Late Gothic styles.
Tamasheq: ⵜⵉⵋⵉⵜⵜⴰⵓⴻⵏ ⵜⵉⵏ ⴰⵍⵓⴰⵈⵈⴰⵏ ⵉⵉⵉⴰⴷ ⴰⵙⵉⴶⴱⴰⵔ ⵏⴰⵜ ⴷⵓⵎⵓ ⵜⴰⵏ ⵏ ⵜⴰⵛⴻⵔⵉ ⵜⴰⵏ ⵉⵛⵉⴾⵉⵍⴰⵏ ⵓⵉⵏ ⵓⵛⵔⴰⵉ ⵏ ⵗoⵜⵂⵉⵛ
English: A second type was called a reticulated vault, which had a network of additional decorative ribs, in triangles and other geometric forms, placed between or over the traverse ribs.
Tamasheq: Iⵛⵛⵉⴾⵉⵍ ⵓⵏ ⵉⵙⵙⵉⵏ ⵉⵙⵉⵎ ⵏⴻⵜ ⵜⵉⵋⵉⵜⵜⴰⵓⵜ ⵜⴰⵏ ⵜⴻⵙⴰⵍⵙⵉⵜ ⵜⵉⵍⴰ ⵔⴻⵣo ⵏ ⵜⵉⵋⵉⵜⵜⴰⵓⴻⵏ ⵏ ⵜⵉⵙⵉⵓⴰⴷ ⵉⵋⵋⴰⵏⴻⵏ ⴰⴷⵍⵉⵋ ⵏ ⵜⴻⴶⴰⵎⵛⴰⴾⵜ ⴷ ⴷⵓⵎⵓ ⵜⴰⵏ ⵉⵉⵉⴰⴷ ⵏ ⵜⴻⴶⴰⵎⵛⴰⴾⵜ ⵉⵍⴰⵏⴻⵏ ⵋⵉⵔ ⵎⴻⵗ ⵙ ⴰⴼⴰⵍⵍⴰ ⵏ ⵜⵉⵋⵉⵜⵜⴰⵓⴻⵏ ⵜⵉⵏ ⵜⵔⴰvⴻⵔⵙⴻ
English: An example is the cloister of Gloucester Cathedral (c. 1370).
Tamasheq: ⴰⵍⵎⵉⵜⴰⵍ ⵉⵉⵉⴰⵏ ⴰⵔⵔⴰⵆⴱⴰ ⵏ ⴾⴰⵜⴻⴷⵔⴰⵍ ⵜⴰⵏ ⵗⵍoⵓⵛⴻⵙⵜⴻⵔ (ⵛ.1370)
English: They were used later at Sens, at Notre-Dame de Paris and at Canterbury in England.
Tamasheq: ⴰⵜ ⴰⵓ ⴰⵆⴷⴰⵎⴰⵏ ⴷⴰⵔⴰⵜ ⴰⵓⴰ ⴷⴰⵗ ⵙⴻⵏⵙ, ⴷⴰⵗ ⵏoⵜⵔⴻ-ⴹⴰⵎⴻ-ⴷⴷⴻ ⴱⴰⵔⵉⵙ ⴷ ⴷⴰⵗ ⵛⴰⵏⵜⴻⵔⴱⵓⵔⵉ ⵗⵓⵔ ⵏⵏⴶⵍⴰⵏⴷ
English: In the High Gothic period, a new form was introduced, composed of a central core surrounded several attached slender columns, or colonettes, going up to the vaults.
Tamasheq: ⴻⴰⵗ ⴰⵣⵣⴰⵎⴰⵏ ⵓⴰⵏ ⵗoⵜⵂⵉⵛ ⵓⴰ ⵛⵂⴰⵋⵔⴻⵏ, ⴷⵓⵎⵓ ⴻⵉⵏⴰⵉⴰⵏ ⵉⵋⵋⴰⵛ ⵉⴷ ⵉⵋⵋⴰⵏ ⵙ ⵛoⵔⴻ ⴻⵂⴰⵏ ⴰⵎⵎⴰⵙ ⴻⵗⵍⴰⵉⴰⵏ ⵉ ⵉⵜⴰⵔⵜⴰⵔⴰⵏ ⴰⵔⵜⴰⵉⵏⴻⵏ ⴰⵋⵋoⵜⵏⴻⵏ ⵎⴻⵗ ⵛoⵍoⵏⴻⵜⵜⴻ ⵜⴰⵏ ⴰⵂⴰⵍ ⵏⴻⵏ ⵙ ⴰⴼⴰⵍⵍⴰ ⵉ ⵜⵉⵋⵉⵜⵜⴰⵓⴻⵏ
English: In England, the clustered columns were often ornamented with stone rings, as well as columns with carved leaves.
Tamasheq: ⴻⴰⵗ ⴻⵏⴶⵍⴰⵏⴷ, ⵉⵜⴰⵔⵜⴰⵔⴰⵏ ⴰⵔⵜⴰⵉⵏⴻⵏ ⴰⵍⵓⴰⵈⵈⴰⵏ ⵉⵉⵉⴰⴷ ⵉⴷⵍⴰⵋⴰⵏ ⵙ ⵜⴰⵣⴰⴱⵓⵜ ⵏ ⵜⴰⵂⵓⵏⵜ ⵂⴰⴾ ⵉⴷ ⵉⵜⴰⵔⵜⴰⵔⴰⵏ ⵏ ⵜⵉⵍⴰⴼⴰⵙⴻⵏ ⵉⵏⵋⴰⴼⵏⴻⵏ
English: In place of the Corinthian capital, some columns used a stiff-leaf design.
Tamasheq: ⴻⴰⵗ ⴻⴷⴰⴶ ⵓⴰⵏ ⵆⴰⴱⵉⵜⴰⵍ ⵜⴰⵏ ⵛⵓⵔⵉⵏⵜⵂⵉⴰ, ⵉⵜⴰⵔⵜⴰⵔⴰⵏ ⵉⵉⵉⴰⴷ ⴰⵙ ⴰⵆⴷⴰⵎⴰⵏ ⵙ ⴻⵗⴰⵏⵏⵉ ⵏ ⵜⴰⵍⴰⴼⴰⵙⵜ ⵜⴰⵙⵙoⵂⴻⵜ.
English: In later structures, the buttresses often had several arches, each reaching in to a different level of the structure.
Tamasheq: ⴻ ⵉⴷⴻⵉⴰⵏ ⵓⵉⵏ ⵓⵛⵔⴰⵉⵏ ⴱⵓⵜⵜⵔⴻⵙⵙ ⵜⴰⵏ ⴰⵍⵓⴰⵈⵈⴰⵏ ⵉⵉⵉⴰⴷ ⵉⵍⴰⵏⴰⵜ ⵜⵉⵛⴰⵏⴶⵉⵓⴻⵏ ⴰⵋⵋⵓⵜⵏⴻⵏ , ⵉⵉⵉⴰⵜ ⴼⵓⴾ ⵜ ⴻⵓⴰⴷ ⴻⴷⴰⴶ ⵉⵣⵍⴰⵉⴰⵏ ⴷⴰⵗ ⴻⴷⴻⵉ
English: The arches had an additional practical purpose; they contained lead channels which carried rainwater off the roof; it was expelled from the mouths of stone gargoyles placed in rows on the buttresses.
Tamasheq: ⵜⵉⵛⴰⵏⴶⵉⵓⴻⵏ ⵉⵍⴰⵏⴰⵜ ⵉⵜⵜⵓⵙ ⵏ ⵜⴰⵙⵉⵓⵉⵜ ; ⴰⵂⴰⵏ ⵜⴰⵏ ⵉⵙⴰⵔⵙⴰⵔⴰⵏ ⵓⵉ ⵜⴰⴾⴾⴰⵙⵏⴻⵏ ⴰⵎⴰⵏ ⵓⵉⵏ ⴰⵋⵋⵉⵏⵏⴰ ⴼⴰⵍ ⵙ ⴰⴼⴰⵍⵍⴰ ⵏ ⵜⴰⵏⴷⴰ; ⵣⴰⵋⴰⵔⴰⵏ ⵙ ⴻⵎ ⵏ ⵜⴰⵂⵓⵏⵜ ⵜⴰⵏ ⴶⴰⵔⴶⵜⵉⵍⴻⵙ ⵜⴰⵂⴰⵜ ⵉⵜⴰⵔⵜⴰⵔⴰⵏ ⴼⴰⵍ ⴱⵓⵜⵜⵔⴻⵙⵙ
English: They also had a practical purpose; they often served as bell towers supporting belfries, whose bells told the time by announcing religious services, warned of fire or enemy attack, and celebrated special occasions like military victories and coronations.
Tamasheq: Iⵍⴰⵏ ⵜⵉ ⵂⴰⵔ ⴰⵋⵋⵓⴷⵉ ⵉⵜⵜⵓⵙ ⵉⵉⵉⴰⵏ; ⵜⴰⵈⵈⴰⵍⴰⵏ ⴱⴻⵍⵍ ⵜⵓⵓⴻⵔ ⵜⴰⵏ ⵉⵎⵂⴰⵍ ⵏⴻⵏ ⴱⴻⵍⴼⵔⵉⴻ ⵜⴰⵏ ⵙ ⵜⵉⵣoⵍⵉ ⵜⴻⵏ ⵏⴰⵙⴰⵏ ⵙ ⴰⵍⵎⴰⴷ ⵏⴰⵜ ⵙ ⴰⵍⵓⴰⵈ ⵉⵋⵋⴰⵏ ⵉ ⵜⵉⵎⴰⵛⵗⵓⵍⴻ ⵜⵉⵏ ⴰⴷⴷⵉⵏ, ⵔⴰⵈⵈⴰⵎ ⵏⴰⵜ ⴼⴰⵍ ⴻⴼⴻⵓ ⵎⴻⵗ ⵜⴰⴷⵍⵉⵎⵜ ⵏ ⴰⵏⴰⵙⵋⴰⴼⴰ ⴷ ⴰⵍⵓⴰⵈⵈⴰⵏ ⵓⵉⵏ ⴷⴰⵍⵍoⵍⴰⵏ ⵛⵓⵏⴷ ⵉⵏ ⵜⴰⵔⵏⴰ ⵜⴻⵏ ⵜⵉⵏ ⵎⵉⵍⵉⵜⴻⵔ ⵜⴰⵏ ⴷ ⵜⴰⵗⴰⵉⵎⴰⵜⴻⵏ ⴼⴰⵍ ⵜⴰⵆⵉⴰⵎⴻⵏ.
English: Since cathedral construction usually took many years, and was extremely expensive, by the time the tower were to be built public enthusiasm waned, and tastes changed.
Tamasheq: ⴰⵍⵓⴰⵈ ⵓⴰ ⵉⴷ ⴻⴷⴻⵉ ⵓⴰⵏ ⴾⴰⵜⴻⴷⵔⴰⵍ ⵉ ⵜⴰⵋ ⵉⵓⵉⵜⵉⴰⵏ ⴰⵋⵋoⵜⵏⴻⵏ , ⵜoⵍⴰⵙ ⴰⵙⵙoⵂⴰⵜ, ⴷⴰⵗ ⴰⵣⵣⴰⵎⴰⵏ ⴰⵛⵂoⵋⵋⴰ ⵜⴰⵏ ⵉⴷⴷⴰⵉ ⵏⴰⵜ ⵙ ⴰⴼⴰⵏⴰⵣ ⵏ ⴰⴶⵍⵓⵉ ⵏ ⴰⴷⴷⵉⵏⴰⵜ, ⵉⴷ ⵉⵎⵓⵜⵜⵉⵉⴰⵏ ⵏ ⵜⴰⵔⵂⴰ ⵜⴻⵏ ⵏⴰⵙⴰⵏ.
English: Chartres would have been even more exuberant if the second plan had been followed; it called for seven towers around the transept and sanctuary.
Tamasheq: ⵛⵂⴰⵔⵜⵔⴻⵙ ⴰⴷ ⴻⴾⵉⵏ ⵜⴻⴷⴰⵓⵉⵜ ⴰ ⴼⴰⵍ ⴰⴷⴷⴰⴱⴰⵔⴰ ⵓⴰⵏ ⵉⵙⵙⵉⵏ ⵉⵍⴾⴰⵎⴰⵏ ⵂⴰⵙ ⴰⴷⴷⵉⵏⴰⵜ ; ⵉⵋⵋⴰ ⴼⴰⵍ ⵜⴻⵗⴰⵔⴻ ⵏ ⴰⵙⵙⴰⵉⴰⵜ ⵜⵓⵓⴻⵔ ⵜⴰⵏ ⴻⴷⴻⵙ ⵏ ⵜⵔⴰⵏⵙⴻⵒⵜ ⴷ ⴻⴷⴰⴶ ⵏ ⴰⵍⵓⵉⵍⵉ.
English: The early and High Gothic Laon Cathedral has a square lantern tower over the crossing of the transept; two towers on the western front; and two towers on the ends of the transepts.
Tamasheq: ⵆⴰⵜⴻⴷⵔⴰⵍ ⵜⴰ ⵜⴰⵣⵣⴰⵔⴰⵜ ⵜoⵍⴰⵙ ⵛⴰⵋⵔⴻⵜ ⵏ ⵗoⵜⵂⵉⵛ ⵍⴰoⵏ ⵜⵉⵍⴰ ⵜⴻⴼⴰⵜⴻⵍⵜ ⴼⴰⵍ ⵜⵔⴰⵏⵙⴻⴱⵜ; ⵙⴰⵏⴰⵜⴰⵜ ⵜoⵓⴻⵔ ⵜⴰⵏ ⴼⴰⵍ ⴰⵛⵔⵓⵜ ⵓⴰⵏ ⴰⵜⴰⵔⴰⵎ ; ⴷ ⵙⴰⵏⴰⵜⴰⵜ ⵜoⵓⴻⵔ ⵜⴰⵏ ⴷⴰⵗ ⴰⵎⵉⵏⴷⵉ ⵜⴰⵏ ⵏ ⵜⵔⴰⵏⵙⴻⵒⵜ ⵜⴰⵏ
English: In Normandy, cathedrals and major churches often had multiple towers, built over the centuries; the Abbaye aux Hommes (begun 1066), Caen has nine towers and spires, placed on the facade, the transepts, and the centre.
Tamasheq: ⴻⴰⵗ ⵏⵓⵔⵎⴰⵏⴷⵉ, ⵆⴰⵜⴻⴷⵔⴰⵍ ⵜⴰⵏ ⴷ ⴻⴶⵍⵉⵣ ⵜⴰⵏ ⵓⵉ ⵎⴰⵈⵈⵓⵔⵏⴻⵏ ⵉⵍⴰⵏ ⵉⵛⵂⵓⵋⵋⴰⵏ ⵜⴰⵏ ⴰⵋⵋⵓⵜⵏⴻⵏ, ⵉⴷⴰⵉⵏⴻⵏ ⴷⴰⵗ ⵜⵉⵎⴰⵜ ⵏ ⵉⵓⵉⵜⵉⴰⵏ ; ⴰⴱⴱⴰⵉⴻ ⴰⵓⵆ ⵂoⵎⵎⴻⵙ (ⵉⵙⵙⵉⵏⵜⴰ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1066), ⵛⴰⴻⵏ ⵜⵉⵍⴰ ⵜⴰⵣⴰ ⵜⵓⵓⴻⵔ ⵜⴰⵏ ⴷ ⵉⵙⴾⴰⵓⴰⵏ ⴰⵂⴰⵏⴻⵏ ⵙⴰ ⵙ ⴷⴰⵜⴰ ⵏⴻⵜ , ⵜⵔⴰⵏⵙⴻⵒⵜ ⵜⴰⵏ ⴷ ⴰⵎⵎⴰⵙ.
English: A variation of the spire was the flèche, a slender, spear-like spire, which was usually placed on the transept where it crossed the nave.
Tamasheq: ⴰⵏⵎⵉⵣⵍⵉ ⵏ ⵉⵙⵉⴾ ⴻⵈⵈⴰⵍ ⴼⵍⴻⵛⵂⴻ , ⵉⵙⵉⴾ ⵛⵓⵏⴷ ⴰⵍⵍⴰⵗ ⵙⴰⴷⵉⴷⴰⵏ ⵙ ⵂⴰⵔⴾⵓⴾ ⴻⵂⴰ ⴼⴰⵍ ⵜⵔⴰⵏⵙⴻⵒⵜ ⵉⴷ ⵉⵜ ⵉⵎⵓⵈⵈⵉⵙ ⵉⴷ ⵏⴰvⴻ.
English: Amiens Cathedral has a flèche.
Tamasheq: ⵆⴰⵜⴻⴷⵔⴰⵍ ⵜⴰⵏ ⴰⵎⵉⴻⵏⵙ ⵜⵉⵍⴰ ⴼⵍⴻⵛⵂⴻ
English: It was removed in 1786 during a program to modernise the cathedral, but was put back in a new form designed by Eugène Viollet-le-Duc.
Tamasheq: ⴰⵎⵎⵓⴾⴾⴰⵙ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1786 ⴷⴰⵗ ⵜⴰⵍⵗⴰ ⵏ ⴰⵙⵉⵎⵎⵓⵜⵉ ⵏ ⵆⴰⵜⴻⴷⵔⴰⵍ ⵎⵓⵛⴰⵎ ⴻⵈⵈⴰⵍ ⵉⴷ ⴻⴷⴰⴶ ⵏⴻⵜ ⵙ ⴷⵓⵎⵓ ⵉⵣⵍⴰⵉⴰⵏ ⴻⵗⵏⴰ ⴻⵓⴶⵉⵏⴻ ⵠⵉⵓⵍⵍⴻⵜ-ⵍⴻ-ⴹⵓⵛ
English: In English Gothic, the major tower was often placed at the crossing of the transept and nave, and was much higher than the other.
Tamasheq: ⴻⴰⵗ ⵗⵓⵜⵂⵉⵛ ⵜⴰⵏ ⴻⵏⴶⵍⴰⵏⴷ, ⵜⵓⵓⴻⵔ ⵜⴰ ⵎⴰⵈⵈⵓⵔⴰⵜ ⵜⵉⵍⴰ ⵂⴰⵔⴾⵓⴾ ⴷⵉⵂⴰ ⵉⴷ ⴰⵎⵎⵓⵈⴰⵙ ⵜⵔⴰⵏⵙⴻⵒⵜ ⴷ ⵏⴰⴱⴻ ⵜoⵍⴰⵙ ⴰⵏⵎⴰⵋⴰⵔ ⵏⴰⵜ
English: A crossing tower was constructed at Canterbury Cathedral in 1493–1501 by John Wastell, who had previously worked on King's College at Cambridge.
Tamasheq: ⵜⵓⵓⴻⵔ ⵜⴰⵏ ⴰⵎⵎⴰⵙ ⵜⵉⴷⴰⵉ ⴷⴰⵗ ⵆⴰⵜⴻⴷⵔⴰⵍ ⵜⴰⵏ ⵛⴰⵏⵜⴻⵔⴱⵓⵔⵉ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1493 ⵂⴰⵔ 1501 ⵉⵋⵋⴰ ⵋⵓⵂⵏ ⵓⴰⵙⵜⴻⵍⵍ ⵙ ⴾⴰⵍⴰ ⴻⵆⴷⴰⵎ ⴼⴰⵍ ⵍⴰⴾⴾⵓⵍ ⵓⴰⵏ ⴰⵍⵎⴰⵍⵉⴾ ⴷⴰⵗ ⵛⴰⵎⴱⵔⵉⴷⴶⴻ
English: An unusual double arch had to be constructed in the centre of the crossing to give the tower the extra support it needed.
Tamasheq: ⵟⵉⵛⴰⵏⴶⴰⵉ ⵜⴰⵏⵏⵉⵜⴼⴰⵙⴰⵜ ⵜⵉⵣⵍⴰⵉⴰⵜ ⵉⴷ ⵜⵉ ⵉⴰⴷⵏⴻⵏ ⵉⵍⵣⴰⵎ ⴰⴷ ⵜⵉⴷⵉ ⴷⴰⵗ ⴰⵎⵎⴰⵙ ⵏ ⵜⴰⵎⵓⵈⵈⴻⵙⵜ ⵉ ⴰⴷ ⴻⴾⴼⵓ ⵜoⵓⴻⵔ ⴰⵙⵙⴰⵂⴰⵜ.
English: Construction began again in 1724 to the design of Nicholas Hawksmoor, after first Christopher Wren had proposed a design in 1710, but stopped again in 1727.
Tamasheq: ⴻⴷⴻⵉ ⵉⵙⵙⵉⵏⵜⴰ ⵂⴰⵔ ⴰⵋⵋⵓⴷⵉ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1724 ⴷⴰⵗ ⵓⵗⵏⴰ ⵏ ⵏⵉⵛⵂoⵍⴰⵙ ⵂⴰⵓⴾⵙⵎⵓⵓⵔ , ⴷⴰⵔⴰⵜ ⵙ ⴻⵣⵣⴰⵔ ⵛⵂⵔⵉⵙⵜⵓⴱⵂⴻⵔ ⵓⵔⴻⵏ ⵓⵗⵏⴰ ⵏ ⵉⵉⵉⴰⵏ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1710 ⵎⵓⵛⵂⴰⵎ ⴰⵣⵣⵓⴾⴰⵜ ⵜoⵍⴰⵙ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1727.
English: Cologne Cathedral had been started in the 13th century, following the plan of Amiens Cathedral, but only the apse and the base of one tower were finished in the Gothic period.
Tamasheq: ⴾⴰⵜⴻⴷⵔⴰⵍ ⵜⴰⵏ ⵛⵓⵍoⴶⵏⴻ ⵜ ⵉⵙⵙⵉⵏⵜⴰ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1300 ⵜ ⵉⵍⴾⴰⵎ ⵉ ⴰⴷⴷⴰⴱⴰⵔⴰ ⵏ ⵆⴰⵜⴻⴷⵔⴰⵍ ⵜⴰⵏ ⴰⵎⵉⴻⵏⵙ ⵎⵓⵛⴰⵎ ⴰⴱⵙⴻ ⴷ ⵜⴰⴷⴰⵎⴰⵍⵓⵜ ⵏ ⵜⵓⴻⵔ ⵉⵉⵉⴰⵜ ⵉⵎⴷⴰⵏ ⴷⴰⵗ ⴰⵣⵣⴰⵎⴰⵏ ⵓⴰⵏ ⵗⵓⵜⵂⵉⵛ
English: The tower of Ulm Minster has a similar history, begun in 1377, stopped in 1543, and not completed until the 19th century.
Tamasheq: ⵟoⵓⴻⵔ ⵜⴰⵏ ⵓⵍⵎ ⵎⵉⵏⵉⵙⵜⴻⵔ ⵜⵉⵍⴰ ⴰⵜⵜⴰⵔⴻⵆ oⵍⴰⵂⴰⵏ , ⵜⵉⵙⵙⵉⵏⵜⴰ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1377, ⵜⴰⵣⵣⵓⴾⴰⵜ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1543 ⵜoⵍⴰⵙ ⵓⴰⵔ ⵜ ⵉⵎⴷⴰ ⵂⴰⵔ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1900.
English: Burgos Cathedral was more inspired by Northern Europe.
Tamasheq: ⴻⵆⴰⵜⴻⴷⵔⴰⵍ ⵜⴰⵏ ⴱⵓⵔⴶoⵙ ⵜⵓⵍⴰⵂ ⵉⴷ ⵜⵉⵏ ⴻⵔⵓⴱⴰ ⵜⴰⵏ ⵜⴰⵎⴰⵙⵏⴰ
English: Plate tracery was the first type of tracery to be developed, emerging in the later phase of Early Gothic or First Pointed.
Tamasheq: ⴻⵔⴰⵛⴻⵔⵉ ⵜⴰⴼⵉⵜⴰⵍⵍⴰⵙⴰⵜ ⵜⴰⵈⵈⴰⵍ ⵉⵛⵛⵉⴾⵉⵍ ⵓⴰ ⴻⵣⵣⴰⵔⴰⵏ ⵏ ⵜⵔⴰⵛⴻⵔⵉ ⴻⵗⵏⴰⵏ, ⵉⴷ ⵉⵣⵋⴰⵔⴰⵏ ⴷⴰⵗ ⵜⵉⴾⴾⴻⵍⵜ ⵜⴰⵏ ⵓⵛⵔⴰⵉ ⵏ ⵗⵓⵜⵂⵉⵛ ⵎⴻⵗ ⵜⴰⵏ ⵜⵉⵣⴰⵔⴰⵜ ⵜⵉⵣⵣⴰⴶⴰⵜ