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Pendentive

A pendentive is a concave triangular section of masonry, shaped as a segment of a sphere, that forms the structural transition between a square or polygonal room and the circular base of a dome above it.^[1]^[2] This device allows the dome to appear suspended or "hanging" while distributing its weight to the four corners of the supporting walls or piers.^[3] Pendentives originated as an experimental Roman construction technique in the 2nd and 3rd centuries AD, enabling domes to span enclosed square spaces rather than relying solely on circular bases as in earlier structures like the Pantheon.^[4] Their use became widespread and refined in Byzantine architecture starting around AD 500, where they facilitated grand, ethereal interiors symbolizing the heavens.^[5]^[6] A landmark innovation occurred in the 6th century with the Hagia Sophia in Constantinople (modern Istanbul), designed by architects Isidore of Miletus and Anthemius of Tralles, who employed four massive pendentives to support the building's iconic central dome, completed in AD 537.^[6]^[7] Beyond Byzantium, pendentives influenced Islamic, Renaissance, and Baroque architecture, appearing in structures such as the Süleymaniye Mosque in Istanbul and numerous European churches, where they were often elaborately decorated with mosaics, frescoes, or sculpture to enhance visual drama.^[8]^[5]^[9] In these contexts, the form not only solved engineering challenges but also carried symbolic weight, evoking divine suspension and unity of space.^[10] Their enduring legacy persists in modern neoclassical and revivalist designs, underscoring their role in bridging geometric forms to create expansive, harmonious interiors.^[11]

Definition and Function

Definition

A pendentive is a triangular curved surface or segment used in architecture to form a smooth transition from a square or polygonal base to a circular or elliptical dome above it.^[12] This element serves as a constructive device that permits the placement of a circular dome over a square room, effectively bridging the geometric mismatch between the supporting structure and the dome.^[13] In its basic form, a pendentive is triangular in plan and spherical in curvature, forming part of a hemisphere that connects the corners of the supporting structure—typically formed by arches or walls—to the dome's circular base.^[14] The pendentives are integral to the dome's lower surface, creating a continuous curved transition that distributes the dome's weight to the corners of the base.^[1] This architectural innovation emerged as a solution for supporting domes over non-circular plans without requiring additional vertical supports, allowing for expansive, open interiors beneath the dome.^[15] Visually, a pendentive often appears as a concave, shell-like structure that "pends" or hangs from the dome, evoking a sense of suspension and lightness.^[16]^[10]

Structural Role

The pendentive serves as a critical structural element in dome architecture, primarily functioning to transfer the weight of a circular dome from its base to four corner piers supporting a square space below. This transition creates a stable circular ring at the upper level upon which the dome can rest securely, effectively bridging the geometric mismatch between the dome's circular plan and the underlying square supports.^[17] In terms of load distribution mechanics, the pendentive's curved, triangular form resolves the horizontal thrusts generated by the dome into vertical forces that bear directly on the piers, thereby preventing structural collapse by counteracting outward pressures. This curvature allows for uniform load channeling downward, reducing stress concentrations and enhancing overall stability in masonry constructions.^[17]^[18] The pendentive often integrates with a cylindrical drum positioned above it, which further elevates the dome while distributing its weight evenly and accommodating elements such as windows for natural lighting or decorative features.^[19] Compared to flat transitional methods, pendentives offer significant advantages by enabling the construction of larger and lighter domes without the need for internal columns, thereby optimizing interior space utilization and aesthetic openness. From a basic statics perspective, the pendentive operates as a vaulted arch system, with its spherical triangular geometry distributing shear forces evenly across the supports to maintain equilibrium under gravitational loads.^[8]^[17]

History

Origins in Roman Architecture

The origins of pendentives trace back to the 2nd century CE in Roman architecture, where they first appeared as experimental solutions to transition from square or rectangular bases to circular domes, predating their more refined application in Byzantine structures. These early forms built upon predecessors like corbelled and stepped transitions seen in earlier Mediterranean architecture, such as Etruscan cisterns and Mesopotamian tombs, but introduced curved masonry elements using concrete (opus caementicium) mixed with pozzolana for greater stability and smoother integration. This innovation reflected broader Roman engineering advancements in vaulting techniques, enabling the support of domes over non-circular plans in a variety of building types. Roman architects experimented with pendentives primarily in mausolea during the 2nd and 3rd centuries CE, where smaller-scale domes required transitional supports to span square chambers. One of the earliest known examples is the tomb at Casal de' Pazzi (also known as Sedia del Diavolo or the Tomb of Elio Callistio) along the Via Nomentana in Rome, dating to the 2nd century CE, featuring a modest 4-meter-diameter dome supported by pendentives over a square base constructed in concrete. In public buildings like bath complexes, pendentives appeared by the early 3rd century CE, often combined with barrel vaults and other forms to create expansive interiors. The Baths of Caracalla (212–217 CE), one of the largest Roman thermae, utilized brick pendentives to support domed ceilings over square bays in various halls, allowing for the integration of light-admitting windows and niches while managing structural loads.^[20] However, these early Roman pendentives were rudimentary, typically limited to smaller spans under 15 meters and frequently augmented by additional vaulting elements, as they had not yet been optimized for the grand, uninterrupted domes that would characterize later periods. This experimental phase underscored Roman priorities in concrete dome construction for communal spaces, fostering innovative yet practical designs amid the empire's expansive building programs.

Development in Byzantine and Later Periods

The pendentive reached its full realization in the 6th century AD within Byzantine architecture, most notably at Hagia Sophia in Constantinople, completed in 537 AD under Emperor Justinian I by architects Anthemius of Tralles and Isidore of Miletus.^[6] This innovation enabled the placement of a massive central dome, measuring over 100 feet in diameter, atop a square naos by using curved triangular pendentives to transition smoothly from the square plan to the circular base, creating an expansive, light-filled interior space.^[21] The structure's design distributed the dome's weight to four massive piers via pendentives and surrounding arches, though initial instability led to a collapse in 558 AD and subsequent reinforcement with a steeper hemispherical profile.^[21] From the 9th century onward, pendentives facilitated the widespread adoption of the cross-in-square plan in Orthodox church architecture across the Byzantine Empire, the Balkans, and Russia, allowing centralized domed spaces over square bays supported by four columns or piers.^[22] This configuration, evident in structures like the Myrelaion Church in Constantinople (c. 920 AD), emphasized verticality and symbolic unity, with the central dome representing the heavens and pendentives enabling modular expansions for monastic or palatial settings.^[22] The technique's diffusion supported the empire's liturgical needs, promoting a consistent aesthetic in Orthodox traditions through the medieval period.^[22] In medieval Islamic architecture, particularly in Persia during the 8th to 10th centuries, pendentives were adapted alongside squinches to support domes in mosque designs, transitioning square prayer halls to circular crowns and influencing the development of muqarnas vaulting for ornamental complexity.^[23] This integration allowed for larger-scale hypostyle halls, as seen in early expansions of the Great Mosque of Isfahan, where pendentive-like supports under domes enhanced structural harmony and light penetration.^[24] By the Renaissance in 15th-century Italy, Filippo Brunelleschi revived and refined pendentives, employing them in the Pazzi Chapel (c. 1429–1443) to cap a square chamber with a ribbed dome, drawing on Byzantine precedents to achieve classical proportions and interior luminosity.^[25] Key evolutionary advancements included scaling up pendentive dimensions for grander domes, as in Justinianic basilicas, and enhancing them with decorative mosaics—such as the six-winged seraphim at Hagia Sophia—to unify visual narratives from arches to the dome's interior.^[21] Integration with pendentive arches improved lateral stability by channeling thrusts more effectively to buttresses, a refinement that persisted into later periods.^[21] Pendentives waned in prominence after the Gothic period (12th–16th centuries), overshadowed by pointed arches and ribbed vaults that favored verticality over domical forms in Western Europe.^[26] They reemerged in the Baroque era (17th–18th centuries) for dramatic spatial effects, as in centralized church plans like San Carlo alle Quattro Fontane in Rome (1638–1641), where pendentives supported undulating domes to heighten emotional and theatrical impact.^[26]

Construction and Design

Geometry and Form

A pendentive is fundamentally a triangular segment of a spherical surface that facilitates the structural and visual transition between a square or polygonal base and the circular base of a dome above. In its standard form, each pendentive forms a curved triangle in plan view, with its lower edges converging at the corners of the supporting piers or arches below and its upper curved edges meeting to define the circumference of the dome's base. This spherical geometry ensures a smooth, continuous curvature that distributes forces effectively while maintaining aesthetic harmony.^[27]^[28] In plan, four pendentives collectively transform the square plan of the supporting structure into a perfect circle, bridging the geometric disparity between the orthogonal base and the dome's rotational symmetry. In elevation or section, they appear as rising spherical segments or inverted partial cones, tapering downward to points at the piers and flaring upward to form the dome's circular support, thereby elevating the dome's profile. This dual planar and vertical configuration allows the dome to appear suspended and expansive.^[8] The proportions of a pendentive are typically derived from the dome's dimensions to ensure seamless integration. The height and radius of the pendentive's sphere are calculated such that the arc lengths along its upper edges match the dome's base circumference, while the lower edges align with the side length of the square base; often resulting in a larger sphere for the pendentives than for the dome itself in compound designs. This geometric precision maintains structural continuity without abrupt transitions.^[14] Variations in pendentive shape include standard spherical forms, conical approximations for simpler construction, and intricate muqarnas configurations in Islamic architecture, where cellular, stalactite-like projections replace smooth curves to add ornamental depth while preserving the transitional function. These adaptations allow flexibility in regional styles without altering the core geometric principle.^[29] The overall form of pendentives creates a continuous, undulating curved surface that enhances spatial depth and the illusion of a lightweight, floating dome, drawing the viewer's eye upward and unifying the interior volume in a cohesive, immersive experience.^[5]^[30]

Materials and Techniques

In Roman architecture, pendentives were constructed using opus caementicium, a hydraulic concrete made from lime, pozzolana (volcanic ash), and aggregate, which was poured into wooden formwork to create the curved triangular segments transitioning from square bases to domes. This material allowed for fluid molding of complex shapes, as seen in early examples like the transitional elements in the Baths of Caracalla, where concrete filled the spaces between arches to form pendentive-like supports. Byzantine builders shifted toward brick and mortar for pendentives, employing specially shaped bricks laid in concentric rings or layers to achieve the spherical curvature, bonded with lime-based mortar often incorporating crushed brick or pozzolana for enhanced strength and hydraulic properties.^[31] In structures like Hagia Sophia, the pendentives were formed by filling triangular voids between large arches with brick masonry, creating a continuous circular base for the dome.^[32] This technique relied on local materials such as clay bricks and lime mortar, with periodic full-brick courses for reinforcement during construction.^[33] Construction typically began at the piers, using temporary wooden centering—scaffolded frameworks—to support the initial arches and layered brickwork until the mortar set, after which the centering was removed to allow the structure to self-support.^[34] Byzantine innovations minimized formwork by building in ascending horizontal layers, starting from the lower edges and progressing upward in curved sections, which reduced material needs and construction time for large spans.^[34] For added strength, pendentives incorporated embedded arches or ribs formed from brick or stone to distribute loads, while later medieval and Renaissance adaptations included iron ties or chains anchored into the masonry to counteract outward thrusts and prevent deformation.^[35] These reinforcements were particularly vital in expansive vaults, where ties linked opposite walls or piers to maintain stability.^[36] Key challenges included ensuring uniform curing of the mortar to prevent cracks from uneven drying, addressed through controlled layering and pozzolanic additives that improved cohesion and reduced shrinkage.^[37] Scaling for large spans demanded precise wooden formwork to maintain geometric accuracy, as deviations could lead to structural weaknesses; solutions involved modular scaffolding and incremental building to manage weight during erection.^[34] Over time, Renaissance architects evolved toward cut stone blocks for pendentives, precisely carved and assembled without extensive mortar, as in vaulted designs that adapted gothic ribbing principles for decorative and structural integration.^[38] In modern replicas and applications, lighter materials like reinforced concrete or plaster over metal lath have supplanted traditional masonry, enabling faster construction and easier replication of curved forms while mimicking historical aesthetics.^[39]

Architectural Examples

Byzantine and Orthodox Examples

One of the most prominent examples of pendentives in Byzantine architecture is found in the Hagia Sophia in Istanbul, completed in 537 AD under Emperor Justinian I by architects Isidore of Miletus and Anthemius of Tralles.^[6] The monumental pendentives, rising from four massive piers, support a vast central dome approximately 32 meters in diameter, creating an expansive open interior space and demonstrating the scalability of this structural innovation.^[40] These pendentives are decorated with intricate mosaics depicting seraphim, which were plastered over during the Ottoman period and restored in the 1840s by the Fossati brothers; following the building's reconversion to a mosque in 2020, the mosaics remain visible during non-prayer visiting hours but are covered during worship services as of November 2025.^[6]^[41] Another key Byzantine example is the Church of the Holy Apostles in Constantinople, originally founded by Constantine but rebuilt by Justinian around 550 AD. This structure featured a complex system of five domes supported on pendentives, with four smaller pendentive domes surrounding the central one, influencing later Byzantine designs before its destruction in 1463 during the Ottoman conquest.^[42] In Eastern Orthodox architecture, pendentives were adapted in the 11th-century St. Sophia Cathedral in Kyiv, constructed under Yaroslav the Wise as a monument of Kievan Rus'. The cathedral's cross-in-square plan incorporates pendentives to support its 13 domes, including a central dome and innovative diagonal peripheral domes on high drums, blending Byzantine crossed-dome systems with local traditions for enhanced acoustics via embedded hollow jugs.^[43] Similarly, monasteries on Mount Athos, such as the Iveron Monastery (founded 980 AD), employ pendentives to support their church domes, preserving Byzantine techniques in Orthodox monastic settings with decorations emphasizing divine light. Pendentives in these Byzantine and Orthodox structures often transitioned alongside squinch-like elements in dome supports, facilitating complex geometric forms while symbolizing the heavenly vault and divine presence through their curved, light-diffusing surfaces.^[44] Preservation challenges include seismic damage, as seen in Hagia Sophia's partial dome collapse in 557 AD following an earthquake, leading to repairs completed by 562 AD with a higher, more stable structure.^[45]

Islamic and Renaissance Examples

In Islamic architecture, pendentives appeared under Byzantine influence during the Umayyad period, as seen in some desert palaces like Qasr al-Hallabat, where they supported domes in audience halls.^[46] Later developments incorporated elaborate decorative transitions, such as in the Great Mosque of Córdoba, where additions by al-Hakam II in the mid-10th century featured ribbed arches bridging the square base of the mihrab chamber to its dome via an octagonal form, adorned with gold mosaics and blending Visigothic and Islamic techniques.^[47] The form evolved under the Seljuks in the 11th century, as seen in the Friday Mosque of Isfahan, where muqarnas—stalactite-like projections—elaborated squinches in the western iwan and north dome (Gonbad-e Khaki), transitioning from square plans to curved dome surfaces through layered, three-dimensional niches that combined structural support with intricate geometric decoration.^[48] These muqarnas, evolving from squinch forms, marked a Seljuk innovation in Persian mosque design, enhancing the four-iwan layout with dynamic depth and shadow play.^[48] In Islamic contexts, pendentives often adapted into ornate honeycomb vaults, where muqarnas filled transitional zones with tiered, niche-like elements resembling stalactites, as exemplified in iwans and portals across Middle Eastern mosques to evoke celestial complexity and optical illusion.^[49] Early Islamic adaptations drew from Byzantine dome-on-pendentive models but quickly emphasized decorative elaboration over plain structural utility.^[24] The Renaissance revived pendentives with a focus on classical proportions and geometric harmony, as in Filippo Brunelleschi's Pazzi Chapel in Florence (begun 1440s), where four pendentives bearing terracotta roundels of the Evangelists transition the square base to a hemispherical dome with an oculus, distributing weight while embodying Renaissance ideals of balanced, weightless space inspired by ancient Roman forms.^[50] This design prioritized mathematical symmetry, using circles and squares to create a centralized, humanist interior that evoked divine order.^[50] Michelangelo further elevated pendentives to grand scale in St. Peter's Basilica (designed 1540s), employing four massive examples to support the 42-meter-diameter dome over a square crossing, with mosaics of evangelists adorning the curved surfaces to channel thrust from the 137-meter-high structure to piers below.^[51] The pendentives' robust, ribbed forms reflected Michelangelo's synthesis of Brunelleschi's innovations with Vitruvian proportions, achieving a monumental equilibrium that symbolized papal authority.^[51] Baroque extensions amplified pendentives' dramatic potential in Jesuit churches, such as Rome's Il Gesù (completed 1584), where Giovanni Battista Gaulli's frescoes on the dome pendentives depict prophets and evangelists in illusionistic foreshortening, exploiting the curves' convexity to heighten theatrical depth and upward momentum in gilded, swirling compositions.^[52] This approach, rooted in Counter-Reformation exuberance, transformed pendentives into vehicles for emotional intensity, contrasting Renaissance restraint with ornate, kinetic decoration.^[52] Pendentives spread globally through Islamic networks, influencing Mughal India in Humayun's Tomb (completed 1570), where pendentive-like arched vaults and decorative brackets support the double dome over an octagonal chamber, blending Persian muqarnas motifs with Indian chhatris in red sandstone and marble inlays to form a symmetrical garden-tomb precedent for later imperial architecture.^[53]

Comparison with Squinches

A squinch is a straight-edged structural element, typically corbelled or arched, that spans the corners of a square or polygonal room to convert it into an octagonal base for supporting a dome, resulting in an often angular transition.^[54]^[55] In contrast, pendentives form curved, spherical triangular segments that provide a smooth, continuous transition directly from a square base to a circular dome without intermediate polygonal sides.^[54]^[55] The primary differences lie in their geometry and profile: pendentives create a seamless, rounded curvature that enhances structural integrity by distributing loads more evenly across the supporting walls, whereas squinches produce a stepped or flat profile through corner infilling, which can appear more abrupt and segmented.^[54]^[56] Pendentives enable a direct square-to-circle conversion, optimizing interior space and visual flow, while squinches introduce additional horizontal planes that facilitate easier integration of decorative elements.^[54]^[55] Pendentives offer aesthetic advantages through their elegant, unobtrusive curves that maximize open interior volumes, though they demand precise masonry skills and advanced engineering to ensure stability under the dome's weight.^[54] Squinches, by comparison, are simpler and more economical to construct, making them suitable for smaller-scale domes, but they can reduce usable space due to their protruding forms and may require more material for corbelling.^[54]^[56] These traits have led to squinches being favored in Persian and early Islamic architecture for their adaptability to regional materials and techniques.^[54]^[55] Historically, squinches originated in Sasanian architecture in Persia around the 3rd century CE, roughly contemporary with early experimental uses of pendentives in Roman architecture during the 2nd–3rd centuries CE, and they were prominent in early Islamic, Persian, and Gothic buildings where angular transitions suited local styles and smaller domes.^[55]^[57] Pendentives were fully developed in Byzantine architecture during the 6th century CE and became preferred for grand, open interiors that required superior load distribution.^[54]^[55] Hybrid forms combining elements of both appear in some structures, such as partial squinches integrated with pendentive curves to balance simplicity and smoothness, as seen in late Mamluk and Caucasian architecture.^[56]^[58]

Modern and Contemporary Applications

In the 20th century, pendentives experienced a revival in neoclassical and modernist architecture, particularly through the use of reinforced concrete, which allowed for more expansive and structurally efficient dome constructions inspired by classical forms. For instance, the Great Hall of the National Academy of Sciences building in Washington, D.C., completed in 1924, features four pendentives adorned with mosaic medallions representing the classical elements—Earth, Air, Fire, and Water—crafted by artist Hildreth Meière to support the central dome and evoke Pantheon-like grandeur.^[59] This application in civic buildings aligned with the era's emphasis on monumental scale and symbolic decoration, adapting historical techniques to modern materials for enhanced durability and aesthetic integration.^[39] Engineering advancements have further propelled pendentive use into contemporary practice, with computer-aided design (CAD) and building information modeling (BIM) enabling precise curvature calculations and structural simulations. These tools optimize load distribution and allow for complex geometries that were challenging in traditional masonry.^[8] Additionally, materials such as steel framing and fiberglass composites have facilitated lighter, more versatile installations, including temporary pavilions and exhibition spaces where pendentives provide transitional support without excessive weight. Reinforced concrete remains prevalent, offering flexibility for innovative spans in public halls and auditoriums.^[60] Contemporary examples include restoration projects that preserve and reinforce historic pendentives while incorporating modern engineering. In the 2020s, ongoing restorations at Hagia Sophia in Istanbul, as of May 2025, have focused on strengthening the main dome and its supporting structures against seismic risks, involving lead covering replacements and structural reinforcements to maintain the original Byzantine configuration.^[61] Geodesic dome designs in stadiums and enclosures, influenced by Buckminster Fuller's principles of efficient spherical structures, occasionally adapt pendentive-like transitions for base-to-dome interfaces, though these diverge from pure forms by prioritizing lattice frameworks over curved vaults.^[62] Innovations in parametric modeling have expanded pendentive applications, allowing architects to generate variable forms for irregular bases through algorithmic scripts that manipulate geometric parameters like arches and spherical segments. A notable case is the restoration of the Ex-Oratory of San Filippo Neri in Bologna, Italy, where parametric tools using Boolean operations reconstructed damaged pendentives and domes based on historical data, ensuring structural fidelity and aesthetic reintegration.^[63] Sustainable adaptations appear in eco-dome projects, where translucent fiberglass pendentives enable natural light diffusion in environmentally conscious enclosures, reducing energy needs while echoing traditional light-focusing roles.^[39] Despite these developments, pendentive innovation remains limited in mainstream contemporary architecture, overshadowed by the prevalence of flat roofs and rectilinear designs in urban high-rises. However, potential emerges in niche areas like space architecture simulations and virtual reality reconstructions, where digital pendentive models aid in prototyping lightweight habitats for extraterrestrial environments.^[8]

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[48]
Muqarnas: Honeycomb architecture that touches the heavens
Apr 27, 2020 · Muqarnas is a "honeycomb-like vaulting" design, a distinctive honeycomb structure, used in domes, entrances, and iwans, and can be decorative ...
[49]
Filippo Brunelleschi, Pazzi Chapel - Smarthistory
Chapel design attributed to Filippo Brunelleschi, terracotta roundels produced by Luca della Robbia and Andrea della Robbia. Dates: c. 1440s–60s.
[50]
St. Peter's Basilica - Buffalo Architecture and History
Coffered barrel roof of the nave. Cupola / dome supported by two of four pendentives providing the transition between a dome and the square base on which it is ...
[51]
Rome: Il Gesù – – Corvinus –
Feb 17, 2019 · Il Baciccia, who was obviously inspired by Bernini, painted Baroque frescoes for the nave ceiling, the pendentives of the dome, the inner ...
[52]
Humayun's Tomb, Delhi - UNESCO World Heritage Centre
Humayun's garden-tomb is also called the 'dormitory of the Mughals' as in the cells are buried over 150 Mughal family members. The tomb stands in an extremely ...Gallery · Maps · Documents · Videos
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Squinch and Pendentive – Khamseen
Patricia Blessing is Associate Professor of Art and Art History at Stanford University. Blessing is the author of Rebuilding Anatolia after the Mongol Conquest.Missing: definition | Show results with:definition
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Squinches & Pendentives in Architecture | Definition & Examples
Pendentive Definition A pendentive is an architectural component that allows the placement of a dome over a square or polygonal space. They are triangular ...<|control11|><|separator|>
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Four Domes of the Late Mamluk Period - Persée
Late Mamluk domes were usually carried by pendentives or sometimes a hybrid device of squinch-pendentives as in the case of Gânibày al-Asrafï near the mauso¬ ...
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the squinch in the architecture of the caucasus - Academia.edu
The squinch with sculpture that is common in Romanesque architecture, sporadically appears in the South Caucasus in the tenth century. In the Armenian church ...
[57]
CAS - Against Gravity
In the tenth century, a hybrid structural form was developed in the architecture of south-west Georgia (Tao-Klarjeti) which can be described as a squinch ...
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National Academy of Sciences: Great Hall pendentives
On each of the four pendentives, Meière depicted a large medallion containing an allegorical figure of one of the Four Elements—Earth, Air, Fire, and Water ...
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Implementing Pendentives and Squinches in Building Design
Squinch architecture, on the other hand, uses corbeling or arches to transition from a square room to a circular or polygonal base, upon which a dome can rest.
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Istanbul's Hagia Sophia Enters The Most Extensive Phase Of Its ...
May 15, 2025 · The Hagia Sophia has entered its most crucial phase of the multi-year restoration project, specifically focusing on reinforcing the 31-meter-wide dome.Missing: 2020s | Show results with:2020s
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Geodesic Domes - Buckminster Fuller Institute
The 42-foot paperboard Geodesic was installed in old Sforza garden in Milan and came away with the highest award, the Gran Premio. Fuller's domes gained ...
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[PDF] Redalyc.Parametric design in the restoration project
Parametric construction of pendentives and dome by. Boolean operation. Made by L. C. Cruz Ramírez, 2018. Page 11. Parametric design in the restoration project.