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PENTAGON OFFICE BUILDING COMPLEX Other Name/Site Number: the Pentagon
NATIONAL HISTORIC LANDMARK NOMINATION NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 THE PENTAGON Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: PENTAGON OFFICE BUILDING COMPLEX Other Name/Site Number: The Pentagon 2. LOCATION Street & Number: U.S. 1, Va. 110, and Not for publication: Interstate 395 City/Town: Arlington Vicinity:__ State: Virginia County: Arlington Code: 013 Zip Code: 20301 3. CLASSIFICATION Ownership of Property Category of Property Private:__ Building(s): X Public-local:__ District:__ Public-State:__ Site:__ Public-Federal: X Structure:__ Object:__ Number of Resources within Property Contributing Noncontributing 1 ____ buildings 1 sites (helipad) ____ structures ____ objects 1 Total Number of Contributing Resources Previously Listed in the National Register: 4 Name of related multiple property listing: NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 THE PENTAGON Page 2 United States Department of the Interior, National Park Service______National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1986, as amended, I hereby certify that this ___ nomination ___ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ___ meets ___ does not meet the National Register Criteria. -
Ancient Greek Architecture
Greek Art in Sicily Greek ancient temples in Sicily Temple plans Doric order 1. Tympanum, 2. Acroterium, 3. Sima 4. Cornice 5. Mutules 7. Freize 8. Triglyph 9. Metope 10. Regula 11. Gutta 12. Taenia 13. Architrave 14. Capital 15. Abacus 16. Echinus 17. Column 18. Fluting 19. Stylobate Ionic order Ionic order: 1 - entablature, 2 - column, 3 - cornice, 4 - frieze, 5 - architrave or epistyle, 6 - capital (composed of abacus and volutes), 7 - shaft, 8 - base, 9 - stylobate, 10 - krepis. Corinthian order Valley of the Temples • The Valle dei Templi is an archaeological site in Agrigento (ancient Greek Akragas), Sicily, southern Italy. It is one of the most outstanding examples of Greater Greece art and architecture, and is one of the main attractions of Sicily as well as a national momument of Italy. The area was included in the UNESCO Heritage Site list in 1997. Much of the excavation and restoration of the temples was due to the efforts of archaeologist Domenico Antonio Lo Faso Pietrasanta (1783– 1863), who was the Duke of Serradifalco from 1809 through 1812. • The Valley includes remains of seven temples, all in Doric style. The temples are: • Temple of Juno, built in the 5th century BC and burnt in 406 BC by the Carthaginians. It was usually used for the celebration of weddings. • Temple of Concordia, whose name comes from a Latin inscription found nearby, and which was also built in the 5th century BC. Turned into a church in the 6th century AD, it is now one of the best preserved in the Valley. -
Junior High-High School Edition)
1 Glossary for the Virtual Tour (Junior High-High School Edition) A Acanthus – Representation of Acanthus plant leaf used in architecture and decorative arts as an ornamental motif, specifically in Classical architecture of the Greeks and Romans. Also used in the capital of the Corinthian order. Ad valorem taxes – Ad valorem is a Latin phrase meaning “according to the value,” meaning it is a tax proportional to the value of the underlying asset. Usually a type of property tax. Alabaster – A type of fine-grained gypsum that has been used for statuary, carvings, ornaments, church fittings, and monuments. Normally snow-white in color, however, it can be dyed or even be translucent depending on the treatment. Ante-chamber – A room that serves as a waiting area and entry to a larger chamber. Anthemion – A decoration in architecture consisting of radiating petals and used widely in Classical architecture. Arch – A curved structure, usually a doorway or gateway, that serves as support for a structure. Architect – A skilled person in the art of building, who designs complex structures such as government buildings, monuments, housing, etc. Architecture – The art and technique of designing and building. Architrave – In Classical architecture, the lowest section of the entablature (see entablature) directly above the capital of a column. Art Nouveau – Meaning “new art,” Art Nouveau is a style of art and architecture that was popular in the late 19th and early 20th centuries. It is known by its floral designs, flowing lines, and curved tendrils. Attic – Denotes any portion of a wall above the main cornice (see cornice). -
Ancient Greek the Studiowith Architecture, Pottery & Sculpture ART HIST RY KIDS
Ancient Greek The Studiowith Architecture, Pottery & Sculpture ART HIST RY KIDS LET’S LOOK AGAIN It’s best to study architecture when you can actually visit the places and see things up close. It’s fun to look at things up high and down low... to see things from lots of different perspectives. Since we are looking at photographs of the architecture, we’ll need to pay especially close attention to what we see in the pictures. Here are a few different angles from the three build- ings we’re learning about this month. Do you notice anything new? Architecture offers us so much to look at and learn about. We’ll be focusing on one thing this week: columns. Make sure to look at the columns in each building, then write down or chat about your observations. The Parthenon Temple of Olympian Zeus The Erechtheion March 2019 | Week 2 1 Ancient Greek The Studiowith Architecture, Pottery & Sculpture ART HIST RY KIDS A TIMELINE OF GREEK ART Geometric Archaic Hellenistic Period Period Period 900-700 BCE 700-600 BCE 600-480 BCE 480-323 BCE 323-31 BCE Orientalizing Classical Period Period March 2019 | Week 2 2 Ancient Greek The Studiowith Architecture, Pottery & Sculpture ART HIST RY KIDS GREEK ARCHITECTURE If you’ve ever built a structure out of wooden blocks or legos, you’ve played with the idea of architec- ture. The Greeks took ideas about building that had already been around for centuries, and made them more decorative and extra fancy. Greek Architects were obsessed with beauty. The word arete is often used when art historians talk about Ancient Greek art and architecture, and it means: excellence. -
Encyclopedic Dictionary of Archaeology Barbara Ann Kipfer
Encyclopedic Dictionary of Archaeology Barbara Ann Kipfer Encyclopedic Dictionary of Archaeology Second Edition Barbara Ann Kipfer Old Saybrook, CT, USA ISBN 978-3-030-58291-3 ISBN 978-3-030-58292-0 (eBook) ISBN 978-3-030-58293-7 (print and electronic bundle) https://doi.org/10.1007/978-3-030-58292-0 1st edition: © Springer Science+Business Media New York 2000 2nd edition: © Springer Nature Switzerland AG 2021 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors, and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. This Springer imprint is published by the registered company Springer Nature Switzerland AG. -
Rhamnountine Fantasies
RHAMNOUNTINE FANTASIES (PLATE 32) T HE temple of Nemesis at Rhamnous,' stylistically the latest known work of the "Theseum architect," showing strong influences from the Parthenon (dedicated in 438) but left unfinished at the outbreak of the Peloponnesian War (in 431), was probably begun, in accordance with the astronomical and calendrical evidence for the intervening years, on the festival day of the Nemesieia (Genesia), Boedromion 5 - September 30, 436 B.C.2 The architecture of the temple has been discussed only once in detail, in the old Unedited Antiquities of Attica (1817), and partially thereafter in several specialized publications.3 In the present investigation we shall be concerned only with various problems relating to the entablature of the peristyle, never satis- factorily explained and hitherto subject to considerable misinterpretation. THE EPISTYLE The hexastyle temple, with only twelve columns on the flanks, thus had five by eleven intervals in the peristyle, these necessarily spanned by thirty-two architrave blocks (each with its backing block), fitting the column spacing of only 1.904 m. on centers (equal to the column diameters of the Parthenon, and likewise to be interpreted as 5% Doric feet).' While the distances between the centers of the opposite colon- 1 I here take advantage of the occasion afforded by a new examination of the Villa Albani relief, attributed by Langlotz to the temple at Rhamnous, to relieve my discussion of the temple (to be published in Athenian Architecture of the Age of Pericles) of this and other related errors. 2 Dinsmoor, Proc. Am. Phil. Soc., LXXX, 1939, pp. -
The American Vignola
I THE AMERICAN VIGNOLA PART I THE FIVE ORDERS By WILLIAM R. WARE FORMERLY PROFESSOR OF ARCHITECTURE IN MASSACHUSETTS INSTITUTE OF TECHNOLOGY EMERITUS PROFESSOR OF ARCHITECTURE IN COLUMBIA UNIVERSITY FIFTH EDITION SCRANTON INTERNATIONAL TEXTBOOK COMPANY 1920 COPYRIGHT, 1902, BY WILLIAM R. WARE COPYRIGHT, 1904, BY INTERNATIONAL TEXTBOOK COMPANY All rights reserved PRESS OF INTERNATIONAL TEXTBOOK COMPANY SCRANTON, PA. 78282 PREFACE January, 1859, I went from Mr. Edward Cabot's office in Boston, where I had been for two or three IN years, to join the little company of half a dozen young men who were studying architecture in the Studio Building in Tenth Street, under the inspiration of Mr. Richard Hunt. Mr. Hunt had just returned from Paris and was to to we were not much his what he had learned in / eager impart younger men, though juniors, the Ecole des Beaux-Arts and in work upon the New Louvre. We had all, I believe, had more or less of office experience, but those were the days when the Gothic Revival was at its height, and Mr. Hunt found most of Classical us unfamiliar with details and quite unskilled in their use. I, at any rate, knew hardly a touch of them, and I remember well the day when, as I was carefully drawing out a Doric Capital according to the measurements given in my Vignola, Mr. Hunt took the pencil out of my hand and, setting aside the whole appa- ratus of Modules and Minutes, showed me how to divide the height of my Capital into thirds, and those into and those into thirds, again thirds, thus getting the sixths, ninths, eighteenths, twenty-sevenths, and fifty- fourths of a Diameter which the rules required, without employing any larger divisor than two or three. -
Activities in the Athenian Agora: 1959 335
ACTIVITIESIN THE ATHENIAN AGORA: 1959 (PLATES 73-80) JN its program of explorationin the Athenian Agora the American School of Classical Studies devoted its principaleffort in 1959 toward regularizing the eastern side of the excavated area.' When property was being acquired for excavation in the 1930's the disposition of the ancient monuments was still for the most part obscure. On the completion of the major excavation it became apparent that some additional property would have to be acquired along the east side in order to permit the more complete clearance of the monuments and to facilitate maintenance. To this end six additional lots with as many 19th century houses were expropriated in the name of the Greek state: one behind the north end of the Stoa of Attalos, one at the extreme southeast corner of the Agora and four on the north slope of the Acropolis. Demo- 1 The resident staff comprised Eugene Vanderpool (Deputy Field Director), M. Alison Frantz, Virginia R. Grace, Mary Zelia Philippides, Maria Savvatianou, Lucy Talcott, Dorothy B. Thompson and John Travlos, together with the undersigned as Field Director. Eva Brann, Evelyn B. Harrison, Mabel Lang, Evelyn L. Smithson and Brian Sparkes spent shorter periods in Athens in pursuit of their studies of various groups of Agora material. Poly Pamel has continued in charge of the records. The excavation at the southeast corner of the Agora was supervised by Dorothy B. Thompson, that in the Eleusinion by Eugene Vanderpool; the account of the results in those areas is based largely on their field notes. The undersigned was responsible for the clearance behind the north end of the Stoa of Attalos and for the investigations in South Stoa II. -
The Temple of Ares at Athens 3
THE TEMPLEOF ARES AT ATHENS The little that we knew about the temple of Ares,1 before the Agora excavations, has been summarized by Judeich:2 the topographical description by Pausanias (I, 8, 4), and a few inscriptions referring to the cult (I.G., fl2, 948, 1072, 2953), formed the total sum of our knowledge. Sacrifices to Ares are mentioned in an honorary decree of 166/5 B.C. (I.G., 112, 948). A sculptured votive monument, of which a part of the inscribed base (I.G., 112, 2953) is reported to have been found at Menidi but may have been transported thither from Athens, was dedicated to Augustus and Ares apparently during the reign of Augustus. The archon of 116/7 A.D. was at the same time priest of Ares, according to a decree of this year (I.G., 112, 1072).3 Pausanias, toward 165 A.D., saw the temple, containing its cult statue by Alcamenes, an Athena by Lokros of Paros,4 and such later works as Enyo by the sons of Praxi- teles (I, 8, 4), adjacent to the statues of Demosthenes, Pindar, and the Tyrannicides, of which the first is otherwise known as having been near the Altar of the Twelve Gods ([Plutarch], X Orat. Vit., p. 847 A), the second as having been in front of the Stoa Basileios ( [Aeschines], Epis. 4, 3), and the third as having been opposite the Metroon (Arrian, Anab. III, 16, 8). In modern times no temple remained visible in this section of the city apart from that building of many appellations, the " The- seum "; and so this in turn was assigned to Ares by Cyriac of Ancona in 1436 and by Ross in 1838.5 During the first campaign in the Agora, in 1931, a single Doric marble triglyph (Inv. -
Greek Tholoi of the Classical and Hellenistic Periods: an Examination By: Tarryn Andrews a Major Paper Essay Submitted to the Gr
Greek Tholoi of the Classical and Hellenistic Periods: An Examination By: Tarryn Andrews A Major Paper Essay submitted to the Graduate Program in Classics in conformity with the requirements for the Degree of Master of Arts Queen’s University Kingston, Ontario, Canada 09/2018 Copyright © Tarryn Andrews, 2018 i Abstract This research aims to examine the Greek tholoi of the Classical and Hellenistic period focusing on the monuments from Olympia, Delphi, Epidauros, Samothrace, Cyrene, Limyra, and Knidos. These buildings have been examined separately and the similarities of each structure and the influences they may have had upon the others have been stressed. Comparing information from primary sources (literature and inscriptions) and archaeological evidence it seems that the round shape of these buildings is related to the heroic and dynastic cult, which started with Philip II and Alexander the Great and was later continued by the Ptolemies. I believe that the antecedent to the tholos used as a building for the dynastic cult may be identified in the heroon dedicated to Herakles Patroos (Fatherly) in the Macedonian Palace at Verghina. The Macedonian Royal House believed that Herakles was an ancestor of them and worshipped him as such. Abbreviations and Conventions Ancient Greek authors and works are abbreviated according to those used in H.G. Liddell and R. Scott, A Greek English Lexicon, Oxford 1968. Ancient Latin authors and works are abbreviated according to the Thesaurus Linguae Latinae. ii Acknowledgements I would like to thank the faculty and staff in the Classics Department at Queen’s University for their continued support and advice over the past several years, without whom this research would not have been possible. -
Ancient Greek Architecture
Ancient Greek Architecture Kuliah Arsitektur Pramodern 26 Maret 2020 Program Studi Teknik Arsitektur Universitas Komputer Indonesia History The architecture of Ancient Greece is the architecture produced by the Greek-speaking people (Hellenic people) whose culture flourished on the Greek mainland and Peloponnesus, the Aegean Islands, and in colonies in Asia Minor and Italy for a period from about 900 BC until the 1st century AD, with the earliest remaining architectural works dating from around 600 BC.[1] Ancient Greek architecture is best known from its temples, many of which are found throughout the region, mostly as ruins but many substantially intact. The second important type of building that survives all over the Hellenic world is the open-air theatre, with the earliest dating from around 350 BC. Other architectural forms that are still in evidence are the processional gateway (propylon), the public square (agora) surrounded by storied colonnade (stoa), the town council building (bouleuterion), the public monument, the monumental tomb (mausoleum) and the stadium. Ancient Greek architecture is distinguished by its highly formalised characteristics, both of structure and decoration. This is particularly so in the case of temples where each building appears to have been conceived as a sculptural entity within the landscape, most often raised on high ground so that the elegance of its proportions and the effects of light on its surfaces might be viewed from all angles The formal vocabulary of Ancient Greek architecture, in particular the division of architectural style into three defined orders: the Doric Order, the Ionic Order and the Corinthian Order, was to have profound effect on Western architecture of later periods. -
Building Blocks of Power: the Architectural Commissions and Decorative Projects of the Pucci Family in the Renaissance
Building Blocks of Power: The Architectural Commissions and Decorative Projects of the Pucci Family in the Renaissance Carla Adella D’Arista Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Carla A. D’Arista All rights reserved 1 ABSTRACT Building Blocks of Power: The Architectural Commissions and Decorative Projects of the Pucci Family in the Renaissance Carla A. D’Arista This dissertation analyzes the dates and artistic provenance of key architectural and decorative projects commissioned by the Pucci family for their townhomes, villas, and palaces during the Renaissance. It identifies the family’s insistent identification with prestigious Renaissance architects and artisans as a key element in a political and social stratagem that took its cue from the humanist ethos cultivated by their political patrons, the Medici. Temporally, this study is bracketed on both ends of the Renaissance by architectural commissions related to the Pucci’s long-standing patronage of Santissima Annunziata, the most important pilgrimage church in Florence. Methodoligically, it is an archival project that relies principally on previously unknown letters, wills, payment records, inventories, and notarial documents. 1 Table of Contents List of Captions………………………………………………….. ii. Abbreviations …………………………………………………… iii. Conventions ……………………………………………………… iv. Acknowledgements ……………………………………………… v. Introduction: “Beneath the Shadow of Thy Wings I Sleep:” Artistic Identity as Political Stratagem ……………………….. 1. I. From the Beginning: Puccio Pucci (1389-1449) …………….. 13. II. The Pucci Oratory in Santissima Annunziata …………….. 36. III. Antonio di Puccio Pucci: Dynastic Promotion and Image-Building ………………………………………………….. 79. IV. Casa Pucci in Florence (1503-1537): Fashioning Social Hierarchies ……………………………………………………….