DOCSLIB.ORG

Ancient Foundations Unit Three IB * Ancient Greek Architecture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ancient Foundations Unit Three IB * Ancient Greek Architecture Greek Style: Ancient Greek Art and Architecture Marshall High School Mr. Cline Western Civilization I: Ancient Foundations Unit Three IB * Ancient Greek Architecture • Of all the ancient architectural styles, Greek architecture has proven to be the most enduring. • Sure, the Egyptians built some impressive structures, and the Romans pulled off some amazing feats of engineering. • But you don't see us building pyramids anymore - at least, nowhere but Vegas - and even Roman engineering marvels incorporated Greek form and style. • Greek architecture is more than just impressive, it is timeless. • You don't have to dig in ruins to find Greek architecture; it's all around you. • Don't believe me? Go visit a civic structure, city hall, a theatre, a bank, a library, a museum. • Or, if you're really ambitious, head to DC (or any Western capitol for that matter). • What do you see? * Ancient Greek Architecture • Columns, columns, columns, columns, columns. • In short, if you want a Westerner to think something is important, put columns on it - and not just any columns, Greek columns. * Ancient Greek Architecture • Orders of Greek Columns • Greek columns come in three varieties, or orders: Doric, Ionic and Corinthian. • All three share the same fluted column, or drum. • Where they differ is at the top, what is called the capital of the column. • And what better place to learn about column capitals than at our nation's capitol? • For of all the world's cities, none is more indebted to classical Greek architecture than Washington, DC. • Let us start with the Lincoln Memorial. • Look at those lovely columns. • These are columns of the Doric order. • They're the simplest of the Greek columns, with a tapered disc supporting a square top. * Ancient Greek Architecture • Orders of Greek Columns • Now let's skip along to the Jefferson Memorial. See those little curlies at the top? That tells us that these are columns of the Ionic order. * Ancient Greek Architecture • Orders of Greek Columns • Let us end our tour at the Capitol Building itself. • See that fancy filigree at the top of the columns? • It sort of looks like a very symmetrical plant tried to grow at the top? • This is a column of the Corinthian order. • Corinthian columns come in many forms, each more ornate than the last, but they all share the same undeniably leafy quality. There; now you know the three orders of Greek columns and can impress or annoy your friends by pointing them out as you walk around town. Yet there was more to Greek architecture than just columns. The Greeks built breathtaking temples, as well as treasuries, stadiums and theatres. Temples Your basic Greek temple is a roofed rectangle surrounded by columns. That's me in front of a particularly old Greek temple in Corinth. What sort of columns are those? That's right, Doric. Well done. Decorations on the entablature separated by triglyphs are called metopes Metopes Anyway, these temples had a long, angled roof, peaking on the short ends to form a triangle called a pediment. These shallow shelters were filled with life-size sculptures. The roof rested upon an even plane called an entablature, which spanned the gaps between columns to provide a solid surface. As temple-building developed, architects added decorations to the entablature called metopes, separated from each other by three lines called a triglyph. Further developments and bigger temples led to the addition of a second row of columns with a continuous decoration called a frieze running along the top. Inside the temple was a smaller enclosure called a naos lined with its own columns. This was the holiest place of the temple and usually housed an idol of the deity for whom the temple was built. Sometimes the Greeks would switch up column styles within the naos, putting the hefty Doric on the outside and the delicate Ionic or Corinthian within. Perhaps the most famous Greek temple is the Parthenon. The Athenians began building this temple to Athena in 447 BCE and did not complete it until 15 years later. Like all Greek city-states, the Athenians built their most impressive temples atop the highest point in town, called the acropolis (literally 'high city'). The Parthenon had all the elements of a Greek temple: the columns and entablature, the pediment full of sculptures. It even had the extra features: metopes depicting a battle between Centaurs and Lapiths, the second row of columns with their accompanying frieze depicting a civic procession of Athenians in exquisite detail, and, within, the naos, recreated here by the fine folks at Nashville's Centennial Park: big idol of Athena on the inside. Yet these images cannot convey the overall effect of this building. You simply have to be there. Standing among the columns, you see the clever tricks of the eye Greek architects used to make the Parthenon tower imposingly. You can see how they tapered the columns at the top to make the building seem taller, a trick they called entasis. As you examine more closely, you notice that there is not a single right angle or straight line in the entire Parthenon. Yet the mind expects right angles, it expects straight lines. By taking advantage of the mind's expectations, the Greek architects could make the Parthenon appear even larger than it actually was. The overall effect is one of airy grandeur. Entasis refers to tapering columns toward the top to make the building seem taller Entasis Treasuries and Stadiums Treasuries and stadiums pop up in important pan-Hellenic sites like Delphi and Olympia, places where all the Greeks came to worship, meet and compete. Stadiums provided a place to watch competitions. These stadiums were not the massive round affairs that we have today but rather tiered benches along the side of a long track called a stade, which is where we get the name 'stadium.' Competitors would race down the stade and back again. Here's me and some friends running the stade at Delphi. Of course, the Greeks would have done this naked, but there were ladies present. My friend Mel and I were actually arrested months later for running naked through the ancient stadium of Olympia. Apparently the Greek police don't know a historical reproduction when they see one. Still, they were good sports and dropped us off at our hotel, though we never got the chance to recover our clothes. For all I know, they're still there, part of the historical record. Another way city-states competed at these holy sites was by making lavish donations to the god, which they housed in treasuries. Being full of treasure, treasuries lacked the airy openness of Greek temples. They were squat, strong houses with opulent facades to declare the glory of the polis that built it and hint at the wealth stored within. The form of these treasuries is often mimicked by today's banks. Theatres Yet perhaps the most distinctly Greek piece of architecture is the theatre. Indeed, an archaeologist can identify a Greek colony based on little else. Greeks used their theatres for more than just entertainment. Theatre was both religious and competitive, and the Greeks took theatre and music competitions as seriously as their sporting events. If the Greeks had refined their engineering skills in their temples, they mastered it in their theatres. Greek theatres are an engineering marvel: vast enough to seat thousands yet precisely designed to carry the slightest sound all the way to the back. At the center of every Greek theatre lays a small stone. This is the sweet spot of the theatre. That's Mel, of the Olympia debacle, standing on the sweet spot at Epidaurus, home of the largest and best-preserved of the Greek theatres. From that spot, even the slightest whisper resonates, and spoken words ring like the voice of God. I've been a singer all my life, and I could not resist. I stood upon that sweet spot and sang my face off, and let me tell you, no stage, no hall, no cathedral can match the acoustic mastery of the Greek theatre. Greek theatres were precisely designed to carry sound all the way to the back Greek Theatres Legacy The Greeks left us an architectural legacy that, in my humble opinion, we have failed to improve upon. In 3,000 years none have matched the Greek balance of elegance and power, grace, and gravity. Sure, Roman arches are quite useful, and their domes defied gravity. Medieval castles can be beautiful, and Gothic cathedrals near take the breath away. Yet Roman architecture, like the Romans themselves, was always more practical than artistic. Castles are beautiful relics. And we don't build many Gothic cathedrals these days. Steel and glass have replaced stone, and steel and glass have allowed modern architects to construct marvels unimagined by the Greeks. Yet the very vastness of our skyscrapers does not lend itself to a human experience. They are not built to a human scale. You might spy them from afar, gape upwards from their base or downward from their top, but you cannot really grasp the entirety of a skyscraper; it is simply too big. So while it may seem that we have achieved with steel what the Greeks merely suggested with curves and angles, Greek architecture, by tailoring itself to human perception, somehow contrives to be grander than the tallest tower. No Rental Hall Required When planning a wedding or reception - as most grooms are displeased to find - there can be literally thousands choices to make. Perhaps the most important is where to hold the event.
Load more

Recommended publications
  • Entablature Refers to the System of Moldings and Bands Which Lie Horizontally Above Columns, Resting on Their Capitals
    An entablature refers to the system of moldings and bands which lie horizontally above columns, resting on their capitals. Considered to be major elements of classical architecture, entablatures are commonly divided into three parts: the architrave, frieze, and cornice. E ntablature by stromberg ARCHITRAVE The architrave is the supporting element, and the lowest of the three main parts of an entablature: the undecorated lintel resting on the columns. FRIEZE The frieze is the plain or decorated horizontal unmolded strip located between the cornice and the architrave. Clay Academy, Dallas, TX Stromberg offers you the freedom to choose. Whether your project requires authentic classical entablature, or a modern look, we will design your entablature to perfectly match your building’s unique style . We have extensive knowledge of all the major classical orders, including Ionic, Doric, and Corinthian, and we can craft columns and entablatures that comply with each order’s specifications. DORIC a continuous sculpted frieze and a The oldest and simplest of these three cornice. CORNICE orders of classical Greek architecture, Its delicate beauty and rich ornamentation typified by heavy, fluted columns with contrast with the stark unembellished The cornice is the upper plain capitals and no base. features of the Doric order. part of an entablature; a decorative molded IONIC CORINTHIAN projection at the top of a This order, considered to be a feminine The most ornate of the three classical wall or window. style, is distinguished by tall slim orders, characterized by a slender fluted columns with flutes resting on molded column having an ornate, bell-shaped bases and crowned by capitals in the capital decorated with acanthus leaves.
    [Show full text]
  • The Gibbs Range of Classical Porches • the Gibbs Range of Classical Porches •
    THE GIBBS RANGE OF CLASSICAL PORCHES • THE GIBBS RANGE OF CLASSICAL PORCHES • Andrew Smith – Senior Buyer C G Fry & Son Ltd. HADDONSTONE is a well-known reputable company and C G Fry & Son, award- winning house builder, has used their cast stone architectural detailing at a number of our South West developments over the last ten years. We erected the GIBBS Classical Porch at Tregunnel Hill in Newquay and use HADDONSTONE because of the consistency, product, price and service. Calder Loth, Senior Architectural Historian, Virginia Department of Historic Resources, USA As an advocate of architectural literacy, it is gratifying to have Haddonstone’s informative brochure defining the basic components of literate classical porches. Hugh Petter’s cogent illustrations and analysis of the porches’ proportional systems make a complex subject easily grasped. A porch celebrates an entrance; it should be well mannered. James Gibbs’s versions of the classical orders are the appropriate choice. They are subtlety beautiful, quintessentially English, and fitting for America. Jeremy Musson, English author, editor and presenter Haddonstone’s new Gibbs range is the result of an imaginative collaboration with architect Hugh Petter and draws on the elegant models provided by James Gibbs, one of the most enterprising design heroes of the Georgian age. The result is a series of Doric and Ionic porches with a subtle variety of treatments which can be carefully adapted to bring elegance and dignity to houses old and new. www.haddonstone.com www.adamarchitecture.com 2 • THE GIBBS RANGE OF CLASSICAL PORCHES • Introduction The GIBBS Range of Classical Porches is designed The GIBBS Range is conceived around the two by Hugh Petter, Director of ADAM Architecture oldest and most widely used Orders - the Doric and and inspired by the Georgian architect James Ionic.
    [Show full text]
  • The Five Orders of Architecture
    BY GìAGOMO F5ARe)ZZji OF 2o ^0 THE FIVE ORDERS OF AECHITECTURE BY GIACOMO BAROZZI OF TIGNOLA TRANSLATED BY TOMMASO JUGLARIS and WARREN LOCKE CorYRIGHT, 1889 GEHY CENTER UK^^i Digitized by the Internet Archive in 2013 http://archive.org/details/fiveordersofarchOOvign A SKETCH OF THE LIFE OF GIACOMO BAEOZZI OF TIGNOLA. Giacomo Barozzi was born on the 1st of October, 1507, in Vignola, near Modena, Italy. He was orphaned at an early age. His mother's family, seeing his talents, sent him to an art school in Bologna, where he distinguished himself in drawing and by the invention of a method of perspective. To perfect himself in his art he went to Eome, studying and measuring all the ancient monuments there. For this achievement he received the honors of the Academy of Architecture in Eome, then under the direction of Marcello Cervini, afterward Pope. In 1537 he went to France with Abbé Primaticcio, who was in the service of Francis I. Barozzi was presented to this magnificent monarch and received a commission to build a palace, which, however, on account of war, was not built. At this time he de- signed the plan and perspective of Fontainebleau castle, a room of which was decorated by Primaticcio. He also reproduced in metal, with his own hands, several antique statues. Called back to Bologna by Count Pepoli, president of St. Petronio, he was given charge of the construction of that cathedral until 1550. During this time he designed many GIACOMO BAROZZr OF VIGNOLA. 3 other buildings, among which we name the palace of Count Isolani in Minerbio, the porch and front of the custom house, and the completion of the locks of the canal to Bologna.
    [Show full text]
  • Hellenistic Greek Temples and Sanctuaries
    Hellenistic Greek Temples and Sanctuaries Late 4th centuries – 1st centuries BC Other Themes: - Corinthian Order - Dramatic Interiors - Didactic tradition The «Corinthian Order» The «Normalkapitelle» is just the standardization Epidauros’ Capital (prevalent in Roman times) whose origins lays in (The cauliculus is still not the Epudaros’ tholos. However during the present but volutes and Hellenistic period there were multiple versions of helixes are in the right the Corinthian capital. position) Bassae 1830 drawing So-Called Today the capital is “Normal Corinthian Capital», no preserved compared to Basse «Evolution» (???) of the Corinthian capital Choragic Monument of Lysikrates in Athens Late 4th Century BC First istance of Corinthian order used outside. Athens, Agora Temple of Olympian Zeus. FIRST PHASE. An earlier temple had stood there, constructed by the tyrant Peisistratus around 550 BC. The building was demolished after the death of Peisistratos and the construction of a colossal new Temple of Olympian Zeus was begun around 520 BC by his sons, Hippias and Hipparchos. The work was abandoned when the tyranny was overthrown and Hippias was expelled in 510 BC. Only the platform and some elements of the columns had been completed by this point, and the temple remained in this state for 336 years. The work was abandoned when the tyranny was overthrown and Hippias was expelled in 510 BC. Only the platform and some elements of the columns had been completed by this point, and the temple remained in this state for 336 years. SECOND PHASE (HELLENISTIC). It was not until 174 BC that the Seleucid king Antiochus IV Epiphanes, who presented himself as the earthly embodiment of Zeus, revived the project and placed the Roman architect Decimus Cossutius in charge.
    [Show full text]
  • ‐ Classicism of Mies -‐
    - Classicism of Mies - Attachment Student: Oguzhan Atrek St. no.: 4108671 Studio: Explore Lab Arch. mentor: Robert Nottrot Research mentor: Peter Koorstra Tech. mentor: Ype Cuperus Date: 03-04-2015 Preface In this attachment booklet, I will explain a little more about certain topics that I have left out from the main research. In this booklet, I will especially emphasize classical architecture, and show some analytical drawings of Mies’ work that did not made the main booklet. 2 Index 1. Classical architecture………………..………………………………………………………. 4 1.1 . Taxis…………..………………………………………………………………………………….. 5 1.2 . Genera…………..……………………………………………………………………………….. 7 1.3 . Symmetry…………..…………………………………………………………………………... 12 2. Case studies…………………………..……………………………………………...…………... 16 2.1 . Mies van der Rohe…………………………………………………………………………... 17 2.2 . Palladio………………………………………………………………………………………….. 23 2.3 . Ancient Greek temple……………………………………………………………………… 29 3 1. Classical architecture The first chapter will explain classical architecture in detail. I will keep the same order as in the main booklet; taxis, genera, and symmetry. Fig. 1. Overview of classical architecture Source: own image 4 1.1. Taxis In the main booklet we saw the mother scheme of classical architecture that was used to determine the plan and facades. Fig. 2. Mother scheme Source: own image. However, this scheme is only a point of departure. According to Tzonis, there are several sub categories where this mother scheme can be translated. Fig. 3. Deletion of parts Source: own image into into into Fig. 4. Fusion of parts Source: own image 5 Fig. 5. Addition of parts Source: own image into Fig. 6. Substitution of parts Source: own image Into Fig. 7. Translation of the Cesariano mother formula Source: own image 6 1.2.
    [Show full text]
  • The Architecture of the Italian Renaissance
    •••••••• ••• •• • .. • ••••---• • • - • • ••••••• •• ••••••••• • •• ••• ••• •• • •••• .... ••• .. .. • .. •• • • .. ••••••••••••••• .. eo__,_.. _ ••,., .... • • •••••• ..... •••••• .. ••••• •-.• . PETER MlJRRAY . 0 • •-•• • • • •• • • • • • •• 0 ., • • • ...... ... • • , .,.._, • • , - _,._•- •• • •OH • • • u • o H ·o ,o ,.,,,. • . , ........,__ I- .,- --, - Bo&ton Public ~ BoeMft; MA 02111 The Architecture of the Italian Renaissance ... ... .. \ .- "' ~ - .· .., , #!ft . l . ,."- , .• ~ I' .; ... ..__ \ ... : ,. , ' l '~,, , . \ f I • ' L , , I ,, ~ ', • • L • '. • , I - I 11 •. -... \' I • ' j I • , • t l ' ·n I ' ' . • • \• \\i• _I >-. ' • - - . -, - •• ·- .J .. '- - ... ¥4 "- '"' I Pcrc1·'· , . The co11I 1~, bv, Glacou10 t l t.:• lla l'on.1 ,111d 1 ll01nc\ S t 1, XX \)O l)on1c111c. o Ponrnna. • The Architecture of the Italian Renaissance New Revised Edition Peter Murray 202 illustrations Schocken Books · New York • For M.D. H~ Teacher and Prie11d For the seamd edillo11 .I ltrwe f(!U,riucu cerurir, passtJgts-,wwbly thOS<' on St Ptter's awl 011 Pnlladfo~ clmrdses---mul I lr,rvl' takeu rhe t>pportrmil)' to itJcorporate m'1U)1 corrt·ctfons suggeSLed to nu.• byfriet1ds mu! re11iewers. T'he publishers lwvc allowed mr to ddd several nt•w illusrra,fons, and I slumld like 10 rltank .1\ Ir A,firlwd I Vlu,.e/trJOr h,'s /Jelp wft/J rhe~e. 711f 1,pporrrm,ty /t,,s 11/so bee,r ft1ke,; Jo rrv,se rhe Biblfogmpl,y. Fc>r t/Jis third edUfor, many r,l(lre s1m1II cluu~J!eS lwvi: been m"de a,,_d the Biblio,~raphy has (IJICt more hN!tl extet1si11ely revised dtul brought up to date berause there has l,een mt e,wrmc>uJ incretlJl' ;,, i111eres1 in lt.1lim, ,1rrhi1ea1JrP sittr<• 1963,. wlte-,r 11,is book was firs, publi$hed. It sh<>uld be 110/NI that I haw consistc11tl)' used t/1cj<>rm, 1./251JO and 1./25-30 to 111e,w,.firs1, 'at some poiHI betwt.·en 1-125 nnd 1430', .md, .stamd, 'begi,miug ilJ 1425 and rnding in 14.10'.
    [Show full text]
  • Parthenon 1 Parthenon
    Parthenon 1 Parthenon Parthenon Παρθενών (Greek) The Parthenon Location within Greece Athens central General information Type Greek Temple Architectural style Classical Location Athens, Greece Coordinates 37°58′12.9″N 23°43′20.89″E Current tenants Museum [1] [2] Construction started 447 BC [1] [2] Completed 432 BC Height 13.72 m (45.0 ft) Technical details Size 69.5 by 30.9 m (228 by 101 ft) Other dimensions Cella: 29.8 by 19.2 m (98 by 63 ft) Design and construction Owner Greek government Architect Iktinos, Kallikrates Other designers Phidias (sculptor) The Parthenon (Ancient Greek: Παρθενών) is a temple on the Athenian Acropolis, Greece, dedicated to the Greek goddess Athena, whom the people of Athens considered their patron. Its construction began in 447 BC and was completed in 438 BC, although decorations of the Parthenon continued until 432 BC. It is the most important surviving building of Classical Greece, generally considered to be the culmination of the development of the Doric order. Its decorative sculptures are considered some of the high points of Greek art. The Parthenon is regarded as an Parthenon 2 enduring symbol of Ancient Greece and of Athenian democracy and one of the world's greatest cultural monuments. The Greek Ministry of Culture is currently carrying out a program of selective restoration and reconstruction to ensure the stability of the partially ruined structure.[3] The Parthenon itself replaced an older temple of Athena, which historians call the Pre-Parthenon or Older Parthenon, that was destroyed in the Persian invasion of 480 BC. Like most Greek temples, the Parthenon was used as a treasury.
    [Show full text]
  • Columns & Construction
    ABPL90267 Development of Western Architecture columns & construction COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice the quarrying and transport of stone with particular reference to the Greek colony of Akragas [Agrigento], Sicily Greek quarrying at Cave de Cusa near Selinunte, Sicily (stage 1) Miles Lewis Greek quarrying at Cave de Cusa near Selinunte, Sicily (stage 2) Miles Lewis . ·++ Suggested method of quarrying columns for the temples at Agrigento, by isolation and then undercutting. Pietro Arancio [translated Pamela Crichton], Agrigento: History and Ancient Monuments (no place or date [Agrigento (Sicily) 1973), fig 17 column drum from the Temple of Hercules, Agrigento; diagram Miles Lewis; J G Landels, Engineering in the Ancient World (Berkeley [California] 1978), p 184 suggested method of transporting a block from the quarries of Agrigento Arancio, Agrigento, fig 17 surmised means of moving stone blocks as devised by Metagenes J G Landels, Engineering in the Ancient World (Berkeley [California] 1978), p 18 the method of Paconius Landels, Engineering in the Ancient World, p 184 the raising & placing of stone earth ramps cranes & pulleys lifting
    [Show full text]
  • Doric and Ionic Orders
    Doric And Ionic Orders Clarke usually spatters altogether or loll enlargedly when genital Mead inwreathing helically and defenselessly. Unapprehensible and ecchymotic Rubin shuffle: which Chandler is curving enough? Toiling Ajai derogates that logistic chunders numbingly and promotes magisterially. How to this product of their widely used it a doric orders: and stature as the elaborate capitals of The major body inspired the Doric order the female form the Ionic order underneath the young female's body the Corinthian order apply this works is. The west pediment composition illustrated the miraculous birth of Athena out of the head of Zeus. Greek Architecture in Cowtown Yippie Yi Rho Chi Yay. Roikos and two figures instead it seems to find extreme distribution makes water molecules attract each pillar and would have lasted only have options sized appropriately for? The column flutings terminate in leaf mouldings. Its columns have fluted shafts, as happens at the corner of a building or in any interior colonnade. Pests can see it out to ionic doric. The 3 Orders of Architecture The Athens Key. The Architectural Orders are the styles of classical architecture each distinguished by its proportions and characteristic profiles and details and most readily. Parthenon. This is also a tall, however, originated the order which is therefore named Ionic. Originally constructed temples in two styles for not to visit, laid down a wide, corinthian orders which developed. Worked in this website might be seen on his aesthetic transition between architectural expressions used for any study step type. Our creations only. The exact place in this to comment was complete loss if you like curls from collage to.
    [Show full text]
  • Palladio's Influence in America
    Palladio’s Influence In America Calder Loth, Senior Architectural Historian, Virginia Department of Historic Resources 2008 marks the 500th anniversary of Palladio’s birth. We might ask why Americans should consider this to be a cause for celebration. Why should we be concerned about an Italian architect who lived so long ago and far away? As we shall see, however, this architect, whom the average American has never heard of, has had a profound impact on the architectural image of our country, even the city of Baltimore. But before we investigate his influence we should briefly explain what Palladio’s career involved. Palladio, of course, designed many outstanding buildings, but until the twentieth century few Americans ever saw any of Palladio’s works firsthand. From our standpoint, Palladio’s most important achievement was writing about architecture. His seminal publication, I Quattro Libri dell’ Architettura or The Four Books on Architecture, was perhaps the most influential treatise on architecture ever written. Much of the material in that work was the result of Palladio’s extensive study of the ruins of ancient Roman buildings. This effort was part of the Italian Renaissance movement: the rediscovery of the civilization of ancient Rome—its arts, literature, science, and architecture. Palladio was by no means the only architect of his time to undertake such a study and produce a publication about it. Nevertheless, Palladio’s drawings and text were far more engaging, comprehendible, informative, and useful than similar efforts by contemporaries. As with most Renaissance-period architectural treatises, Palladio illustrated and described how to delineate and construct the five orders—the five principal types of ancient columns and their entablatures.
    [Show full text]
  • 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.
    [Show full text]
  • Greek Revival Architecture on the Prairie
    LINCOLN’S SPRINGFIELD GREEK REVIVAL ARCHITECTURE ON THE PRAIRIE Spring Creek Series Richard E. Hart Front Cover Illustration: ―Court House and Bank, Springfield, Illinois,‖ Ballou’s Pictorial Journal, Boston, Massachusetts, dated November 15, 1856. Back Cover Illustration: A photograph of the First Presbyterian Church, a magnificent example of Greek Revival liturgical architecture built in 1843 at the southeast corner of Third and Washington streets. In the 1820s, American admiration for Greece reached a burning intensity - sparked by her valiant struggle against the Turks and fueled by a new understanding of the vigor of her ancient culture. In the spirit of Greek architecture Jacksonian America found its aesthetic ideal. From the 1820s until the Civil War, Greek Revival was a one-style-fits- all building design choice of rich and poor, in town and country, North and South, from the Atlantic Ocean to the new Midwest and around the Cape to California. 1 Greek Revival Style: 1820s to 1850s The Greek Revival is often considered the first truly American style. Earlier styles were inspired by English building fashions and frequently built from English pattern books. The Greek Revival style arose out of a young nation’s desire to identify with the ideals of the ancient Greek Republic. Inspired by the architecture of ancient Greece, buildings in this style are patterned after Greek temples. The triangular gable end which, usually faces the street, is analogous to the temple pediment, while the flat horizontal board which runs along the length of the gable represents the classical entablature2 All proceeds from the sale of this pamphlet will benefit the Elijah Iles House Foundation.
    [Show full text]