Exploring Modernity in the Architraves and Ceilings at the Mnesiklean Propylaia Tasos Tanoulas
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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. -
Full Thesis Text Only
A DIACHRONIC EXAMINATION OF THE ERECHTHEION AND ITS RECEPTION Alexandra L. Lesk, B.A., M.St. (Oxon.), M.A. Presented to McMicken College of Arts and Sciences and the Department of Classics of the University of Cincinnati in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2004 Committee: C. Brian Rose (Chair) Jack L. Davis Kathleen M. Lynch J. James Coulton Abstract iii ABSTRACT “A Diachronic Examination of the Erechtheion and Its Reception” examines the social life of the Ionic temple on the Athenian Akropolis, which was built in the late 5th century B.C. to house Athens’ most sacred cults and relics. Using a contextualized diachronic approach, this study examines both the changes to the Erechtheion between its construction and the middle of the 19th century A.D., as well as the impact the temple had on the architecture and art of these successive periods. This approach allows the evidence to shed light on new areas of interest such as the Post-Antique phases of the building, in addition to affording a better understanding of problems that have plagued the study of the Erechtheion during the past two centuries. This study begins with a re-examination of all the pertinent archaeological, epigraphical, and literary evidence, and proposes a wholly new reconstruction of how the Erechtheion worked physically and ritually in ancient times. After accounting for the immediate influence of the Erechtheion on subsequent buildings of the Ionic order, an argument for a Hellenistic rather than Augustan date for the major repairs to the temple is presented. -
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. -
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. -
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. -
Lecture 05 Greek Architecture Part 2
Readings Pages 54-60, A World History of Architecture, Fazio, Michael, Moffet & Wodehousecopoy Pages 60– 65 Great Architecture of the World ARCH 1121 HISTORY OF ARCHITECTURAL TECHNOLOGY Photo: Alexander Aptekar © 2009 Gardner Art Through the Ages Classical Greek Architecture 480 – 431BCE: Known as the Classical Period in Greek History Assertion that human intelligence puts man above the rest of nature Architecture began in the service of religion 7th century BCE – 1st efforts to create proper shapes and design Beauty = Gods Secret of beauty lay in ratios and proportions Invented democracy and philosophy Created works of art in drama, sculpture and architecture Greek Architecture 480 – 431BCE Temples first built with wood, then stone w/ terra cotta tiles Purely formal objects Greeks pursued the beauty through architecture and materials The home of the Gods Became the principal ornaments in the cities, generally on hills or other prominent locations www.greatbuildings.com www.greatbuildings.com Temple of Hephaestus megron Athenian Treasury Classical Orders In classical Greek architecture, beauty lay in systems of the ratios and proportions. A system or order defined the ideal proportions for all the components of the temples according to mathematical ratios – based on the diameter of the columns. What is an order? An order includes the total assemblage of parts consisting of the column and its appropriate entablature which is based on the diameter of the column. Temple of Hera II (Poseidon) 450 BCE The column is vertical and supports the structure. Its diameter sets the proportion of the other parts. The entablature is horizontal and consists of many elements. -
The Art of Ancient Greece: Early and High Classical Temple of Hera II
The Art of Ancient Greece: Early and High Classical Temple of Hera II, Paestum, Italy, ca. 460 BCE. East pediment from the Temple of Zeus, Olympia, Greece, ca. 470–456 BCE. Marble, approx. 87’ wide. Archaeological Museum, Olympia. Seer, from the east pediment of the Temple of Zeus, Olympia, Greece, ca. 470–456 BCE. Marble, approx. 4’ 6” high. Archaeological Museum, Olympia. Kritios Boy, from the Acropolis, Athens, Greece, ca. 480 BCE. Marble, approx. 2’ 10” high. Acropolis Museum, Athens. Warrior, from the sea off Riace, Italy, ca. 460–450 BCE. Bronze, approx. 6’ 6” high. Archaeological Museum, Reggio Calabria. Charioteer, from a group dedicated by Polyzalos of Gela in the Sanctuary of Apollo, Delphi, Greece, ca. 470 BCE. Bronze, approx. 5’ 11” high. Archaeological Museum, Delphi. Zeus (or Poseidon?), from the sea off Cape Artemision, Greece, ca. 460–450 BCE. Bronze, approx. 6’ 10” high. National Archaeological Museum, Athens. MYRON, Diskobolos (Discus Thrower). Roman marble copy after a bronze original of ca. 450 BCE, 5’ 1” high. Museo Nazionale Romano—Palazzo Massimo alle Terme. POLYKLEITOS, Doryphoros (Spear Bearer). Roman marble copy from Pompeii, Italy, after a bronze original of ca. 450–440 BCE, 6’ 11” high. Museo Nazionale, Naples. IKTINOS and KALLIKRATES, Parthenon, the Temple of Athena Parthenos (view from the northwest), Acropolis, Athens, Greece, 447–438 BCE. Plan of the Parthenon, Acropolis, Athens, Greece, with diagram of sculptural program (after A. Stewart), 447–432 BCE. PHIDIAS, Athena Parthenos, in the cella of the Parthenon, Acropolis, Athens, Greece, ca. 438 BCE. Model of the lost statue, which was approx. -
Chapter 3 Who Built the Pantheon? Agrippa, Apollodorus, Hadrian And
Despite so much that is known about Roman buildings, Chapter 3 there is relatively little to say about the individuals involved in the ferment of their creation. We can reconstruct Who Built the Pantheon? confidently the original appearance of many a monument, but not much about their designers. This is not for want of Agrippa, Apollodorus, information; it is just not quite of the right kind. All around the Mediterranean survive ample ruins, including some Hadrian and Trajan strikingly well-preserved buildings, of which the Pantheon is the prime example. This physical evidence is illuminated by literary sources, inscriptions and brickstamps, and on Mark Wilson Jones occasion by maps and drawings inscribed in stone. Notwithstanding some long-running disputes, we can often be sure of the identity and date of individual monuments in major cities. We also possess quite a populous roster of architects’ names, thanks to numbers of their tombstones, along with the occasional textual mention of a few of the men at the top of their profession. Some buildings bear discreet architects’ inscriptions, yet these are nothing like as numerous and prominent as those of their patrons; it is they who take the credit. In short, it is normally impossible to join up specific surviving buildings with specific architects about whom we know any more than the name. In this the Roman period fares worse than the Greek, when architects were frequently tied to particular projects by specifications, contracts and accounts recorded on stone, while the names of famous protagonists can be found in the treatises of Roman writers, most notably Vitruvius and Pliny.1 By such means we know of no fewer than three individuals who had responsibility for the design of the Parthenon in one role or other, Ictinus, Kallikrates and Karpion, while a fourth, Phidias, the creator of Athena Parthenos, may also have had some architectural input. -
Decoding the Pantheon Columns
$UFKLWHFWXUDO Graßhoff, G and Berndt, C 2014 Decoding the Pantheon Columns. +LVWRULHV Architectural Histories, 2(1): 18, pp. 1-14, DOI: http://dx.doi.org/10.5334/ ah.bl RESEARCH ARTICLE Decoding the Pantheon Columns Gerd Graßhoff* and Christian Berndt* The goal of this study has been to reconstruct the design principles underlying the construction of the Pantheon’s portico columns as well as to demonstrate how digital investigation methods and models can be used to improve our understanding of ancient architectural knowledge. Thanks to the data of the Bern Digital Pantheon Model, a synthesis of all the scanned surface points obtained during a digitization cam- paign of the Karman Center for Advanced Studies in the Humanities of the University of Bern in 2005, we have been able to determine empirically the column profiles of the portico with unprecedented precision. A second stage of our investigation involved explaining the profile of the column shafts by a construction model that takes into account the parameters recommended by Vitruvius and design methods such as those that can be found in the construction drawings discovered at Didyma. Our analysis shows that the design principles of the portico’s columns can be successfully reconstructed, and has led to the surpris- ing result that at least two different variants of a simple circle construction were used. Finally, we have been able to deduce from the distribution of the different profile types among the columns that the final profiles were designed and executed in Rome. Introduction design could reach a considerable degree of complexity. The shafts of the Pantheon’s portico columns are com- For example, Stevens believed that the Pantheon’s por- posed of granite monoliths, forty Roman feet tall, which tico columns exhibit a profile that is based on two tan- were excavated from two Egyptian quarries. -
Architectural Product Catalog
TURNCRAFT ARCHITECTURAL PRODUCT CATALOG 2005 A History of Architectural Excellence So many architects and builders The making select Turncraft Architectural Columns of Turncraft because they feature thoughtful Architectural product design, fi ne workmanship, columns is an superior assembly, precision turning exacting process. and fl uting, and artful fi nishing. Finger-jointed Round columns may be ordered with or solid staves true architectural entasis in sizes are milled to consistent with the classic proportions the required of the Greek Doric, Tuscan, Roman dimensions, Doric, Ionic, and Corinthian Orders, assembled using or in custom shaft diameters up to the strongest Type-I waterproof glue, 36" and lengths to 30'. They can and then are metal-banded for curing. be smooth surfaced or given dramatic In the computer-controlled lathe, the deep fl uting (with increased stave assembled shaft is turned to the precise thickness) as desired. Greek Doric taper desired, complete with true Columns feature classic edge-to-edge architectural entasis. The top of each fl uting. Square columns and pilasters column is profi led according to the style may be ordered to match (available specifi ed, and the entire column is in tapered or non-tapered and in machine sanded to ensure a smooth various plan styles—see page 14). fi nish. Flutes are milled at precisely Non-tapered cylinders are available for determined intervals and depths, always INTRODUCTION use in casework, radius wall corners, ending in full half-rounds at the top and and contemporary applications. bottom (except on Greek Doric). Each column, regardless of size, is visually inspected, any defects are corrected, and then it is fi nish sanded. -
The Diminution of the Classical Column: Visual Sensibility In
David A. Vila The Diminution of the Classical Column: Domini Visual Sensibility in Antiquity and the Renaissance David Vila Domini looks at the recommendations regarding optical adjustment of the columnar diminution in the architectural treatises of Vitruvius, Alberti, and Palladio. He examines the variation in diminution of column thickness according to the height of the column, and its implications for our understanding of the various practices with regard both to columnar proportion and visual sensibility in Antiquity and the Renaissance. He also examines possible sources for the methods by which the ratios of column height to diameter were derived. Introduction 1 Writing some time around the 1450s [Grayson 1960], Alberti composed his ten-book treatise on architecture De re aedificatoria, basing it largely on the ancient Roman tract De architectura [Krautheimer 1963], which its author, Vitruvius, dedicated to the emperor Augustus. Alberti and his contemporaries found Vitruvius’s text inelegantly written, often obscure and in some passages entirely unintelligible.2 The widespread use of Greek terms for things that were otherwise nameless in Augustan Latin confounded the efforts of the humanists trying to make sense of the only text on architecture that had survived from the antiquity they had so much come to admire. In his attempt to remedy these linguistic problems, Alberti was forced to introduce neologisms in order to express ideas for which, until then, there were no words in Latin.3 But the difficulties were by no means exclusively linguistic, and constitute an indication of the very different understanding that Roman Antiquity and the Early Renaissance had of architecture. -
Me'morchilik Asoslari
M.MUXAMEDOVA ME’MORCHILIK ASOSLARI TOSHKENT 0 ‘ZBEKIST0N RESPUBLIKASI OLIY VA 0 ‘RTA MAXSUS TA’LIM VAZIRLIGI M.MUXAMEDOVA ME’MORCHILIK ASOSLARI O ‘zbekiston Respublikctsi Oliy va о ‘rta maxsus ta ’lim vazirligi tomonidan о ‘quv qo ‘llanma sifatida tavsiya etilgan UO‘K: 72.01(075.8) K BK 85.il М 96 М 96 M.Muxamedova. Me’morchilik asoslari. -Т.: «Fan va texnologiya», 2018,296 Bet. ISBN 978-9943-11-927-7 Mazkur o‘quv qoilanma me’morchilikning estetik talaBlari, texnik mukam- malligi, Binolar klassifikatsiyasi, asosiy soha va turlari, Binolar konstruksiyasi, me’morchilikning rivojlanish an’analari, yangi tipdagi binolaming funksionalligi va konstruktiv mustahkamligi Bilimlarini o‘zlashtirishga yo'naltiriladi. “Me’morchilik asoslari” o‘quv qoilanmasi mazmuniga yetakchi xorijiy oliy o‘quv yurtlarida ishlaB chiqilgan ilmiy qoilanmalar asosida me’morchilikka oid ilmiy yangiliklar kiritilgan. UshBu o‘quv qo‘llanma doirasida Qadimgi Misr, Old Osiyo, Uzoq Sharq me’morchiligi, Qadimgi Gretsiya iBodatxonalarida qurilish konstruksiyalari va order sistemalari (doriy, ion, korinf), qadimgi Rim ustun-to‘sin sistemasiga yangi konstruksiyalar kiritilishi (kompozit va toskan orderlari) akveduk, amfiteatr, forum, insulalar qurilishi, Vizantiya va ilk xristianlar davri arxitekturasi, roman va gotika usluBi me’morchilik asoslari, Uyg‘onish va Barokko davri shaharsozligining rivojlanish an’analari, klassitsizm va ampir usluBi asoslari, eklektizm, modern, konstruktivizm, funksionalizm usluBlarining zamonaviy usluBiar rivojidagi o‘rni, yangi tipdagi Binolaming funksionalligi va konstruktiv mustahkamligini o‘rganish kaBi mavzular mujassamlashtirilgan. O'quv qo‘llanmaning asosiy dolzarBligi talaBalarga Sharq va G‘arB, umuman olganda jahon me’morchiligining tarixi va nazariyasini o‘rgatish, me’morchilik tarixining tadriji, rivojlanish qonuniyatlarini o‘zlashtirish, turli usluBlaming yuzaga kelishi va shu usluBlar ta’sirida Bunyod etilgan oBidalar me’morchiligini yoritiB Berishdir.