Two Temples of Commodus at Corinth
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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. -
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. -
‐ 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. -
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. -
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. -
Hellenistic Architecture in Syria
Hellenistic Architecture in Syria A D ISS ERTATIO N PRESENTED TO THE F ACULTY O F PRINCETON UNIVERSITY IN CANDIDACY F O R TH E DEGREE O F Docron O F PH ILOSOPHY BY R fiRRAY R. 5 . BUTLE , J PRINCETO N UNIVERSITY PRESS PRIN CETO N LON D ON : HUMPHRE Y MILF ORD OXF ORD U NIVE RS ITY PRES S 1917 1 09 09 05 PREF ACE The purpose o f this thesis is to show tha t the architecture of S en h D yria up to the d of t e third century A . was Hellenistic. n In general only dated monuments have bee considered, or e c those whose p riod an be determined with certainty. With these restrictions , all the monuments of Northern Central Syria and D ran a f m of the j ebel Hau , showing det ils o any i po rtance, en Baalbec a have be considered. , as being in process of public i ha s een e c a t on, b omitted exc pt for oc asion l reference . South of the Ha uran only the ruins a t Arak il - Emir ha ve been ih o D r or ren cluded, with those f je ash and Amma n f refe ce . men 1 m Monu ts published by Mr. H . C. Butler since April, 9 , c are not in luded . In the spelling of names the system has been followed that r n a a is employed by D . E no Littm nn in the public tions of the America n Archaeological Expedition to Syr ia in 1 899- 1 900 t n c e n wi hout the use of diacritical sig s . -
0 Mpouras7 K E:Layout 1 10/06/2016 2:55 ΜΜ Page 1
η Τ ν ΗΓΗ APXITEKΤΩν ΤιμηΤικός Τόμός για Τόν KAΘΗΓΗΤη Μανόλη Κόρρέ ν KAΘ ρρέ ό Τό έπιΜέλέια ς για Κ ω σ τ α σ Ζ α μ π α σ ό Β α σ ι λ η σ λ α μ π ρ ι ν ο υ δ α Κ η σ όμ Ε υ α γ γ Ε λ ι α σ η μ α ν τ ω ν η - μ π ο υ ρ ν ι α Τ A e n n e O h n e s O r g Μανόλη Κ ικός Τ Τιμη APXITEKΤΩ ISBN 978 960 204 353 0 Μέλιςςα έΚδόΤιΚός όιΚός Μέλιςςα 0_Mpouras7 K E:Layout 1 10/06/2016 2:55 ΜΜ Page 1 ΑΡΧΙΤΕΚΤΩΝ ΤΙΜΗΤΙΚΟΣ ΤΟΜΟΣ ΓΙΑ ΤΟΝ ΚΑΘΗΓΗΤΗ ΜΑΝΟΛΗ ΚΟΡΡΕ HONORARY VOLUME FOR PROFESSOR MANOLIS KORRES 0_Mpouras7 K E:Layout 1 10/06/2016 2:55 ΜΜ Page 3 ΑΡΧΙΤΕΚΤΩΝ ΤΙΜΗΤΙΚΟΣ ΤΟΜΟΣ ΓΙΑ ΤΟΝ ΚΑΘΗΓΗΤΗ ΜΑΝΟΛΗ ΚΟΡΡΕ HONORARY VOLUME FOR PROFESSOR MANOLIS KORRES ΕΠΙΜEΛΕΙΑ / EDITING ΚΩΣΤΑΣ ΖΑΜΠΑΣ / COSTAS ZAMBAS ΒΑΣΙΛΗΣ ΛΑΜΠΡΙΝΟΥΔΑΚΗΣ / VASSILIS LAMBRINOUDAKIS ΕYΑΓΓΕΛΙΑ ΣΗΜΑΝΤΩΝΗ-ΜΠΟΥΡΝΙΑ / EVANGELIA SIMANTONI-BOURNIA ΑΕΝΝΕ OHNESORG ΕΚΔΟΤΙΚΟΣ ΟΙΚΟΣ ΜΕΛΙΣΣΑ / MELISSA PUBLISHING HOUSE 0_Mpouras7 K E:Layout 1 10/06/2016 2:55 ΜΜ Page 6 ΠΕΡΙΕΧΟΜΕΝΑ / TABLE OF CONTENTS ΠΡΟΛΟΓΟΣ 09 Ο ΚΑΘΑΡΙΣΜΟΣ ΣΤΑ ΜΝΗΜΕΙΑ ΚΑΙ ΤΑ ΓΛΥΠΤΑ FOREWORD 11 ΤΗΣ ΑΚΡΟΠΟΛΗΣ ΚΑΙ Η ΑΠΟΚΑΛΥΨΗ ΤΟΥ ΑΙΓΥΠΤΙΑΚΟΥ ΜΠΛΕ ΕΡΓΟΓΡΑΦΙΑ ΜΑΝΟΛΗ ΚΟΡΡΕ / Εύη Παπακωνσταντίνου 115 PUBLICATIONS BY MANOLIS KORRES 13 ΝΕΑ ΣΤΟΙΧΕΙΑ ΓΙΑ ΤΗ ΔΟΜΗ ΤΩΝ ΠΛΕΥΡΙΚΩΝ ΤΟΙΧΩΝ Ο ΜΑΝΟΛΗΣ ΚΟΡΡΕΣ ΣΤΟΝ ΠΑΡΘΕΝΩΝΑ Χαράλαμπος Μπούρας 19 ΤΟΥ ΣΗΚΟΥ ΤΟΥ ΠΑΡΘΕΝΩΝΟΣ Κατερίνα Παράσχη 123 ΓΙΑ ΤΟΝ ΜΑΝΟΛΗ Έβη Τουλούπα 25 Η ΔΙΑΜΟΡΦΩΣΗ ΤΩΝ ΕΠΙΣΤΥΛΙΩΝ ΣΤΟ ΔΥΤΙΚΟ ΑΚΡΟ ΤΗΣ ΝΟΤΙΑΣ ΠΤΕΡΥΓΑΣ ΤΩΝ ΠΡΟΠΥΛΑΙΩΝ Ο ΡΟΛΟΣ ΤΟΥ ΒΔ ΚΤΗΡΙΟΥ ΣΤΗΝ ΑΘΗΝΑΪΚΗ ΑΚΡΟΠΟΛΗ. -
1 Classical Architectural Vocabulary
Classical Architectural Vocabulary The five classical orders The five orders pictured to the left follow a specific architectural hierarchy. The ascending orders, pictured left to right, are: Tuscan, Doric, Ionic, Corinthian, and Composite. The Greeks only used the Doric, Ionic, and Corinthian; the Romans added the ‘bookend’ orders of the Tuscan and Composite. In classical architecture the selected architectural order for a building defined not only the columns but also the overall proportions of a building in regards to height. Although most temples used only one order, it was not uncommon in Roman architecture to mix orders on a building. For example, the Colosseum has three stacked orders: Doric on the ground, Ionic on the second level and Corinthian on the upper level. column In classical architecture, a cylindrical support consisting of a base (except in Greek Doric), shaft, and capital. It is a post, pillar or strut that supports a load along its longitudinal axis. The Architecture of A. Palladio in Four Books, Leoni (London) 1742, Book 1, plate 8. Doric order Ionic order Corinthian order The oldest and simplest of the five The classical order originated by the The slenderest and most ornate of the classical orders, developed in Greece in Ionian Greeks, characterized by its capital three Greek orders, characterized by a bell- the 7th century B.C. and later imitated with large volutes (scrolls), a fascinated shaped capital with volutes and two rows by the Romans. The Roman Doric is entablature, continuous frieze, usually of acanthus leaves, and with an elaborate characterized by sturdy proportions, a dentils in the cornice, and by its elegant cornice.