Proceedings of the First International Congress on Construction History, Madrid, 20th-24th January 2003, ed. S. Huerta, Madrid: I. Juan de Herrera, SEdHC, ETSAM, A. E. Benvenuto, COAM, F. Dragados, 2003. Ornament in Hellenistic architecture: Standardization in construction processes and the birth of the artistic industry. Hypotheses of updating, using CAD/CAM processes Annalisa di Roma The main treatises about Classical Architecture and reproduction, to emerge as a model for composition Stereotomy consider the Architectural Orders with and technical principIes. their related elements, as a model for stone The passage fram the unique sculptural model (the construction, in which principals of Composition original) to the serial, simplified model (the copy) and Construction are given as a result of exact praportional correspondence and numerical relations. In the Hellenistic period, the relationship between Geometry and the principal s of construction became very strong, as new rationalistic ideas of beauty as a product of mathematical relations I replaced the aesthetic conception of Art as a product of God's inspiration, codified according to the canons of harmony and rhythm, like Music and Poetry. Rigour in geometrical models is the fundamental characteristic of the main Hellenistic monuments, both in the planning of the Order" and in the planning of ornament too. Geometrical and Construction rules, according to tectonic and stereotomy principals, become essential, given that the elements of architectural decoration of the temple gained meaning in the use of repetition in series and in the device of mutual combination, which followed the passage fram multiplicity to unity. The formal iteration pracess intrinsic to the Hellenistic aesthetic and to the principals of decoration, characterize the whole building structure. In the trilith Figure 1 building, in fact, each element is submitted to the rule Drawing of Temple, archaeo1ogical survey made by George of the series. Each element is conceived of not as Nieman in 1912 for the DAT in Berlin (supplied by the DAT, unique and unrepeatable, but as a characteristic of Deutsche Archaeological Institut, Rame) 766 A. di Roma takes place through a process of stylised methods that author, or by another one, who reproduces the are to be considered fundamental to grand architecture original geometrical model and becomes adept at (see the Temple of Apollo in Didyma) and civil reproducing replicas, creating thus new, unique architecture (the stoa and the Colonnate strips of the objects. Following this logic, the last steps in the Syrian town). sequence is the creation of copies, realized by hand or This paper intends to analyse the artistic by machine, similar to pantographs without any plan. production of the «special piece» and the methods Selecting points from the original, the craftsman and proceedings of serial production in order to develops a kind of mathematical model that becomes discuss the birth of the artistic industry. the basis of the copy. Mathematical models were often very similar to the originals, the difference between the original and the copy being technica!. HELLENISM AND THE BIRTH OF THE ARTISTIC When these copies were produced on a large scale INDUSTRY for the art trade, this kind of technical difference began to be codified using stylised methods. Art coIlection and copy industry The enlightened rationalism that characterizes Design and building: construction enterprise Hellenistic culture determined the organization of organization and the architect's role scientific and artistic acti vity through the creation of research centres, museums and libraries and operated Works of Classical theory of Architecture were according to the principal s of the division of labour in focused on the aesthetic principal s of Proportions and the intellectual field. Relations between elements of Order, according to Artistic production was employed in the creation of the principals of rhythm and harmony, fine complete Art Collections. Princely and private refinement and perfect execution, which were the collections already existed but only during this period principal topics of such works. is the collection systematically organized according Hellenistic works on architecture speak about to a plan: collections representing the evolution of mechanics and engineering5 showing the change in Greek art, characterized by the search for ancient attitudes to a research in architecture and building. masterpieces, was begun. The search for new aesthetic reference models ceased It is very important to notice that this process, and models were taken directly from cJassical regarding the acquisition of classical art, is achieved tradition. The aims of Hellenistic theory were the also through the birth of artisan workshops engaged invention of new civil and religious building in the production of copies. typologies, conceived to be grand and to give In this way the copyist craftsman compensated for resonance to the expansionist politics of Greece. gaps in the artistic heritage and became involved in a Architectural theory was divided into problems of kind of rhetoric or exercise that provides, first of all, Aesthetics and Practice. Formal decoration became for an enrichment of the formal repertory and ecJectic with a contemporary use of subjects secondarily increases the spread of new technical consolidated and codified in the Classical and Ionian knowledge in proto-industrial serial production and periods, and new subjects taken from Asiatic process.3 traditions (for example decoration in Didymaion is In the passage from the original artistic object to characterized by the use of actical profiles in the series of replicas and copies, it is possible to mouldings and samic subjects in the decoration). On recognize the beginnings of standardization in the technical side, more rationalized processes in production methods: the geometrical model and the stonework took place, based on the specialization of Original, numerical model and the Copy. work phases and on the creation of an artisan The principal characteristic of the artistic object, dimension in serial production. the special unique piece, is that only the author who This kind of specialized organization was based on conceived it masters the geometrical mode!. The the use of different workers for the same building and original is followed by replicas4 made by the same for each carved stone, the aim of skilled work was Ornament in Hellenistic architecture 767 speed of execution and a good finish. However, in the codified position of Order. In the last phase, the Greece the reunification of different areas in a single, skilled craftsmen carved this element following the large enterprise was never realized. ornament design made by the architect of the temple, The Temple of Apollo at Didyma is an example of copying a model for capitalsJor the column entasys, the grand Hellenistic Ionian building in which many for the moulding profiles and the architectural different classes of worker were employed for a very decoration they utilized a guide-plane, as well as with long time (the construction started around 334 B.C. strips sculpted on the blocks of the wall of the cellar and went on slowly for 600 years -it was never and the stylobade. These are the blueprints (fig 2) for finally finished) creating a structure made of 108 the temple discovered by Lothar Haselberger in columns. Greek workers were used at the beginning 1979.7 and Roman workers at the end. According to The architects Daphnis of Mileto and Paionios of H. Lauter (1986) workers assigned to the Didymeion Ephesus designed Didymeon. In the Greek practise of were a sort of stately slave.6 There were four main planning the construction phases of the temple, there categories of worker: the latomai assigned to the was an architekon and a hyparchitekton. The first was quarry phases, the leukorgoi who transported the essential to the life of the building, he was familiar handmade stone block s from the quarry to the Temple with the complete architectural plan, directly yard, the egemon, a supervisor who directed the involved in part of it and directing the work in activities of the other two classes of worker, and progress. In the building yard he was responsible for finally the skilled craftsmen, responsible for the yard the technical direction of all activities and, phase. The Latomai quarried stone blocks congruent completely independently, could plan and approve in dimension to the planned architectonic elements small interventions in the immediate building area. and gave the essential geometrical shape to the stone. The hyparchitekton, on the other hand, was The Leukorgoi transferred the pre-manufactured committed to the direct supervision of each individual blocks to the temple site and then began the process block production. In this kind of organization seems of shaping and refinishing them (anathyrosis). The to be very clear the strong relationship between architectural stone element was situated according to design and construction. Morphological development of elements pertaining to the Orders through the process of standardization In the wake of evolution in building types and large scale production processes, elements pertaining to the classical orders have undergone a series of noticeable changes regarding formal details as well as involving substantial modifications to the morphological characteristics of blocks, both due to the diminishment of the original structural role. These