Theory of Architecture 2 PDF

THEORY OF ARCHITECTURE 2 TOWARD A CLASSICAL ARCHITECTURE Dr. Manlio MICHIELETTO 1 Dimitris PIKIONIS, Promenade Philopappus Hill, Athene, 1957 2 ARCHI THEOR...

THEORY OF ARCHITECTURE 2 TOWARD A CLASSICAL ARCHITECTURE Dr. Manlio MICHIELETTO 1 Dimitris PIKIONIS, Promenade Philopappus Hill, Athene, 1957 2 ARCHI THEORY_I-LECTURE_002 | TOWARD A CLASSICAL ARCHITECTURE | Plato In The Statesman (c.360 BC), Plato divided science (episteme) into “science of action” (praktike) and “science of mere knowing” (gnostike). His argument is the first known attempt to distinguish what is now recognised as technology, as distinct from more purely rational science, the dominant concern of his philosophical predecessors since the time of Heraclitus. 3 | TOWARD A CLASSICAL ARCHITECTURE | The Doric Temple The columns stand on the stylobate without a base, as is always the case in Doric architecture, again in sharp contrast to the Ionic. 4 | TOWARD A CLASSICAL ARCHITECTURE | The Doric Temple The columns are connected to the beam framework above, called entablature, with the typical Doric capitals consisting of two parts: the lower echinus, a spreading convex molding, and a low square block, the abacus. 5 | TOWARD A CLASSICAL ARCHITECTURE | The Doric Temple The beam framework consists of the smooth architrave and the upper frieze. 6 | TOWARD A CLASSICAL ARCHITECTURE | The Doric Temple The frieze is composed of the so- called triglyphs and metopes in between. 7 | TOWARD A CLASSICAL ARCHITECTURE | The Doric Temple There is usually one triglyph over each column and one in between. The metopes are of the same height as the triglyphs but wider, being approximately square. Often the metopes carry pictures carved in relief, especially in classical temples. 8 | TOWARD A CLASSICAL ARCHITECTURE | The Doric Temple At the cable ends, there is a triangular space called the tympanon, often decorated with three- dimensional sculpture. 9 | TOWARD A CLASSICAL ARCHITECTURE | The Doric Temple There is both an anteroom or pronaos and an opisthodomos generating complete outer symmetry, except for the stair in front. 10 | TOWARD A CLASSICAL ARCHITECTURE | The Doric Temple Iktinos and Kallikrates, The Parthenon, 447–432 B.C.E., Athens 11 | TOWARD A CLASSICAL ARCHITECTURE | The Doric Temple The entablature and the gable ends were usually painted in bright colors, especially in red and dark blue. 12 | TOWARD A CLASSICAL ARCHITECTURE | The Doric Temple In the corners the Intercolumniations were also shortened; the outermost intercolumniation was narrower than the others. 13 | TOWARD A CLASSICAL ARCHITECTURE | The Doric Temple Wood construction 14 | TOWARD A CLASSICAL ARCHITECTURE | Reminiscences of Egypt in Doric Architecture “Everything must have an antecedent. Nothing comes from nothing.” Aldo Rossi Suppose we examine the characteristics of Doric Architecture with a view to their origin. In that case, we cannot fail to conclude that a large majority of them may be traced to Egyptian prototypes. 15 | TOWARD A CLASSICAL ARCHITECTURE | Reminiscences of Egypt in Doric Architecture Southern Temple of Karnak 16 | TOWARD A CLASSICAL ARCHITECTURE | Reminiscences of Egypt in Doric Architecture Doric Column Vs Reed-bundle Column 17 | TOWARD A CLASSICAL ARCHITECTURE | Reminiscences of Egypt in Doric Architecture Egyptian Cornice Vs Entablature of Selinous Temple C. 18 | TOWARD A CLASSICAL ARCHITECTURE | Le Corbusier: Toward an architecture Le Corbusier first visited the Acropolis in 1911 during a tour through Europe and Asia Minor that took him from Germany to Constantinople. In his travel notes, he recorded that the Parthenon appeared like a monolithic natural outcrop: "The eight columns obey a single law, surge from the earth, seeming not to have been posed there, as they had been, drum upon drum, but giving the impression that they had risen from below the earth.” 19 | TOWARD A CLASSICAL ARCHITECTURE | Le Corbusier: Toward an architecture L'Architecture: Pure creation de l'esprit In the chapter "L'Architecture: Pure creation de l'esprit ", the Parthenon, invoked as a timeless aesthetic icon as it had been over the course of the entire nineteenth century, becomes the touchstone by which to judge the quality of any future architecture. This chapter joins the two strands of the Hellenic tradition – admiration for the sublimity of the whole and for the subtle refinements in the details that depart from strict regularity – in a manner that combines Le Corbusier's own experience at the Acropolis with the analysis of the Parthenon found in Choisy's Histoire. 20 | TOWARD A CLASSICAL ARCHITECTURE | Le Corbusier: Toward an Architecture 21 | TOWARD A CLASSICAL ARCHITECTURE | From PIKIONIS to DOXIADIS 22 | TOWARD A CLASSICAL ARCHITECTURE | Bibliography Barbara A. Barletta, The Origins of the Greek Architectural Orders, Cambridge University Press, 2009. 23 ARCHI THEORY_I-LECTURE_002