Ancient Greek Architecture -550 BC- 330 BC. New Vocabulary: CornicePronaos FriezeColonnade ArchitravePeristyle Capital Anta Shaftentasis Basecaryatid.

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Presentation transcript:

Ancient Greek Architecture -550 BC- 330 BC

New Vocabulary: CornicePronaos FriezeColonnade ArchitravePeristyle Capital Anta Shaftentasis Basecaryatid Triglyphs Metope Stylobate Entablature Dentils Volute Cella (Naos)

Doric, Ionic, Corinthian orders

Architectural Orders- constant group of architectural families Doric- from mainland Greece- basic order, older, more sharply defined-probably came from Mycenae the exterior of any Doric temple-Doric column-shaft, marked by shallow vertical grooves (flutes) and the capital, which is made up of the cushion-like echinus and a square tablet known as the abacus Entablature is the most complicated section- architrave- a series of stone blocks directly supported by the columns frieze- with its triglyphs and metopes and projecting cornice cornice- on long side of the temple, the cornice is horizontal, on the short sides (façade), cornice is split open to enclose the pediment entire structure is built with stone blocks fitted together without mortar, sometimes fitted together with metal dowels

Typical Plan of a Greek temple Cella or Naos Pronaos Colonnade Or Peristyle- Anta Greek temples Were meant to be more impressive from the outside, as opposed to Egypt, where the inside of the temple was more important

Doric Temples- Temple of Poseidon, c. 460 BC shafts of columns have a pronounced taper- have a sense of compression- gives the columns a muscular quality- entasis one of the best preserved of all Doric sanctuaries- 2 rows of columns support the ceiling – 2 story interior

The Acropolis- different dates

Plan of the Acropolis, 400 BC

The Parthenon BC Plan 480 BC- Persians destroyed the temple and statues at the Acropolis that had been fortified since Mycenae- provided archeologist with many archaic pieces (like calf-bearer and Rampin Head) Pericles oversaw the reconstruction of the Acropolis during the later 5 th century- represent the Classical phase of Greek art in full maturity

Less massive than Poseidon - more balanced and graceful- columns are more slender, the space between them are wider- thought to add to its beauty Originally had roof of wood and tile

Propylaea, Acropolis, BC Also commissioned by Pericles- serves as the entry way to the Acropolis Architect was Mnesicles- fits alongside a hill-rising site Includes a picture gallery-1st known instance of a room made for this purpose Just beginning to change over to Ionic style...

Temple of Athena Nike, Acropolis, BC Ionic Temples- from the Aegean Tradition with influences from the Near East Many examples are found in the Acropolis More flexible than the Doric order- major difference is in the columns More slender, less tapering, lighter and more graceful- more plantlike and less powerful- probably Egyptian (papyrus) in origin Thought of at first as only suitable for small temples of simple plans IONIC STYLE- (First used around 450 BC

Erechtheum, Acropolis BC Large and complex, also suited to a sloping site Flanked by two porches

Porch of the Maidens, Acropolis, BC Shows off the feminine quality of the Ionic order Female figures are called caryatids Sculpture confined to the freize- pediments are bare- perhaps because of lack of funds

Monument of Lysicrates, Athens, 334 BC Corinthian Capitals- Substitute for Ionic capitals Shaped like an inverted bell, with leaves of a acanthus plant At first, used only for interiors Monument is not really a building- no entrance to its hollow base Built to show off a tripod won by Lysicrates in a contest Columns are engaged Corinthian order became the standard for Roman architecture

The Theater, Epidaurus, 350 BC Many theaters were built with same plan Shape built into a hillside, concentric rows of seats Center stage is called the orchestra

Greek architecture failed to progress much past the time of the Peloponnesian War (400 BC) Greeks never moved beyond post and lintel architecture, which eventually led to a staleness in building design Never moved past the rigid nature of the orders of architecture