Monday, October 31, 2016

The Tholos at Epidaurus

The Tholos at Epidaurus


The Tholos at Epidaurus was constructed between 360 and 330 BC and was designed by architect Polykleitos. It follows the usual building pattern of the Greek tholos with an outer ring of Doric columns forming the perimeter threshold between the inner labyrinth and the outside world. A second ring of scaled down columns is found inward harboring the labyrinth. Unlike earlier Greek tholos, the Tholos at Epidaurus has a specific entrance point with a ramp placed for people to enter and exit the building, former tholos were built only to be seen from the outside so they did not need a highlighted entrance way as nobody would be going inside. 
The purpose of the building is still unknown thought there are many theories on what went on inside the Tholos at Epidaurus. Some theories suggest that had something to do with the sun, while other believe that it could have been a place where patients were brought to be cured. Today nothing remains of the Tholos at Epidaurus besides the inner labyrinth and the remaining rubble

Works Cited
"The Tholos at Epidaurus." The Tholos at Epidaurus. N.p., n.d. Web. 31 Oct. 2016.

Elderkin, George W. “Tholos and Abaton at Epidaurus.” American Journal of Archaeology, vol. 15, no. 2, 1911, pp. 161–167. www.jstor.org/stable/497211.

S. Stephano Rutundo

This structure is located on the Cillian hill, in Rome and is a fifth century church. 
The Stephano Rotondo was built in 470 A.D in Rome Italy and is very unique looking because of its round plan, “Rotunda” meaning round in Italian.  This basilica was built in the form of a Greek cross,  and three circles of columns super imposed.
The central cylinder is 22m tall and wide, and shares similar characteristics of the Pantheon, also in Rome.
  Throughout its life span, this structure has gone through several changes. In 1139 A.D under the direction of pope innocent the second, S. Stephano Rutundo was renovated.  The outer space it once had is also mostly gone due to demolition.

22 columns were taken from marble Roman ruins to hold up an arcade with 22 alabaster clerestory windows. 

The central cylinder is 22m tall and wide.

Al – Azhar Mosque, Cairo Egypt, 972

Xiaoyu Zeng
ARCH161 – M21 LEC(2587)
Al – Azhar MosqueCairo Egypt, 972
Hypostyle Mosque, Fatimid
Architect: It was designated initially ot teach Shi’ite jurisprudence (later Sunni)





Introduction:

The Mosque of al – Azhar, was the first to be built in the Fatimid city of Cairo, and also is the oldest and biggest Islamic university in the Islamic world, attracting students from a multiplicity of nations. It is arguably one of the chief centres Islamic learning and the greatest and the most influential in the Sunni Islamic world. Although the patron is the Fatimid Caliph al- Muizz li Din Allah , however, now the structure of building is not the original Fatimid mosque. 
                                          

It is the one of the important place for Islamic and Arabic learning in the world, the complex of Al- Azhar centred on the mosque of that name n the medieval quarter of Cairo, Egypt. 


Layout and structure: 

The name of present main entrance is Bab al-Muzayinīn, which opens into the white marble – paved courtyard at the opposite end of the main prayer hall. The northeast courtyard of the Bab al-Muzayinīn is franked by the façade of the Madrasa al – Aqbaghawiyya; the southwestern end of the courtyard leads to the Madrasa al-TaybarsiyyaDirectly across the courtyard from the entrance to the Bab al-Muzayinīn is the Bab al-Gindi (Gate of Qaytbay), built in 1495, above which stands the minaret of Qaytbay.[93] Through this gate lies the courtyard of the prayer hall.








Reference : 


Theater of Dionysus, Athens, Greece, 530 BC



The Theater of Dionysus is largely known as the beginning for European theaters. Its name is derived from the central seat of the first row that has an inscription that says “the seat for the priest of Dionysos Eleutherios”. The theater was built during the time that acting and theatre had began to grow. The theater has seats constructed with wood and clay set around an orchestra. It was first used for theatrical performances written by tragic poets. The theater was used to honor the god Dionysus, and the plays were performed as celebrations.


Over the centuries, the site has had many renovations. So far, nine different building phases have been identified. In 330 BC, stone seats had been installed, and 14 rows have been added and what is left is part of the ruins today. This used to seat over 17,000 people, the first row (67 marble seats) served for dignitaries.
In the Roman Era, during Emperor Nero’s reign, a mosaic tile floor was added. At this time, the theater was mainly used to hold gladiator duels and fights with wild animals. Because of these events, a balustrade was built to protect the violence from the audience. In the 5th century, a podium was added.

San Vitale at Ravenna, Ravenna, Italy, 525AD


Byzantine Architectural Style
San Vitale at Ravenna contains some of the most finest Byzantine mosaics in the western world. It was designed by Ecclesius, the Bishop of Ravenna. Construction had started in 526 AD but shortly after, Ravenna was taken over by the Byzantine Empire in 540AD and they (Byzantines) had also finished the basilica then.
Plan and Elevation of S. Vitale at Ravenna
San Vitale is a small domed church. It has an octagonal plan built two stories high. The ceilings of the choir and apse glitter with green and gold mosaics. There is an arch that signifies the entrance into the presbytery, which is also decorated large mosaic medallions of Jesus Christ, twelve apostles, and two other saints.
Plan of S. Vitale at Ravenna
The two most famous mosaics can be seen at the foot of the side walls of the apse. On the right is Justinian I, and the left is his wife, Theodora. Justinian is surrounded by a halo of glory, and Theodora is looks solemn and formal, with golden halo and crown and jewels.
Mosaic at S. Vitale at Ravenna
The architecture of this church is to exemplify the design of the Byzantine Imperial Audience Chamber.


Theatre of Epidaurus

It is a well known fact that  first records of drama, and theatre come from Greece.
Dating as far back 6th century bc. In a 100 years Athenian drama reached a peak of excellence, that not even the most modern of civilizations within the 21st century, would be able to surpass.
   By the 5th century ACE Athens has emerged as both a cultural leader and trading giants,  with its own Outposts in Italy, Sicily, France, and Spain. Under pericles its 5th century bcd ruler, Athens created statues  and buildings , arts, and philosophies whose excellence made them important in European culture for more than 2000 years.
  They also were the first that developed an alphabet with consonants and vowels. The alphabet became essential for consistent communication, which lead to the culture relying heavily on words, theatre included.
 There is almost no written evidence from which to  draw information on the origins of theatre. However, one theory that struck me was “the storytelling theory” in which some scholars proposed that greek drama in fact, derived from storytelling. while telling these stories, people would often impersonate the characters by changing their voice and bodily gestures according to the story. As time went on it is believed that several people would join the person telling the “story” and from there it is thought that drama and theatre arose, as telling a story is what actors do.

Moreover, this lead to the creation of theaters. Built during the last quarter of the 4th century bc, this theatre was a large open structure used for the performance of drama. The Ancient Theatre of Epidaurus sits in landscape with semicircle hollowed out of the side of a hill. The circular orchestra provides a link between the stage building, and it was also built on a slope..
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The shape of this iconic amphitheater is a semi-circle with 34 rows made of stone. Later the Romans added 21 more rows.

The Greek theater is composed of the seating area (theatron), a circular space for the chorus to perform (orchestra), and the stage (skene).

Theatre design is not linked to a specific type, as they vary in all shapes and sizes, and forms, but  all have two common goals: to elaborate a space to provide the best conditions for the audience to experience a great performance, and to aid an artist in achieving vision at their highest potential

620036b1afbb09cc0bc68dc9116b61bf97246bd9.jpg It was no mistake for the Greek to build their theatre next to the ancient sanctuary of Asklepios,  as this sanctuary was a celebrated healing center of the classical world. Asklepios was also known as the god of healing.  During 5th century b.c it was not uncommon to have a religious center close to or linked to a theatre, as it was common practice.  

The design of the ancient Theatre of Epidaurus  was special not only because of its beauty, but because of its functionality as well.  A performer standing on the open air stage could be heard in the back almost 60 meters away. The acoustics were so perfect in this theatre that the person with the “worst” seat would still be able to hear perfectly.  There appears to be no clear explanation for how greek architects made it possible for sound to travel all the way to the back of the theatre, but research suggests that it could be anything from the shapes of the rows,  and how they are aligned, to wind direction.

Greek theatre: an introduction, David Wiles
Greek Architecture. A. W. Lawrence.  
https://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/beginners-guide-greece/a/introduction-to-greek-architecture

The Four Elements of Architecture - Gottfried Semper


Gottfried’s The Four Elements, seems to have been split up into four distinct elements:
  • The Hearth
  • The roof
  • The Enclosure
  • The Mound
Two points that really struck me were the Hearth, and the Enclosure. This Paper will explain why.

Firstly, Gottfried believed the Hearth  was the first element created, and everything should be designed around it, as it was the first component man was introduced to. “Around the hearth the first groups alliances formed; around it the first rude religious concepts were put into the customs of a cult” , says Gottfried. The meaning of this quote to me, was that instead of adding on to the Hearth, we need to work with it, just as nature does and from there a great architectural evolution will be formed.  Gottfried also goes on to elaborate on how the characteristics of a material should not be what makes a structure great, but rather the form and character of it, something that I strongly agree with.
 
Secondly, Gottfried’s explanation for the  Enclosure was also a very interesting read because  many primitive techniques such as weaving and water fitting derived from enclosure. This eventually lead to the weaving of mats and covers, instead of tree branches.  The wildest tribes were familiar with wickerwork, and this eventually made its way around to Egypt and even china, and it was interesting to see how Egyptians blurred the line for the meaning of enclosure, as they used decoration on walls to show to tell a story, or mark an important piece of territory.


References:

semper-2.jpg

Bab-Al-Nasr

 With the attempt of the Turkoman Atsiz to take cairo and also threats from the east, Cairo outgrew sun-dried brick wall of Jahwar thus birthing not only new walls for the city, but 3 new gates. Under the leadership of Fatimid vizier bar al-jamali the three gates built were: The Gate of al futuh,  the Bab-Al nasr (1087), and the Bab Zuwayla   Bab-Al-Nasr, also known as “The gate of victory”, is a massive gate composed of two rectangular towers situated upon a semi circular arch.  
Cairo-Bab-al-Nasr.jpg

A very important feature of the decoration are the shields and swords that creswell identifies as byzantine in the shape; some point downwards and some circular. this decoration is symbolism for the walls as being the shields of the city, and providing protection from invaders.  Ironically, though Bab Al Nasr was known as “The gates of victory”  these walls were never put to the test, as invaders never challenged them.In order to complete the construction of these new projects, Al- Jamali  employed and recruited Armenians (as he was of Armenian descent himself) as well as Syrians.  According to the book “Islamic Architecture in Cairo: an introduction “ The outstanding features of Al Jamali’s  fortifications are the quality of stone treatment, unparalleled in Cairo, and the variant of vaults used in the walls and gates, shallow domes,  barrel vaults, cross vaults, and also spiral staircase at Bab al Nasr. Only round arches are used in the architecture of the whole walls complex”


Bab_al_Nasr,_Fatimid_Cairo.jpg

 The influence of Syrian Architecture can be seen throughout the design of the Bab al- Nasr through the use of arches, as these were present in much of Syria’s architecture, and were not seen in Egypt until two centuries later.  Syrians were also believed to use stone as their material of choice for their projects, and the towers for Bab-al Nasr were stone up to the second level. The towers each also have a round arch, and above each arch is a carved rectangle with three slits used for lighting the rooms in the second level.  On top of the arched entrance are two carved brackets, each of them with a rams head, which is believed to have a talismanic meaning.  An  8 point star is carved between the brackets which has Islamic origin.

Most of the inhabitants to proceed al-jamali used the Bal al Nasr, for the same functionality the egyptians during the crusades did: for battle purposes. Napoleon and the french upon encountering these gates also used them as protection from invaders. It is said he also named each of the towers. The french notoriously used this structure to pour burning liquid on to intruders and  by enlarging the slits for arrows and using them for canon holes.
This gate, along with the other two built are arguably some of the best examples of great masterpieces of Islamic Military architecture. They showcase the great skill of these Armenian/Syrian Architects and Masons brought in from northern Mesopotamia.


Bibliography:
Islamic Architecture in Cairo: An Introduction: Doris Behrens-Abouseif
Allen, Terry. A Classical Revival in Islamic Architecture. Wiesbaden: Ludwig Reichert,

Islamic Monuments in Cairo: The Practical Guide

By Caroline Williams

Temple of Mars Ultor

Temple of Mars Ultor

(Temple of Mars Ultor upon completion of its construction in 2BC)


The temple of Mars Ultor also known as the Forum of Augustus was finished in the year 2 BC. It was a built to honor Augustus' victory in the battle of Philippi which took place 40 years earlier. Fittingly for a temple made to commemorate a battle the temple also pays tribute and honors Mars the Roman god of war. The temple was used a place to hold war related strategy meetings as well as other military meetings.

The temple was designed to reflect the style of the nearby Temple of Venus in Caesar’s Forum and so create an architectural harmony. There was one notable difference, though, in that the temple of Mars Ultor was made one and a half times bigger. The temple, typical of Roman architecture, was built on a raised platform and entranced via steps which were originally flanked by fountains, once again, in imitation of the arrangement outside the Temple of Venus. (     )
(Plan View)

In terms of use the temple has three main entrances directly on axis with the inner cella which housed a large statue of Mars. The prominent entrance to the inside is common with most Roman temples with a heavily defined axis with one clear point of entry. The colonnades to the right and left of the main courtyard might have acted as meeting grounds to discuss ideas or strategy. When the colonnades are about even with the entrance to the cella they open up into half circles effectively slowing the pace to a halt and most likely hosted most of the activities off to the side. After moving up the steps toward the cella there is another sequence of columns you pass through before going inside. Inside there are Corinthian columns on both sides supporting the roof while the statue lies on the orginal axis with its back up against the wall.

Today little to none of the temple stands, though there are still some columns standing and a majority of the main steps remain but besides that the temple of Mars Ultor is mostly rubble.



Works Cited
"Temple of Mars Ultor in the Forum of Augustus." Temple of Mars Ultor in the Forum of Augustus. University of Virginia, 5 Mar. 2005. Web. 30 Oct. 2016.
Simpson, C. J. “The Date of Dedication of the Temple of Mars Ultor.” The Journal of Roman Studies, vol. 67, 1977, pp. 91–94. www.jstor.org/stable/299921.

Tholos of Delphi, Delphi Greece, 380 BC – 360 BC

Name: Xiaoyu Zeng
ARCH161 – M21 LEC(2587)
Tholos of Delphi, Delphi Greece, 380 BC – 360 BC
Classical architecture, circular building
Architect: probably designed by Theodorus of Phocaea






Introduction:
It is far from one hundred miles northwest of Athens and stands the holy mountain called Parnassus. Basically, ancient Delphi was an important religious area, and considered to be the centre of the universe. It was where heaven and earth met, and the priestess Oracle ‘channeled’ messages from the god Apollo, and dispensed advice. Consulting the Oracle at Delphi, Greece was a major religious experience for ancient Greeks.
Today, perhaps a little of the mysticism of The Temple of Apollo at Delphi has gone, especially when a dozen bus loads of tourists turn up! Even so, there is still something special about this ancient place. 


The sanctuary of Athena Pronaia, and the Tholos is a circular building which was created between 380 and 360 BC at the center of the sanctuary of Athena Pronaia. It is constructed with 20 Doric columns on its exterior diameter which measures 14.76m.
The building stands 13.5 meters tall at the center of the Athena Pronaia sanctuary, and its interior columns were of the Corinthian order.


Plan:
20 columns uses Circular Doric outer peristyle. Southern entrance to a paved interior with 10 Corinthian half-columns.


When you entried the dome of Tholos of Delphi, you would see the sculpture decoration of the dome was also beautifully crafted by hitherto unknown craftmen.



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It also used for the fury of the conflict of enemies in lively battle scenes.





Reference:




Temple Apollo at Didyma

Located approximately 11 miles south of the ancient port city of Miletus on the western coast of modern-day Turkey, the temple  and ruins of Apollo at Didyma was the fourth largest temple in the ancient Greek world. The temple’s oracle played a significant role in the religious and political life of both Miletus and the greater Mediterranean world; many rulers, from  Alexander the Great (356-323 BCE) to the Roman emperor Diocletian (244-313 CE) visited or sent delegations to this oracle seeking the guidance and favour of Apollo. The oracle played a significant role in initiating the “Great Persecution” of Christians under Diocletian and the temple was later converted into a church during the 5th or 6th century CE.

In the early years of the second century B.C., a stadium was erected to the south of the temple to accommodate games associated with the festival of Apollo Didymeus. That the temple itself was never completed is reported by Pausanias (Paus. 7.5.4), and is apparent from a number of unfinished columns at the site. The Emperor Gaius Caligula intended to complete the temple (Suet. Gaius 21). Certain elements of the temple, such as Ionic capital fragments, architrave fragments, corner capitals with busts of deities, and the frieze with Medusa heads, date to the second century A.D., and are witness to the intermittent periods of construction at the temple over the centuries. In A.D. 262/3 the temple was besieged by Goths, who failed to capture it. Later, the eastern part of the temple was converted into a fort. In 1493, an earthquake caused the collapse of all but three of the structure's columns.




As far as the date of the design of the temple, if the Paionios of Ephesus mentioned by Vitruvius is the same architect who worked on the Artemision at Ephesus, he will have been free to design the Didymeion after completing the fourth-century Artemision (in ca. 330 B.C.?) Building inscriptions from ca. 299/98 B.C. refer to Seleucid funding of the construction of the temple, and indicate that work had begun; there are no building accounts from the period before 300 B.C. The dates and careers of Paionios and Daphnis are uncertain, and it is unclear how much time intervened between the planning of the temple and its actual construction. Inscribed building accounts suggest that the temple was substantially complete by ca. 250 B.C., when oracular pronouncements were made; certainly work continued at the Didymeion over the centuries, as attested by the style of carving of various elements. The adyton pilaster capitals and intervening frieze of griffins and lyres are dated to the early second century B.C. (Voigtländer 1975a, 112-121). The frieze of Medusa heads and foliage from the exterior of the temple is dated stylistically to the Hadrianic period, as are the corner capitals with figural decoration from the peripteros Pülz 1989, 47-64.
SOURCES
·       Hammond, N. G. L. (1998). "The Branchidae at Didyma and in Sogdiana". The Classical Quarterly. 48 (2): 339. doi:10.1093/cq/48.2.339. JSTOR 639826. Note 2.
·       Jump up^ Clement Alexandrinus. Protrepticus, 3.45.2-3.
·       Robert Parker, reviewing Fontenrose 1988 in The Classical Review New Series 39.2 (1989), p 270