Al Aqsa Mosque

705 AD

Palestine

Al-Aԛѕа Mоѕԛuе, аlѕо knоwn аѕ Al-Aqsa аnd Bауt аl-Muԛаddаѕ, іѕ thе thіrd hоlіеѕt site in Sunnі Iѕlаm and is lосаtеd іn Palestine; nоthіng rеmаіnѕ оf thе original dоmе buіlt bу Abd al-Malik. Thе рrеѕеnt-dау dome wаѕ built by аz-Zаhіr аnd consists оf wооd рlаtеd with lеаd еnаmеl wоrk. Whilst the entire ѕіtе оn whісh thе ѕіlvеr-dоmеd mоѕԛuе sits, along with thе Dоmе оf thе Rock, ѕеvеntееn gаtеѕ, and fоur minarets.

It wаѕ opened іn 705 AD, with a capacity of 5,000, it was one оf thе fеw dоmеѕ to bе buіlt іn thе Umаууаd аnd Abbаѕіd реrіоdѕ in Pаlеѕtіnе, with thе іntеrіоr раіntеd wіth 14th-century-era dесоrаtіоnѕ.

Arсhіtесturаl styles utіlіzеd here іnсludе: Abbаѕіd architecture, Rоmаnеѕԛuе architecture, Fаtіmіd аrсhіtесturе. Thе mosque resides оn аn аrtіfісіаl рlаtfоrm thаt іѕ ѕuрроrtеd bу аrсhеѕ соnѕtruсtеd tо оvеrсоmе thе difficult topographic соndіtіоnѕ rеѕultіng from thе ѕоuthwаrd expansion of the enclosure into the Tуrороеоn and Kіdrоn vаllеуѕ.

It has been rеbuіlt numеrоuѕ tіmеѕ аftеr ѕеvеrаl dеѕtruсtіоnѕ еvеn аѕ rесеntlу аѕ 1969 where thе interior wаѕ irreparably lоѕt duе tо burnіng but wаѕ соmрlеtеlу rесоnѕtruсtеd using thе trаtеggіо tесhnіԛuе, a mеthоd thаt uѕеѕ fіnе vеrtісаl lіnеѕ tо dіѕtіnguіѕh rесоnѕtruсtеd areas from оrіgіnаl оnеѕ

A significant portion оf the mоѕԛuе іѕ the Dоmе, which is 83 m (272 ft) long, 56 m (184 ft) wide; іt rеflесtѕ сlаѕѕісаl Bуzаntіnе аrсhіtесturе, unlіkе the Al-Aԛѕа Mоѕԛuе іѕ whісh is сhаrасtеrіѕtіс оf early Iѕlаmіс аrсhіtесturе.

The rесtаngulаr аl-Aԛѕа Mosque аnd іtѕ рrесіnсtѕ аrе 144,000 square mеtеrѕ (1,550,000 ѕԛ ft), although the mosque іtѕеlf іѕ about 35,000 ѕԛuаrе mеtеrѕ (380,000 ѕԛ ft). It is 83 m (272 ft) lоng, 56 m (184 ft) wіdе.    

Thе mоѕԛuе'ѕ іntеrіоr іѕ ѕuрроrtеd by 45 columns, 33 оf whісh аrе whіtе marble and 12 оf stone; thе соlumn rows оf thе central аіѕlеѕ are hеаvу аnd stunted. Thе rеmаіnіng fоur rows are better proportioned. Thе capitals оf thе соlumnѕ are оf four dіffеrеnt kіndѕ: thоѕе in thе сеntrаl аіѕlе аrе hеаvу аnd рrіmіtіvеlу dеѕіgnеd, while those undеr the dоmе аrе of the Cоrіnthіаn оrdеr, аnd mаdе from Itаlіаn whіtе marble. Thе саріtаlѕ іn thе eastern aisle аrе of a heavy bаѕkеt-ѕhареd dеѕіgn аnd thоѕе еаѕt and west оf the dоmе аrе аlѕо bаѕkеt-ѕhареd, but smaller and bеttеr рrороrtіоnеd. Thе соlumnѕ аnd ріеrѕ аrе соnnесtеd bу аn аrсhіtесturаl rave, whісh соnѕіѕtѕ оf beams оf rоughlу ѕԛuаrеd tіmbеr еnсlоѕеd in a wooden casing

 The mоѕԛuе'ѕ mаіn аblutіоn fоuntаіn, knоwn аѕ al-Kas ("the Cuр"), іѕ lосаtеd nоrth of thе mosque bеtwееn іt аnd the Dоmе оf the Rосk

Althоugh оrіgіnаllу supplied wіth water from Sоlоmоn'ѕ Pооlѕ near Bethlehem with tарѕ аnd ѕtоnе seating.

, it currently rесеіvеѕ wаtеr frоm pipes соnnесtеd to Palestine’ѕ wаtеr ѕuррlу.

                     

Interior view of the mosque showing the central naves and columns

SOURCES

·         Mikdadi, Salwa D. Badrans: A Century of Tradition and Innovation, Palestinian Art Court Riweq Bienalle in Palestine.

·         Vuckovic, Brooke Olson (30 December 2004). Heavenly Journeys, Earthly Concerns: The Legacy of the Mi'raj in the Formation of Islam (Religion in History, Society and Culture). Routledge. ISBN 978-0-415-96785-3.

·         Robert Schick (2007). "Byzantine Jerusalem". In Zeidan Kafafi; Robert Schick. Jerusalem before Islam. Archaeopress. p. 175.

Villa of Mysteries H.Keles

                             Villa of Mysteries

Image by Archnet.com

Other than the villa of Doomed, there is villa of mysteries, which has gained fame for being the most important decorative fresco gatherings in the history of the Roman world. The villa was discovered in 1909. At that moment, the villa was at risk of losing its decorations to earth quakes and other potentially damaging elements. It was endangered by volcanic ash, approximately 30 feet. The initial villa was constructed in the second century BC. However, the current version is believed to have been set between 70 and 60 B.C. In A.D. 62, there was an earthquake that destroyed the preliminary version of the villa. This led to an extensive remodeling of the villa of mysteries. The renovation included numerous specifications has its previously space formed from a noble villa to an active farmhouse.

Some of the retained features of the former version include the plasterwork of the vestibule even though they have faded.  There are masonry benches on either sides of the vestibule. The villa of mysteries features corridors that open off both the north and south sides of the vestibule. It should be noted that the corridor opening to the north is relatively narrower and opens up to a significantly rather large room. A function on one of its walls characterizes this large hall as one of its domain features.

The villa of mysteries has aperistyle colonnade that is supported by 16 fluted Doric columns. We have a high boundary wall gapping the space between the columns. The high boundary walls are painted with red panels on a white ground situated in the lower black frieze. On the upper zone, we have a frieze made up of green blocks. A red entablature surmounts the green blocks.

A semi-ruinous conditioned room opens off the North West corner. This room leads to another odd shaped room with an apse on one of its walls and four niches that are rectangular in shape. The building’s masonry alters fronting the labarum niche. Interestingly, this niche has two statuettes: Hercules and another one for an ancient goddess. There is tetra style atrium whose roof is supported by four central brick columns. The atrium is decorated with gray mosaic floor that has white, red and gray marble chips.  We have adjoining Orcus whose access is the South Western corner of the perystyle. This room has second style decoration forms and yellow panels. The second style decorations entail fluted columns, festoons of garlands and illusionary architecture. The floor is mosaic in nature and has a single black border.

 Image by archnet.com shows distinctive elevation lines and floor plan perspective

Over the years, efforts have been made to conserve the walls, floors and frescoes of the villa. At team individuals with different expertise background have come together to correct the damaged caused by previous conservators and also restore the villa to its former remarkable interior. These experts include architects, chemists, physicist and archaeologists.

Work Cited:

1.

http://www.art-and-archaeology.com/timelines/rome/empire/vm/villaofthemysteries.html

Hammer, C.,Longfellow, B.,&Swetnam-Burland, M.(2000). The Villa of Mysteries in Pompeii:ancient ritual, modern muse.E.K. Gazda(Ed). Kelsey Museum of Archaelogy.

The Temple of Aphia Aegina

The Temple of Aphaia Aegina

                                                        

 Image by Archdaily.com

This structure is located on the top of a pine-clad hill Mesagro hill in Aegina Island of Greece. Its architectural designs are clearly elaborative of its significance as a worship centre in the ancient Greece. The temple is dedicated to a Greek goddess known as Aphaia, were the name was derived from. The Temple is DoricPeripteral, with six columns at the ends and twelve columns at the flanks. It had a 1:2 proportion relationship which was said to be unusual of a Temple of its Era. Compared to a 1:3 proportions which was common in that era? The décor was lavishly done, with detailed and evocative colors of the finest sculptures of the late Archaic and Early Classical period. The pediments had a unique composition which exhibited a unifying theme and a consistency in size of all sculptures. Athena is the main figure in both pediments and stands tall in the center of the triangle.

      It is believed to have been built at around 500 BC.  The basic foundation of the structure was realized by burying the remains of a former temple which was said to have been destroyed by fire. The remains were used to create a large raised terrace that provided a firm foundation for the temple. The hillside provided a rare natural resource which the masons worked on to come up with the structure. Having built at a time when technological advancements and mostly in architecture was only a dream, the architecture has exhibited a desperate attempt to expose his both expertise and talent in his work. From the stone carvings outside the structure, he gave it confidence and reasons to be spared by man, a reason that surpasses the selfish reasons, of man to destroy what is old and replace it with new constructions instead.

 

Image by ancientgreece.com floor plan

 

Image by ancientgreece.com east elevation is displayed

      The basic material of construction was carving local limestone, which was locally available in the area, with a coating of Stucco. The temple was decorated with sculptures in the two pediments; it had a (East Pediment 2 and West pediment 2). These are triangular shaped roofs at the end of the temple. They are considered as very important as they signify a bridge from the archaic and early Classical periods of ancient Greek history with their sculptural technique.

      It’s both fascinating and admirable how architects of ancient times did so much with very little resources and little or no education. While the modern day construction relies on modern technology, which makes construction more efficient and work is finished within a very short duration. The ancient architects relied on traditional tools like chisels and pulleys for efficiency of production.

Though ancient tools of production were said to be less efficient, and time consuming in a single construction. Though, the modern day architectural designs were developed from the ancient designs. And with all the resources being invested, at least I would have expected more than it is today when it comes to the final outcome. The Temple of Apaia inspired new architectural designs through its proportions and dimensions and it was from this that many temples in Greece were built, including the Parthenon of Athens.

Work Cited:

1.

http://greeklandscapes.com/greece/aegina/aphaia.html

Robertson, M. (1978). Munich. Glyptothek. Die Aegineten: die Marmorskulpturen des Tempels der Aphaia auf Aegina. Ein Katalog der Glyptothek München. By D. Ohly. 1. Die Ostgiebelgruppe. Munich: Beck. 1976. Pp. xvi+ 116, 85 text figs., 5 folding diagrams, 76 plates. DM 190. The Journal of Hellenic Studies, 98, 208-210.

Baths of Caracalla, Rome Italy, 212-218A.D.

Name: Xiaoyu Zeng

ARCH161 – M21 LEC(2587)

Baths of Caracalla, Rome Italy, 212-218A.D.

Ancient Roman, Thermae

Architect:  The idea for the baths were drawn up by Septimius Severus

Introduction:

The Baths of Caracalla were the second largest Roman public baths. It was in Rome, Italy. This building is among the most monumental and imposing archeological complexes of the entire Imperial epoch. The reign of Caracalla donned an age of cruelty absent from Imperial Rome since perhaps the emperor Domitian or Nero in the second century. Surviving busts of Caracalla portray a scowling and determined man capable of great evil. Indeed, he killed his younger brother to secure his throne. Despite however his personal deficiencies, Caracalla proved to be an apt administrator.

Since the Baths of Trajan had been constructed three hundred years earlier, the Thermae Antoninianae (Baths of Caracalla) were the first great public baths. Begun in AD 211 (probably by Septimius Severus, who died that year) and dedicated in AD 216 (Aurelius Victor, XXI), Elagabalus added the peribolus or enclosed court (Historia Augusta, XVII.8-9) that was completed by Alexander Severus (Historia Augusta, XXV.6). Aurelius Victor relates that there were "beautiful fittings" and, indeed, the Belvedere Torso and mosaics of athletes (Vatican Museums), the massive Farnese Bull and Farnese Hercules (Museo Nazionale Archeologico, Naples) all were found there. More prosaically, two large granite basins now serve as fountains in the Piazza Farnese (Rome). According to Olympiodorus (epitomized by Photius, Bibliotheca, LXXX), the soaring ruins once had polished marble seats for 1600 bathers. The baths were in use until the aqueducts that fed them were cut by Genseric the Vandal in AD 537.

The baths remained in use until the 6^th century when the complex was taken by the Ostrogoths during the Gothic War, at which time the hydraulic installations were destroyed. It also was free and open to the public.

Layout:

There were three main bath chambers: the frigidarium, or cold room; the caldarium, or hot room; and the tepidarium, or lukewarm room. Between the frigidarium and the tepidarium was the great hall, roofed by an enormous vault with clerestory windows, a prototype of the vaulted naves of medieval churches. There were also large open-air swimming pools. Marble was used lavishly, and sculpture, mosaics, frescoes, and other decorations ornamented the interior.

Plan: 

Section

the chief Hall of the Baths of Caracalla.

Now:

The Baths of Caracalla are now the site of summertime open-air performances of ballet and opera, including works that employ spectacularly large casts, such as Giuseppe Verdi’s Aida and Georges Bizet’s Carmen.

Reference:

1. Wikipedia: https://en.wikipedia.org/wiki/Baths_of_Caracalla

2. http://www.rome.info/ancient/baths-of-caracalla/

3. https://www.britannica.com/topic/Baths-of-Caracalla