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Much of our understanding of the origins and early development of the Greek architectural order is based on the writings of ancient authors, such as Virtruvius, and those of modern interpreters. Traditionally, the archaeological evidence has been viewed secondarily and often made to fit within a literary context, despite contradictions that occur. Barbara Barletta's study examines both forms of evidence in an effort to reconcile the two sources, as well as to offer a coherent reconstruction of the origins and early development of the Greek architectural orders. Beginning with the pre-canonical material, she demonstrates that the relatively late emergence of the Doric and Ionic orders arose from contributions of separate regions of the Greek world, rather than a single center. Barletta's reinterpretations of the evidence also assigns greater importance to the often overlooked contributions of Western Greece and the Cycladic Islands.
Purpose and setting of the Greek temple -- Formative developments -- Questions of construction and the Doric genus -- Questions of influence and the Aeolic capital -- Questions of appearance and the Ionic genus -- Questions of meaning and the Corinthian capital -- Gifts to the gods -- Triglyphs and tripods -- Crucible -- Questions answered and unanswered.
Nicely produced paperback of the original Italian edition (Electa, s.p.A., Milan, 1972) and the English edition (Abrams, 1974). Profusely illustrated with drawings, reconstructions, and photographs. The bibliography has not been updated. Annotation copyrighted by Book News, Inc., Portland, OR
Joseph Rykwert is one of the major architectural historians of this century. THE DANCING COLUMN is his most controversial and challenging work to date. A decade in preparation, it is a deeply erudite, clearly written, and wide-ranging deconstruction of the system of column and beam known as the "orders of architecture". Rykwert traces the analogy between columns and/or buildings and the human body. 315 illustrations.
Anaximander and the Architects opens a previously unexplored avenue into Presocratic philosophy—the technology of monumental architecture. The evidence, coming directly from sixth century B.C.E. building sites and bypassing Aristotle, shows how the architects and their projects supplied their Ionian communities with a sprouting vision of natural order governed by structural laws. Their technological innovations and design techniques formed the core of an experimental science and promoted a rational, not mythopoetical, discourse central to our understanding of the context in which early Greek philosophy emerged. Anaximander's prose book and his rationalizing mentality are illuminated in surprising ways by appeal to the ongoing, extraordinary projects of the archaic architects and their practical techniques.
Taking an unusual approach to his subject, J. J. Coulton examines ancient Greek architecture from the point of view of the practicing architects. He discusses their ideas and technical achievements from the early seventh century B.C. to the first century B.C. Drawing on surviving written evidence from antiquity as well as on the evidence of the buildings themselves, Mr. Coulton provides answers to such questions as: What must it have been like to build a Greek temple? Who did the building? What training was required? How did the Greeks begin? What problems did they face? The first chapter considers the relations of architects to patrons and clients and the role of architects in ancient society generally. Subsequent chapters explore a series of architectural problems and their solutions. In his final chapter Mr. Coulton assesses the architects' techniques and their contributions to structural design, evaluating their theoretical knowledge of mechanics and their practical understanding of structural concepts. Generously illustrated and lucidly written, this volume will appeal to all who are interested in architecture, architectural history, and archaeology.
From Athens and Arcadia on one side of the Aegean Sea and from Ionia, Lycia, and Karia on the other, this book brings together some of the great monuments of classical antiquity--among them two of the seven wonders of the ancient world, the later temple of Artemis at Ephesos and the Mausoleum at Halikarnassos. With 250 photographs and specially commissioned line drawings, the book comprises a monumental narrative of the art and architecture that gave form, direction, and meaning to much of Western culture.
By analyzing this poetry - the tropes founded on the Greek terms for ornamental detail - he reconstructs a classical theory about the origin and meaning of the orders, one that links them to ancient sacrificial ritual and myth.