Section Three:
Symbolic Architecture:
(I) Three Traditional Structural Considerations:
IN167. The Three Traditional Structural Systems, (1) Wall-Bearing; (2) Post and Lintel; (3) Arcuated.
(II) The Four Major Structures Considered :
(a) Parthenon, Greek Temple;
(b) Chartres Cathedral, High Gothic Cathedral;
(c) Hagia Sophia Byzantine Cathedral, (and its influence on the Islamic mosque).
(d) Ronchamp Chapel, contemporary pilgrimage chapel;
(e) San Angelo Museum of Fine Arts, contemporary expression of historic and civic symbolism.
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(III) The Three Ancient Greek Architectural Orders:
(a) Doric, (b) Ionic, (c) Corinthian
IN167a. diagram, of the Three Greek Orders (styles) of architecture:
IN172a. Example of a Corinthian Capital, Pantheon ; Rome, Italy, 118 CE.
IN169a. Diagram of Doric and Ionic Entablatures. (*Note - Corinthian entablatures are exactly the same as Ionic entablatures).
IN169. Temple to Hera II, showing Doric Order and Doric Entablature, limestone; Archaic Period; Paestum, Italy, c. 470-60 BCE. (Greek Archaic temples of the 7th through the 6th centuries BCE. are lower, longer, and have thicker columns than do the temples of the Classical period of the 5th. through 4th centuries BCE. Note, the thicker columns and the wider capitals of the Temple of Hera II, compared with the equivalent components of the Parthenon).
IN173. Parthenon, showing Doric Order and Doric Entablature, *photographed by Mr. Richard Green (c).
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(I) The “Parthenon;” Athens, Greece, 448-32 BCE,
architects, Ictinos and Callicrates
IN170. View of the Parthenon on the Athenian Acropolis, *photographed by Dr. Robert Prestiano (c).
IN170a. another view.
IN178. Acropolis, perspective drawing of the position of the temples.
IN177. Acropolis, ground-plan.
(a) Structural Considerations:
IN171. Parthenon, architects, Ictinos
and Callicrates, view of northwest corner; pentelic
marble; Athens, Greece, 448-32 BCE, *photographed by Dr. Robert
Prestiano (c).
IN174. Parthenon. drums of a fallen column, *photographed by Dr. Robert Prestiano (c).
(b) Artistic Considerations:
IN175. Base of the Parthenon, diagram of one of several, so-called, “visual
refinements.”
IN176. Base of the Parthenon, approximately 200’ long.
IN171. Parthenon, view of northwest corner, pentelic marble;
Athens, Greece, 448-32 BCE, *photographed by Dr. Robert Prestiano (c).
IN180. Parthenon, western back end. *Greek temples were oriented with the front facing the east and the back facing the west. This is the opposite way in which most Christian churches were oriented from the middle ages on through more recent times.
(c) Symbolic (Iconographical) Considerations:
IN181. Parthenon,
detail of the divided Doric frieze, showing triglyphs
and metopes, *photographed by Dr. Robert
Prestiano (c).
IN182. " ", Metope Scene from, Battle of Lapiths
and Centaurs sculptor, Phidias, pentelic marble; a metope from the Parthenon;
British Museum; London, England, 56’h, 432-47 BCE., *photographed by Dr. Robert
Prestiano (c).
IN183. " ", Panathenaic Procession, pentelic marble, 43’h, 432-47 BCE., part of the Ionic, section of continuous frieze, exterior top the cella walls.
IN184. " ", Elgin Marble Room,
IN184a. Panathenaic Procession, Elgin Marble Room, British Museum; London, England; a long section of the reassembled frieze, *photographed by Dr. Robert Prestiano (c).
IN185. " ", Parthenon Ionic Frieze, director of all sculptural work on the entire Athenian Acropolis, section depicting young men riding horses, 43’h, c. 438-32 BCE.; Elgin Marble Room, British Museum; London, England, *photographed by Dr. Robert Prestiano (c).
IN186. " ", Panathenaic Procession,
detail showing horsemen in procession, Elgin Marble Room, British Museum;
London, England.
IN187. Panathenaic Procession, detail showing a bull being lead to sacrifice, Acropolis Museum; Athens,
Greece, *photographed by Dr. Robert Prestiano (c).
IN121. " ", Panathenaic Procession,
detail, Maidens leading procession, bringing a ritual
peplos
garment to an ancient wooden statue of Athena that was housed in the Eretheum temple
on the Acropolis, *photographed by Dr. Robert Prestiano (c).
IN189. " ", Pedimental Sculpture Group, Phidias, right side of the east pediment, figures over life-size, Elgin Marble Room, British Museum; London, England, *photographed by Dr. Robert Prestiano (c).
IN191. " ", Three Unidentified Goddesses, Phidias,
figures from the right side of the eastern pediment, Elgin
Marble Room, British Museum; London, England, *photographed by
Dr. Robert Prestiano (c).
IN192. " ", Reclining Male Figure, Phidias,
over life-size, left side of the eastern pediment, *photographed
by Dr. Robert Prestiano (c).
IN193. Speculative Sculptural Depiction, showing how the Eastern pedimental group may have looked, figures are full-scale, concrete; exposition building; Nashville,
Tennessee, early 20th century. (The construction is based on a drawing by the French
artist, J. Carrey made prior to the devastating explosion of 1,674, which occurred
during a battle between the attacking Venetians and the occupying Turks. The
explosion destroyed almost all of the cella, much of the rest of the upper middle section of the Parthenon,
and most of the western pediment), *photographed by Dr. Robert Prestiano (c).
IN194. " ", Cult Figure of Athena, This small marble figure dates to approximately 200 CE. It is a fairly faithful copy of the original huge, cult figure, which no longer exists. According to various ancient accounts, the original cult figure, designed by Phidias, stood either 38’ to 40’h and was supported by an internal, wooden armature, built around a ship’s mast. The exterior was entirely sculpted in ivory, silver, and gold, a combination of materials, known as cryselephantine.
(d) The Setting:
IN195. Athenian Agora, the civic center of ancient Athens, diagram shows the layout of the buildings.
IN196. Acropolis, oblique view from the northwest, *photographed by Dr. Robert Prestiano (c).
IN197. Acropolis, viewed from the agora (civic center), *photographed by Dr. Robert Prestiano (c).
IN198. Agora, viewed from the west, showing a reconstructed stoa at the far east end. (Stoas were long, relatively narrow ancient Greek shopping centers), *photographed by Dr. Robert Prestiano (c).
IN170. Agora and Acropolis, viewed from the northwest, *photographed by Dr. Robert Prestiano (c).
IN200. View of Acropolis and the Aegean Sea, as seen from Lycobatos Hill in Athens, *photographed by Dr. Robert Prestiano (c).
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(II)
Cathedral of Chartres, France, 1160 - 1250
(The First High Gothic Cathedral, architect unknown )
(a) Structural Considerations:
IN201. Cathedral of Chartres, architect unknown, limestone, Early Gothic facade; Chartres, France, c. 1160 CE., *photographed by Dr. Robert Prestiano c
*Contrast with -
IN202. Cathedral of Amiens, architect, Robert de Luzarches,(d. 1222) French, High Gothic facade; Amiens, France, 1194-1236 CE.,*photographed by Dr. Robert Prestiano.
IN203. Chartres Cathedral, aerial view of the southeast side.
IN204. Notre Dame Cathedral, view showing flying
buttresses; Paris, France. 1180-1250 CE., *photographed by Dr. Robert Prestiano (c).
IN205. Chartres Cathedral,, interior view; ceiling of a bay section.
IN206. Diagram of Gothic Construction
(b) Artistic Considerations:
IN207. Chartres Cathedral, interior looking east toward the sanctuary. *Contrast
with example of the earlier Romanesque interior, seen in next illustration-
IN208. St. Sernin, interior, looking east through the nave toward the sanctuary; Toulouse, France, 1080-1120 CE.
IN209. Sainte-Chapelle, example of restored decorative interior painting, based on original color schemes and designs; Paris, France, 1,243-48 CE., *photographed by Dr. Robert Prestiano (c).
(c) Iconographical Considerations:
IN210. “Maria Sedes Sapientiae,”
(“Mary Seat of Wisdom”), Charters Cathedral. This iconographical image of Mary presenting
the Christ Child to the world is particularly associated with the Cathedral of
Chartres. The image in this reference appears in a stained-glass window, located
in the right side aisles wall.
IN211. Royal Portal, the central three doorways on the facade of Charters Cathedral, *photographed by Dr. Robert Prestiano (c).
IN212. Jambs-figures of the Royal
Portal,
center, West facade of the Charters Cathedral., 1145-70 CE., *photographed by Dr. Robert Prestiano (c).
IN213. “Maria Sedes Sapientiae” Tympanum, Chartres Cathedral, limestone relief, 1145-170 CE., (the most prominent
and highest placed image on the right tympanum
of the royal
portal, *photographed by Dr. Robert
Prestiano (c).
IN214. “Maria Sedes Sapientiae”
right Tympanum, Charters Cathedral. detail of lower section
of the same tympanum, showing scenes from the narrative
of the Nativity (Birth of Christ) in the lower section and Circumcision of Christ in the upper section.
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Contrasting Christian Church Plans:
IN215. Church of San Apollinare in Classe, Ravenna , Italy, 533-549 CE., (western longitudinal church plan, longer than it is wide, and usually orientated with from the entrance at the west and the sanctuary at the east). Contrast with -
IN216. San Vitale, Ravenna, Italy. 526–547 CE., (an example of the typical eastern Byzantine
central church plan, in which all sides are relatively equidistant from the
center. The Byzantine central-plan has influenced the planning of Islamic mosques and most directly its traditional, cultural, and religious descendants, the churches of eastern Orthodox Christianity).
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(III) Hagia Sophia, architects, Anthemius of Tralles and Isidorus of Melitus - typical c central planned Church of Byzantine Patriarchy; Istanbul (formerly Constantinople), Turkey, 532-37 CE.
(a) Structural Consideration:
IN217. Diagram
of the Traditional Structural Supports for Domes,
(See, lower section of the illustration).
IN218. Hagia Sophia,
former Cathedral of “Holy Wisdom" in the former Christian capitol of Constantinople, architects Anthemius of Tralles and Isidorus of Melitus,
presently used as a museum; Istanbul, Turkey, 532-37 CE.
IN219. Hagia Sophia, ground
plan.
(b) Artistic considerations:
IN220. Hagia Sophia, interior view, as it now appears.
IN221. Hagia Sophia, another interior as, as it now appears.
(C) Iconographical Considerations:
IN221a. Hagia Sophia, Deesis figure of Christ "enthroned" blessing, artist unknown. (Iconographically this image relates symbolically to the Pantocrator type; in that it signifies Christ as Lord of the Universe and as manifestation of the Christian belief in a Triune/singular Divinity. However in style, this thirteenth century image, from the Byzantine period known as the, "Macedonian Renaissance," is much more representational and more classically elegant than are the more abstract and more austere earlier images of the Pantocrator),*photographed by Dr. Robert Prestiano (c).
The influence of the Byzantine Church on Islamic Mosque design:
IN222. Suliemaniye Mosque, architect Sinan (1,489-1,588 Turkish; Istanbul, Turkey, 1551-1558 CE.
IN222a. Suliemaniye Mosque, close up of side view, *photographed by Dr. Robert
Prestiano (c).
IN223. Suliemaniye Mosque, interior with Islamic mirhab niche facing Mecca, toward the right of the illustration and the minbar, the raised
pulpit to the left.
IN224. Suliemaniye Mosque, interior with view of the dome.
IN225. Taj Mahal; Agra, India, functions as a tomb,
1632-1654 CE. (Though the Taj is a tomb and not a mosque, the influence of Hagia Sophia still is apparent).
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The Three Pioneers of Modern Architectures:
(1) Le Corbusier, (2) Ludwig Mies van der Rohe, (3) Frank Lloyd Wright:
(IV) Ronchamp Chapel, Le Corbusier - a twentieth century Christian pilgrimage church:
(a) Structural Considerations:
IN228. Chapel of Notre-Dame-du-Haut, Le Corbusier ( 1887-1965) Swiss/french; Ronchamp, France, view from the southeast, 1950-55.
IN229. Chapel of Notre-Dame-du-Haut, another exterior view showing the western side with outdoor altar.
(b) Artistic Considerations:
IN230. Chapel of Notre-Dame-du-Haut, perspective drawing of the interior.
IN232. Chapel of Notre-Dame-du-Haut, interior looking toward the sanctuary.
IN233. Chapel of Notre-Dame-du-Haut, interior south wall at dusk.
(c) Iconographical Considerations:
IN231. Chapel of Notre-Dame-du-Haut, view of enameled doors, south wall. (Note - In this example, artistic and iconographical aspects often merge).
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(V) The "International Style," twentieth century functionalism.
From the 1930s through the late 1960s skyscraper design was strongly influenced by the so-called, “International Style” of contemporary architecture, which continued Sullivan's emphasis on function, but failed to understand the relevance that he gave to ornament with in a functional design).
IN237. Home of Philip Johnson, Philip Johnson (b.1906) United States, a fine example of the "International Style" residential design; New Caanen,
The Rise of the Skyscraper:
IN234.
IN235.
IN236.
Some Recent Giant Skyscrapers:
IN236a.View of the Chicago Lake Front, Bruce Graham of Skidmore, Owings, and Merrill (b. 1925) Colombian/American; showing the John Hancock to the right, near the lake, *photographed by Dr. Robert Prestiano (c).
IN236b. John Hancock Center, at right of center. The John Hancock Building is the second tallest building in Chicago, rising 1127 feet high and dates to the mid-1,960s, *photographed by Dr. Robert Prestiano (c).
IN237 The Sears Tower, Bruce Graham of Skidmore, Owings, and Merrill, (b. 1925) Colombian/American; building rises 1454 feet, including the two broadcast antennas; Chicago, Ill., 1970s.
IN237aa."," another view. (The World Trade Center that formerly stood in New York City was designed by Minuro Yamasaki, and rose 1,350 feet in height. It directly preceded the Sears Tower at the tallest building in the world).
IN237a. Petronas Towers, Casar Pelli (b. 12 October 1926) Argentinean, 1,483 feet high; Kuala Lumpur, Malaysia, 1996.
IN238. Financial Center, Kohn, Pedersen, and Fox, (US.), model for a proposed skyscraper, planned for Shanghai, China, to be 1,505 feet high. (In 2001 the Financial Center design became one the tallest proposed building in the world. Since then the race has vigorously continued. However, it must be kept in mind that it is not the frenzy to build ever higher that matters architecturally; rather it is the manner, in which a significantly tall building expresses the required structural and functional needs, through an evocative design that is appropriate for the time and place, for which it is being considered).
IN238a. Taipei 101 Skyscraper, C. Y. LEE, Taipei, Taiwan, 2004. As of November 2,005, this structure remains the tallest building in the world. It stands 1,679 feet tall (101 STORIES). This skyscraper is 196 feet taller than the, Petronas Center in Malaysia. The Taipei skyscraper is made of steel frame construction and glass walls and some liken its architectural shape to a giant bamboo shoot.
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(VI) Organic-functionalism of Frank Lloyd Wright:
IN239. Robie House, Frank Lloyd Wright (1867-1959) United States; Chicago,
IN240. Robie House, interior view, living room.
IN241. “Falling Water,”
(Kaufmann House), Frank Lloyd Wright, Bear Run,
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(VII) San Angelo Museum of Fine Arts:
San Angelo, Texas, 1997-1999; architect, Malcolm Holzman of the architectural firm of Hardy, Holzman, and Pfeiffer. - an example of symbolic civic architecture, expressive of artistic and cultural ideals of a unique time and place.
IN242. San Angelo Museum of Fine Arts, exterior view seen from the northwest, architect (Note - the distinctive, copper cladded roof, shaped in a form close to a hyperbolic-paraboloid, ie. a shape similar to a saddle). Also, note the exterior of the large meeting room, located under the balcony), *photographed by Dr. Robert Prestiano (c).
IN243. San Angelo Museum of Fine Arts, exterior view, from the southeast; San Angelo, Texas, 1999, *photographed by Dr. Robert Prestiano (c).
IN244. San Angelo Museum of Fine Arts, exterior view from the southwest, showing the educational extension of the museum at the right of the illustration. The extension contains ceramic studios used for courses taught by the Department of Art and Music of Angelo State University; San Angelo, Texas, 1999, *photographed by Dr. Robert Prestiano (c).
IN245. San Angelo Museum of Fine Arts, interior view, looking from the second floor out to the balcony, *photographed by Dr. Robert Prestiano (c).
IN246. San Angelo Museum of Fine Arts, view of wall, located between the foyer and first major gallery, *photographed by Dr. Robert Prestiano (c).
IN247. San Angelo Museum of Fine Arts, interior view, showing part of the museum's permanent ceramic collection that is open to the public daily; San Angelo, Texas, 1999, *photographed by Dr. Robert Prestiano (c).
IN248. San Angelo Museum of Fine Arts, view from the southeast, showing the the five-arched-square-window motif that has become the museum's logo. Also, note the varying colors and textures of the horizontal sections of limestone, quarried in nearby Garden City, Texas, that make up the exterior walls of the museum building proper; San Angelo, Texas, 1,999, *photographed by Dr. Robert Prestiano (c). Relate to -
IN249. San Angelo Museum of Fine Arts, the same five-arched-square-window motif used here on one of the hand carved, mesquite benches, on the third floor of the museum, *photographed by Dr. Robert Prestiano (c).
IN250. San Angelo Museum of Fine Arts, the most often used entrance to the museum, facing east, *photographed by Dr. Robert Prestiano (c).
IN251. San Angelo Museum of Fine Arts, exterior of large meeting hall, view from the northwest, *photographed by Dr. Robert Prestiano (c).
(*Note - Mr. Howard Taylor, former director of the Maritime Museum in Philadelphia, was appointed the first director of the San Angelo Museum of Fine Arts in 1,984, years before the present building was ever considered. At that time, the San Angelo Museum of Fine Arts was housed in one of the late 19th century buildings of historic Fort Concho in San Angelo, Texas. Mr Taylor not only did much to raise the awareness of art in the region through that early phase of the museum's existence, but later worked tirelessly with the architects, members of the building committee, local and state officials, and representatives of Angelo State University to assure that the new museum building would not only become a reality; but, moreover, would become a real asset to the community. Indeed, Howard Taylor's approach to museum direction continues to be innovative, informative, and invitingly inclusive).
