Unlike most of today's places of worship, the temples of ancient Greece were actually rarely entered. Worshippers would mostly gather outside and only enter upon bringing offerings. While we have a sense of what these monuments once looked like when viewing their remains, in ancient times when they retained their original colors and polish, they were undoubtedly even more striking.
The Parthenon. Seven Wonders of the Ancient World. Ancient Greek architects strove for the precision and excellence of workmanship that are the hallmarks of Greek art in general. The formulas they invented as early as the sixth century B. In the first, the Doric order, the columns are fluted and have no base.
The capitals are composed of two parts consisting of a flat slab, the abacus, and a cushionlike slab known as the echinus. On the capital rests the entablature, which is made up of three parts: the architrave, the frieze, and the cornice. The architrave is typically undecorated except for a narrow band to which are attached pegs, known as guttae. On the frieze are alternating series of triglyphs three bars and metopes, stone slabs frequently decorated with relief sculpture.
The pediment, the triangular space enclosed by the gables at either end of the building, was often adorned with sculpture, early on in relief and later in the round. Among the best-preserved examples of Archaic Doric architecture are the temple of Apollo at Corinth, built in the second quarter of the sixth century B.
To the latter belong at least three different groups of pedimental sculpture exemplary of stylistic development between the end of the sixth and beginning of the fifth century B. In the Ionic order of architecture, bases support the columns, which have more vertical flutes than those of the Doric order.
Ionic capitals have two volutes that rest atop a band of palm-leaf ornaments. The abacus is narrow, and the entablature, unlike that of the Doric order, usually consists of three simple horizontal bands. The most important feature of the Ionic order is the frieze, which is usually carved with relief sculpture arranged in a continuous pattern around the building.
In general, the Doric order occurs more frequently on the Greek mainland and at sites on the Italian peninsula, where there were many Greek colonies. A third order of Greek architecture, known as the Corinthian, first developed in the late Classical period, but was more common in the Hellenistic and Roman periods. Corinthian capitals have a bell-shaped echinus decorated with acanthus leaves, spirals, and palmettes. Architects who work in the field have limited time to think about diverse ideas.
Participating in architecture vision competitions does have a lot of value in terms of studying and learning different perspectives, getting away from the frame of reality, and also providing examples for others. San Yoon and Minjae Koo from Korea! It also allows us to learn more about particular cultures and local materials. All in all, we believe competitions to be an opportunity to broaden our horizons as architects. The challenge that such competitions create, aids in keeping the problem solving mind alert.
So we think of them as brain training for architects. I like to participate in architectural competitions from time to time, especially when an exciting subject comes up. The freedom of creativity are given, the ideas can be fully realized. Bianka Varga from Hungary! It allows me to be creative through the thinking steps and also to work rigorously on every step of the project. Mathieu Cardinal from France! Lisa Gaudin and Sophie Charier from France!
And it connects how we perceive and want to be involved in architecture. A design competition like this is where the most special and unusual results are achieved. They allow us to follow freely our creativity and to find inspiration. They are also good opportunities to test the strength and the efficiency of our team.
We believe it is a good way to push ideas and abilities beyond the standard architectural practice, therefore increasing the freedom of thinking widely. Virginia Pozzi and Alessandro Minotti from Italy! It is also a unique platform that allows young architects to express themselves. Johann Evin from New Zealand! It is an incredible chance to step away from the conventional means of execution, and present a different perspective to a broader audience. We believe competitions are a great venue for experimentation, and a laboratory to unpack and test design philosophies.
It is also an opportunity to think about more global challenges, to go beyond student design. Daria Studneva and Julia Studneva from Belarus! We believe that vision competitions offer a space free from too many constraints where some of the most excitingly fantastical ideas can emerge. Ideas are flowing freely and nothing is filtered. In this specific competition we were especially interested about the site, the city of Rome, a historical and cultural environment where Camilla and Rafaela had lived.
It creates a platform upon which to develop new narratives in hand with provocative designs. George Guida from Italy! When participating, one is pushed into thorough research, clear communication as well as questioning and refining the material produced. I am trained in the mechanics and engineering of structural engineer system, but I have not received the orthodox study of architecture. I try to study bridge architectural aesthetics through self-study, investigation and project practice.
I want to discuss and communicate with architects all over the world through this competition, and express a reasonable and beautiful understanding of bridge scheme as a bridge engineer through my work.
Wang Fan from China! Zhong Cai from Canada! They are great opportunities as well to launch your career and establish yourself on global markets. Giorgi Maisuradze from Italy! There really is no better way to hone your skills than to be shut away in a room with collaborators discussing brazen ideas and acting on them. A completed competition entry will often exemplify the soul of an architectural idea untarnished by the decision committees of the real world.
They also give us an opportunity to playfully exercise our design skills and develop effective methods of collaboration and communication. I like to believe they improve my employability. Inness Yeoman from United Kingdom! We also work in industrial design and have developed the organic design bark for the Italian firm Alessi, and also for our office house "casa boucquillon" bathed in the heart of Tuscan nature.
We could not have imagined a better integration into nature this organic motif that represents the tree bark in Gauja National Park. Michel Boucquillon and Donia Maaoui from Italy! Paul Kaloustian from Lebanon! Abraham Fung from Australia! In all fields of design, when working for clients, ideas can get lost in translation or dismissed all together. It comes with the territory. With competitions, we gain a therapeutic sense of freedom to create on our own terms. This type of work should be a constant in the work of architects, as they enhance their creativity and quick problem-solving.
Within the framework given by the brief, one has the opportunity of constructing a narrative that is true to their beliefs and to test it. Alexandra Berdan and Ancuta Costandache from Romania! I considered this experience as a chance to put myself out there, no matter the result, while unleashing my creativity. I find these competitions a great way to have a nice confrontation with other experts while having fun. Davide Franchi from Italy! We find participating in these competitions is also a great way to contribute to the design culture on an international scale and connects us with designers worldwide.
Rachel Fay and Liv Green from Australia! Marianne Ventre and Anthony Spennato from France! The challenge is to get together and create something that is engaging and appreciated by our peers and architectural enthusiasts alike. The necessity to get involved in the cultural, geographical, climatic and other aspects of designing competitive objects in different parts of the world - is the best way to develop the professional level.
Julia Shemchuk from Ukraine! You have little chance to implement what you imagine. In this respect, competitions are a platform which set the designers free. In this ambiance, the designer could show his own style easily and force his limitations. Firstly, it is a rare opportunity for me to think in different ways from the normal work in school. Secondly, I am pretty interested in designing the flamingo observation tower. Min Liu from China! Participating in conceptual architecture competitions offers the opportunity to escape from the strict limitations that a real commission carries and allow for exploring freely new ideas.
Furthermore, they often give architects the opportunity to expand their experience and portfolio on non-conventional projects that extend internationally beyond the regions of a country.
Panagiotis Dimakidis and Rafail Gkaidatzis from Netherlands! We target specific subjects that help us expand our portfolios and where we can implement our research in complex geometries and sustainable design. Bryan Fan and Shelley Xu from Australia!
Hiroyuki Gondo from Japan! It is a perfect opportunity to let our imagination go, and to do research about cultures, architecture, materials, and so much more.
We probably want to be challenged a bit and feel the adrenaline of a short-term project. Moreover, vision competitions allow us to imagine a poetic vision for a project and gives us the opportunity to develop more theoretical ideas, which is mostly neglected in traditional competitions. They force you to explore different concepts and cultures and simply are an amazing experience in themselves.
Agata Mila from Poland! They are driven by concepts and vision, providing the freedom to experiment. They are refreshing, motivating and remind me why I started studying architecture. Margaux Loubser from South Africa! Taking part in this competition was a great opportunity for us to explore a new typology, context and approach.
Katharina Kocol and Olga Bialczak from Germany! It is a way for us to practice agile thinking, a chance to play, a way of developing a collective thinking and of connecting to a larger international architecture community. We always enter with the goal of winning. It is also an excellent opportunity to re-evaluate yourself and compare your ideas with architects from all over the world with a much larger variety of design strategies and ideas than you could ever find in a single university or work environment.
Daniel Brigginshaw from United Kingdom! The work produced in these competitions is a good way to explore new ideas in a public forum which may go on to inspire others in their own design work.
Joseph Watkins from United Kingdom! For instance, Mandira has wanted to design and build a meditation cabin for a very long time. A prospective client with a site, a program of requirements with room for change, and a deadline challenges her out of her comfort zone to do it. Mandira Sareen from United States!
Nicholas Horvath from United States! Competitions are to architecture as peer review is to other fields; a competition can be a testing ground for design ideas before they are implemented. Andrii Koval and Olha Laktionova from Ukraine! In general, it is a good way to present your new ideas about the topical issues on architecture to a broader public.
They provide the freedom for testing alternative ideas. David Florez and Stefani Zlateva from Austria! It not only allows us to see other approaches to one single topic but also gives us a chance to work purely on our terms without any limit to creativity, which we find extremely stimulating as thriving architecture students.
A simple question posed to a room of creatives will bring an abundance of different responses, all correct in their own interpretation. By truly including nature and society in the question, projects can only be improved. And we discovered, the sky is our limit. It has always been important to me to participate. I treat myself with a competition praline once in a while.
It makes me happy! It is not just about to solve the task. Malin Persson from Sweden! Architectural design takes a long time. However, in the realm of competitions, our creative spirit can manifest much quicker. The competition challenges us to test ideas and rethink convention. In most cases the topics are very interesting and most of the time there are no limits for your ideas and thoughts.
So you can do nearly whatever you like and try the concept of your dreams. And of course because we like doing it. It is also a challenge to engage with a subject rarely encountered in everyday practice.
Likewise, we believe that being participants of this exchange of different points of view enriches the professional formation of those who dare to do so. The matter was interesting so we thought we should give it a try.
Additionally it was a great opportunity to practice the design process. Learning by doing, right? Jinsoo Kim and Dalya Ortak from Germany! Aleksandra Kubiak and Marta Buchner from Poland! This particular mindset challenges your ability to develop conceptual approaches and strengthen your ability to communicate your proposal.
Florent Sauvineau from France! In our day-to-day practice, we miss having the freedom to have a complete control over the vision. Competitions are a chance to show that we care about it and we want to show what our vision is. We also find it essential as a learning tool to look at how other architects face, and resolve the same problems.
Brent Winburn and Lachlan Joseph from Australia! Vision competitions are the perfect place to test and build a conceptual model of organic design ideas that can influence research and real projects in future. With utopia as a connecting line, it allows us to develop a discourse which is not dependent on time, allowing us to discuss pure shapes and spaces.
Bastiaan Muilwijk and Paul Ouwerkerk from Netherlands! I love the freedom to push the boundaries of design and to explore futuristic concepts of form, space and technology. The majority of us will lose that vision when leaving school and entering the workforce, but these competitions allow us to rekindle why we wanted to be an architect in the first place.
Jon Carag from United States! This is a unique opportunity to question programmatic and contextual issues that are often complex.
The variety of proposals put forward by the various candidates also allows them to see their own approach to the project in perspective, and learn from it. Alessandro Pupillo from United States! It educates designers to deal with different ecological and social problems through architecture. It is a learning process of framing complications and devising good solutions. Experience from competitions help us grow as designers, in the words of Frank Lloyd Wright "talent is good, practice is better, passion is best.
Shahrzad Nasiri and Ben Chang from Canada! We are always open for discussion and are ready to share our vision and experience with others. This particular one provoked us to answer questions such as: what is a shelter nowadays?
What is the minimal area for living? What does it mean to share a space with others? Architecture idea and vision competitions provide a unique opportunity to explore concepts between building and landscape in a more speculative context, and they can be a very effective way to allow younger architects and interns the chance to immediately impact the design process.
It is a way to pick a different architectural program or object, and try something you really wanted to do but you just never did before. Ana Rita Gomes from Portugal! We spend free time with a common passion, we do not only enjoy our time but also develop crucial skills like creative thinking.
Weronika Kogut and Karolina Toporkiewicz from Poland! Competitions allow you to work freely. Christian Schunke and Anna Bugoslavska from Germany! A place where we can try our creativity and brains to put together a powerful concept. A liberation of the constraints and time consuming day-to-day tasks. They offer possibility to challenge yourself, compete with others, familiarise yourself with different sites and communities, analyse other points of view on the same subject, while working together with your colleagues.
Also we like to have an area where we can express our interest in parametric design techniques. While daily practice is incredibly rewarding, competitions such as this offer a chance to exercise my mind and explore design problems that I might not otherwise have the opportunity to delve into. They provide me the opportunity to research and explore a place and context that I may not otherwise have explored.
I enjoy that. And I enjoy seeing other solutions to the same problem. Jeffrey Clancy from USA! To achieve this, each new project must be faced with accuracy, curiosity and the will to surprise and be surprised.
It is a possibility for young architects to find our positions and communicate through well-articulated projects. James Mak from United Kingdom! These competitions stress the importance of conceptual design and research that challenges the profession to create more dialogue. It's a journey through which we give our best, hopefully to contribute on the subject, and at the same time, it gives back to us. We improve ourselves, and we get even more motivated and passionate to prepare for the next journey.
I also firmly believe that each competition I have submitted to date somehow represents at least a step towards a learning curve, affecting my practice and teaching deeply. On another level, I do so in order to join conversations about what is possible through architecture and learn from the international architectural community.
Tien Chen from United States! Schools are training us for the professional world, so we will have a very certain theme and specific requirements which can be constraining sometimes. Competitions give me more freedom and control to think about architecture problems and it is fun. Zihao Wei from Canada! This can be both small design tasks, and large conceptual works, for example, the concept of territory development. Participating in contests brings up such important qualities for the architect, such as the ability to quickly switch from one task to another and the ability to complete work on time.
Gabdrakhmanova Ilsiyar from Russian Federation! It is an incredible chance to step away from conventional means of execution, and channel a different point of view to a broader audience. It facilitates the change in the profession through exposure and discussion, as well as one's professional growth. Competitions are the chance to take a pure functional or architectural thought and extrude, develop and test it in isolation from forces of the market place, community expectation and client requirements.
To exercise our creativity. To explore our creative identity in a space that is free of the constraints that we usually have to contend with. Competitions are where we have the freedom to implement what we believe without too many constraints. Besides, it give us the opportunities to expand our professional network and potential collaboration. Kevin Pham and Alex Hoang from Australia!
We appreciate the democratic nature of competitions and the platform it offers to express ourselves and make us better architects. Our designs are informed by research and the concerns of the context.
However, we enjoy the flexibility vision competitions offer in flexing the creative muscle. When I had some freedom to design, but at the same time respecting certain parameters of design, i had the opportunity to design from the other side of the world for a place that has been recognized worldwide for having great potential in every field, and was the gateway to the new look of architecture.
Banny Fabian Sandoval Salinas from Chile! It gave us the opportunity to test the tools we have learned during our degrees in the real world without the restrictions of a university assignment.
These competitions are good exercises, to experiment but also to be aware of the reality of the demand. It's also a way to choose projects that really inspire us and develop a creative process with more liberty than your usual client. We view these competitions as a way to improve ourselves and to widen our knowledge. It is also a great experience to work in a team and add to everyone's experience and background to the proposal.
Julie Tse from New Zealand! Lanxin Zhong from China! We decided to do design competitions to allow the creative juices to flow and expose ourselves to a project that we would not find within our client base. Katarzyna Formela from Poland!
William Maddinson from United Kingdom! These competitions give us a site and context to visualise our ideas, put them to test and help us better understand the strengths and weaknesses of each iteration. We also use the competition format to test ideas, techniques, and various modes of representation - formal explorations, new software, image making and graphic representation.
We understand competitions as a testing ground for new ideas and as a method to challenge preconceptions about our world. We decided to enter this competition in particular because the housing crisis is a very palpable, very complex issue. Living in London and especially working in architecture, we see every day the tension the housing crisis causes in the city.
It formed part of the collective research of the design unit I am studying with bartlettu13 and for somosaldea. Robert Newcombe from United Kingdom!
The Doric order is easily identified by its plain capital, and lack of column-base. Its echinus started out flat and more splayed in Archaic-era temples, before becoming deeper and more curvaceous in Classical-era temples, and smaller and straighter during the Hellenistc period. Doric columns nearly always have grooves, or flutes usually 20 , which run the full length of the column. The flutes have sharp edges known as arrises.
At the top of the columns, there are three horizontal grooves known as the hypotrachelion. Later, a ratio of became more usual. During the Hellenistic era BCE , the typically solid, masculine look of the Doric temple was partly replaced by slender, unfluted columns, with a height to diameter ratio of 7.
In the Doric order, there are clear rules about the positioning of architectural sculpture. Reliefs, for instance, are never used to decorate walls in an arbitrary way. They are always arranged in predetermined areas: the metopes and the pediment. Doric temples are clearly identified by their sectioned, non-continuous frieze, with its alternating arrangement of scored triglyphs and sculpted metopes.
The Doric pediment, a notoriously difficult space in which to lay out a sculptural scene, was filled initially with relief sculpture. By the time of the Parthenon, sculptors had begun carving freestanding stone sculpture for the pediment. Even then, arranging figures inside the tapering triangular area continued to be problematical.
But by the Early Classical period BCE , as exemplified by the scenes carved at the temple of Zeus at Olympia, BCE , sculptors had found the solution: they had a standing central figure flanked by rearing centaurs and fighting men shaped to fit each part of the space.
At the Parthenon c. Doric Order temples occurs more often on the Greek mainland and at the sites of former colonies in Italy. The supreme example of Doric architecture of the Classical Period c. It was a Greek sculptor, not an architect, who said that "successful attainment in art is the result of meticulous accuracy in a multitude of arithmetical proportions"; but the Parthenon is the aptest illustration. Every esoteric scholar delving into the mysteries of "the divine proportion" or "the golden mean" claims the Parthenon as his first example: it has so unfailingly pleased millions of eyes, and it measures out so exactly to a mathematical formula.
In the whole aspect there are calculated proportionings of parts and rhythmic correspondences. Then on from the whole to the parts: the areas of the entablature are divided on logical and harmonious ratios; and of course there is the equally refined relationship of column and capital.
Perfection within perfection! The Greek builders, in their search for "perfect" expressiveness, went on to optical refinements unparalleled elsewhere. The entasis , or slight swelling and recession of the profile of the column, is but one of the mathematical tricks to ensure in the beholder's eye the illusion of perfect straightness or exact regularity. Another is that the tops of the columns lean slightly toward the centre at each side of the colonnade, the inclination increasing in proportion as they are farther toward each end, because a row of columns which are actually parallel seems more widely spaced at the top corners.
The Parthenon columns of the outer colonnade are inclined, curiously enough, at such angles that all their axes would meet, if continued, at a point one mile up in the air. Another concession to the eye is the slight curve upward at the centre of the main horizontal lines, made because straight steps or straight-set series of columns seem to sag slightly at the centre. Architectural Sculptures of the Parthenon.
In general the bases of the structure, the weight-bearing members, and the first horizontals, were kept clear of elaboration or figurative sculpture. In the Parthenon and earlier structures, it was deemed that the proper place for exterior sculptures was in the spaces between the triglyphs, or surviving beam-ends, and in the pediment. On the roof, single figures might be set in silhouette against the sky, at gable top and especially gable ends.
Within the colonnade in some late Doric temples a continuous frieze ran like a band around the cella's exterior wall, and was seen in bits from the outside, between columns.
The marble sculpture on the Parthenon originally appeared on the building in two series, the continuous frieze within the colonnade and the separated panels between the triglyphs; and the two triangular compositions in the pediments.
The best preserved of the figures were taken to England early in the nineteenth century, and are universally known, from the name of the man who carried them away in battered remnant form, as the "Elgin marbles. There is grandeur in the pediment figures.
They are among the world's leading examples of monumental sculpture. As in the case of the architectural monument of which they were decorative details, they doubtless have gained in sheer aesthetic value by the accidents of time. The grand votive statues, such as the outdoor Athena on the Acropolis and the colossal image of the same goddess in the cella of the Parthenon, were big enough, by all report, but they seem to have been distressingly and distractingly overdressed, and their largeness and sculptural nobility were lost in excessive detail.
The magnitude of the pediment figures is the magnitude of the powerful in repose, of strength kept simple. In terms of narrative, the east pediment group represented the contest of Athena and Poseidon over the site of Athens. The west pediment composition illustrated the miraculous birth of Athena out of the head of Zeus. The technical problem of fitting elaborate sculptural representations within the confined triangular space of a low pediment challenged the inventiveness and logic of sculptors collaborating on temple projects.
At Aegina, Olympia, and Athens the solution balanced nicely with the architecture. There was a related flow of movement within the triangle, which was lost in later examples and certainly in every attempted modern imitation. The panels between the triglyphs under the Parthenon cornice, known as the "metopes," originally ninety-two in number, have been even more disastrously defaced or destroyed than have the pediment groups during their twenty-three centuries of neglect.
Each panel, almost square, bore two figures in combat. Sometimes the subjects were taken from mythology, while others are read today as symbolic of moral conflict. The low-relief frieze which runs like a decorative band around the outside of the cella wall, within the colonnaded porch, is of another range of excellence. The subject is the ceremonial procession which was an event of the Panathenaic festival held every fourth year. The figures in the sculptural field, which is a little over four feet high and no less than feet long, are mainly those of everyday Athenian life.
Even the gods, shown receiving the procession, are intimately real and folk-like, though oversize. To them goes all the world of Athens: priests and elders and sacrifice-bearers, musicians and soldiers, noble youths and patrician maidens. There is a casualness about the sculptured procession, an informality that would hardly have served within the severe triangles of the pediments. Everything is flowing and lightly accented. Particularly graceful and fluent are the portions depicting horsemen.
The animals and riders move forward rhythmically, their bodies crisply raised from the flat and undetailed background. The sense of rhythmic movement, of plastic animation within shallow depth limits, is in parts of the procession superbly accomplished.
Unlike Doric designs, Ionic columns always have bases. Furthermore, Ionic columns have more and narrower flutes, which are separated not by a sharp edge but by a flat band fillet. They appear much lighter than Doric columns, because they have a higher column-height to column-diameter ratio than their Doric cousins Ionic Order temples are recognizable by the highly decorative voluted capitals of their columns, which form spirals volutes similar to that of a ram's horn.
In fact, Ionic capitals have two volutes above a band of palm-leaf ornaments. In the entablature, the architrave of the Ionic Order is occasionally left undecorated, but more usually unlike the Doric architrave it is ornamented with an arrangement of overlapping bands.
An Ionic temple can also be quickly identified by its uninterrupted frieze, which runs in a continuous band around the building. It is separated from the cornice above and architrave below by a series of peg-like projections, known as dentils.
0コメント