1. MADE BY: 2ND YEAR
PRANAV DHAWAN
RAGHAV AGGARWAL
SUKRITI GULATI
MEDHA ABHYANKAR
KANAV THAKUR
MANEE SINGH

2.  GREECE WAS SURROUNDED ON 3 SIDES BY
SEA, WITH INNUMERABLE ISLANDS OF
ARCHIPELAGO. GREEKS WERE GREAT
SAILORS, AS THEY WERE SAILING TOWARDS
MEDITERRANEAN IN SEARCH OF
FOOD, TRADE AND ADVENTURE, THEY WERE
LOOKING FOR NEW PLACES TO BUILD
GREEKS CITIES AND OUTPOSTS.
 WHILE SAILING THEY CAME ACROSS A TRIBE
OF PEOPLE LIVING ON AN ISLAND IN CRETE.
THESE PEOPLE WERE THE MINOANS, THEY
WERE VERY ADVANCED CIVILIZATION FOR
THEIR TIMES.
 GREEKS HAD ABUNDANCE OF STONE
ESPECIALLY MARBLE FOUND NEAR ATHENS
 THE CLIMATIC CONDITIONS THERE WERE
MODERATE NEITHER TOO HOT NOR TOO
COLD.
 OUTDOOR LIFE SUITED THEM .
2

3. PLAN OF THE PALACE OF KNOSSOS, CRETE 1700 – 1380 BCE 3

4. AS MAJOR CEREMONIAL ROOMS WERE
LOCATED PARTIALLY UNNDER GROUND, STAIRS
TO REACH THEM WERE CONSTRUCTED AROUND
OPEN SHAFTS TO BRING LIGHT AND FRESH AIR
TO LOWER LEVELS. THE ORIGINAL WOODEN
COLUMNS AND SUPPORTING BEAMS WERE
DESTROYED IN THE FIRE THAT CONSUMED THE
PALACE AROUND 1380 BCE
RECONSTRUCTED LIGHT WELL
PALACE OF KNOSSOS, CRETE
LOCATED ON THE UPPER STOREY, THIS LIGHT-WELL
IS LOCATED DIRECTLY ABOVE THE THRONE ROOM.
THE FRESCO SHOWN HERE IS A RESTORATION
AS FAR AS WE KNOW KNOSSOS WAS UNFORTIFFIED.
4

5. THE ELLABORATE ‘THRONE ROOM’ IS
PROVIDED WITH A BENCH SEATING ALONG
ADJACENT WALLS. FRESCOS SHOW GRIFFINS IN
LUSH FOLLIAGE. SINCE A LUSTRAL BASIN
ADJOINS THIS ROOM, IT IS POSSIBLE THAT THE
SPACE WAS USED FOR RELIGIOUS RITUAL
RATHER THAN ROYAL AUDIENCES
5

6. THIS FABLED CITY WAS STRATEGICALLY SITUATED TO CONTROL MAJOR
TRANSPORTATION ROUTES IN THE VICINITY. THE ENCLOSING WALLS IS
COMPOSED OF ROUGHLY SHAPED BOULDERS.
PLAN OF THE CITADEL MYCANAE
1600 – 1250 BCE 6

7. AT MYCENAE, THE PALACE
MEGARON IS THE LARGEST ROOM,
ROUGHLY 40’ SQUARE. BASES FOR
THE FOUR COLUMNS THAT
SUPPORTED THE ROOF ARE STILL
VISIBLE, AS IS THE CENTRAL
HEARTH. THIS PART OF THE PALACE
WAS BUILT IN PART ON FILL,
SUPPORTED BY RETAINING WALL,
AND THERE IS STILL A SPLINDID
VIEW OUT OVER THE VALLEY FROM
THE COURT IN FRONT OF THE
MEGARON. TO THE NORTH, A
SMALLER ROOM WITH A STUCCOED
POOL HAS BEEN IDENTIFIED AS A
BATHING ROOM.
THE CITADEL OF MYCENAI WAS
SURROUNDED BY SMALLER
SETTLEMENTS, PERHAPS
COMPRISING OF EXTENDED FAMILY
GROUPS WHO LIVED IN HOUSES
CLOSELYL ASSOCIATED WITH THE
TOMBS OF THEIR ANCESTORS. NINE
OF THESE TOMBS HAVE BEEN
FOUND IN THE NEIGHBOURHOOD.
7

8. 2 VERTICAL STONES SUPPORT A 14 TON LINTEL ACROSS
THE OPENING ABOVE WHICH IS A CORBELLED ARCH.
THE SPACE OF THE ARCH IS FILLED BY A TRIANGULAR
STONE WITH RELEIF SCULPTURE OF 2 LIONS WITH THEIR
FOREFEET ON AN ALTAR BEARING A COLUMN OF THE
TREE CULT. THE LIONS’ HEADS ARE MISSING; THEY WERE
CARVED CEPERATELY AND ATTACHED WITH DOWELS, THE
HOLES FOR WHICH ARE STILL VISIBLE. EVEN IN ITS
DAMAGED STATE, HOWEVER, THE LION GATE ERIFIES
CONTACT BY ITS CREATORS THE MINOAN WORLD, FOR
THE COLUMN OF THE TREE CULT IS UNMISTAKABLY THE
SAME AS THE COLUMNS USED AT KNOSSOS. TO THE
NORTH STANDS A SECOND, SMALLER GATE OF THE SAME
AGE AS THE LION GATE BUT WITHOUT SCULPTURE.
THERE ARE ALSO INCONSPICUOUS BACK ENTRANCES OR
POSTERN GATES BUILT TO PROVIDE ACCESS TO A
CISTERN AND TO PROVIDE OUTLETS IN CASE OF AN
EMENGENCY.
IN ARCHITECTURAL USAGE, THE WORD ‘MEGARON’ IS
GENERALLY RESERVED TO DESCRIBE A SIMPLE
RECTANGULAR SPACE (DOMOS) HAVING SOLID LONG
WALLS WITHOUT OPENINGS AND AN ATTACHED
ANTEROOM (PRO DOMOS) PRECEEDED BY A COURT.
IT IS AN ELEMENTARY HOUSE FORM STILL EMPLOYED
IN MEDITERRANEAN COUNTRIES, AND TH PERCURSOR
OF THE CLASSICAL TEMPLE AND IT HAS EVEN BEEN THE LION GATE, MYCENAE, 1300 BCE
USED BY 20TH CENTURY ARCHITECTS INCLUDING LE THE CARVED LION FIGURES FLANK A COLUMN OF THE
CORBUSIER. TAPERED TYPE SEEN AT KNOSSOS. THE USE OF
GUARDIAN BEASTS ASSOCIATED WITH ROYALTY LINKS
MYCENAE WITH BOTH THE HITTITE AND THE EGYPTIAN
TRADITIONS.
8

9. PLAN AND SECTION THRU THE TREASURY
OF ATREUS, MYCENAE, 1330 BCE
THIS CORBELLED TOMB ASSUMES THE SHAPE OF A
BEEHIVE. ITS CONSTRUCTION MAY BE COMPARED
TO THE TOMB AT ER-MANE AND THE PASSAGE
GRAVE AT NEWGRANCE. THE FUNCTION OF THE
SIDE CHAMBER IS UNKNOWN, BUT IT MAY HAVE
BEEN USED FOR BURIALS.
ONE OF THE BEST PRESERVED IS THE THOLOS
OR BEEHIVE TOMP COMONLY CALLED THE
TREASURY OF ATREUS (CA 1330 BCE). IT IS A
CORBELLED STONE CHAMBER RISING 40’ IN 33
HORIZONTAL COURSES FROM A CIRCULAR PLAN
48’ IN DIAMETER.
9

10. THIS AXIAL VIEW SHOWS THE
STONE-WALLED DROMOS & THE
TRIANGULAR CORBELLED
RELIEVING ARCH THAT DIVERTS
WEIGHT AWAY FROM THE MASSIVE
LINTEL STONE.
ALTHOUGH THE INTERIOR SPACE IS
RELATIVELY LARGE, IT IS ALSO
DARK, DERIVING ITS LIGHT ONLY
FROM THE OPEN DOORWAY &
TRIANGULAR TRANSOME OF THE
CORBELLED ARCH ABOVE IT. THE
EVEN COURSES OF ASHLAR, OR
SHAPED, STONES CAN BE
COMPARED TO THE IRREGULAR
CYCOPEAN STONES USED
ELSEWHERE AT MYCENAE.
ALL THE STONEWORK, EXCEPT FOR THE STONE-WALLED DROMOS, OR ENTRANCEWAY, IS COVERED BY AN
EARTHEN MOUND, WHOSE WEIGHT ADDS STABILITY TO THE DRY MASONRY. THE CORBELLED CONSTRUCTION
EMPLOYED HERE IS THE SAME TECHNIQUE USED BY PREHISTORIC MEGALITH BUILDERS IN NORTHERN EUROPE
& BY EGYPTIAN MASONS AS EARLY AS THE 4TH DYNASTY. ORIGINALLY THE ENTRANCE DOORWAY WAS
ELABORATELY DECORATED, & THERE IS EVIDENCE THAT THE INTERIOR WAS EMBELLISHED WITH BRONZE
PLATES. MOST OF WHICH HAS BEEN ROBBED.
10

11. CITADEL OF TIRYNS
THE CITADEL SITS ATOP A LIMESTONE RIDGE PROTECTED BY A
MASSIVE WALL OF CYCLOPEAN MASONRY THAT DATES TO THE
14TH CETURY BCE. AFTER A FIRE DESTROYED THE CITADEL IN 1300
BCE, THE WHOLE WAS REBUILT TO ITS PRESENT
OUTLINE, INCLUDING ENCLOSURE OF THE LOWER CITADEL WITH A
25’ THICK WALL. AN EARTHQUAKE & FIRE IN THE MID 13TH
CETURY BCE DAMAGED THE COMPLEX, LEADING TO THE
CONSTRUCTION OF THE BUILDINGS WHOSE REMAINS ARE VISIBLE
TODAY.
THE SURVIVING WALLS AROUND THE UPPER CITADEL VARY FROM
16’ TO 57’ IN THICKNESS. LIKE MYCENAE, THE CITADEL AT TIRYNS
HAS SEVERAL POSTERN GATES THRU WHICH PEOPLE INSIDE
COULD SLIP OUT UNOBTRUSIVELY.
CORBELLED GALLERY, TIRYNS,
1300 BCE
THESE PASSAGES BUILT WITHIN
THE THICKNESS OF THE
FORTIFIED PERIMETER WALLS,
PROVIDED ACCESS TO GUARD
CHAMBERS OR POSTERN EXITS
11
FOR EMERGENCY USE.

12. THE APPROACH TO TIRYNS HAS A MORE
STRONGLY DEFENSIVE DESIGH THAN THE ROOF OF THE HOUSES BUILT IN
THE ENTRANCE TO MYCENAE. AN TIRYNS WAS PROBABLY FLAT, AND
ALMOST SINGLE-FILE PASSAGE BESIDE BOTH IT AND THE UPPER STOREY
AND THEN BETWEEN THE WALLS MADE WERE FRAMED IN WOOD, WHICH
WOULD-BE ATTACKERS VULNERABLE ACCONTS FOR THE SURVIVAL OF
WELL BEFORE THEY REACHED THE FIRST OLY THE RUBBLE STONE
OF THE TWO INNER GATES. BEYOND FOUNDATIONS. EXCEPT FOR THE
THE SECOND GATE WAS A COURT CORT AREA, WHICH WAS PAVED
BOUNDED BY PORTICOED CHAMBERS WITH STOE, ALL THE FLOORS WERE
CORBELLED INTO THE MASS OF THE OF CLAY. A LARGE DRAIN EXTENDS
WALL. THESE FACE THE RELETIVELLY ACROSS THE COURT AND EXITS
NARROW PALAE GATE THAT OPEND UNDER THE FOUNDATION OF THE
INTO A PALACE COURT WHICH EAST WALL, WHILE A LESSER DRAIN
CONNECTS ON THE NORTH TO A IS LOACED IN THE MEGARON’S
COLONADED COURT THEN TO THE DOMOS. THE USE OF THE SMALL
PALACE MEGARON OF ROOMS OFF THE CORRIDOR HAS
PORC, ANTECHAMBER, AND DOMOS. AS BEEN DETERMINED FROM POTTERY
AT MYCENAE, FOUR COLUMN BASES & CLAY TABLETS FOUND IN THEM
SURROUND THE SUBSTANTIAL CENTRAL TO BE STOREROOMS, EXCEPT FOR
HEARTH, INDICATING THE LOCATION OF THE CHAMBER DIRECTLY OFF THE
THE ROOF AND ITS OPENING TO LET COURT, WHICH HAD BOTH A
OUT SMOKE. FRAGMENTS OF WALL HEARTH & DRAIN SO WAS
PAINTING DEPICTING PROCESSIONS OF PROBABLY THE KITCHEN IT IS
WOMEN AND THE HUNTING OF BOARS SURMISED THAT THE HOUSE
WERE FOUND IN THE EXCAVATIONS. A BELOGED TO WEALTHIER PERSONS
SMALLER MEGARON LOCATED TO THE ENGAGED IN THE MANUFACTURE
EAST HAS AN OUTER AND INNER COURT OF SCENTED OILS, FOR WHICH
PRECEDING THE DOMOS. TIRYNS WAS MYCENAE WAS FAMAOUS. WHILE
AGAIN DEVASTED BY EARTHQUAKE IN ALL MYCENAE HOUSES HAD
AROUND 1200 BCE MEGARON LAYOUTS, THE FORM
WAS COMMON ENOUGH. 12

13.  THE GREEK TEMPLES WERE SURROUNDED BY
OPEN COLONNADES IN FULL VIEW TO
COMMON PEOPLE.
 THE GREEK TEMPLES WERE USUALLY
ORIENTED TOWARDS EAST.
 THERE WAS NO REGULAR PRIESTHOOD.
 THE GREEK GODS WERE CONCEIVED IN
HUMAN FORM WITH HUMAN EMOTIONS.
13

14.  THE TERM HELLENIC IS USED TO DESCRIBE THE EARLY GREEK CIVILIZATION.
 ESSENTIALLY A COLUMNAR AND TRABEATED STYLE.
 SPANS WERE LIMITED BECAUSE OF TRABEATED STYLE.
 IN 600BC THE USE OF MARBLE WAS LIMITED.
 WALLS WERE CONSTRUCTED FROM ALL KIND OF RUBBLE AND ASHLAR, NO MORTAR WAS USED.
 STONE WALLS WERE BEAUTIFIED WITH MARBLE STUCCO.
 THEY DIDN’T USED VAULTS OR DOMES.
 EXTERIORS OF BUILDINGS WERE DESIGNED WITH COLONNADES.
14
 COLUMNS WERE MADE MORE ELEGANT AND DELICATE.

15.  THE TERM IS USED TO DESCRIBE GREEK CIVILIZATION WHEN IT WAS INFLUENCED BY THE MIDDLE EAST.
 THE ARCHITECTURE HAD A RELIGIOUS CHARACTER AFTER 4TH CENTURY B.C
 PUBLIC BUILDINGS APPEARED
 TOWN PLANNING AND CIVIC SENSE DEVELOPED.
 ARCHES STARTED APPEARING ON WALL OPENINGS.
 3 ORDERS WERE USED.
15

16. HELLENISTIC CITIES
GREEK CITY PLANNING WAS NOT ALWAYS AS ASYMMETRICAL & EVOLUTIONARY IN FORM AS THE AGORA IN
ATHENS. THE GREEKS WERE PERFECTLY CAPABLE OF PRODUCING REGULAR, ORTHONONAL TOWN PLANS AND
FREQUENTLY EMPLOYED THEM FOR COLONIAL CITIES, AS MAY BE SEEN AT PAESTUM (POSEIDONIA), WHICH A
STREET PATTERN FROM THE MID- SEVENTH CENTURY BCE THAT PRODUCED HUGE, ELONGATED, RECTANGULAR
BLOCKS.
WHILE MANY CITIES GREW ORGANICALLY OVER TIME, OTHERS WERE REBILT, OFTEN AFTER SUFFERING WAR
DAMAGE, ACORDING TO THE NEW, MORE REGULAR TOWN PLANNNING PRINCIPLES. SUCH WAS THE FACE IN THE
5TH AND 4TH CENTURIES BCE, WHEN A NUMBER OF TOWNS WERE PROVIDED WITH GRID BLOCKS & CAREFULLY
CONSIDERED OPEN SPACES AND ORTHOGAL AGORA.
16

17. 17
THE GREEK ORDERS

18. THE LANGUAGE OF ARCHITECTURE: THE THREE ORDERS OF COLUMNS USED IN GREEK
ARCHITECTURE
VITRUVIUS, THE ROMAN ARCHITECT WHOSE FIRST – CENTURY BCE TREATISE WAS BASED IN PART
ON EARLIER, NOW LOST, GREEK TEXTS, NAMES THREE SUCH ORDERS :
1 ) THE DORIC
2) THE IONIC &
3) THE CORINTHIAN.
THE DORIC , THE STURDIEST, WAS BASED ON THE PROPORTIONS OF A MAN.
THE IONIC, WAS LIGHTER IN CHARACTER TO REFLECT THE PROPORTIONS OF A WOMAN
THE CORINTHIAN, SLENDEREST OF ALL, HAD A HIGHLY DECORATED CAPITAL TO SUGGEST THE
FORM AND PROPORTIONS OF A YOUNG MAIDEN.
THE DORIC ORIGINATED ON THE MAINLAND OF GREECE, WHILE THE IONIC DEELOPED ON THE
ISLANDS OF THE AEGEAN AND THE COAST OF ASIA MINOR. THE CORINTHIAN ORDER ONLY
APPEARED LATER.
EACH ORDER HAS ITS OWN PARTICULAR COMBINATION OF ELEMENTS. THE DORIC COLUMN HAS
NO BASE AND HAS THE SIMPLEST CAPITAL ATOP THE FLUTED SHAFT; ITS ENTABULATURE
CONSISTS OF A PLAIN ARCHITRAVE AND ALTERNATING METOPES AND TRIGLYPHS IN THE
FRIEZE, WHICH IS CROWNED WITH A CORNICE.
18

19. THE DORIC ORDER AS FOUND ON THE
PARTHENON, ATHENS
THE DORIC’S CLEAR ARTICULATION OF
ELEMENTS CATCHES SUNLIGHT IN AN
EVER-CHANGING PLAY OF SHADE AND
SHADOW ACROSS THE CARVED
SURFACES. THIS MAY BE ONE REASON IT
HAS ENDURED EVEN TO THE PRESENT AS
AN EXPRESSIVE PART OF WESTERN
ARCHITECTURE
GCAD MONA CHANDRA 19

20. BUILDERS OF THE EARLY DORIC TEMPLES MADE USE OF
LOCALLY AVAILABLE MATERIAL, MOST OFTEN LIMESTONE.
THIS IMPOSED STRUCTURAL LIMITATIONS ON THE LENGTH
OF SPANS FOR LINTELS AND THE DIAMETER OF COLUMNS
NEEDED TO SUPPORT THE HEAVY TILE ROOF. IONIC
TEMPLES USED MARBLE, A SUPERIOR STONE, AND THUS
HAD A MORE SLENDER PROFILE.
AT PAESTUM IN SOUTHERN ITALY, THE TEMPLE OF HERA IN
THE FORMER COLONIAL CITY OF POSEIDONIA IS ONE OF
THE MOST SUBSTANTIAL OF SURVIVING ARCHAIC TEMPLES.
BUILT IN ABOUT 550 BCE, IT HAS STURDY DORIC
COLLUMNS. THE COLUMN SHATS SWELL, THEN DIMINISH,
AS THEY RISE TO THE BULBOUS ECHINUS MOULDING
THAT FORMS THE CAPITAL. THIS CHANGE IN SOLUMN
DIAMETER IS CALLED ENTASIS, AND IT WAS THOUGHT TO
BE COMPARABLE TO THE MASCULAR STRENGTH OF AN
ARM OR LEG, EXPRESSING VISUALLY THE PHYSICAL LOAD
SUSTAINED BY THE SHAFT. EACH FLUTE IS THE COLUMN HAS
A PRECISE EDGE, AN ARRIS, WHERE THE CURVED SECTIONS
OF ADJACENT FLUTES INTERSECT, AND THESE ARRISES RUN
ABSOLUTELY STRAIGHT UP THE SHAFT ON EVERY COLUMN.
ABOVE THE ECHINUS IS A FLAT SQUARE BLOCK, THE
TEMPLE OF HERA AT PAESTUM 550 BCE ABACUS, WHICH PROVEDES THE TRANSITION FROM THE
CYLINDRICAL FORM OF THE COLUMN TO THE
THE END ELEVATION OF NINE STURDY COLU,NS, WITH
RECTANGULAR AND LINEAR ARCHITRAVE ABOVE. JOINTS
ENTASIS, CAPITAL WITH FLATTENED ECHINUS PROFILES,
AND SUBSTANTIAL ABACUS BLOCKS, ALL SUPPORTING AN BETWEEN LIMESTONE BLOCKS ARE EASILY SEEN AT
ENTABLATURE. NOTICE HOW SHADOWS CAST BY FLUTING PAESTUM, AND THE LLIMITED SPANNING CAPABILITY OF
ON THE COLUMN SHAFTS ENHANCE THE SENSE OF THE STONE IS REFLECTED IN THE CLOSE COLUMN SPACING .
VOLUME
20

21. THE IONIC HAS A BASE SUPPORTING ITS FLUTED COLUMN SHAFT
AND A CAPITAL WITH VOLUTES (SCROLLS). ITS ENTABULATURE IS
ALSO COMPOSED OF AN ARCHITRAE AND FRIEZE. THERE IS
REGIONAL VARIATION IN THE IONIC : ALONG THE COAST OF ASIA
MINOR, THE FRIEZE IS USUALLY TREATED AS THREE STEPPED BANDS
OF MASONRY. WHILE ON THE MAINLAND OF GREECE THE FRIEZE
OFTEN FEATURES CONTINUOUS SCULPTED RELIEF. A CORNICE
OFTEN WITH DENTILS CONCLUDES THE ORDER.
THERE WAS ALSO GENERAL CONVENTIONS REGULATING THE
PROPORTIONS OF THE PARTS, THE OVERALL HEIGHT, AND THE
COLUMN SPACING, WHICH THE ANCIENT GREEKS ADJUSTED
ACCORDING TO PARTICULAR CIRCUMSTANCES. ITALIAN
ARCHITECTS OF THE RENAISSANCE 2000 YEARS LATER CODIFIED
THE PRACTICE INTO A SET OF MATHEMATICAL RATIONS BASED ON
THE COLUMN’S DIAMETER AT THE BASE, BUT MEASUREMENTS OF
SURVIVING TEMPLES PROVIDE NO EVIDENCE THAT THE GREEKS
EVER REDUCED TEMPLE DESIGN TO A SINGLE FORMULA. THE
ORDERS OF ARCHITECTURE WERE THUS AT ONCE SPECIFIC AND
FLEXIBLE, NOT A RESTRICTION FOR DESIGNERS BUT AN EXPRESSIE
MEDIUM THAT COULD BE ADAPTER TO PECIFIC CIRCUMSTANCES.
THE IONIC ORDER AS FOUND ON THE THE ORIGINS OF THE ORDERS REMAIN OBSECURE. VITRUVIUS
NORTH PORCH OF THE MAINTAINS THAT THE ORDERS WERE DERIVED FROM EARLIER
ERECHTHEION, ATHENS.
ARCHITECTURE IN WOOD, A MATERIAL THAT WE KNOW WAS ONCE
THE IONIC’S DECORATIVE FLOURISHES MAY
RELFECT INFLUENCE FROM ORIENTTAL USED FOR TEMPLES. EVEN AFTER WALLS AND COLUMNS WERE
SOURCES. ALTHOUGH THE ENTABLATURE IS BUILT IN STONE, WOODEN BEAMS CONTINUED TO BE USED FOR
SIMPLER THAN THE DORIC’S ITS CAPITALS FRAMING THE ROOF, SO THESE HAVE NOT SURVIVED.
AND BASES ARE SUBJECT TO CONSIDERABE
ARTISTIC INTERVENTION
21

22. CORINTHIAN
CAPITAL, THOLOS, EPIDAUROS
360 – 330 BCE
LAVISH CORINTHAIN CAPITALS LIKE
THIS COMBINED IONIC VOLUTES
WITH THE LEAVES OF THE
ACANTUS PLANT, WHICH IS STILL
COMMONLY FOUND IN THE
MEDITERRANEAN AREA. ONLY
PENTELIC MARBLE OR OTHER
STONE WITH SO FINE A GRAIN
ALLOWS FOR THE CARVING OF
SUCH FINE DETAIL.
22

23. PLAN OF THE PARTHENON COMPLEX
THE ACROPOLIS IS A PLATEAU RISING ABRUPTLY ABOVE THE PLAIN OF THE CITY. FROM THE EARLIEST
TIMES, THE ROUTE TO THE PANATHENAIC WAY FROM THE CIVIC COMMERCCIAL CENTER ( THE AGORA)
TO THE ACROPOLIS TRAVERSED A WINDING STEPPED PATH UP THE WESTERN ESCARPMENT. AS MOST
GREEK TEMPLES FACE EAST, THIS MEANS THAT THE INITIAL VIEW THAT ONE HAS IS OF THE BACK SIDES
OF THE BUILDINGS. IT HAS A DIGNIFIED SYMETRICAL ENTRANCE WAY AMID ASYMMETRIES
ACCOMMODATING A FRAGMENT OF THE ORIGINAL MYCENAEYAN FORTIFICATION WALL AND A
GRADIENT CHANGE THRU THE DEPTH OF THE BUILDING. 23

24. 24

25. THE ACROPOLIS, ATHENS 479BCE
(FROM THE ENTRANCE SIDE)
THE REMAINS OF THE PROPYLAEA TO
THE LEFT AND THE TINY TEMPLE OF
ATHENA NIKE IN THE CENTER STAND
OUT IN THE FOREGROUND WITH THE
GABLE END OF THE PARTHENON
VISIBLE ON THE RIGHT.
VIEW FROM BELOW OF THE
ACROPOLIS, ATHENS
THE PARTHENON TEMPLE SITS ON THE
HIGHTST GOUND AND STILL DONINATES
THE MODERN CITY. PART OF THE
ERECHTHEION IS VISIBLE AT THE EXTREME
LEFT, WHILE THE TEMPLE OF ATHENA NIKE
STANDS AT THE FAR RIGHT SIDE. IN THE
RIGHT FOREGROUND REMAIN THE RUINS
OF THE RAMS AND STAIRS THAT LED TO THE
PROPYLAEA. THE PARTHENON IS FIRST SEEN
AT AN ANGLE & THRU A SCREEN OF
COLUMNS 25

26. THE PERSIANS CONTROLLED
MESOPOTAMIA & THE IONIAN GREEK
AREAS AROUND THE AGEAN SEA IN ASIA
MINOR FROM THE MIDDLE OF THE 6TH
BCE. IN 480 BCE THE PERSIANS
ATTACKED THE GREEK PENINSULA AND
DESTROYED ATHENS BUT WERE FINALLY
DEFEATED BY THE GREEK NAVY. ATHENS
THEN DEVELOPED AS THE LEADING CITY
ON THE MAINLAND . IT UNITED WITH
IONIAN CITIES TO BETTER ITS MIGHT. A
CONSIDERABLE PORTION OF MONEY
WAS SPENT ON REBUILDING THE
RAVAGED ATHENIAN ACROPOLIS, WHICH
HAD BEEN A MILITARY, POLITICAL, AND
RELIGIOUS SANCTUARY SINCE
MYCENAEN TIMES. THE 4 BUILDINGS
ERECTED THERE AFTER 479 BCE
USHERED IN THE MATURE PHASE OF
GREEK ARCHITECURE KNOWN AS THE
CLASSICAL PERIOD (479 – 323 BCE)
THE PARTHENON ATHENS, 448 – 432 BCE
THIS IS HOW THE PARTHENON APPEARS TO SOMEONE LEAVING THE PROPYLAEA AND
LOOKING SOUTHEAST. AS IS THE CASE WITH MANY GREEK TEMPLES, THE BUILDING IS
SET SO THAT THE VIEWER LOOKS UP TO IT AND SEES TWO SIDES AT ONCE.
26

27. THE PARTHENON, ATHENS EXTERIOR OF THE CELLA WALL, AND ACTUAL USE OF
IT WAS THE LARGEST AND MOST FAMOUS OF THE GREEK THE IONIC ORDER IN THE WESTERN
TEMPLES, DEDICATED TO ATHENA POLIAS, PATRON GODESS OF OPISTHODOMOS (BACK ROOM) THAT HOUSED THE
THE CITY. AFTER THE PERSIANS DESTROYED THE 0LD TEMPLE OF TREASURY, WHERE 4 IONIC COLUMNS SUPPORT THE
ATHENA, A NEW PERIPTERAL TEMPLE, DESIGGNED BY THE ROOF. THE USE OF 8 COLUMNS ACROSS THE GABLE
ARCHITECTS IKTINOS AND KALLIKRATES WAS BUILT OF THE END, UNUSUAL IN DORIC, HAS CONNECTIONS TO
FINEST MARBLE FROM MOUNT PENTELIKOS (PENTELIC MARBLE). THE EARLIER IONIC TEMPLES. BEHIND THEM AT
IT WAS BUILT ON THE SAME SITE AS THE PREVIOUS EACH END STAND SIX PROSTYLE COLUMNS, OR
TEMPLE, WITH ENLARGEMENTS AND PROBABLY MADE USE OF COLUMNS IN FROM OF THE EAST AND WEST WALLS.
COLUMN DRUMS AND METOPES CARVED FOR THE OLDER ENTASIS , WHICH WAS RATHER HEAVY HANDED IN
TEMPLE. IT IS A DORIC TEMPLE, 8 COLUMNS WIDE X 17 THE TEMPLE OF HERA AT PAESTUM , WAS USED
COLUMNS DEEP, BUT IT INCORPORATES IONIC SUBTLY HERE TO CREAT A SENSE OF REPOSE.
ATTRIBUTES, INCLUDING SLENDER COLUMN PROPORTIONS, A MINUTE ADJUSTMENTS IN THE HORIZONTAL AND
CONTINUOUS FRIEZE AROUND THE VERTICAL LINES OF THE STRUCTURE ENHANCE THE
PERCEPTION OF ORTHOGONAL GEOMETRY: THE
STYLOBATE ( THE PLATFORM FROM WHICH THE
COLUMNS RISE) IS ACTUALLY CONVEX UPWARD;
THE COLUMNS INCLINE IMPERCEPTIBLE AWAY
FROM THE VIEWER; AND THE CENTRAL AXES OF THE
COLMNS ARE NOT VERTICAL BUT LIE ALOND RADII
EMANATING FROM A POINT OVER 6800’ ABOVE THE
GROUND.
THE COLUMNS ARE NOT THE SAME DIAMETER –
THE END ONES ARE LARGER – NOR ARE THEY
EQUIDISTANTLY SPACED; THE CORNER ONES ARE
CLOSER TOGETHER.
27

28. SCULPTED FIGURES ADORNED BOTH THE OUTSIDE AND THE INSIDE OF THE PANTHENON. THE 2 END PEDIMENTS WERE
FILLED WITH OVER – LIFESISE FIGURES REPRESENTING, ON THE EAST, THE BIRTH OF ATHENA WHINESSED BY THE
DOGS, AND ON THE WEST , THE CONTEST BETWEEN ATHENA AND POSEIDON FOR CONTROL OF ATHENS. THE METOPES
CONTAINED RELIEF SCUPLTURES DEPICTING STRUGGLES BETWEEN GREEKS AND AMOZONS. GREEKS AND TROJANS, GODS
AND GIANTS, AND LAPITHS (PEOPLE OF THESSALONIA) AND CENTAURS (CREATURES COMBINING THE UPPER TORSOS OF
MEN WITH THE B ODIES OF HORSES), ALL COMMEMORATING THE TRIUMPH OF GREEKS CIVILIZATION OVER
BARBARIANISM.
28

29. PLANS OF THE PROPYLAEA (437BCE)
& TEMPLE OF ATHENA NIKE (425 BCE)
THE PROPYLAEA DEFINED THE ENTRANCE TO THE
ACROPOLIS, WHILE THE SMALER TEMPLE OF ATHENA NIKE
STOOD ON THE FORWARD PROJECTION, VISIBLE AT AN ANGLE TO
THOSE ENTTERING THE ACROPOLIS. EVOLOVED FROM EALIER
FORTIFIED GATEWAYS, THE PROPYLAEA HAD BECOME AN
ARCHITECTURAL DEVICE FOR MARKING THE TRANSITION FROM
PROFANE TO SACRED SPACE AND FOR CONTROLLING VIEWS
TOWARD THE ERECTHEION AND PARTHENON.
A CONTINNUOUS FRIEZE RAN AROUND THE OUTSIDE OF THE
CELLA WALLS BEHING THE COLONNADE, PROTRYAING A SACRED
PROCESSION OF ATHENIANS BRINGING GIFTS TO
ATHENA, POSSIBLY AS A THANK OFFERING FOR VICTORY OVER
THE PERSIANS & ATHENA AND THE OTHER GODS ARE SHOWN
RECEIVING THE OFFERINGS.
THE CELLA OF THE PARTHENON WAS ONE OF THE LARGEST
CELLAS BUILT IN CLASSICAL GREECE. IN THE CELLA IS A LARGE
CULT STATUE OF THE GODESS ATHENA WITH A NIKE (GODESS OF
VICTORY) IN HER RIGHT HAND AND A SHIELD RESTING AT HER
LEFT. THE STATUE HAD WOODEN ARMATURE FINISHED WITH
WIDE INTER
HIGHLY VALUED MATERIALS. IVORY WAS USED FOR ALL EXPOSED
COLUMNATION IN T
PARTS OF THENA’S BODY; HER DRAPERY, ARMOR, AND HELMET
CENTER
WERE PREPRESENTED IN GOLD; AND PRECIOUS METALS WERE
USED FOR EYES AND FOR DECORATING HER ROBES AND
ARMOUR.
BEING A VERY LARGE SPAN OF 40’, SOME SCHOLARS SPECULATE
THAT THE CELLA WAS OPEN TO THE SKY, BUT THAT WOULD
REDUCE THE DRAMA OF THE SUN PENETRATING TO THE STATUE
ON THE DAY OF ATHENA BIRTH AS THE PARTHENON IS SO
ORIENTED.
13th september 2010 29

30. THE SMALL TEMPLE OF THE ATHENA NIKE WITH ITS REFINED
DETAILING AND SMALL SIZE MADE IT A MODEL FOR
GARDEN TEMPLES IN THE 18TH CENTURY.
THE ERECHTHEION IS BUILT ON THE SITE OF THE
MYCENAEAN PALACE THAT WAS ALSO REGARDED AS THE
LOCATION OF THE CONTEST BETWEEN ATHENA AND THE
GOD POSEIDON. MYTH HAS IT THAT IN A COMPETITION TO
DECIDE WHO SHOULD BE NAMED AS THE PATRON OF THE
CITY, POSEIDON STRUCK HIS TRIDENT ON A ROCK AND
CREATED A SPRING WHILE ATHENA BROUGHT FORTH AN
OLIVE TREE. UNDER THE TEMPLE IS THE ‘SEA OF
ERECHTHEUS, A SALT-WATER SPRING THAT MADE THE
SOUND OF THE SEA AND HAD A ROCK BEARING THE MARK
OF POSEIDON’S TRIDENT.
THE ERECHTHEION KNITS TOGETHER THESE ASSORTED
STRANDS OF SITE-SPECIFIC HISTORY WHILE DEFERING TO
THE DOMINANCE OF THE PARTHENON. THE TEMPLE IS
BUILT ON 2 DIFFERENT LEVELS TO ACCOMMODATE THE
UNEVEN SITE. THE EASTERN PORTICO, DISTINGUISHED BY
ITS SLENDER IONIC COLUMNS LED TO ATHENA’S
SANCTUARY, WHILE THE NORTH PORCH, ITS STYLOBATE 10’
LOWER, GAVE ACCESS TO POSEIDON’S SHRINE THROUGH
AN EVEN MORE ELONGATED IONIC PORTICO. 4 IONIC
COLUMNS PARTIALLY ENGAGED IN THE WALL, EXTEND
ACROSS THE WEST FASCADE TO THE SOUTH, WHERE THE
VIEW FROM THE SOUTH OF THE ERECHTHEION, ATHENS 421 – 407 BCE
ROOF OF THE SPLENDID PORCH FACING THE PARTHENON IS
SUPPORTED BY THE 6 CARYATID MAIDENS BELIEVED TO
THE ENTRANCE TO POSEIDON’S SHRINE IS MADE THROUGH THE PORTICO
REPRESENT THE WOMEN OF A NEIGHBOURING STATE
ON THE LEFT. THE HEIGHT OF ITS IONIC ORDER RESULED FROM CHANGES
TAKEN CAPTIVE FOR HELPING THE PERSIANS IN THE WAR
HERE IN THE SITE’S TERRAIN. THIS VARIATION OF THE IONIC ORDER
AGAINST ATHENS.
BECAME MUCH ADMIRED BY 18TH CENTURY NEO-CLASSICAL ARCHITECTS
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31. THE ERECHTHEION
421 – 407BCE
THIS VIEW FROM THE SOUTHEAST SHOWS THE IONIC COLMNS OF THE ENTRY TO
ATHENA’S SHRINE (RIGHT) AND THE PORCH DISPLAYING THE CARYATID MAIDENS (LEFT).
IN THE LEFT FOREFROUND ARE THE REMAINS OF THE OLD TEMPLE OF ATHENA
POLIAS, DESTROYED BY THE PERSIANS, ON WHICH THE CARYATIDS GAZE IN PERPETUITY.
31

32. THE PARTHENON LATER BECAME A CHURCH AND ITS
STATUE WAS SMASHED.
AFTER THE TRUKS OCCUPIED GREECE, IT BECAME A
MOSQUE.
BY 1687 IT WAS BEING USED AS A MUNITIONS
STORAGE, AT WHICH TIME IT WAS BOMBARDED BY
THE VENETIANS. THE DIRECT HIT RIPPED OUT THE
CELLA WALL AND DISLODGED MANY SCULPTURES
SOME OF WHICH WERE CARRIED OFF BY THE
VENETIANS. SOME OF THE SCULPTURES ARE NOW
HOUSED IN THE BRITISH MUSEUM, BUT THE GREEK
GOVERNMENT IS EAGER TO HAVE THEM BACK. A
MAJOR RESTORATION PROJECT ON THE ACROPOLIS
TOOK PLACE AS PART OF THE PREPERATION FOR THE
2004 OLYMICS IN ATHENS.
ATHENS WAS LATER CONQUERED BY THE KING PHILIP
OF MACEDONEA IN 338BCE, WHOSE SON WAS
ALEXANDER THE GREAT. ALEXANDER CONQUERED
MANY LANDS FROM EGYPT TO THE INDUS, BUT THE
ARCHITECTURAL STYLE PROPOGATED BY HIM WAS
IONIC WHICH REFLECTED AN ORIENTAL
EXUBERANCE. HE ADOPTED ORIGINAL ASPECTS OF
THE PERSIAN COURT AND SO HIS STYLE IS CALLED
‘HELLENISTIC’ AND NOT ‘GREEK’
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33. PLAN OF THE TEMPLE OF PLAN OF THE TEMPLE OF APOLLO
PLAN OF THE TEMPLE OF EPICURIUS, BASSAI 430 BCE
HERA,OLYMPIA 600 – 590 BCE HERA, PAESTUM 550 BCE
ALL THREE OF THE GREEK ORDERS WERE USED
THE ORIGINAL WOODEN COLUMNS OF THIS TEMPLE REPRESENTS ONE OF THE
HERE. DORIC COLUMNS FORMED THE EXTERNAL
THIS EARLY GREEK TEMPLE WERE REBUILT EARLIEST EXAMPLES OF THE DORIC ORDER. IT
COLONNADE, IONIC COLUMNS WERE PARTIALLY
IN STONE,PERHAPS TO PROVIDE BETTER IS UNUSAL IN HAVING AN ODD NUMBER OF
ATTACHED TO THE CELLA WALL AND A SINGLE
SUPPORT FOR THE HEAVIER ROOF TILES COLUMNS ACROSS THE SHORT SIDE, PLACING
CORINTHIAN COLUMN WAS PLACED ON THE
THAT REPLACED THATCH A COLUMN IN THE CENTER WHERE ONE
CENTRAL LONGITUDINAL AXIS. LIGHT SHONE ON
WOULD EXPECT AN INTERCOLUMNAR SPACE
THE CULT STATUE FROM AN OPENING IN THE
FOR CENTRAL AXIAL ENTRY
EAST WALL
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34. SANCTUARY OF ASKLEPIOS AT EPIDAUROS
THE CORINTHIAN ORDER WAS EMPLOYED ON A
SUBSTANTIAL SCALE IN THE THOLOS AT THE SANCTUARY OF
ASKLEPIOS AT EPIDAUROS (360 – 330 BCE), A CIRCULAR
BUILDING APPROXIMATELY 72’ IN DAIMETER, KNOWN
NOW FORM ITS FOUNDATIONS AND REASSEMBLED
FRAGMENTS PRESERVED ON SITE. EPIDAUROS WAS
DEDICATED TO THE GOD ASKLEPEOS, THE SON OF
APOLLO, AND BOTH GODS WERE NEREATED HERE IN A
LARGE COMPLEX DEDICATED TO HEALING THRU
EXERCISE, DIET, AND MEDICAL CARE. THE THOLOS IS BUT A
SMALL PART OF A SITE THAT INCLUDED A
STADIUM, GYMNASIA, A THEATRE, ALTARS, FOUNDATINS
AND BATHS, TEMPLES, AND ACCOMMODATION FOR
PATIENTS.
ITS EXTERNAL COLONNADE WAS COMPOSED OF 26 NOS
DORIC COLUMNS, AND THERE WERE 14 FREESTANDING
CORINTHIAN COLUMNS IN THE INNER CIRCULAR
COLONNADE FITTED INTO A BLACK & WHITE RHOMBOIDAL
FLOORING PATTERN. THE CEILING HAD ORNATE COFFERS
FLOOR PLAN (LOWER HALF) & REFLECTED CEILING PLAN WITH FLORAL DECORATIONS. HOW EXACTLY THIS BUILDING
(UPPER HALF), THOLOS, EPIDAUROS 360 – 330 BCE
WAS USED IS NOT KNOWN. IT HAS BEEN SUGGESTED THAT
PARTS OF THE BEAUTIFULLY DETAILED CEILING COFFERS THE UPPER STORY MATCHES THAT FOR A SHELTER OF A
HAVE SURVIVED AS INDICATIONS OF THE EXQUISITE TOMB AND THAT THE CIRCULAR CORRIDORS EVIDENT
HELLENISTIC DETAILING FROM THE FOUNDATION REMAINS WERE EVOCATIE OF
PASSAGE THRU THE UNDERWORLD TO THE TOMB OF
ASKLEPIOS.
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35. THEATER EPIDAUROS,350-200BCE
THE THEATRE AT EPIDAUROS IS EXCEPTIONALLY WELL PRESERVED AND BEAUTIFULLY SITED IN THE LANDSCAPE, LOOKING OUT TO
DISTANT HILLS. TRADITION ASSIGNS ITS DESIGN TO POLYKLEITOS, ARCHITECT OF THE THOLOS, BUT NOT ALL SCHOLARS AGREE WITH
THIS ATTRIBUTION. THE THEATER WAS BUILT IN 2STAGES, THE LOWER 5000 SEATS IN 34 TIERS DATING FROM 350 BCE, WHITH THE
UPPER 23 TIERS BEING ADDED IN THE SECOND STAGE.
5TH CENTURY ATHENIANS CONSTRUCTED THE THEATER OF DIONYSOS ON THE SOUTH SIDE OF THE ACROPOLIS HILL, USING THE
RISING EMBANKMENT TO PROVIDE SUPPORT FOR A CONCENTRIC SEATING FOCUSED ON THE CIRCULAR ORCHESTRA, A FLAT AREA
FOR DANCING. BEHING THE ORCHESTRA WAS A BACKDROP STRUCTURE, THE SKENE, & THE ARE DIRECTLY IN FRONT, THE
PROSKENION, WAS A RAISED PLATFORM FROM WHICH ACTORS DECLAIMED THEIR LINES. (NOTE H OW THIS TERMINOLOGY
CONTINUES TO BE USED TODAY; THE FRAMING ARCH OVER THE STAGE OF TODAY’S THEATERS IS KNOWN AS THE PROSCENIUM,
WHILE THE ORCHESTRA SEATS ARE THOSE PLACED DIRECTLY IN FRONT OF THE STAGE). SEVERAL DOORS SET IN THE SKENE SERVED
AS ENTRANCES & EXISTS AS NEEDED IN THE DRAMA, AND ACTORS SPOKE LINES FROM THE GODS FROM THE ROOF O FTHE
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BUILDINGS.

36. PLAN OF THE THEATER EPIDAUROS,
350 – 200 BCE
VIRTUALLY EVERY GREEK CITY HAD ITS OWN THEATER THAT COULD ACCOMMODATE A GOOD PORTION OF
THE POPULATION, AS ATTENDING FRAMATIC PERFORMANCES WERE ENCOURAGED TO PROMOTE CIVIC 36
VALUES

37. HIPPODAMUS OF
MILETUS, PUPIL OF PYTHAGORA, IS
OFTEN REGARGED AS THE FATHER
OF CITY PLANNING. HIPPODAMUS
DID NOT ‘INVENT’ THE GRID PLAN AS
IT HAD EXISTED FROM EARLIER
TIMES. HIS CONTRIBUTION SEEMS
TO HAVE INVOLVED CONSOLIDATING
& ARTICULATING THE
RELIGIOUS, SOCIAL & COMMERCIAL
ELEMENTS OF THE CITY CENTER
WITH REGULAR BLOCKS OF HOUSES
ADJUSTED TO FIT THE PARTICULAR
CIRCUMSTANCE OF THE
TOPOGRAPHY. HIPPODOMUS’S
BIRTHPLACE WAS THE LEADING CITY
OF IONIA. AFTER ITS DESTRUCTION
BY THE PERSIANS IN 494BCE , THE
CITY WAS REBUILT WITH A PLAN OF
RECTANGULAR RESIDENTIAL BLOCKS
AND AN ORTHOGONAL AGORA.
37

38. STOA OF ATTALOS, ATHENS 159 – 132 BCE
THIS BUILDING WAS CONTRIBUTED TO THE CITY BY ATTALOS OF PERGAMON. IT IS RECONSTUCTED FORM, IT AND THE HEPHASTEION ARE
THE ONLY STRUCTURES FORM ANTIQUITY REMAINING IN THE ATHENIAN AGORA. THE COLUMN FILE ORGAIZATION OF THE STOA CAN BE
TRACED BACK TO EGYPTIAN COMPLEXES SUCH AS THE TEMPLES OF QUEEN HATSHEPSUT & MENTUHOTEP.
TOWN PLANNING WENT BEYOND SPECIFYING THE LOCATION OF THE CIVIC BUILDINGS, THE LAYOUT OF STREETS, AND THE
POSITIONING OF OPEN SPACES, TO ENCOMPASS DESIGN OF TYPICAL SINGLE – FAMILY HOUSES FOR AN ESTIMATED POPULATION OF
15,000 TO 20,000. HOUSES WERE CONSISTENTLY ORIENTED WITH THEIR MAJOR ROOMS OPENING TO THE SOUTH, AND THE
MEGARON FORM ALREADY FAMILIAR FROM MYCENAEAN TIMES WAS USED AGAIN AS THE BASIC LIVING UNIT OF THE HOUSE.
DURING HELLENISTIC PERIOD BOTH ARCHITECTURE & T.P. BECAME MORE ELLABORATE AND THEATRICAL.
38

39. PLAN OF PAESTUM (POSEIDONIA) 7TH CENTURY BCE
THIS GREEK COLONIAL CITY WAS LAID OUT WITH ELONGATED BLOCKS ON THE ORTHOGONAL PATTERN. ACROSS THE CENTER WA
THE PULIC SECTOR, WITH COMMERCIAL STRUCTURES, GOVERNMENT BUILDINGS, & TEMPLES, INCLUDING THE TEMPLE OF HERA.
THIS SITE WAS SUBMERGED BY THE SEA DURING THE MIDDLE AGES BUT IS LOCATED AGAIN ON DRY LAND TODAY 39

40. THE HIGH PLINTH ON WHICH THE ALTAR STOOD BECAME THE LOCATION FOR A FRIEZE OVER 300’ IN LENGTH &
SCULPTED WITH SCENES OF BATTLES BETWEEN GODS AND GIANTS, AN OBVIOUS ALLUSION TO THE RECENT BATTLES WITH
THE CELTS.
INTERWINED WINGS, ARMS, AND WRITHING SNAKE BODIES CREATE A DYNAMIC COMPOSITION. EVEN THE HAIR ON THE
GODS’ HEADS AND BEARDS FALLS IN ANIMATED COILS. THE HIGHLY DRAMATIC FRIEZE CONTRASTS WITH THE ELEGANT
COLONNADED BUILDING ABOVE, AND IT ALSO COMPLEMENTS THE EUQALLY DRAMATIC SITE, AN ARCHITECTURAL TOUR
DE FORCE THAT HAS LITTLE OF THE RESTRAINT AND SUBLIMATED FLEEING THAT GOVERNED THE DESING OF THE
40
ATHENIAN ACROPOLIS.

41. WHILE ARCHAELOGY ON MINOAN
SITE IN CRETE HAS NOT YET
ESTABLISHED A SATISFACTORY
PICTURE OF MINOAN DESIGN
THINKING. EVIDENCE DOES SUGGEST
SOME KIND OF EXPERIENTIALLY
BASED PLANNING, OR PERCEPTUAL
THINKING, AS OPPOSED TO
ABSTRACT, GEOMETRIC
ORDERING, OR CONCEPTION
THINKING.
THE MAINLAND MYCENAEANS
INVENTED THE MEGARON, WITH ITS
TWO SPATIAL UNIT PLAN OF
PRODOMOS AND DOMO. THE
MEGARON ANTICIPATED THE
CLASSICAL GREEK TEMPLE
PLAN, WITH ITS 3 SPATIAL UNITS :
PRONAOS, NAOS OR CELLA AND
OPISTHODOMUS.
THE APPROACH TO THE PARTHENON WAS ALONG A ROUTE WITH CONSTANTLY CHANGING ORIENTATIONS, CULMINATING IN AN
OBLIQUE VIEW OF THE FREE STANDING TEMPLE THROUGH THE COLUMN SCREEN OF THE PROPYLAEA. SUCH A FLUID SYSTEM OF
MOVEMENT, COMPARABLE TO MINOAN DESIGNS, GAVE WAY IN THE HELLENISTIC PERIOD TO GEOMETRIC REGULARITY, AXIALITY,
AND RIGOROUSLY ORGANIZED BUILDING ENSEMBLES AND ENVIRONMENTS. AND THIS NEW TYPE OF PLANNING WAS LATER
APPROPRIATED BY REPUBLICAN ROME. IN THE 19TH CENTRY, THE CLASSICAL LANGUAGE OF ANCIENT GREEK ARCHITECTURE
WOULD REAPPEAR THROUGHOUT EUROPE IN THE FORM OF THE GREEK REVIVAL. THE END
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