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1. Presented by :
Ar.Shruti

3. v Neoclassical architecture was a reaction to
Rococo and Baroque architectural styles.
New discoveries of Greek and Roman
architecture led Neoclassical period, which
lasted 1850-1900.
v Neoclassical buildings have few defining
characteristics:
Clean, elegant lines
Uncluttered appearance
Free standing columns
Massive buildings

4. v The ideal form that Neoclassical architecture looks at
was the temple. Which was represented classical
architecture in its purest form.
v Columns were used to carry the weight of the
building's structure. But later they became used as a
graphical element.
v Roof is usually flat and horizontal and often is visible
from the ground.
v Neoclassical architecture style had no domes or
towers.
v Building's facade is flat and long. Often having a
screen of free-standing columns.
v Exterior was built in such ways as to represent
classical perfection. Doors and windows were built to
represent that perfection. Decorations were reduced
to a minimum on outside.
v There were often gardens around buildings completed
in geometric patterns.

5. Building's Facade, consisting of flat and long rows of
columns. Simplicity and massive size is emphasized
here.
Exteriors

6. Notice uncluttered appearance and columns that carry
the building's weight.

7. Interiors

8. The Arc de Triomphe was commissioned by
French Emperor Napoleon Bonaparte in 1806; it
was designed by French architect Jean-Francois-
Thérèse Chalgrin, but was completed after his
death by French architect Jean-Armand Raymond.

9. The Place Vendôme Column erected by Napoleon, executed
by a team of sculptors including Pierre-Nolasque Bergeret,
Jean Joseph Foucou, Louis-Simon Boizot, François Joseph
Bosio, Lorenzo Bartolini, Claude Ramey, Francois Rude,
Corbet, Clodion. Its veneer of 425 spiraling bas-relief bronze
plates were made out of cannon taken from the combined
armies of Europe. On the the top, a late statue of Napoleon by
Augustin Dumont.

10. • Jean-­‐Nicolas-­‐Louis
Durand
(Paris,
September
18,
1760
–
Thiais,
December
31,
1834)
was
a
French
author,
teacher
and
architect.
He
was
an
important
figure
in
Neoclassicism,
and
his
system
of
design
using
simple
modular
elements
anticipated
modern
industrialized
building
components.
Having
spent
periods
working
for
the
architect
Étienne-­‐Louis
Boullée
and
the
civil
engineer
Jean-­‐Rodolphe
Perronet,
in
1795
he
became
a
Professor
of
Architecture
at
the
École
Polytechnique.

11. — The
categories
Durand
used
generally
fall
within
two
major
groups:
historical
(Egyp-­‐tian
temples,
Roman
palaces,
Moorish
de-­‐tails)
and
functional
(theaters,
markets,
hospitals).
— There
is,
however,
one
plate
in
the
book
that
falls
outside
these
two
main
categories.
—
The
title
of
the
third
plate
is:
"Round
temples"
(Figure
2).
— This
is
not
a
historical
or
functional
classification,
but
rather
one
that
considers
form
as
a
distinc-­‐tive
feature
of
a
building.9
— This
significant
exception
among
the
plates
of
the
Recueil
opens
a
new
path
of
theoretical
develop-­‐ment
and
anticipates
the
direction
that
Durand
took
in
his
next
book,
the
Precis
des
le'ons.

12. — based
on
the
distinction
between,
on
the
one
side,
simple,
geometric
forms
and,
on
the
other,
complex
and
more
architectural
ones.
—
According
to
this
distinction,
a
type
corresponds
to
a
simple,
geometric
form,
from
which
more
elaborate
forms
can
be
derived.
—
It
is
this
concept
of
type
that
epitomizes
the
genuine
principles
of
archi-­‐tecture
that
Durand
pretended
to
find.

14. — The
fundamental
elements
of
a
building
and,
by
extension,
of
architecture
were
for
Durand
those
that
can
be
found
in
any
building,
regardless
of
its
style
or
ep-­‐och.
Thus,
he
argued,
the
simplest
elements
that
can
be
found
in
most
buildings
include
walls
and
openings,
columns
and
the
parts
to
which
they
give
support,
slabs
and
roofs,
and
vaults.
— Porches,
lobbies,
stairs,
lounges,
and
courts
are
those
parts
of
the
buildings,
or
parties,
which
result
from
the
combination
of
the
simplest
elements.
— Fi-­‐nally,
the
last
step
is
the
ensemble
des
edifices,
which
meanst
o
combinet
he
parties
to
produce
a
building."
Durand
considers
the
dlements
des
idifices
to
be
"that
which
words
are
to
dis-­‐
course,
and
notes
are
to
music."12
However,
the
comparison
of
language
or
music
with
architecture
is
not
completely
justified
in
this
case
because
words
and
notes
are
purely
abstracts
ymbols,w
hereasD
urand'sd
liments
des
edifices(
walls,c
olumns,
and
vaults)a
re
not
abstractions,
but
ratherp
hysicalc
ompo-­‐
nents
that
make
up
a
building

16. — At
this
point
in
his
theoretical
dis-­‐course,
Durand
ran
across
one
of
the
permanent
dilemmas
of
architecture:
the
separation
between
the
abstract
and
the
physical
realms.'3
— He
responded
to
this
di-­‐lemma
immediately
after
defining
the
ildments,
when
he
wrote
that
the
study
of
those
elements
will
be
considered
from
two
points
of
view:
first,
with
regard
to
materials
and
construction,
and,
second,
form
and
proportions.
—
The
illustration
of
the
elements
re-­‐flects
this
separation
of
the
abstract
and
physical
realms.
Some
elements,
like
the
pitched
roofs
and
slabs,
are
de-­‐picted
in
much
the
same
way
as
they
would
appear
in
a
construction
manual.
— The
drawings
of
vaults,
on
the
other
hand,
are
more
conceptual
and
schematic.
They
are
reduced
to
geometric
figures
and
symbols.
—
In
the
light
of
Durand's
elements,
a
distinction
between
building
and
architec-­‐ture
has
to
be
made.
As
the
title
of
the
plate
properly
indicates,
Durand's
ele-­‐ments
are
in
fact
the
elements
of
buildings,
but
they
could
barely
become
the
elements

18. — The
Method
of
Composition
Once
the
elements
of
architecture
have
been
defined,
the
next
logical
step,
accord-­‐ing
to
Durand's
strategy,
is
to
define
a
method
of
composition
by
which
the
most
primitive
elements
may
be
combined,
in
a
logical
fashion,
into
more
complex
ones
to
produce
a
building.
— The
definition
of
ar-­‐chitecture
at
the
beginning
of
the
Precis
is
consistent
with
this
principle
of
composi-­‐tion:
"Architecture
is
the
art
of
composing
and
executing
allpublic
and
private
build-­‐ings.”
To
design,
then,
is
to
compose,
that
is
to
say,
to
combine
some
previously
deter-­‐
mined
elements
according
to
certain
proce-­‐dures
that
can
be
made
explicit.’

20. — Method
to
Follow
in
the
Composition
ofAny
Project
In
the
didactic
manner
that
characterizes
his
whole
work,
Durand
describes
the
method
graphically
as
a
step-­‐by-­‐step
pro-­‐cess.
— The
process
described
in
the
plate
is
based
on
six
stages.
—
The
first
stage
consists
of
the
layout
of
the
main
axes
of
the
composition.
— In
the
second
stage,
a
new
grid
of
secondary
axes
complements
the
primary
ones
—
Then,
walls
are
laid
out
along
the
axes,
and
col-­‐umns
are
placed
within
the
areas
bounded
by
walls.
—
In
the
fifth
stage,
the
walls,
porticoes,
stairs,
and
other
architectural
elements
are
drawn
in
plan
view.
—
Finally,
the
elevation
and
the
section
are
generated
from
the
plan.
A
fundamental
aspect
of
the
method
is
the
fact
that
it
can
be
described
by
means
of
a
graphic.
— The
graphic,
in
this
case,
is
much
more
than
a
mere
illustration
of
a
procedure
that
could
be
described
by
other
means;
it
is
the
expression
of
an
architec-­‐tural
concept
by
means
that
are
exclusively
architectural.
Because
of
this,
a
detailed
analysis
of
the
illustration
is
not
only
perti-­‐nent,
but
also
necessary
to
assess
the
scope
of
the
method
proposed
by
Durand.

25. Chiswick House
London
One
of
the
most
glorious
examples
of
18th-­‐century
British
architecture,
Chiswick
House
was
designed
by
the
third
Earl
of
Burlington
(1694-­‐1753).
A
promoter
of
the
Palladian
style
pioneered
by
Inigo
Jones,
Burlington
sought
to
create
the
kind
of
house
and
garden
found
in
the
suburbs
of
ancient
Rome.
To
do
this,
he
employed
William
Kent
to
design
sumptuous
interiors
to
contrast
with
the
pure
white
exterior.
An
exhibition
and
video
tell
the
story
of
the
house,
grounds
and
Lord
Burlington,
including
his
‘grand
tours’
of
Europe.
As
you
walk
through
the
house,
take
in
the
splendour
of
the
Gallery
with
its
beautiful
painted
and
gilded
ceiling,
and
discover
the
Red,
Blue
and
Green
Velvet
rooms.
Then
step
into
the
classical
gardens
–
a
perfect
complement
to
the
house
itself.
The
grounds
are
fascinating
–
look
for
the
unique
statuary
in
the
Italianate
gardens
and
the
recently
restored
water
cascade.
This
villa
on
the
banks
of
the
Thames
west
of
London
has
puzzled
visitors.
It
lacked
a
kitchen,
dining
room,
and
service
facilities;
it
is
not
even
clear
that
it
originally
had
bedrooms.
It
is
relatively
small-­‐-­‐about
70
feet
square
in
plan.
It
certainly
served
as
an
art
gallery-­‐-­‐the
central
octagonal
domed
space
had
large
paintings
and
the
three
adjoining
rooms
on
the
garden
front
served
as
art
galleries.

26. Richard
Boyle
and
William
Kent,
Chiswick
House,
1725,
London,
England

28. Villa
Rotunda,
Palladio

29. • Boyle:
amateur
architect
• Kent:
interior
and
garden
designer
• Influence
of
Palladio’s
Villa
Rotunda;
Palladio’s
statue
is
placed
at
far
left;
Palladian
motif
of
the
decorated
halls
on
the
balustrade
of
the
main
floor;
Palladian
low
dome;
main
floor
raised
over
exposed
basement
level;
pediments
over
windows
and
doors.

30. • Jones
statue
at
far
right
(father
of
English
classicism)
• Symmetrical
balance
of
façade,
even
chimneys
were
balanced
• Un-­‐Italian
are
the
large
semicircular
dome
windows
and
oblesklike
chimneys
• Rusticated
bottom
floor
influenced
by
Italian
Renaissance
buildings
• Clear,
open,
white
stone
surface
above,
with
no
ornamentation

31. • Baroque
tradition
lingers
in
the
double
staircase
that
changes
view
as
it
ascends
• Domed
central
room
is
an
art
gallery
containing
busts
and
paintings
• Not
a
real
residence,
but
a
pavilion
where
Boyle
would
entertain
guests
and
show
his
art
collection
• Richly
decorated
rooms
of
brilliant
color

32. — THANK
YOU