Classical Architecture:

A Timeless Embodiment of Balance, Harmony, and Elegance

PREPARED BY :

JAMUNA BAMANU(770113)

KRISHMA DUWAL(770117)

NIRUTA SHRESTHA (770122)

PUNISHA TITAJU(770127)
 Table of contents

01 INTRODUCTION

02 VITRUVIUS

03 THE PARTHENON
 Introduction
● A style of building originated in ancient Greece (5th
century) and Rome (3rd century)
● Known for the ornamentation of their columns and
pediments
● Visual emphasis on the facade which were often filled with
reliefs and statues
● Reproduced throughout the architectural history; The
Renaissance, Neoclassicism etc
● Primarily trabeated (post & beam) and evolved from timber
origin
● Colosseum, Pantheon, Parthenon, Erechtheion;most
common examples
Colosseum
Pantheon

Parthenon Erechtheion
 Characteristics
● Followed the concept of boldness, humility and intellect
● Symmetry and proportion: evenly spaced out columns and windows
● Columns in specific style(orders): Doric, Ionic and Corinthian for
Greek & Tuscan and Composite for Romans
● Front topped with a pediment: full height front porch with pediment
on top and centrally positioned door
● Durable building material: marble, concrete and brick
● Elegance and Simplicity: values simplicity and elegance in design.
Not too much ornamentation is applied to enhance the building's
aesthetic without overwhelming it.
Elements
Classical Orders
 MARCUS VITRUVIUS POLLIO

● Roman classical architect, engineer, and writer who lived during the first
century BC.
● Born in northern Italy and received a comprehensive education in mathematics,
science, and engineering.
● Best known for his influential book, De Architectura,
● Originated the idea that all buildings should have three attributes: Firmitas,
Utilitas, and Venustas
● Served as a military engineer under Julius Caesar initially
● Later worked on several architectural projects, including the construction of
public buildings, aqueducts, and fortifications.
 DE ARCHITECTURA

● Treatise on architecture written by Marcus Vitruvius Pollio in the first century BC. It was based on his own
experience as well as on theoretical works by famous Greek architects such as Hermogenes.
● De Architectura outlines three key design principles :proportion, symmetry, and durability ,were essential to
creating buildings that were both functional and aesthetically pleasing.
● The book is divided into ten volumes, each focusing on a different aspect of architecture, such as materials,
proportions, and construction techniques.
● For example, Vitruvius discusses the importance of using durable materials, such as stone and brick, and

emphasizes the need for symmetry and proportion in design.

 HIS CONTRIBUTION
● De Architectura
● Principles of Architecture
● Proportions and Symmetry
● Construction Techniques
● Town Planning and Engineering
● Historical Insights
● Influence on Renaissance Architecture

Vitruvius designed and supervised the construction of this Basilica

in Fano (reconstruction). However, many of the other things he did
would not now be considered the realm of architecture.
 In conclusion, Marcus Vitruvius Pollio was a remarkable figure in the
history of architecture and engineering. His work, De Architectura, is
still studied and admired today for its insights into design principles such
as proportion, symmetry, and durability.
His's legacy has had a lasting impact on the field of architecture,
influencing countless designers and engineers over the centuries. His
contributions to the field cannot be overstated, and we owe him a debt of
gratitude for his insights and innovations.

Vitruvian Man
 THE PARTHENON
(TEMPLE OF VIRGIN GODDESS: ATHENA)

● Temple that dominates the hill of the Acropolis at Athens,

Greece
● Built in the mid-5th century BCE and dedicated to the Greek
goddess Athena Parthenos (“Athena the Virgin”) -under the
Architects Ictinus and Callicrates.
● Generally considered to be the Culmination of the
development of the Doric order, the simplest of the three
Classical Greek architectural.
● Includes gold and ivory statue of Athena for interior
decoration and exterior decoration of the building continued
until 432 BCE.
Fig: Acropolis
 HISTORY
● The Parthenon suffered damages due to earthquakes, looting,
and conversion into different uses throughout the history after
the fall of Greece to Romans.
● In the 5th century CE, it was converted into a Christian church
dedicated to the Virgin Mary (Parthenos Maria), which
contributed to its preservation to some extent.
● After the Ottoman Empire captured Athens in 1458,the
Parthenon was converted into a mosque. The Ottomans added a
minaret to the southwest corner of the building. The interior of
the Parthenon was altered to accommodate Islamic worship
practice.
● In the early 19th century, Lord Elgin, a British diplomat,
removed a significant portion of the Parthenon's sculptures,
known as the Elgin Marbles, and transported them to the British
Museum in London.
 PURPOSE AND SYMBOLISM

● Religious Significance: It was an expression of the city's devotion to its

protector deity: Athena Parthenos
● Civic Pride: Its construction was part of ‘vision to showcase Athens’
cultural and political supremacy.
● Celebration of Democracy: It embodied democratic ideals as its
grandeur and accessibility emphasized the city's commitment to
involving citizens in public life and celebrating their achievements.
● Cultural Identity: To provide sense of shared cultural identity among
the Athenians.
 ARCHITECTURAL FEATURES
● Peripteral Octastyle Doric temple
● It stands on a platform or stylobate of three steps. Top step
being 31m* 69.5m
● It is of post and lintel construction and is surrounded by columns ('peripteral') carrying an
entablature.
● There are eight columns at either end ('octastyle') and seventeen on the sides.There is a double
row of columns at either end.
● The colonnade surrounds an inner masonry structure, the cella, which is divided into two
compartments.

Entablature

Stylobate

Floor plan of parthenon

● The corner columns are slightly larger in diameter.
● The Parthenon had 46 outer columns and 23 inner columns
in total, each column having 20 flutes. (A flute is the
concave shaft carved into the column form.)
● Marble blocks used in construction were cut with precision
and carefully joined by Metal dowels and clamps
● The cella consist of two room end to end with hexastyle
prostyle porch. It receive light through the open door along,
but sometimes there was also an openings in the roof or
possibly window on either side of door.
● The eastern room being 29.8m long and 19.2m wide, with
Doric colonnades in two tiers, structurally necessary to
support the roof.
● Greek temples typically covered the wooden roof rafters
with fired clay tiles
 SCULPTURES
The temple had a rich sculpted decoration. The sculptures can be
divided in three types:
The metopes, The pediments and The frieze.

METOPES
● The metopes are square panels carved in high relief depicting scenes
from the mythology related to the city of Athens.
● Parthenon had 92 metopes in total
● The metopes of the east main façade, depict the mythical battle
between the Olympian Gods and the Giants in which the Gods
prevailed.
● The metopes of the north side depict scenes from the Trojan War, those
of the west side depict the battle between the Athenians and the
Amazons,
● The south depict the battle against the Centaurs.
 PEDIMENTS
● The two triangular pediments of the Parthenon contain full
sculptures of gods and deities. The east pediment depicts the
birth of goddess Athena, while the west depicts the quarrel
between Athena and Poseidon for the sovereignty over
Athens.
PART OF EAST PEDIMENTS

FRIEZE

● The Parthenon frieze is a high-relief sculpted zone all around

the cella of the temple. It is 160 metres long and it depicts
the Panathenaic Procession, the most important religious
festival of Athens. The frieze contains 378 human and god
figures and more than 200 animals, mainly horses.

FRIEZE OF PARTHENON
 THE INTERIOR
● Main entrance to the interior is from the east.
● The central focus of the cella was the gigantic statue of goddess Athena Parthenos
● It was made of gold and ivory and stood around 12 metres high.
● The materials were susceptible to environmental factors like changes in temperature
and humidity.
● To mitigate effects of them and help preserve the statue's condition, a water basin was
positioned near the base of the statue.
● The room was surrounded by a double doric colonnade which supported the roof
beams.
● The western smaller room was called “Opisthodomos” -city’s treasury, where among
others was kept the treasure and the money The roof of this room was supported by
four large ionic columns
 AESTHETIC REFINEMENTS

● Geometric Precision: The architects employed precise measurements and geometric

principles to achieve a harmonious and visually pleasing design. Ratios like the "Golden Ratio"
were likely used to determine column spacing and dimensions.

● Entasis: The columns had a subtle curvature known as "entasis." This technique counteracted
the optical illusion of concavity, making the columns appear straight when viewed from a
distance

● Intercolumniation: The spacing between columns was carefully calculated to maintain

visual harmony. Columns were placed closer together at the corners and slightly wider apart
along the sides to create an optical illusion of even spacing.

● Optical Corrections: To counteract the effects of perspective and to create a sense of

symmetry. The columns lean slightly inward and the corners of the temple are subtly curved to
appear straight.
 REFERENCES

● https://www.britannica.com/art/Classical-architecture
● https://www.greece-is.com/the-optical-illusions-that-make-the-parthenon-perfect/
● http://www.akropolis.gr/en/parthenon-interior.php
● https://www.ukessays.com/essays/architecture/the-differences-between-the-greek-and-roman-a
rchitecture.php
● https://www.visionpubl.com/en/cities/athens/parthenon-facts-history/
● https://en.wikipedia.org/wiki/Parthenon
● https://en.wikipedia.org/wiki/Vitruvius
● https://www.britannica.com/biography/Vitruvius
● http://www.visual-arts-cork.com/architecture/vitruvius.html
THANK YOU !