The term classical architecture has an archaeological meaning, in relation to the classical architecture of Greece. However, it is also used by architectural historians to refer to a series of styles derived, directly or indirectly, from this source.
Archaeological use
Classical architecture can be divided into:
Classical architecture not only refers to Greek architecture from the time before Alexander the Great (who died in 323 BC), it contains an authentic ethnic aspect. The ancient Greeks classified anyone who did not speak native Greek as barbarian. The incredible conquests of Alexander the Great and the subsequent application of Greek culture in the city-states founded in Egyptian, Semitic, Iranian territories and even the population produced an important change. Although use of the Greek word remains the touchstone of whether one is a civilized member of the culture or not, the ethnic diversification of the Hellenistic world is evident. The formal elements of classical Greek architecture were applied to temples for gods that were never worshiped in Greece.
The Romans can be considered the last Hellenistic empire. In pre-imperial architecture, specifically the Etruscans with some Greek elements. By the time the Romans conquered mainland Greece, in the century BC. C. they imported Greek craftsmen to build the main public buildings. The term Roman Art and Roman Architecture has no ethnic meaning in relation to Italoromans").
Architectural use
Most of the styles originating after the Renaissance in Europe can be described as classical architecture. This broad use of the term is employed by John Summerson in The Classical Language of Architecture. In this book, the author questions the classification of architectural works in classical or non-classical terms as a starting point for thematic analysis. The qualities and essences that make up and define a building are more comprehensive than a typological classification that in no case takes into account its context. A classical building is generally defined as one that presents significant elements that come from the architectural vocabulary of the ancient world, that is, elements that can be easily recognized, including columns of classical orders, ornamentation, spatial organization based on symmetry, harmony and proportion, among others. John Summerson defines this last aspect as a “uniform worn by a certain class of buildings that we call classic,”[1] and invites us to investigate in depth the parts that make up a building, its context, before determining or classifying them as a single architectural style.
monumental architecture
Introduction
The term classical architecture has an archaeological meaning, in relation to the classical architecture of Greece. However, it is also used by architectural historians to refer to a series of styles derived, directly or indirectly, from this source.
Archaeological use
Classical architecture can be divided into:
Classical architecture not only refers to Greek architecture from the time before Alexander the Great (who died in 323 BC), it contains an authentic ethnic aspect. The ancient Greeks classified anyone who did not speak native Greek as barbarian. The incredible conquests of Alexander the Great and the subsequent application of Greek culture in the city-states founded in Egyptian, Semitic, Iranian territories and even the population produced an important change. Although use of the Greek word remains the touchstone of whether one is a civilized member of the culture or not, the ethnic diversification of the Hellenistic world is evident. The formal elements of classical Greek architecture were applied to temples for gods that were never worshiped in Greece.
The Romans can be considered the last Hellenistic empire. In pre-imperial architecture, specifically the Etruscans with some Greek elements. By the time the Romans conquered mainland Greece, in the century BC. C. they imported Greek craftsmen to build the main public buildings. The term Roman Art and Roman Architecture has no ethnic meaning in relation to Italoromans").
Architectural use
Most of the styles originating after the Renaissance in Europe can be described as classical architecture. This broad use of the term is employed by John Summerson in The Classical Language of Architecture. In this book, the author questions the classification of architectural works in classical or non-classical terms as a starting point for thematic analysis. The qualities and essences that make up and define a building are more comprehensive than a typological classification that in no case takes into account its context. A classical building is generally defined as one that presents significant elements that come from the architectural vocabulary of the ancient world, that is, elements that can be easily recognized, including columns of classical orders, ornamentation, spatial organization based on symmetry, harmony and proportion, among others. John Summerson defines this last aspect as a “uniform worn by a certain class of buildings that we call classic,”[1] and invites us to investigate in depth the parts that make up a building, its context, before determining or classifying them as a single architectural style.
The elements of classical architecture have been applied to the architecture of contexts radically different from those for which they were developed. The classical orders – Doric, Ionic, Corinthian, Tuscan and Composite – have been a mark in the stylistics of the history of Greece from the century BC. C., as well as Roman architecture, as an influence on the evolution of the Gaul century, with styles revived again and again since then.
From the field of design and decorative arts, it is noted that the influence of classical architecture is not limited to buildings, but has also permeated disciplines such as cabinetmaking, ornamental carving and furniture manufacturing. In these crafts, symmetry, regulated proportions and the use of elements derived from the orders—columns, pediments, moldings and friezes—have served as a compositional guide for centuries. This continuity demonstrates that the “classical language” not only shaped monumental architecture, but also defined the aesthetics of numerous objects and interior spaces in Europe from the Renaissance to the present, according to Mariner 1893").
References
[1] ↑ 1904-1992., Summerson, John, (2017). El Lenguaje clásico de la arquitectura. Gustavo Gili. ISBN 978-84-252-2861-2. OCLC 986788128. Consultado el 9 de septiembre de 2022.: http://worldcat.org/oclc/986788128
The elements of classical architecture have been applied to the architecture of contexts radically different from those for which they were developed. The classical orders – Doric, Ionic, Corinthian, Tuscan and Composite – have been a mark in the stylistics of the history of Greece from the century BC. C., as well as Roman architecture, as an influence on the evolution of the Gaul century, with styles revived again and again since then.
From the field of design and decorative arts, it is noted that the influence of classical architecture is not limited to buildings, but has also permeated disciplines such as cabinetmaking, ornamental carving and furniture manufacturing. In these crafts, symmetry, regulated proportions and the use of elements derived from the orders—columns, pediments, moldings and friezes—have served as a compositional guide for centuries. This continuity demonstrates that the “classical language” not only shaped monumental architecture, but also defined the aesthetics of numerous objects and interior spaces in Europe from the Renaissance to the present, according to Mariner 1893").
References
[1] ↑ 1904-1992., Summerson, John, (2017). El Lenguaje clásico de la arquitectura. Gustavo Gili. ISBN 978-84-252-2861-2. OCLC 986788128. Consultado el 9 de septiembre de 2022.: http://worldcat.org/oclc/986788128