welcome to module eight three-dimensional art architecture for arh 1000 art appreciation at phsc first let's talk a little bit about the basics of architecture architecture in a lot of ways tells us more about the people who built these structures buildings monoliths than other forms of art do simply because if you went to the trouble to build a giant building a giant temple stonehenge it seems that that's a lot more outlay of time outlay of resources than to just build a statue so you're going to have to live with this thing it's big it's in your way it's there maybe you're gonna live in it um so this is going to be something that um you really can't get away from in a lot of ways unless you move so this seems like this this means a lot to these people um to study architecture study at least a little bit of engineering and technology um and how this falls within art um i like to think of architectural buildings as architectural structures i should say as a really big sculpture that you can live in but it has also been referred to as the art of sheltering we're not going to go back and revisit everything that we've already talked about with regards to composition but deus vice it to say that there are a lot of compositional terms compositional ideas that we've already looked at for sculpture and for two-dimensional art that translate over to architecture as well but i did want to take just a minute and show just a couple and talk about how they can relate to architecture specifically so rhythm in the case of architecture is the repetition or lack thereof in a building sometimes with a really big building a really big complex of buildings they'll make everything [Music] look the same in this wing or in this section maybe it's a color maybe it's a decorative item maybe it's uh an architectural feature on the outside so that it makes it easier for people to be able to find their way i've been at really big hotels that have multiple buildings stemming out from kind of a main lobby building and the different buildings have different decorations so that it's easier for you as you're walking back from the lobby to figure out where exactly it is that you're going um line is the vertical ones seem to be reaching to the heavens or the afterlife it's it's reaching up it's reaching to god particularly in the case of something like a gothic cathedral and then horizontal symbolizing being more bound to the earth scale is the size as it relates to both people and its surroundings so let me show you an example of what i mean by scale so here we have a photo of the great pyramid of giza notice these little things down here on the bottom those very very short things those are people so in relation to the pyramid they're really tiny so that gives you an idea of the scale of the building another set of ideas or another set of compositional things that we can look at with regards to buildings site space weight and mass let's look at space and weight and mass first so positive versus negative um positive space which we talked about a bit with sculpture is the part of the building in this case that's there um the negative space is the part of the building that's empty so areas that and i'll show you an example of this in a minute but areas that it's still technically part of the structure but there's an opening maybe and then weight and mass is it clunky or is it graceful on the example on the next page that i want to show you talks about site does the building fit its location now i would argue the previous image we looked at of the great pyramid of giza it just happens to fit its location they the place that they put it it looks like it belongs there but you can also sculpt your location to fit your building as is the case with the taj mahal which we have here now this is also a good example of positive versus negative space in this case the negative space would be in here between the minarets up under the overhang and here so that's all negative space up under here you have more negative space in here and notice how well this does fit its surroundings or rather in this case how well the surroundings fit it um as for scale in i don't think we're seeing their feet but this is about a half of a person so that's about the height of half of a person versus that even though this building seems to be really graceful and really light and airy it's still a giant building so the scale here is just about as big um as what we're looking at well not quite but pretty close to what we were looking at with the great pyramids so now that we've talked about some of the compositional things let's get a little technical let's talk about some of the engineering principles involved so when you're doing sort of a classical look at architecture which we are doing with a slight look at some contemporary things at the end um generally speaking you begin with post and lentil and then you follow up with the column because columns are essentially just fancy post in lentil so post in lentil involves a horizontal beam which is your lentil that is spanning your vertical supports which are your posts the heavier the beams the heavier your support needs to be and this entire structure is only as strong as the material that it's made with so let me show you what i mean this is a very very very simplified version of post and lentil construction here we have the posts one on each side here we have the lentil above and then in here this would be negative space so there's there's nothing under here this is how the greeks did a lot of their colonnades this is stonehenge at the very very basic uh most basic version of this now however heavy this is your lentil up at the top so however heavy this thing is you're going to need to have posts that can support it so this is only the strength of this entire thing is limited by the tensile strength of the individual materials when it comes to the lentil there is a limit for most materials how big this thing can get before it starts to sag so again you are limited by the materials that you are using as you are constructing a structure using post and lentil a lot of times post and lentil can be to hold up portions of the building it's also really good for doorways and here we have stonehenge so you have your post another post and a lentil in this case the lentil share posts but it's still at its most basic post and lentil construction so now let's get fancy um with post and lentil construction if you have a more decorative look to your posts as well honestly as the lentil you were talking about columns now within classical architecture they are what there are five of what we call the orders of classical architecture these are three greek doric ionic and corinthian and then two later roman innovations on the tuscan and composite which in a lot of ways are built from or based on the doric the ionic and the corinthian and an understanding of these orders is essential to an understanding of really classical architecture now it's believed that these the post and lentil the columns this all started out as wooden structures and then they went to stone which explains why um doric is the first and it's a little more simplified than ionic it's a little bit more complicated so they're they're building and they're learning as they go so this is the parthenon in nashville tennessee not the greek parthenon although it is attempting to be a copy of it but it's a really good example to show to give you an idea of what the parthenon might have looked like at its peak and it also gives us an idea of what the different parts of these these buildings are the different parts of of the classical orders um what they are now this in particular this is doric so we're going to mostly look at the column capital when we're looking at these different orders that's just the top thing here the decorative bit at the top of the of the column but by no means is that the only thing that's different so just kind of be aware this is just a general overview it can be slightly different for different columns so first of all this is your column shaft the basic part of your column this particular one is fluted which means it has grooves um you will notice that there is um the base which is here and this particular one doesn't really have a lot of a base to it um it's it's pretty much just that resting here and that is not always on doric but it is something that you can see on doric um you can see it honestly on any of these all of these rules to be honest are more of a suggestion or the ideal that's not to say that there can't be a lot of variation and innovation from there the bit up here and let me get my my handy dandy pencil to work um this is your entablature this whole thing up here and then it has different pieces um this which is your your relief sculpture these are your freezes these things that are just these little lines that are next or in between the freezes those are maytopes your architrave is the bit right above the um right above the cap the column capital and then the pedestal is whatever it's sitting on so you can kind of get an idea of the look of everything and then the cornice is the bit right up here so it's it's a very complicated system of which the column is just one part or i should say the column capital is just one part however that is the easiest way to identify um the various orders and here again is another look at the the component pieces if you will um so if you're interested take another look and you can see here a bit of a more detailed look at each of them and how each of them can differ one from another one thing to keep in mind is while some capitals i'm sorry some columns maybe one whole piece and others you're going to have what they call drums which would have been held together by wooden pegs so this is why if you ever see columns in the ancient world in ruins that have basically fallen over sometimes it looks like they broke in really regular pieces with really sharp cuts yeah that's not a really handy-dandy break that's because it was made in pieces so it was assembled put together and then when it fell over because the wood rotted out or something else happened um that's why it broke apart so neatly um it wasn't actually breaking apart it was just falling apart um from it where it had been assembled together here we have a doric column capital this is the one that is arguably closest to looking like a tree because notice it's the most simple and this is the heart of the the idea of or the the base of i guess you can say for all of the other kinds of greek orders of architecture um there's some thought that this may actually either this influenced egypt or egypt influence this because um the mortuary temple of queen hachepsit in egypt has something that looks pretty similar so it may just be another call out to the idea that um the people of the mediterranean talk to one another uh we don't know exactly where this came from it is possible that again it has something to do with egypt um they there is some thought that it could be the dorian greeks um it may just look like a may just look like a wooden structure but we do know that this is arguably the one you see the most of and some people have tried to say that this is a bit more of a masculine looking version of the column now one thing to keep in mind is while doric columns are often fluted they're not always fluted i am the most famous of all of the structures that still exist that use doric columns is the parthenon in athens which is we just looked at a copy of that from from nashville tennessee moving on from doric we come to the ionic capital uh these are believed to have come to mainland greece from the ionian greece locate ionian greeks located in what is today turkey and then the islands near there so this seems to be a variation that was that was popularized first there um they do believe that they originally at least the oldest examples do contain fluting although as time progresses it seems like the fluting was gone um they are most noticeable the most noticeable difference i should say is here at the top which these are called volutes look it looks like a little scroll and the columns do tend to be thinner and perhaps a little taller than the doric and these columns are typically associated with with women or with with the female now that seems kind of odd that dork or male and ionic or female actually no because in antiquity um in egypt and in greece it wasn't unusual to find columns in the shape of people columns in the shape of deities in the case of egypt um in ancient greece if you ever look up the acropolis um the same hill on which the parthenon is located there's a building called the erytheum that has what they call karaotids um which are women um that are serving as columns these statues of women that are the columns so um this one because of the curls at the top curly hair because it was thinner it was more associated with feminine and once you had both of these you were more likely to see the dork maybe on buildings that were a little bit more masculine like armories or something but that's not an absolute because the parthenon has doric columns and it is dedicated to the goddess athena so um that's not an absolute but um here we have ionic now notice that again this one's taller and thinner but keep an eye on those volutes because you're going to see smaller versions of them again here in the corinthian so the corinthian columns are based off of the ionic they are reasonably more recent i mean still ancient greece but it's not nearly as ancient um they are based off of again the ionic notice the volutes are still there sort of in a much smaller version um but it's dominated by the acanthus plant and so that's why the fancy stuff on top that's supposed to be a plant now you might think that hey this is a great way to standardize my column because you know an acanthus plant isn't a campus plant well apparently there are varieties so different places in greece could base their corinthian columns on acanthus plants but it might look a little different because the acanthus in their region looks different than it might in other regions um but this one it was originally we think for interior columns and um it it starts getting into more widespread usage right about the time that rome takes over greece now let's talk about the romans rome knows all about greece and while some people have tried to say that rome is going to develop the tuscan in particular in a vacuum not anything to do with with the doric not anything to do with anything um that the greeks were doing this does seem to be a variation on the dork at least that that's one that's the prevailing theory we'll say um and then you have the composite which is a combination of the ionic and the corinthian both those few differences so first here's the capital for the tuscan um it does look pretty pretty doric um these tend to be smooth they do tend the columns themselves do tend to bow out a little in the middle this does tend to be a little bit more likely to have a base but even again that it is um it doesn't seem maybe that it was doric it it probably was now this one there is no doubt this is a corinthian column on which you have put volutes that instead of being kind of on either side are now kind of just the the scroll part with the the the curl part without the scroll um on each corner so they're kind of weird looking if you're used to looking at an ionic it looks like you took part of an ionic and sliced it off and stuck it on top of a corinthian but this is again a roman version um that is going to bring together um the the two columns that honestly had come from each other in the first place um and this one can have um fluting usually has fluting doesn't necessarily have to have fluting and so from there we have the fifth of the classical orders of architecture now that we've looked at columns let's look at something a little bit more advanced and this is the arch at its most basic the arch is a way to span a distance just like post and lentil however because they've they've added some pretty advanced innovations here the space that you can cover with the arch is no longer limited by the tensile strength of the materials rather now it's it's limited by how you put things together and what you're willing to do as far as thickness of walls and and so forth now you can't see it on this one but there should be a keystone here and this is going to basically prop up the individual pieces of the arch so that they'll stay in their their shape and then here we have our post which are now called legs and then you have the buttress which it doesn't have to be anything except a prop this is just holding up the wall because the thing is when you make a circle up here out of individual pieces of rock it wants to splay out it is pushing the whole time so if the whole time you're doing this you're pushing out and then you're using the buttress to keep it from falling over this is very much more complicated than just post and lentil construction so here you can see your keystone um you also have so there's your keystone the individual little pieces they're called those sirs um and if you'll notice that the vosors are basically being um propped up by the keystone take the keystone out the whole thing falls um if you take this one actually you can see there's an arch and i can't draw but there's an arch there and then there's like a little hallway which we'll talk about what that means and then there's another arch but you can do a lot of different things with this idea of the arch it gives you a lot of options i'm just trying to erase there and it's not working there we go um gives you a lot of options to make a lot of really impressive structures depending on how much buttressing you're willing to put which here in the arctic trail if you'll notice there's a lot of buttressing i mean the wall is thick um and so it is propping itself up the buttress can literally be anything it can be as ugly as you like it can be as fancy as you like the important part is is that it is there to provide a prop for the arch to not fall apart there's all sorts of different kinds of arches the ones that we're going to be focusing on is the round roman um as well as the pointed gothic or lancet um and that's only because this one comes directly to this one there's some other cultures that are involved in these others so it's not quite as simple as saying from point a to point b as it is with the roman and the gothic so your round arch is referred to as a romanesque arch it has a few weaknesses because you do have to put a great deal of buttressing if you want to have a high arch a bit a big arch that has a big space open you're going to end up with heavy walls or something holding up the building and that can be kind of difficult if you're trying to get open and airy it's possible but it's really really difficult and open an area you can do lots of windows that's a little harder the pointed arch allows you to be able to more easily make these archways higher and wider it is also going to because of the way that the stresses are exerted on a pointed arch it is going to allow you to just prop it up at one spot which allows for a flying buttress which allows you to have much thinner walls and lots and lots of windows so we we owe the gothic period in the middle ages for this so essentially here we have a pointed arch which is here and then the arch keeps going down which if i could draw straight that would be better but you only because of this particular because of the pointed arch you only need to prop it up at one particular part so that's what this thing here is doing this is the flying buttress and then your regular buttress is here to kind of hold up the flying buttress but it allows you to have these really really thin walls because really the walls aren't holding up the building the arches are holding up the building so you can put as many windows in these walls as you want now you could buttress these things normally um but where's the fun in that because what you're trying to get here is a thin wall and the buttress really eliminates that possibility or at least a thick buttress eliminates that possibility so these this is the cathedral at on the ends um and you notice here we have the flying buttresses because that's the only part of the arch inside that needs to be supported and then the the buttress pier or the buttress itself is here that's that's holding up or supporting the buttress the flying buttress if you take a bunch of arches and you place them next to each other in a row they're basically they're all pushing out still and actually let me not draw on this one let me draw on the next one it may show up better at the end of this building at either end and you can't see it here there's actually a really thick wall so it kind of has a buttress at the end just kind of be aware of that and then i'll explain on the next slide that lends itself to drawing a little bit better alright so here we have the arcade now at the end of the arcade you are going to need to have some kind of a buttress you do have to have something to hold this thing up at the end flying if it's pointed or otherwise um but basically in the arcade itself these arches are buttressing each other so this one here wants to push out this one is stopping it so is this one this one wants to push out two this one is stopping it so basically the forces exerted within each of the arches is what holds up the entire thing this lets you get a hallway in the case of the previous example it can be a hallway that's open on one side to open air it can be a hallway inside a building but these are different ways that you can combine these different ideas to get different effects if you take two arches pointed or round and connect them with a structure between a hallway in between you will get a tunnel vault which here we have a series of tunnel vaults so there's your tunnel there's your tunnel there's your tunnel and then there's arches in between with a if you'll notice with a arcade um on either side um and so it makes you can combine these and you can get some really really interesting effects if you take two tunnel vaults and join them at right angles then you get groin vault which if you'll notice there's one here and this also proves my point that you can put a gift shop in any building because this is the chester cathedral as the handy dandy gift shop sign tells us if you take two pointed arches and you overlap them at right angles you get a ribbed vault the whole point of all of this vaulting is to give us a ceiling that's that's the whole point um so and you see here groinvault versus the rib vault i took the points out um but you notice it's it's the different idea um because the ribbed vault is using there's no real reason you couldn't use it for a rounded arch it just it wouldn't get the height but because you put pointed arches because you put flying buttresses and because you make a ribbed vault this allows for the height and the majesty of the gothic cathedrals now you can combine all of this um notre dame de paris the actual the building we think of is notre dame um it actually started out as romanesque and then um in middle of mid construction they discovered gothic and they they added a lot of gothic vaulting so the heavy walls plus the gothic vaulting i would argue is what saved the building when the attic burned um because only if it hadn't been for the spire and which was a much later addition that fell through the vaulting the vault survived the fire pretty well um it was mostly the attic and the roof above the attic that actually burned because if this was a regular building here um your attic would be up here and then your roof would be on top of that so this is the ceiling this is not the roof when we talk we're talking vaulting and here we have the ribbed vault of notre dame before the fire um and like i said if this the spire that fell off the roof hadn't punched a hole through the vaulting the vaulting actually survived the fire pretty much intact which is probably what did save the interior of the cathedral from from really any terribly significant damage while a dome may look like it's a bunch of arches arranged in a circle with a hole in the middle um that is um you know just kind of been put together that's not actually what's going on here um while people had tried as far back as the mycenaeans to have a round building with some kind of a roof the romans are the ones that actually perfected this idea and they perfected it because they were able to use concrete which we have tried now to rediscover roman concrete it's way better than modern concrete um and what they did is they kind of buttressed it with itself they made it thicker at the base um it's sort of the bottom of the dome than at the top um then the byzantines didn't do the concrete thing instead they used brick and sometimes you are going to need to put a metal band around the base of this if you don't if you're not roman basically and know how to do this this really perfect concrete um self-buttressing situation because otherwise um the the band would be instead of the buttressing and it keeps the dome from exploding basically so here we have the parthenon sorry the pantheon pantheon is roman parthenon is greek um and this is what i mean by it kind of self buttresses see here on the diagram how much thicker it is at the bottom than it is at the top up here it's much thinner and so this is what allows um you to have this without having to have extensive metal fixtures on the outside um or extensive buttressing it's self-buttressing but it's so subtle you you hardly notice it um in the photograph please notice that yes you can also put a gift shop in the pantheon here's the highest sofia now this is not european this is byzantine and if you'll notice again we have a dome um in this case they put windows around the outside edge of the dome theirs is different because their dome is made out of brick byzantine brick is really amazing it it they cannot quite figure out um why it's so much better than ours they use a lot more mortar than we typically use in our structures which tends to make the building lighter and more flexible and it's just a really amazing structure and here we have inside the highest sophia now if you'll notice this is these are rounded arches and they are really wide and really big and you've got this gigantic open space and it's holding up a dome well that means why do you need pointed arches yeah um this is an example of what you can do if you are willing to build entire buildings outside of this one that are holding up your your building they literally built these these small buttress buildings or buttress structures these i say small comparatively speaking small that are actually holding up the structure without that you cannot do this with a round arch so basically this part here that is literally holding up the arches inside um then they do this thing with these semi-domes that helps hold up the other side um but it's it's a very very complicated building um this was from the eastern half of the roman empire and this is what happens when you you turn to an architect and essentially say um here's the entire treasury of my empire build me a building this is what you can get couple of other architectural elements briefly um load-bearing wall if you ever watch a home improvement show you've probably heard them say something about i'd like to take that wall out but it's a bearing wall it's load bearing that just means that the wall is holding up the building if you have a wall that is holding up your building and you want to be able to take it out you basically have to put in post and lentil or beams they refer to it as now but it's essentially post and lentil which allows you to span the space this can be done with wood this can be done with metal all sorts of different things but it allows you now to empty out this space and remove the wall because you are redistributing the forces that the wall was holding up you're redistributing them basically now into a post and lentil idea and bearing walls are something that you actually see way way back um log cabins really simple structures um a lot of wooden buildings these were really easy to do you can combine these with columns but you don't actually need the column um because basically the the four walls of the building are holding up the roof um the roof is is providing stability to the structure so that it doesn't just fall over um but it's a much simpler version of architecture than what we have been looking at to this point which is why you see it all over the world in all sorts of different applications cantilever happens when you only affix your floor of your balcony or in this case your industrial structure on one end if you want to see it a little bit more architecturally here we have the uh frank lloyd wright falling water notice that it's only being held up on one end um sometimes you'll see that they'll add a support under here to make people feel better and in some cases you need one um but it's all about balancing the structure so that you have sufficient support to allow your building to hang out over open space like that a skeleton frame happens when um kind of not exactly but but similar to gothic cathedrals that are being held up by the arches um here we're using metal which allows us to to cheat you basically make a metal box that's your framework this is the actual structure of the building the walls don't matter and then you use the floors to give some stability to that and then the walls if you even bother with walls and don't just want windows become really just the skin that keeps the elements out of your building and here we see a skeleton frame skyscraper in the process of being constructed um so we didn't get terribly modern in our architecture because there's so much to talk about with the more classical look at architecture and gothic look at architecture but i hope that you get the idea of the complexity and engineering principles that are involved and just how interesting and how varied the various methods that people have used to put together your buildings now with the exception of some of the math there's no hard and fast rules here you can have all sorts of different shaped columns you can do all sorts of different things with archways as long as you are willing to to deal with the structural realities um buildings really you can make them anything you want um particularly if you're in the modern world and we can cheat with metal because they do sort of allow us to bend and or break some of the rules at times um but this is a really i think a and at least an opening chapter hopefully in your study of architecture if you have any questions on anything please let me know thank you for joining me this time and i look forward to sharing our next three-dimensional module with you next time next time we'll be looking at the applied arts which are a little bit fun and can be a little crafty um so until then have a great rest of your day and a great rest of your week thank you again