Ancient Greece

In the 1,000 years leading up to the birth of Christ, Egypt begins to fall apart politically and foreign influence coming into the country changes architecture and design. The Assyrian and Persian empires begin to develop also affecting Egypt and changing it in the fertile crescent. There is an influential impact in the Mediterranean and Crete. The Minoan culture bridges the Egyptian and Greek culture.

The Minoan culture was very laid back compared to a stable and stylized Egyptian culture as depicted through the wall art of the Minoans. Forwarding to Ancient Greece, the Parthenon was the pinnacle of the Greek culture. They develop a kind of architecture, literature, theatre and music that strives for perfection. This is based on the idea that the measure of all things is man. Style, proportion, decorative arts, and the relation of one building to another are all readdressed differently than the Egyptian approach to art.

The Acropolis and the Parthenon are symbols of Greek accomplishments sitting on top of a hill in the middle of a bustling city. This is a polytheistic culture, where each of the buildings is carefully designed in relation to itself and the landscape. Greeks are not concerned about creating axial relations between buildings, but individual buildings working perfectly within themselves. Due to the way Greeks worshipped, the exterior was more crucial than the interior. Interiors were not used often, as celebrations were on the exteriors. Buildings have peaked roofs with trabeated architecture similar to the Egyptians. Peaked roofs arose from rainier climates. Roofs are marble or terra cotta tiles with more wood compared to Egypt. The Greek had a good supply of local marble and wood.

On top of the Acropolis we see the development of classical design in Greece starting in 500 BCE. This style continues to change, as Greeks believed in attaining continual perfection in relation to nature and man. The sense of man’s relation to architecture, daily life and the temple is created.

The Parthenon provides clues to this aforementioned sense. The corners have a sense of outside columns tilting outwards as the corner columns set at imperceptible slant inward to give it a sense of solidity. The last column is closer to interior columns to provide a visual sense of finality as we come to the edge of the building. An antithesis is initiated, when the eye curves the straight lines as the vision moves up to shape the columns that counter this. Design is deemed to be the relationship of an individual to the design; the way one interacts, the way one sees it and the way one reacts. This is different from previous cultures.

Acropolis – Image courtesy of Lonely Planet

https://www.google.ca/amp/s/www.lonelyplanet.com/amp/articles/acropolis-athens-accessibility

Greek architecture created an architectural language relating to classical architecture. For example the columns in the Parthenon, with the capital at top and the abacus which is a stone pillow on top as well. Above the abacus is an entablature to punctuate the form. The pediment is in triangular form on top of the roof called a tympanum. Inside there is a space that has no windows called a cella. Greeks used the same type of interior architecture compared to the exterior.

There are many different temple forms, the Parthenon has a peristyle with columns going all the way around the temple.

VARIOUS TEMPLE FORMS

Dipteral – 2 sets of columns enclosing the temple;

Antae – 2 larger spaced out columns in the front;

Prostyle – 4 smaller columns in the front;

Amphiprostyle – 4 columns in the front and 4 columns in the back of the temple.

COLUMN ORDERS

Doric – has no base as it sits directly on the ground, always has a simple capital, moves up to the entablature, metope, triglyphs before getting to the cornice and pediment on top.

Ionic – there is a base on the capital, the column itself is taller and thinner. Top has a capital that has volute (curving elements), above that in the entablature there are sculptural forms not always triglyphs or metope and with a cornice and pediment.

Corinthian – does not always have a pediment at the top, there is a base with a thinner shaft. This is a more elegant column, and the top has acanthus leave, rosettes and acanthus coming up to create the volute form.

Every element in Greek design relates mathematically to other sections. There are relationships between the rectangle and square called the golden section which arises out of the Greek architecture which later affects the Renaissance and the 20th century. Man is the measure of all things and is at the centre of all things. Nature is where all this information comes from and plays into Greek philosophy.

Another innovation one can see in the Greek architecture is caryatids seen in the Porch of Maidens. These are sculpted female figurines replacing columns. The Anthemion motif is also developed in Greece. It is similar to a palmette and has swirls usually in a continuous row or individually; usually punctuating the top of the room or the corners. Some classical designs such as the egg and dart can be seen in Egypt, Greece and continue on in ancient Rome.

Porch of Maidens – Image courtesy of Wikia.org

https://lefteris-kaliambos.wikia.org/wiki/MATHEMATICS_OF_CARYATIDS

The Acanthus Leaf is central to Greek and later to Ancient Roman ornaments. Greek design is life like and contains natural elements. The Acanthus, Egg & Dart, Bread & Fillet and Guilloche are all designs shared between Egypt and Greece. Greek design basically takes designs from Egypt, Assyria, Persia and forms a style language which is perfected over a couple of centuries.

Guilloche – Image courtesy of Buffaloah.com

https://buffaloah.com/a/DCTNRY/g/guilloche.html

The Greeks excelled in ceramics, which had images of mythical and everyday Greek life. These depictions showed klismos chairs with splayed legs with a strong horizontal structure which curved to receive the sitter. Supports on back of the chair came down to support sabre legs. Leather thongs supported the cushion. The Kline, which was a reclining bed or couch was also central to Greek design. One end was higher than the other. The stylized bed was used for sleeping and relaxing. Textiles were rich, linen, silk and wool exuding a level of luxury. Animal legs can be seen on crossed stools, adapted from Egypt. Greeks worked in gold similar to the Egyptians. They are first to develop coins which are traded and bartered. Furthermore, the loral wreath was a sign of victory. The Greeks were developers of the Olympic games, outdoor entertainment and sports were central to and originated from Greece. Colours prevalent in Greece were Grecian red, black, creamy beige and warm ochre. Upper class Greek homes would have had a court yard with peristyle columns and slanted rooms would have water come down into the central pool which would drain off. Wood doors and mosaic floors were developed by the Greeks. Greeks favoured dark rick colours.

Information courtesy of New York School of Interior Design “Historical Styles 1” class