Architecture and Narrative: The structure of space and by Sophia Psarra

By Sophia Psarra

Structure is usually visible because the artwork of a pondering brain that arranges, organizes and establishes relationships among the elements and the total. it's also noticeable because the artwork of designing areas, which we event via stream and use. Conceptual ordering, spatial and social narrative are basic to the ways that structures are formed, used and perceived. interpreting and exploring the ways that those 3 dimensions have interaction within the layout and lifetime of structures, this fascinating e-book can be of use to an individual with an curiosity within the conception of structure and architecture's dating to the cultural human surroundings.

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In contrast, the Erechtheion was a demonstration of diverse cults founded on the archaic origins of the city. Throughout the history of architectural thought, Greek temples either have the status of a remote but timeless past, subject to proportional and stylistic analysis, or the romantic status of antiquity and ruins. In what follows existing evidence is used not to reinforce these positions or to solve problems that archaeology and related disciplines address more successfully. Instead I will look at the two buildings through diverse fields of inquiry to locate them in a spatial, historical and ideological context.

III. Pandroseion: O. Tomb of Kekrops, P. Temple of Pandrosos, Q. Olive Tree, R. Altar of Zeus Herkeios. 7 (a–g) The evolution of Greek temples is characterised by a gradual introduction of layers separating the interior from the outside space. (a) Temple in antis, old temple of Nemesis, Ramsus. (b) Prostyle temple. (c) Amphiprostyle temple, (d) Peripteral temple. (e) The temple of Apollo at Thermum. (f) The temple of Poseidon at Paestrum. (g) The temple of Hephaestus at Athens. 7d, g). The interior also developed from a single room to a colonnaded space.

On the other hand, she claims that the old wooden figure represented the goddess’ ‘presence and essence’ (Lagerlöf 2000: 160). Which among all forms of Athena was this essence? If this essence was in her capacity to change form, then surely this was the nature of gods in Greek religion, a nature that the changing surface of the Erechtheion was capable of sustaining. But if Lagerlöf uses Plato’s definition of essence, to whom she constantly refers, we have to go beyond appearances to a realm ‘where the bodiless prototypes were at rest: the world of ideas’ (Calasso 1994: 130).

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