Classic Architecture Design Tutorial: How to actually do it

Because actually, to be honest, most of the architects, they know how the temples look like, but they don't really understand how the architecture works. And here we have this kind of design system that you can actually call style, if you want, because it has something like rules in it. And there are basically two, one is the Doric and one is the Union. I will explain in a second what it is. And you will not design that so detailed in your life probably like those, but it's good to understand principles, because as I tried to point out before, these systems, and architecture is always about understanding systems. So the systems are able and capable to design many building types and functions, as you will see later. So actually, in the 19th century, I tried to point that out in my first lecture I gave you two weeks ago. In the 19th century, when new building types came up, for example, hospitals or schools, universities, more public buildings. Also, I showed you an example of a train station. So of course, a new type or subway stations, it was actually this, they use actually this kind of classic system, as I tried to explain you now. So the system of the Greek architecture was used sometimes formally, but sometimes just as a principle to design many new building types, even train station and subway stations. And it actually worked. So in the 19th century, between 1800 something, and let's say between 18 and 1900, roughly, it's a 19th century, right? It was proven that this system is capable to manage a lot of building types, and typologies and requirements. So it actually works. So that's why I want to teach you how the system works. And we have to set, yeah, I start with a formal system. So in this case, you can actually indeed talk about a style if you want. So I start with an overview of styles or systems. So this one you can find on Wikipedia, if you type column types. But yeah, I don't really like the term style in architecture, because it looks like, like, like, when you go to H&M, and you can choose this type of pants together with that shirt, or another type of pants with another shirt, and they call it style. But in this case, it really makes sense, because it's usually it starts with a column. So the vertical element to bring the forces from the roof into the ground, basically. So the column is the main element, and it starts, and that is then stylistically developed, and connected with something called tablature. The whole part on the top that has a has a lower part called architrave, and upper part called frieze. And on the left, you see the Greek Doric. So this is the first three. Actually, I would really like to explain you on the whiteboard, I mean, in the classroom, but since many of you are still or some of you are still up country, as I was told by SATACOM, that's why we do it online. Now, this part of the lecture, I would really like to have a pen and a whiteboard. But so on the left side of that slide, you see slide two, by the way, I hope I hope so. Oh, no, it's not locked. Can you see slide two? No, you cannot. It's not I didn't lock it. Why you don't complain when you don't see slide two? I lock it. So now can you see side two now? I can see. Yeah, okay, there was one. Duncan and well see slide two now. Yes, I see it. I know. And who else was what to horrendous? Are you here? Can you see slide two? Are in the sleeping or not? Can you see slide two? If you're all absent, I don't need to lecture. I mean, that is pointless. Yes, I can. I trust that you're there. Parinda, Tanapad. Are you on about us before now upon? Are you there? Yes. No. Okay. I hope that you all see that. So that's slide two. That's an overview of columns. I uploaded the PowerPoint again on the on Ms team. So you can Yeah, but you should pay attention. Otherwise, without my words, you probably can't understand it. So this this overview is from Wikipedia. But it's quite good. And on the left side, you see the Greek Doric. So if you want to call it style, the official word would be order. So the Doric order, I don't know what it orders doesn't really order. But it's a connection between a column and an entablature. And you see the development already from the early heavy times that I show you like a choice temple. On the left, it has a quite short column and very heavy entablature. And it becomes slimmer and more light. Like the middle one is the party on the second temple that I show you, like quite much higher. And then the third one is a later one from the what we call Hellenistic time. So after Alexander the Great has conquered that area, more slim, more light, but more elegant. So it doesn't have that monumental heavy form. But I like the later ones more like the third ones more light. But it's a Doric form. And then the three ones next to it is called the Union style or order a union order. And that actually developed not really on the mainland. But yeah, I developed actually where is today Turkey and in the Union area. But it was then also merged so that they also built a union temples also on the Acropolis in Athens is a small called Nike temple like Nike like the shoe brand. It's actually the God of winning. That's why the shoe brand is called Nike, like the God of winning a small temple in the union order too. So and the other buildings too. So they didn't build it on one only in the in the west today Turkey, but it comes from there. And the columns are more slim. They have different types of these kind of kind of nuances, these engravings, they look different, as you see on the top. And then these kind of very typical to around this volute and volutes, I think in English. And it's actually like later, like in the Renaissance, they call it the feminine style. So they call the Doric like looks very, they said looks manly and strong. So what's the masculine style? That was what the people later said about it. Maybe already in Roman Empire, I'm not sure at least around 1500. They call it Doric, the manly one, and the union, the feminine one. So like a lady more slim, that the columns were higher, slimmer, more kind of more elaborated, more fragile. And the entablature looks as you can see, so the architrave is like, this is the lower part of the, of this kind of big beam, the symbolize the real beam, this has has this kind of division. And then comes the frieze, this doesn't have these typical ornament like in the Doric one. And there are variations about it. So it's not so strict, but it has this kind of system. So these are the three, number four to six on that slide. And then on the right side, you see what they call them the third one nowadays. So nowadays, when you have somebody ask you, how many column, they call it orders, orders or systems they have, they usually say three, that's not really correct. But actually, I would say it's five. But I explained that soon, why it's five or even six. This is basically just the top part, the capital was exchanged with something that probably derived out of a basket of leaves. So people say that because it's the leaves are called a canto. So the flower is called a canto. So now the two right columns on that slide, so the basic exchange to the head with with these roundish volutes to to this, this, to this kind of basket imitation, carved in stone, and they kept the same entablature, the entablature is the same system, just more rich. So it's kind of more developed, seen as the highest style. So when you see this as a row, they see like, the left is maybe the oldest, the more archaic one, but also the basis. So later in Roman Empire, they build them over each other what they didn't do in Greece. Not really, they started doing it, but in Roman, they make it systematic. So the first floor has the Doric, over it is the more light one, the Ionic. And the third floor has the Corinthian. If you have more, so the right one is called Corinthian. So when you have more than three stories, you have a problem. And you usually add another one that I explained later under the Doric. And there's also one over the Corinthian. But these are the three main ones. So the last, last, left three Doric, Ionic in the middle. And then basically just the head of the column was exchanged. It's also called capital, same like the capital in a city is, as you see, has a double height as the Ionian one. So Ionian has a proportion of kind of slightly one to two, right? It's horizontal. And the Corinthian one on the right side has a proportion of one to one. So it's an elevation square. That's why the column becomes higher. As you see in this column, what is it there? Seven and, six and seven, if you combine them, compare them, the height of the, of the real column is the same, but just the top part is higher. So the whole system become higher and more slim. And later they made that to a system. So they give proportions and proportions are always based on the lower diameter of the column. Now I need a whiteboard again to draw that. So the diameter of the column, it means that the dimension, the diameter, right? Of the circle, of the bottom of the column is the start medium for the whole system, for everything. So you always start with that. And that's why you can also scale it. So you always set it as one. You see that lower diameter of the lowest column in the building. When you start like in a three-story building, it's the first floor is a dimension one, and then you multiply it. So actually the column becomes slimmer to the top. It usually reaches 85% of the lower diameter. So it's 0.85. That's a normal, they call it entasis. So they make the column slimmer to look stronger. And that's the same for all orders. So they all become slimmer, but it's more obvious in the Greek one because the columns are shorter. So you can see on the very left one, it has a proportion of probably one to 3.5, the height, right? So very, very heavy. The right one is probably one to eight, the height, but the slimness is the same. So it usually reaches, exactly, but usually 0.85. So 85% of the lower diameter. So it become a bit slimmer. And that's why when you build another column on top, you start with 0.85, and then it develops to 0.6 something. But that's what I call a system. So yeah, you see the main columns. And then something happened in the Roman Empire on my next slide. So the first, the Greek ones, here you see the detailed ones. So you see how they become also the capitals. So the top of the column became, as you see here in the development, first it was like a big, like a strong pillow. The word is the echinus there. So it's really very fat and it looks also more ancient for me, kind of more archaic. So it looks rougher and it's very big and it becomes quite a slim part. As you see on the right side, everything become more strict and elegant. This happened in the classic time. So the development that you see is between 500 and 332. So at the end of classic period, they reached this system, as you see on the right side. And through the Hellenistic time, so after Alexander the Great took over, they kind of kept the system. And the Dory column doesn't have a base. So it just stands on either the ground, the ground was lifted, so there were some like stairs under the temple. But the column itself doesn't have a base. Typical elements, they have names. And if I was an art historian, I will not force you to learn the names of these elements. But for me, it's just enough when you know that they symbolized actually the head of the beam. As I said, the theory is that this derived out of wooden construction. So in the wood, you have the architrave, it's a horizontal beam in that direction. And then you have beams in another direction, right? And these kind of called triglyphs in Greek, these kind of parts should symbolize the head of the beams. Of course, they're not used anymore for anything in stone construction. When you do it in stone, you make it all blank. And actually later in 18th, 19th century, they did it blank. But these are the decoration elements, these triglyphs. And the other one called metopos, the space in between. So these typical entablature design is really typical. In this case, you can really call it style. So it's a style that's related to the Doric style and to the Doric column. So it's a combination of entablature and column that in this case is called order, or if you want to call it style, it's, yeah, I think you can call it Doric style if you want. So that's how it developed. And then, that's my next slide, slide four. In Roman Empire, they sometimes left away these kind of canulus, so these kind of vertical engravings in the column. I like it more like that, it looks a bit more pure, but maybe like modern architects, like everything pure. And this is what the Romans made out of it. So the left one called Tuscanic order or Tuscan Etruscan order also. Here's another one was added, which is more pure, more rough than the Doric one. So another lower one, if you have like four stories, you can add that under that, four-story building. And then that's what they made. You see on the second column from the left, what the Romans made out of the Doric order. You see it also on the right side. So they put actually a base under it, and they changed the column and make it more slim than the Greek did. And it has a base, it doesn't have the canulus anymore. It has a changed capital, so it has a changed top. And the proportion of the entablature changed also. So it became like a more fancy design. It didn't have so much to do with this kind of heavy construction appearance that the early temples like the Zoroastrian temple have, but it looks for me more bourgeois, so more civilized, kind of a bit more like it could be in the city, right? The other one is temple in the nature, and this looks, yeah, it's kind of more developed. So that's what the Romans on the right side is a Roman building. The Romans took over after they took over Greece around between 200 and year zero, let's say. I think 60 after Christ, 60 after Christ, the year 60, they took over whole Greece, I think. Then they finally conquered Athens as the last city. I think it was 60. I'm not sure. So in these 200 years, they took over Greece and also took over their style elements. So this kind of Doric order changed to that one. So that's why in the architecture theory around 1500, they separate between the Greek Doric and the Roman Doric order. So they say the Greeks, the Doric order like that, and the Romans like that. And then they also took over the Ionian, and there's an evolution, they develop it to what you can see in the middle of the left slide, the middle column on the left part of the slide, and the Corinthian one. And it also happened to combine, to make the Corinthian with these abacus leaves, combined with the volutes from the Ionian, and became this what they call composition order, or composite. So that's on the right. So now you have five. These are five orders, right? And so that's what the Roman did. And this is, I find, a great overview of that first, so I uploaded two books for you. And the homework is actually to study these books briefly. I mean, I will not, yeah, kind of, I will not test next week, because Ajankuba studying next week, so I will not test that you read them, but I really recommend to have a look, especially in the first one. I uploaded both these books that I use in this lecture in MS Teams already. So the first one you see the title here is from Robert Chithams from England, I think 1980s, so 1985 or something, 82. So just like 20, 30 years ago, he studied all these systems, because you want to understand the system, how it works. And he made quite an effort. And that book is really great. It's not thick, it has an original, I have the original one in my library in Germany. It has a DIN A4 format, DIN A4, and just like 60, 70 pages, so it's quite thin, it's more, it's a very small booklet. And it's very lovely. And he drawed, what you see there is drawn by him. So it's called the classic orders of architecture. And it starts with the columns, but then developed to a design system. And the second book is the Durand, and I uploaded both. The Durand, I took out some pages because it's so large, but I upload the main ones. They're both in the MS Teams and the tasks and homework for next week is to have a look on these books. And I mean, I just recommend to study them. They're really both really good. So here you see the five main orders. And this is the version that Chitham, as an architect, so he's an architect from the 20th century, 1980s, developed. So he studied previous systems. I'll show you in a second. So they look, for example, like this. These are different Doric versions, how it can be. Slide six, I go back to slide five. There, he made like the ideal one for all five. So the Tuscan is the roughest one that comes from the Etruscan. It was the countryside north of Rome, which was then conquered by a Roman empire, kind of at one of the first invasions. They integrated the Etruscan culture. Also the dome, the ways to build domes and arcs come from them. And they took this kind of very simple column called Tuscan order. That's the area north of Rome. And then the Doric is a derival from the Greek. As you see there already, he shows only the Roman Doric order. The other way would be the Greek Doric one. And he adds like a big basis under it. So first of all, the column is round, right? And then it has the roundish part of the base. And this turns into a square base called abacus, so a small plate where it stands on. And then he adds here another basis under the column, which you can do, but you don't have to. So some buildings do it from 15th century on. So the later architecture took over Greek elements and some don't. So you can do both. And then you have the entablature and these different styles. It's basically the Doric one and this typical one and the Ionian one. As I said, when you have questions, you can ask or you can interrupt me again, okay, if you don't understand that. I would love to draw that on the whiteboard and construct it with you together, but now I can just show you the slide. Even when I draw with my mouse, it will be not precise enough when I draw on the whiteboard function. So it starts with a lower diameter and all the numbers left and right you see are based on the diameter of the column where the column starts on the base. So it's called lower diameter. So it's always one. And then you see they become higher. So he made the Tuscan one to seven. The Roman Doric would be one to eight. The Greek Doric starts with one to 3.5. So it's very short and develops to around one to 5.5. So maybe one to six or seven in the later empire, but not higher. And the Roman Doric is very slim, one to eight. You see there. And then he writes the numbers there also. Ionic one, he made one to nine. You have a system and the Corinthic one actually would be one to 9.5 because the capital is double height of the rest. So it should be one to 9.5, but he wanted to make a system. And this system is also done by many other architects in the classic times, which is also, I mean, the times when they kind of reused the Greek architecture, which is mainly the Renaissance around 1500, 1500 and the classicism around 1800 after Christ, as you will learn later probably in the later lessons. But in these two times, one 500 years ago from now and one 200 years ago, they reused the system. And this is kind of the system that they use. So the Corinthian they made a bit slimmer, one to 10. So it looks more elegant, but on the other hand, not so strong. And the last one would be composite. So it's composition of the Ionian capital together with the Corinthian acanthus leaves. And then they made also the entablature always more rich, but it's always a variation of the Ionic one from where is today Turkey. So it just become same elements, just adding more and make it more rich, but not really your own design of the entablature. So that's the top part, right? The horizontal part. So, and this is how he worked, how he made the system. There are actually many people who wrote books, how actually this architecture looks like. And the first one that we know is called Vitruvius. That's the very last one. That's the only guy who wrote an architecture theory book, how to build classic. I'm sorry. That's not the only guy who wrote it, but the only book that remains. So there were many more, but he was an engineer working in the Roman empire around 50 after Christ or something. So around the year zero somehow, 2000 years ago. And that's the only book that's preserved because in the middle ages, they copied it in the monastery. So they copied the books. And this is the only one that we have. There were more. And that's the column, how he described how it will look like, no base and Doric. This is now the Doric order. And then from 1500 after Christ, roughly, there were quite many people who wrote their own books about architecture. And they usually called, the one from Vitruvius was called 10 books about architecture. It's more like 10 chapters in one book, but he called it 10 books. And that's why there were many architects like wrote 10 books or eight books or five books about architecture. And they always call it like that, 10 books, five books. And it's usually one book with different chapters. So, and there you see the names of the architects who suggest how this Doric order can look like. So you see Palladio, the famous architect in the middle, where I show some of the buildings already before. This is now around 1500. And then later Gibbs, I think 19th century already, British. So they changed the proportion and he summarized that into that one, into slide five. So the idea version, but this is how the different architects suggest how it can be designed. Doric, Ionian, they are slimmer, right? One to nine in the height. This is all in the book that I upload. You can have a look through. And this is then the highest Corinthian or with a volute, you call it composite. So they make it usually one to 10. So if you make it slimmer, you can also make columns even one to 11 or one to 12, but it looks too thin, kind of. It looks a bit fragile. So between one and one to eight and one to 10, it looks both elegant and still like stable enough because it's all built in stone, right? It will break if you make thinner. So this is how it works. And this is then the system, how the proportion work. The right one is kind of the beam system, but actually it's enough when you understand these proportions in detail, but without whiteboard, I really can't show you. It's always starts with the lower column diameter, and then you see it reaches one to usually 85% of the width. And the entablature is usually 25% of the height. So that means that the diameter varies between 175 in the Tuscan, two in the Ionian and so, but compared to the height, it's always the same. So the entablature is usually 25% of the height of the column on top. So if you scale them, I scanned that one and scaled it in an AkiCAD before. And actually, it's always kind of the same. It's always 25% of the height that looks harmonic to the column height. 25% height of the column on top is the entablature. And usually 30% under it, if you want to base the high one there. Yeah. And then it's about the distances between columns. The famous one, Vitruvius, that I said is the only book that's remained. He suggests different column distances. It's the top left side, because the appearance of the building becomes very different based on the distances. And so he gave them Latin names. So the narrow one, then I think that's the first one on the left is, I think, two. It's always the lower diameter of the beginning of the column. It's distance two. Then you'll see, I think, 2.5. And then he has the third one called Oistulos, that means beautiful. O is something like, yeah, it's a prefix describing something positive or beautiful. So if you can't hear me or something, say something, right? Or can't see the slide. So I'm now on slide 10. So Oistulos means beautiful. And this is actually 3.25 lower diameter in the distance. So you see the middle one he made bigger already. And the case too, if you want to emphasize the entrance. But the normal Oistulos is just the distance of 3.25 lower diameter. So it looks harmonic to him for public, yeah, mostly public buildings. And then it becomes wider and wider. Diostulos, I think four. And then the last one should be five or 5.5. Erostulos. Eros means air. So I think this is already like, it doesn't really look good anymore. So Oistulos 3.25, he found perfect. And here the Robert Chittam drawn different ones for the styles. Tuscan on the top. Ionian comes next because of the organization on the paper. And so on. So you see the effect is really like strongly, how do you say, strongly changes with the distance of the columns to each other. So one is the proportion of the column itself. The second, the entablature on top, how the proportion is. And third one is the distances of the columns that has a big effect. So this is all regarding columns. So and now here starts the architecture. Why here? Because so here he integrates arc. So this happened earliest in Roman Empire. And here he draws system, how you can integrate an arc. And then the column becomes just an application on the front. So it doesn't have static function anymore. It doesn't carry the entablature. So on slide 10, you see it really carries the forces. It brings the forces down from the roof and the ground. Here it really becomes like a decoration. But we call it tectonically because tectonic means showing the forces in the building on the outside. There's a tectonic architecture that's un-tectonic. This is architecture does not show the forces bring into the ground. And for example, Zaha Hadid buildings, they kind of, I would say, like pretend to fly or they say it look like flying. So that doesn't intentionally, I mean, they do it intentionally, intentionally do not want to show the forces. They want to, I would say, pretend there are no forces or we have beaten or conquered the forces. And tectonic architecture is architecture that shows the forces that factually work in the building parts in the facade or in the outside. It can be the inner facade and the room, but mostly it's the outer facade on the building. So and if you do these columns like this, you can put a full column, but sometimes just a half column on the front or even what they call like a very thin one, just to show what happens in the wall. So the wall can be bricks and could work without these kind of columns or half columns, but you put them in front to show the forces inside called tectonic. Yeah. And so this is how the Romans did it. They used it as a system. And that's why nowadays they call it order or also Doric order because it orders the facade. You will see in a second how it creates the order system. So that's now about facades. Later, we also talk about floor plans. You have mainly always this, right? Floor plans and facades and both want to be organized. So this kind of order orders the proportion of the facade. Starts with that one. If you add the bases, it becomes everything slimmer. So you can do both, right? I mean, they also did both in Roman Empire. They did this one, slide 11 without the base, slide 12 with a base. You can also add on top another balustrade. They do it if you practically have a balcony. And they give proportion for that too. So the main one is still the column, then the entablature, then you can add the bases under it based on which style you use. They become slimmer because the Corinthian one is kind of more elegant and slim. So the base is also slimmer. And also the balustrade on top becomes more elegant and slim. But for the Corinthian one, what has the two circles inside, you see already, it's maybe everything too fragile and very thin. So if you use the base, I find the Doric one better. I think the Doric is the best for that one. And the Corinthian already becomes quite fragile, but it's still the same system that starts with the Greek temper, right? In this case, it's an elevation system. It's not a big impact. It has a little impact on the floor plan, but it doesn't design a floor plan yet, but an elevation. And here you see how they actually then make buildings. So the book works systematically, the classic orders of architecture of Robert Chittam. So this is what they did in the Roman Empire. They started in the Greek, but the Romans then added them onto each other. So the hierarchy was given, as I said, Tuscan is the lowest, then Dorian, then Ionic, then Corinthian. So here you see on the left side, Ionic is over the Dorian. And you see in the proportion already, when you start with the base, base has one, right? Diameter one. The upper part, 85% so 0.85. And the second one, you start with 0.85 and you have to slim it again on 15% to keep the proportion. Otherwise it looks weird. Sometimes when architects don't understand it, like in America, also the current houses, they sometimes want to build and they can't, they make it wrong and they make the column straight, like one to one, it looks really weird. So you make it slimmer to look actually more, it's just like more beautiful and looks like more tectonic. So, and then on the Ionic one, on the top of Doric, you start with 0.85 and then you reach something like 0.62 something, because you reduce 15% of the width. And then also then tablature becomes slimmer. So when you continue on with a third one, like for example, the Colosseum in Rome, you start with 0.65 and then you reach, I think, 0.5 something. So it's just half of a diameter on the ground of the building. So that, but that influenced the facade. That's why it's called order again. So it's a principle how to structure the facade. And here you see all elements added in the big two arcs. So it has a basis, it has a column, it has an entablature, the Doric one, and then the basis for the columns on the second floor integrate the balustrade that can be also seen as a top of the lower one. So you can read that these balustrades, this kind of, yeah, balustrade, you could read it as a part of the lower one, like a crown on top, or you can read a part of the basis of the second floor. So, and of course you can add a roof on everything in the end. You can add a roof, but you don't have to. You can also end it like flat. They're both examples. Yeah. And then you see how you can add like columns in different distances. So this is a system for facades. And this is how they did it. So this is, for example, the Roman Colosseum. It would be, it's a brick building and it could stand by itself without these column systems, but they use, as you can see, the columns just as half columns in front, but they use it to clarify the proportion. So as you see the columns there, it starts, maybe I should zoom in a bit more in that slide there, but here in MS Teams I cannot zoom. So the lowest one is the Doric, then comes entablature and basis for the second one, also the balustrade, which covers this high volume that they have to build the second floor. So kind of, they have these kind of dome-like ceilings behind it. And actually they need this height to cover the construction area. I mean, in the section, it's a dome, right, to carry the second floor. And then ionic order and corinthic on top, and then they're still not done. And they add something like a composite on top, but very slim. So to make like a large heavy crown, it looks already over heavy because they actually didn't keep the proportion that would be logical for the next one. They make it higher because they needed the function. So it looks like a very heavy crown. It looks actually unproportioned. So the first three levels make everything right. It's like ideal. And then the last one makes it kind of wrong, and that makes it like a very heavy crown. You see the kind of mistake already. And here, this is a reconstructed facade of a library. These are the original elements, but I think it's in Ephesus. And so they used the original elements to rebuild it. It's a facade of a library from the Roman Empire, and this is a computer reconstruction. So you see how creative you can use it. So here you have two times a composite, so two times the highest order. And you see already the column on the top is smaller, right? It's because it starts with a lower diameter. So it starts with 0.85 and ends 0.62 of the ground floor diameter and becomes slimmer. Otherwise, you can also try to draw it in ARCHICAD and do it the same, but you will find the second one looks too heavy. Same when you try to draw them all with diameter one, then it looks like some wrong American countryside houses. So it just doesn't look good. It's not a rule you have to follow, but it's just like, as I said, perfectionism. They tried it over centuries, how it looks good. And this is what the human eye sees as most harmonic. So it's not a fixed rule. You can try everything, every variation you want. There's no law about it, but that's just what they discovered in the classic time called classic Greek time, what looks the most harmonic to a human eye. So that's why the columns on the second floor are slimmer, and you see how variations you can make, like coming in front of the facade, going back, adding these kind of aedicula, so these small roofs on the top, like a roundish roof, a triangle roof. So it was a facade for a library like that in Ephesus. And you see how rich they elaborated, so with these colors and colored marble, but it's still a Greek system used in the Roman Empire, like around, I think, 100-something after Christ, so 300 years after the Greek temples, roughly, or a bit more. But they used the same system and make it like a rich architecture. So this building is from around 1500, so that's much later, but I just put it as a church in France, somewhere in Paris, because they used, again, in the Renaissance time, that's around 1500, 1500 before Christ, they go back to the Greek architecture, and here you see how free you can use it to structure the facade. So start with the Doric on the ground, second floor is Ionic, because seen a bit lighter or more feminine, and the third, the Corinthian, the highest on the top, and you see how free they use it, like front and back, and only two columns together, it's not like in a temple, column, column, column, and how they do like arcs and statues in the gaps, and how they do the doors on the ground, one with the arc, coming out another temple element over the main door, right, the big one behind the tree now, two small doors, so they proportion the facade very freely, but they use the Greek element. So it's a unique design, right, the architect thought of a design, two floors, and then another roof, roof floor, kind of, a facade for the roof that's behind it, the third floor, and how free they can use it, but it's based on the Greek architecture, so you see how capable it is to actually cover any kind of facade you want and order it, that's why they call it order, so it makes the proportion system behind it or in front of it. So in here, that's now the kind of the most important papers in that book, pages in that book from Robert Chitham, so here he did like British-style, sorry, townhouses, like putting the order just as a facade proportion, and now I think the important one is actually slide 19, so here he keep the columns away, so you see the proportion system is still there, two houses, right, on the top and on the bottom, but the columns are gone, so I'm not meaning there's more columns around the door, you could ignore that, that's another one, but the whole facade, for example, the house on the top side has a proportion, a system, and it comes from the columns, but the columns are taken away, so it still works, the proportion system still works, even when you take away the main elements, which are the columns, right, so slide 18, you see the same, look on the picture on the top, the facade with the columns, and slide 19 on the top is the same house, just taking the columns away, so it still works to give a system in the facade, and then the system that was developed there is kind of the basis, and then the main body of the house, the main part, and this top, and this actually stayed through the 19th century as a grammar, as a grammar for architecture, and that's why the cities look so unique in 19th century in Europe, because that's when tourists go, they're so beautiful, because it has this kind of system behind it, even when you take the columns away, the system still works, because it's a proportion system that I tried to explain you now, and the whole cities in 19th century until modern architecture looked very unique, even if the buildings were from different architects, from different areas, and different times, like different centuries even, they match together because of this kind of grammar, it's a grammar, same like language, it's also bound together by a grammar, and then you can exchange the vocabulary, but the grammar remains in the language, so and that's same about this kind of architecture that goes back to the Greek architecture, and gives the system for the facade, so this slide 19, I think the top side, you really, I mean I really understood how it works, it's a proportion system, okay, go back to Greek architecture, so now it's already 11.35, so I will go briefly through this one, that's the second book I uploaded, it's a very huge one, I think has 800 pages, but I uploaded only the short text part, which is actually about the work of an architect, how it should be, I mean it's written there by that professor, and then the so-called graphic table, so the graphic drawings, this book, you see the cover, uploaded in MS Teams, and you can download the whole one for free somewhere, if you want, it's all online, it's one of the most important architecture books for the 19th century, when these, as I said, these new building forms like hospitals, train stations were built in the middle, JNL Durand means Jean-Nicolas-Louis Durand, he was an architect, but he was not famous as architect, he didn't really build anything, or just one or two buildings, but he was a professor in the first architecture faculty in Paris, a big Paris, and the title is that means summary of the lectures of architecture, so the title means summary of the lessons of architecture, so he published the book, and he lectured about architecture in that way, and many famous, actually like every important architect, even from Germany that time, went to Paris, and Germany had like a peak of that architecture, and to see his lectures, so they traveled to Paris to visit his lectures, and he was a famous professor, not everybody loved what they saw, so it was like a discussion, should we do like that or not, but he found a system how to use this classic architecture, going back to Greek, in a quite free way, and already very systematic, so it's actually an ancestor of the modern Bauhaus systems, with the systemization of architecture, and he was the first one doing it, around 1800, 1800 after Christ, and this actually is also in the floor plan, so if you look through these tables, you don't have to understand the details, but you understand the system, it's all built on grids, so you see the same house facades in different versions, and this book, he has the column system again, like he starts I think with the Greek Doric, and how he goes through Greek Doric, Roman Doric, Ionic, Corinthian composition, composite order, and he made it to a system, you see like, you say you can use all systems in a building, but that's a proportion system, it's different from Chitham, I think Chitham is a bit better, it's not so formal for the facade proportions, but this guy is good, because he, I mean you will not design a building exactly like this, but it shows like how systems work, for example you can make a tower high in the middle, and low in the ground, you can make high at the corners, and so on, so this was the most modern approach at that time to building design, and you can actually find nearly all buildings from 19th century in this book, like as a system, so this is about facades, he developed system to use this classic architecture, it's about facades, and here it becomes very smart, I find like proportions built on, this is for floor plans now, so you can see he tried to cover everything, I don't know if he covered anything, but always like when it's rectangular, surrounded by four, by three, by two sides, divided by, you see I go from the left to the right, divided by two, divided by four, so it's really, this plan is already so great, it's like a totally systematic development of floor plan forms, overall ones, of course you will elevate them, but I assume every house you can find on the world will fit somehow in this system, even the contemporary ones, you will fit it in these principles, so the book is all about design principles, that's why it was so abstract and modern, and here it's for the columns, nowadays you don't build the columns so much, but you still see systems like in the front, and the front around, and you will have that also for contemporary architecture, when you have like an open space, you will not do the grid columns currently, but you will have an open space and a closed space, outside, inside, so how it's related and how the walls partly surround the outside space, you find all options in this book, I believe, you can't find, I believe you will not find one house that doesn't fit in these systems, of course in another interpretation currently, but the systems are all given in that book, here's staircases, so they're more classic, but I like these, so he already thought like how can we make stairs, going this, going this, going this, going this, when you, for example, when your house, you will also have some stairs going to the second floor, in your Friday design class, you can actually have a look how to do stairs, so it's different ways, and I know you will not do it so classic like in a palace, but the systems are the same also in contemporary and modern architecture, so it's all about systems, here developed on squares, and become bigger, so you have a look through, not to understand this, I mean, you will not design a floor plan probably like that, but it's about principles, right, how something tends around the courtyard or courtyards around the house, or like what I said on last Friday, or it's an L-shape, or it's a U-shape, so you find all these kind of shapes, also for modern architecture in this book, here's a very big one, but you see how he used the square as a basic element for floor plans, the square, and yeah, this is from that time, Boullée is an architect, he used these systems to create facades, this one was real, but it's unfortunately destroyed, like 50 years ago, it was a hotel in Paris, that's how it looked, this one is still preserved, so this architect from the same time like Durand, this hotel in Paris is preserved, so that's the classic artistic architecture, right, but even without the decorative elements, which are from the past, the system is still the same like in this book, so it's used, so that's why I invite you to have a look through that book.