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Pilaster

A pilaster is a rectangular architectural element that projects from a wall, resembling a flattened column with a base, shaft, and capital, but integrated into the structure rather than freestanding, primarily serving decorative rather than load-bearing functions.^[1]^[2] Unlike round columns, which stand independently, or piers, which are thicker structural supports, pilasters are engaged with the wall surface to articulate and embellish facades, doorways, and interiors.^[2]^[3] Pilasters originated in ancient Roman architecture around the 1st century AD, evolving from the Greek anta—a rectangular pier flanking temple doorways—and became a key feature for adding classical ornamentation to walls without altering structural integrity.^[4]^[2] Prominent early examples include the Colosseum in Rome (c. 80 AD), which features engaged columns in Tuscan, Ionic, and Corinthian orders on its lower tiers and Corinthian pilasters on the upper tier, dividing the multi-tiered exterior and emphasizing rhythm and hierarchy.^[2] They were also used in Roman temples as pseudoperipteral elements along sides visible only from the front, blending utility with aesthetic proportion.^[5] Revived during the Renaissance in the 15th and 16th centuries, pilasters gained prominence as architects like Leon Battista Alberti and Sebastiano Serlio employed them to transform flat walls into dynamic compositions inspired by Vitruvian principles, often in palazzo facades and church interiors.^[2] Notable Renaissance applications include the Palazzo dei Banchi in Bologna (c. 1560s) with composite capitals and the church of Sant'Andrea in Mantua (c. 1472–1494), where pilasters frame the triumphal-arch facade.^[2] In later periods, such as Neoclassicism and Beaux-Arts, pilasters persisted in civic buildings like Paris's Gare du Nord (c. 1865) with Ionic examples, and American Federal-style homes (c. 1800), underscoring their enduring role in evoking classical grandeur.^[2] Today, they appear in contemporary classical revival designs, maintaining their function as ornamental vertical accents.^[2]

Definition and Characteristics

Definition

A pilaster is an upright architectural member that is rectangular in plan, projecting slightly from a wall surface, and structurally functioning as a pier while being treated architecturally as a column.^[1] It typically features a capital and base, mimicking the form of a column but with reduced depth, typically one-third that of a full freestanding column or less.^[1] This shallow, rectangular projection serves both structural and decorative roles in architecture, integrating seamlessly with the wall plane.^[6] The term "pilaster" derives from the Italian pilastro, meaning "pillar," which itself stems from the Medieval Latin pilastrum, from Latin pila (pillar or pile) + diminutive suffix -aster.^[7] In practice, a pilaster acts as a flattened pier capable of bearing loads or, more commonly in later uses, as a purely ornamental element to articulate wall surfaces, divide facades, and alleviate visual monotony.^[8] Pilasters are usually rectangular in plan, with their height aligned to match surrounding architectural elements such as adjacent columns or wall sections for proportional harmony.^[9] The projection from the wall is limited, typically to about one-sixth of the pilaster's width, ensuring it remains an integral part of the wall rather than a detached support.^[9] These dimensions allow pilasters to enhance spatial rhythm without significantly altering the wall's structural integrity.

Key Features

A pilaster is characterized by its shallow projection from the wall surface, typically ranging from one-sixth to one-third of its overall width, which distinguishes it from more prominent freestanding columns. This projection creates a subtle three-dimensional effect while maintaining a predominantly flat profile that integrates closely with the surrounding wall plane. The face of a pilaster is generally planar, though variations may include chamfered or rounded edges to soften transitions and enhance visual flow.^[10]^[11] Commonly constructed from durable materials suited to both structural and aesthetic demands, pilasters have historically utilized stone, brick, stucco, or wood to harmonize with the primary building fabric. In contemporary applications, materials such as concrete or fiberglass reinforced polymer (FRP) offer versatility, corrosion resistance, and ease of molding for complex designs. These choices ensure longevity and adaptability across diverse environmental conditions.^[12]^[13] Key variations include the lesene, a simplified, band-like form that lacks a base or capital, functioning more as a vertical strip to articulate wall surfaces without full columnar ornamentation. Another precursor form is the anta, an ancient Greek element that terminates sidewalls through wall thickening or attached strips, often with distinct capitals differing from adjacent columns. These adaptations highlight the pilaster's flexibility in form while preserving its role as a wall-bound projection.^[2]^[14] Pilasters are engineered for seamless integration with wall compositions, frequently aligning their tops with entablatures or cornices to establish rhythmic patterns across facades. This alignment reinforces horizontal divisions and contributes to the overall proportional harmony of the elevation, blending structural illusion with decorative rhythm.^[15]

Historical Development

Ancient Origins

In ancient Greek architecture, the anta developed as the direct antecedent to the pilaster, appearing as a thickened pier or flat column at the ends of temple sidewalls to provide structural support from the 6th century BCE onward. Primarily associated with Doric temples, the anta framed doorways and porches, projecting slightly from the wall to carry the architrave and entablature while maintaining the building's rectangular symmetry. Early examples are found in 6th-century BCE Doric structures, such as the Temple of Hera at Olympia (c. 590 BCE), where antae integrated seamlessly with the wall plane. This form reached refined expression in the Parthenon (447–432 BCE), where the antae of the pronaos and opisthodomos flanked the entrance, underscoring the temple's balanced proportions and functional elegance.^[16]^[17] The transition to Roman use began in the Hellenistic period (c. 323–31 BCE), where Greek antae were increasingly elaborated with decorative capitals and moldings, blending structural necessity with aesthetic enhancement. By the 1st century BCE, Romans adopted and refined this element, transforming it into the pilaster—a shallower, more versatile projection that could articulate walls without full load-bearing demands, setting the stage for its widespread classical application.^[18]

Classical and Post-Classical Evolution

In Roman architecture, pilasters fully emerged as a distinctive element during the 1st century CE, evolving from earlier Greek and Etruscan precedents into more refined decorative features integrated into walls of public buildings. They were prominently employed in forums and basilicas to articulate facades and create rhythmic patterns, often employing the composite order, which combined Ionic volutes with Corinthian acanthus leaves for added ornamentation. A notable example is Trajan's Market, constructed around 110 CE, where brick pilasters with travertine bases and capitals frame the archways of its semi-circular façade, enhancing both structural illusion and aesthetic hierarchy.^[19] Pilasters continued in Byzantine architecture from the 4th century CE, serving both structural and decorative roles in church interiors and exteriors. For instance, in Middle Byzantine churches like the Myrelaion in Constantinople (10th century), pilasters with affixed half-columns articulated walls, allowing the internal structure to be "read" externally while incorporating classical motifs.^[20] During the medieval period, the use of pilasters became sparse but maintained continuity in Romanesque architecture, primarily serving as wall divisions to organize space and evoke classical motifs amid the era's emphasis on solidity. In the 11th century, Cluny Abbey exemplified this restrained application, incorporating pilasters alongside Corinthian columns to support pediments and reflect a revival of antique forms within its robust stone construction. By the Gothic period, pilasters were revived more symbolically to accentuate vertical emphasis, attached to piers to guide the eye upward in soaring naves, as seen in cathedrals where they contributed to the illusion of height without primary load-bearing roles.^[21]^[22] The Renaissance marked a significant revival of pilasters, reintroduced by Filippo Brunelleschi in 15th-century Florence to embody humanist ideals of proportion and classical harmony. At the Ospedale degli Innocenti, begun in 1419, Brunelleschi used fluted pilasters to frame the end bays of the loggia's round arches, creating a modular rhythm that unified the façade and drew from Vitruvian principles of symmetry. This approach emphasized pilasters' role in articulating space through geometric clarity rather than mere decoration.^[23]^[24] A key evolutionary shift occurred from antiquity to post-classical eras, where pilasters transitioned from occasional load-bearing functions in Roman structures to predominantly ornamental devices that influenced facade rhythm and compositional balance. This change allowed architects to evoke structural support visually on flat surfaces, fostering a legacy of decorative integration in later styles without compromising wall integrity.^[2]^[4]

Architectural Components

Structural Elements

Pilasters can serve structural functions in certain contexts, such as modern masonry construction, where they act as a thickened section of a wall designed to transfer vertical loads from overlying entablatures or arches to the supporting foundation, thereby enhancing overall structural stability without requiring the full projection of a freestanding column.^[25] This configuration allows the pilaster to integrate seamlessly into the wall plane while distributing compressive forces effectively across the building framework.^[26] However, in classical and historical architecture, pilasters are typically decorative and do not bear significant loads.^[27] In structural applications, pilasters typically incorporate a base, often in the form of a plinth, which provides grounding and transitions the load into the foundation, and a capital that facilitates even load spread to adjacent architectural elements, ensuring alignment with the surrounding wall or entablature.^[27] These components maintain structural continuity and compatibility with the broader design.^[28] In masonry construction, pilasters are interlocked with the wall through headers or metal ties to achieve monolithic behavior and prevent separation under load.^[25] In contemporary applications, they are frequently reinforced with embedded steel bars or rods to improve seismic resistance, particularly in regions prone to earthquakes.^[25] From an engineering perspective, in load-bearing systems, pilasters contribute to shear resistance by counteracting lateral forces such as wind or seismic activity, while also stiffening the facade in multi-story buildings to minimize deflection and enhance overall rigidity.^[26] This dual role in vertical load transfer and horizontal stability makes them essential for the integrity of load-bearing wall systems in applicable contexts.^[25]

Decorative Aspects

Pilasters often feature surface treatments such as fluting or reeding to replicate the vertical grooves or ridges found on column shafts, enhancing visual texture and depth on flat wall surfaces.^[29] These treatments, typically concave flutes for fluting or convex ridges for reeding, align with classical conventions to create rhythmic patterns that draw the eye upward.^[30] Entasis, a subtle convex curve applied to the shaft, may also be incorporated for optical correction, countering the illusion of concavity in straight vertical elements, though it is less common on pilasters than on freestanding columns due to their flattened form.^[29] The capitals and bases of pilasters are directly adapted from the five classical orders, ensuring stylistic consistency with surrounding architectural elements. Doric capitals are characteristically plain and sturdy, emphasizing simplicity and robustness; Ionic capitals incorporate distinctive volutes or scrolls for a sense of elegance and movement; and Corinthian capitals are richly ornamented with acanthus leaves, symbolizing natural abundance and refinement. Bases, positioned at the lower end, frequently include rustication—rough-hewn stonework—in their lower sections to convey grounded strength and tectonic solidity, particularly in adaptations from Renaissance onward.^[31] Proportions and rhythm in pilaster design adhere to Vitruvian principles, where the height typically ranges from seven to ten times the width to achieve a sense of grandeur and harmony.^[32] This ratio, derived from the module system (one module equaling the column or pilaster diameter), ensures balanced scaling across orders: Doric at approximately 7:1 for sturdiness, Ionic at 9:1 for grace, and Corinthian at 10:1 for delicacy.^[33] Pilasters are arranged in rhythmic sequences along facades, their spacing and alignment governed by intercolumniation rules to foster visual unity and structural illusion.^[34] Symbolically, pilasters embody ideals of order and strength, echoing the load-bearing connotations of columns while serving as non-structural embellishments that articulate architectural hierarchy. They frequently frame doorways and windows, accentuating entry points and creating compositional emphasis, or mark vertical divisions in elevations to denote spatial importance and rhythmic progression.^[35]

Applications in Architectural Styles

In Classical Architecture

In ancient Greek architecture, pilasters—referred to as antas—served primarily as flat, rectangular projections at the ends of temple side walls, functioning to terminate the cella and frame entrances in a structural yet understated manner. These elements projected minimally from the wall, typically one-third to one-half the width of a full column, and were crowned with capitals conforming to the temple's order, such as Doric or Ionic, to maintain proportional harmony. The distyle in antis configuration, where two columns stood between flanking antas, was common in early temples, providing a vestibule-like porch while preserving the solidity of the wall plane. A prime example is the Erechtheion on the Acropolis in Athens, completed around 421 BCE, where antas delineate the north and south porches, integrating seamlessly with the temple's innovative Ionic order and asymmetrical layout to emphasize ritual boundaries without dominating the facade.^[36] Roman architects expanded the use of pilasters beyond mere wall terminations, employing them extensively in public monuments to articulate multi-story facades and convey imperial scale through superimposed classical orders. In this context, pilasters often appeared as engaged, half-column-like elements supporting entablatures, allowing for rhythmic patterning on vast surfaces while distributing visual weight across levels. The Colosseum in Rome, constructed between 70 and 80 CE under emperors Vespasian and Titus, illustrates this approach masterfully: its exterior features Doric engaged columns on the ground story, Ionic engaged columns on the second, Corinthian engaged columns on the third, and robust Corinthian pilasters on the attic level, creating a unified yet hierarchical composition that unifies the structure's four tiers. This superimposition not only enhanced structural clarity but also symbolized Roman engineering prowess and order.^[37]^[38] The neoclassical revival in the 18th and 19th centuries revived pilasters as emblems of rational symmetry and proportional elegance, drawing directly from Greek and Roman precedents to promote civic virtue in emerging democratic societies. Architects prioritized their use on flat facades to mimic temple fronts, ensuring strict adherence to Vitruvian principles of balance and restraint. Thomas Jefferson's Monticello, initiated in 1769 near Charlottesville, Virginia, exemplifies this in its east facade, where pilasters articulate the brick walls alongside a central portico, reinforcing the building's Palladian-inspired neoclassical form and Jefferson's vision of harmonious domestic architecture informed by ancient models.^[39]^[40] Throughout classical frameworks, pilasters were stylistically integrated with pediments and architraves to simulate colonnades on planar walls, fostering an illusion of depth and classical continuity without requiring freestanding supports. This technique, rooted in the proportional systems of the orders, allowed for economical yet monumental designs, as seen in temple porches and Roman basilicas, where pilasters flanked doorways under triangular pediments, aligning with triglyphs or metopes to evoke peristyle grandeur. Such pairings underscored the classical ideal of eurythmia—harmonious proportion—transforming utilitarian walls into compositions of measured rhythm and optical refinement.^[28]^[41]

In Renaissance, Baroque, and Beyond

During the Renaissance, pilasters experienced a humanist revival as architects sought to emulate classical Roman forms to convey order, proportion, and civic dignity on building facades. Leon Battista Alberti, in his influential treatise De re aedificatoria (c. 1450), advocated for the use of pilasters within the classical orders—Doric, Ionic, and Corinthian—to structure elevations rhythmically, stacking them hierarchically to guide the eye upward and emphasize harmony.^[42] This approach is exemplified in Alberti's Palazzo Rucellai (c. 1446–1451) in Florence, where superimposed pilasters of varying orders divide the facade into three registers, creating a balanced, temple-like rhythm that influenced subsequent palazzi designs.^[43] Andrea Palladio further refined this in the 16th century, employing pilasters to frame temple-front motifs and Venetian windows in structures like the Basilica Palladiana in Vicenza (begun 1549), where they articulate the facade's symmetry and proportion, drawing directly from Vitruvius and ancient precedents to symbolize rational humanist ideals.^[44]^[45] In the Baroque period, pilasters evolved into more dramatic and expressive elements, often with exaggerated projections and curved integrations to evoke movement, emotion, and theatrical grandeur, aligning with the Counter-Reformation's emphasis on sensory engagement. Architects like Gian Lorenzo Bernini incorporated pilasters into undulating facades, as seen in his design for Sant'Andrea al Quirinale in Rome (1658–1670), where paired pilasters with convex and concave forms create an illusion of depth and dynamism, pulling viewers toward the entrance.^[46] This elaboration extended to urban spaces, such as Bernini's St. Peter's Square (1656–1667), where pilaster-like projections on surrounding structures amplify the colonnades' sweeping curves, fostering a sense of embrace and infinite extension.^[47] Baroque facades frequently featured giant orders of pilasters—spanning multiple stories—with broken pediments and ornate capitals to heighten drama, as in Pietro da Cortona's Santa Maria della Pace (1656–1657), where they frame illusionistic frescoes and sculptural niches.^[48] As styles transitioned in the 18th century, pilasters lightened in Rococo interpretations, becoming slender and integrated with asymmetrical shell motifs and pastel ornamentation to suggest delicacy and playfulness. By the late 18th century, Neoclassicism purified these forms, stripping away Baroque exuberance for austere, archaeological accuracy, with pilasters rendered in crisp, unadorned stone to evoke republican virtue, as in Étienne-Louis Boullée's unbuilt projects (c. 1780s). This culminated in 19th-century Beaux-Arts architecture, where pilasters were employed in monumental scales with precise classical detailing to symbolize imperial stability, evident in structures like Charles Garnier's Paris Opéra (1861–1875), featuring layered pilasters that unify eclectic ornamentation under a rational grid.^[49] Throughout these periods, pilasters shifted from primarily structural accents in Renaissance rationalism to predominantly decorative devices in Baroque and later styles, serving to convey kinetic energy, hierarchical grandeur, and emotional intensity in palaces and churches, often prioritizing illusionistic effects over load-bearing function.^[42]^[48] This evolution underscored their role in enhancing spatial drama, as theorized by Alberti and amplified by Bernini, adapting classical motifs to serve the era's cultural imperatives of awe and persuasion.^[43]^[46]

Modern and Contemporary Uses

In the early 20th century, Art Deco and Streamline Moderne styles revitalized pilasters through geometric and stylized forms, often integrated into skyscraper facades for vertical emphasis and decorative flair. The Chrysler Building in New York City (1930), designed by William Van Alen, exemplifies this with its vertical stainless steel spandrels that accentuate the building's setbacks and evoke a sense of streamlined modernity, drawing from ancient motifs but abstracted into metallic, machine-age aesthetics. Similarly, in Streamline Moderne designs like the Pan-Pacific Auditorium in Los Angeles (1935) by Plummer, Wurdeman & Becket, vertical elements were simplified into sleek forms that mimicked aerodynamic curves, enhancing the era's fascination with speed and technology. Postmodern architecture in the late 20th century revived pilasters in an eclectic, ironic manner, quoting classical elements to critique modernism's austerity. Robert Venturi's Vanna Venturi House (1964) in Philadelphia playfully employed oversized, flattened pilasters on the facade, subverting traditional proportions to symbolize domestic complexity and historical reference, as articulated in Venturi's manifesto Complexity and Contradiction in Architecture. This approach influenced broader postmodern works, such as Michael Graves' Portland Building (1982), where colorful, exaggerated pilasters blended historical allusion with contemporary whimsy, challenging the International Style's minimalism. In contemporary architecture, pilasters have adapted to sustainability goals, appearing as slim, multifunctional elements in green buildings to provide shading and structural support using recycled or low-impact materials. Zaha Hadid's parametric designs, such as the Heydar Aliyev Center in Baku (2012), incorporate pilaster-like vertical fins in fluid, computer-generated forms that optimize natural ventilation and reduce energy use, merging ornamental legacy with algorithmic precision. These innovations extend to high-performance facades, where shading elements, as seen in Norman Foster's Masdar City projects in Abu Dhabi (ongoing since 2006), facilitate passive solar control in arid climates.^[50] Globally, pilasters have been adapted in non-Western contexts to blend modern construction with cultural revival. In Cambodia, post-1970s temple restorations, such as those at Angkor Wat led by the École Française d'Extrême-Orient, have incorporated pilaster motifs in reinforced concrete to mimic ancient Khmer sandstone carvings, aiding UNESCO preservation efforts while accommodating seismic resilience. In India, architects like Charles Correa have hybridized pilasters in modern hybrids, as in the Kanchanjunga Apartments in Mumbai (1983), where jaali-inspired pilasters from local stone provide privacy screening and ventilation, fusing Mughal traditions with tropical modernism.

Comparison with Columns and Piers

Pilasters differ from free-standing columns primarily in their attachment to a wall and their flattened form, projecting only slightly—typically one-fifth to one-quarter of their width—while columns are independent, cylindrical supports that can stand alone or in rows, often with a full circumferential profile for load distribution.^[51] Columns generally feature a round shaft, base, and capital designed for structural integrity in three dimensions, allowing them to bear loads without wall integration, whereas pilasters lack this depth and circumferential support, emphasizing planar decoration over autonomous strength.^[52]^[53] In contrast to piers, which are broader, solid masonry masses—often square or rectangular and serving as robust, load-bearing elements like those supporting bridges or arches—pilasters are shallower rectangular projections with column-like proportions, including a capital and base, prioritizing ornamental rhythm along a facade rather than massive structural capacity.^[54]^[55] Piers, being more massive and freestanding or deeply embedded, sustain heavy vertical pressures without the refined detailing of pilasters, which conform to classical orders for aesthetic enhancement.^[28] All three elements—pilasters, columns, and piers—function to distribute structural loads vertically, yet pilasters uniquely balance this role with an emphasis on creating visual rhythm and articulation on wall surfaces, often serving decorative purposes in non-load-bearing contexts.^[2] Visually, pilasters superficially imitate the proportions and entablature support of columns but remain integrated into the wall plane, unlike the protruding, block-like form of piers that disrupt rather than blend with surrounding surfaces.^[28]^[55]

Comparison with Engaged Columns and Lesenes

Pilasters differ from engaged columns primarily in their form and projection. While both are attached to walls and serve decorative or supportive roles, pilasters are rectangular in profile and project only slightly from the wall surface, creating a flat, pier-like appearance without a cylindrical shaft. In contrast, engaged columns maintain a full round profile with a cylindrical shaft and typically project one-half to three-quarters from the wall, providing greater three-dimensional depth. For instance, in Roman architecture, engaged columns are prominently featured framing arches, such as those on the Colosseum's facade, where they enhance structural articulation while retaining the classical column's volumetric form.^[2]^[51]^[56] Lesenes, also known as pilaster strips, represent a more simplified variant compared to pilasters. Pilasters incorporate a base, shaft, and capital to evoke the illusion of a column, aligning with classical orders and adding ornamental complexity. Lesenes, however, are plain vertical bands that lack these elements, consisting solely of a shallow, unadorned strip that projects minimally from the wall as a low-relief element.^[2]^[4]^[57] Lesenes originated in Romanesque architecture (c. 11th-12th centuries) as structural reinforcements against wall stresses and were later used decoratively in medieval styles to emphasize vertical rhythm without classical embellishment.^[58] Terminologically, "pilaster" underscores a decorative mimicry of freestanding columns, fostering a sense of architectural hierarchy, whereas "lesene" highlights minimalism and subtle surface modulation. In contextual application, all three elements—pilasters, engaged columns, and lesenes—augment wall planes by introducing verticality, but pilasters establish formal order and emphasis, engaged columns contribute pronounced spatial depth, and lesenes offer understated division for rhythmic effect.^[2]^[57]

Notable Examples

Historical Monuments

One of the earliest and most iconic uses of pilasters in monumental architecture appears in the Colosseum in Rome, completed in 80 CE under Emperor Titus. The structure's exterior features three tiers of arcades framed by engaged Doric pilasters on the lowest level, which provide a robust structural rhythm and visual stability to the massive elliptical amphitheater, supporting the weight of the upper stories while echoing the simplicity of classical Greek orders adapted for Roman engineering.^[59] In the Renaissance period, the Palazzo Farnese in Rome, initiated in 1517 by Antonio da Sangallo the Younger, exemplifies the use of pilasters to create a unified and imposing facade on urban palaces. Sangallo's design employs subtle pilasters and rusticated elements to articulate the three-story elevation without overwhelming ornamentation, fostering a sense of monumental harmony across the broad 13-bay frontage that integrates the building into Rome's streetscape while asserting familial power.^[60]^[61] The Baroque era brought innovative dynamism to pilaster design, as seen in Francesco Borromini's San Carlo alle Quattro Fontane in Rome, begun in 1638. Borromini's facade incorporates undulating pilasters that curve convexly and concavely across two levels, creating a sense of fluid movement and spatial tension that draws the viewer into the compact church's spiritual intensity, marking a departure from static Renaissance forms toward expressive Baroque theatricality.^[62] Neoclassical architecture revived classical pilaster motifs with refined elegance, evident in the British Museum in London, designed by Robert Smirke and substantially completed by 1847. Smirke's grand south portico employs Ionic pilasters flanking the central colonnade, enhancing the portico's majestic scale and intellectual gravitas, which aligns with the museum's mission to house global artifacts in a temple-like setting inspired by ancient Greek precedents.^[63]

Modern Buildings

In the 20th and 21st centuries, pilasters have evolved from their classical roots into abstracted, functional, and symbolic elements in modern architecture, often serving structural, aesthetic, and environmental purposes while echoing historical forms in innovative ways. Postmodern architecture further reinterpreted pilasters as playful, oversized motifs that critique and revive classical vocabulary. Michael Graves' Portland Building in Portland, Oregon, opened in 1982, employs colorful, exaggerated pilasters in vibrant hues like turquoise and gold, functioning as ironic quotations of antiquity to challenge modernist austerity and inject narrative whimsy into public civic design. These pilasters, paired with keystones and belvederes, frame the structure's base like a classical pedestal, blending historical allusion with contemporary ornamentation to create a landmark of postmodern irony.^[64]^[65]

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[PDF] 1 Classical Architectural Vocabulary - SAH Archipedia
Stopped flute: In classical architecture and derivatives, a flute terminated, usually about two- thirds of the way down a column or pilaster. Below this the ...
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Fluting - Buffalo Architecture and History
Stopped flute: In classical architecture and derivatives, a flute terminated, usually about two-thirds of the way down a column or pilaster. Below this the ...Missing: reeding | Show results with:reeding
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The composite Order, an Overview
Aug 12, 2012 · The Composite capital consists of the bottom portion of the Corinthian capital (two rows of acanthus leaves) topped by an Ionic capital using angled volutes ...
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https://www.reed.edu/glam/studyguides/temples/overview-styles.html
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Vitruvius, On Architecture 3.3 - Lexundria
Each intercolumniation, except the middle one, front and rear, will be equal to two of these measures and one quarter, and the middle intercolumniation three.Missing: pilaster decorative elements
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Rules for Proportion | THISisCarpentry
Feb 2, 2018 · ... pilaster – no more that 2”-3” depth. So it starts out that way / but by the time we get to the crown on top (its a two story foyer) it ...
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The Corinthian of the Temple of Castor and Pollux: An Order for ...
Jan 14, 2014 · 13. Pilaster capital, Former General Post Office Building (Loth). Palladio's dictum that temples should be “built with ample and beautiful ...
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Overview - Study Guide: Reading Greek Temples
From the early 6th century BCE some temples started using marble columns topped with a wooden roof.
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HSAR 252 - Lecture 12 - The Creation of an Icon: The Colosseum ...
Professor Kleiner discusses the technical and aesthetic features of the Colosseum at length, and surveys Vespasian's Forum Pacis and Titus' Temple to Divine ...
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Explore the Architecture of the Colosseum (Design & Structure)
Each half-column was the centerpiece of an arch, of which there were a total of 80 forming the external perimeter of the building on the first three floors.
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Thomas Jefferson, Monticello - Smarthistory
From the bottom of the building to its top, Monticello is a striking example of French Neoclassical architecture in the United States. Rembrandt Peale, Thomas ...Missing: pilasters | Show results with:pilasters
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Thomas Jefferson and Architecture - Encyclopedia Virginia
Thomas Jefferson was a passionate student of architecture whose designs are among the most influential in the early history of the United States.Training And Early Work · Government Buildings · University Of Virginia
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Part 5.1 The Orders – The Design of the Built Environment
Five orders are used in classical architecture. Tradition recognizes three as Greek: the Doric, the Ionic, and the Corinthian. The Romans adopted these ...
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Architecture in Renaissance Italy - The Metropolitan Museum of Art
Oct 1, 2002 · Brunelleschi often began with a unit of measurement whose repetition throughout the building created a sense of harmony, as in the Ospedale ...
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Leon Battista Alberti, Palazzo Rucellai - Smarthistory
This domestic building references ancient Roman architecture—and the nearby Medici palace. Tap to unmute. Your browser can't play this video.
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Palladianism Architecture: Origins, Features & Legacy - RIBA
His use of temple fronts (a pediment supported by columns or pilasters) and the Venetian window became hallmarks of Palladian design.
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Andrea Palladio - Design for a Corinthian Hall, in The Architecture of ...
Palladio's majestic columns and pilasters, pedimented doors, and chimney pieces were carefully imitated to create the much sought after effect of ancient ...
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Inside Bernini's Baroque Gem: Sant'Andrea al Quirinale In Rome
Jan 19, 2025 · This tiny church in Rome was once known as the “Pearl of the Baroque.” Bernini created convex and concave forms, giving the architecture a sense of movement.
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Gian Lorenzo Bernini, Saint Peter's Square - Smarthistory
Central to the Counter Reformation, Bernini's double colonnades activate Saint Peter's and reach out into the city. Tap to unmute.
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A Flair for the Dramatic: Baroque Architecture in Early Modern Europe
Feb 14, 2020 · the external facade is often characterized by a dramatic central projection ... Baroque, clothed in a giant order of paired Ionic pilasters.
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Architectural Wonders: Palace of Versailles Description - TrueParity
Oct 15, 2025 · Gilded Bronze Capitals: The pilasters are adorned with gilded bronze capitals of a new "French style" created by Le Brun, which incorporates ...
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Beaux-Arts Architecture Movement Overview | TheArtStory
May 9, 2020 · An imposing and often decadent style, Beaux Arts buildings combined many of the main features of classical architecture, particularly columns and symmetry.Missing: pilasters Rococo
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Engaged Columns and Pilasters - The Town Paper
Avoid doing this, the pilaster projection should be proportioned at between 1/5 - 1/4 width (see Figure 2, right). Figure 2.Missing: sixth | Show results with:sixth
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Glossary of Medieval Architecture:Column
column: A cylindrical support, usually structural but often decorative. ... Compare with pilaster, pier. See also applied or engaged column, arcade ...
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Glossary of Medieval Art and Architecture:pilaster
- **Definition**: A pilaster is a rectangular vertical masonry element projecting slightly from the wall, featuring a capital and a base.
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Glossary of Medieval Art and Architecture:pier
- **Definition of Pier**: An upright support, generally square, rectangular, or composite. In medieval architecture, massive circular supports are called drum piers.
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architect's glossary - post, pillar, column, pier and pilaster
Dec 19, 2018 · Finally, we come to the lowly pilaster. The definition of a pilaster is easy to describe - it is an engaged column, or rather, it looks like a ...
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Pilaster Vs Engaged Column - Design+Encyclopedia
A pilaster is a flat, rectangular architectural element that projects slightly from a wall, creating the appearance of a supporting column while being primarily ...
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Pilaster Vs Lesene - Design+Encyclopedia
The technical execution of these elements varies significantly, with pilasters typically projecting 1/4 to 1/3 of their width from the wall surface and ...
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Colosseum
There are four arcaded stories, the first three each have eighty arches, framed respectively by engaged Doric, Ionic and Corinthian columns.
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Palazzo Farnese
Antonio da Sangalla the Younger died in 1546 before the palace was completed so Michelangelo was brought in as architect late in the project. The three-story ...
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Palazzo Farnese: Façade by SANGALLO, Antonio da, the Younger
Antonio's design was ambitious from the start - an immense rectangle whose façade is a towering block of masonry with rustication restricted to the corners and ...Missing: pilasters | Show results with:pilasters
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Francesco Borromini, San Carlo alle Quattro Fontane, Rome
When you walk inside, the walls move in and out, they undulate. Dr. Zucker: [0:22] Everything is about movement in this church. Every architectural form seems ...
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Robert Smirke, The British Museum - Smarthistory
Robert Smirke, South Portico, built 1846–47, The British Museum, London, designed in 1823 and completed in 1857 (photo: Steven Zucker, CC BY-SA 3.0) ...Missing: pilasters | Show results with:pilasters
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AD Classics: Empire State Building / Shreve, Lamb and Harmon
Oct 20, 2018 · The Empire State Building towers over its neighbours. Since its completion in 1931 it has been one of the most iconic architectural landmarks in the United ...Missing: pilasters | Show results with:pilasters
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[PDF] Empire State Building: <i>Monarch of the Sky</i> - PDH Online
Chrysler Building architect. William Van Alen at the Beaux-. Arts Ball of 1931 ... Above, all pilasters, door trim and panels were finished in.
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AD Classics: The Portland Building / Michael Graves | ArchDaily
Jul 28, 2013 · ... pilasters and belvederes. The building is set on a two-story base, reminiscent of a Greek pedestal, which divides it into the Classical ...
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Portland Building - The Oregon Encyclopedia
May 18, 2022 · When the commission for the design of the Portland Building was awarded to Michael Graves ... pilasters and keystone, mirrored glass, and ...
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The Shard / Renzo Piano Building Workshop | ArchDaily
Mar 1, 2018 · The Shard, also known as the London Bridge Tower, is a 72-storey, mixed-use tower located beside London Bridge Station on the south bank of the River Thames.
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The Shard: Renzo Piano's great glass elevator - The Guardian
Jun 13, 2012 · It has transformed the London skyline, but the giant Shard faced hostility all the way. Its Italian architect Renzo Piano meets Steve Rose on the eighth floor.<|control11|><|separator|>
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Bullitt Center
The goal of the Bullitt Center is to drive change in the marketplace faster and further by showing what's possible today.Building · Tour · Building Features · Bullitt FoundationMissing: pilasters bamboo<|control11|><|separator|>
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Bullitt Center - Miller Hull
An urban office building, the Bullitt Center is conceived as a replicable model to drive change in the marketplace.Missing: pilasters bamboo composites shading