Holkham Hall has a neoclassical interior designed by William Kent in the Palladian style. The interior features grand state rooms such as the Saloon lined with red velvet. Rooms are symmetrically designed with real and false doors to achieve balance. The Marble Hall has alabaster columns and a coffered ceiling inspired by Inigo Jones' design for the Pantheon. The exterior has a severe Palladian design with an austere brick facade and only terminating Venetian windows for ornamentation.

1. Sheet No
1
SignRagini Sahu
B.Arch 3 year
14ARCH010
ACA, Agra
Date
12/02/17
NEOCLASSICAL ARCHITECTURE
HOLKHAM HALL
INTERIOR
• Holkham Hall is an 18th-century country house located adjacent
to the village of Holkham, Norfolk, England. The house was
constructed in the Palladian styleby the architect William Kent,
aided by the architect and aristocrat Lord Burlington.
• The interior of the hall is opulently, but by the standards of the
day, simply decorated and furnished. Ornament is used with such
restraint that it was possible to decorate both private and state
rooms in the same style, without oppressing the former.
• The principal entrance is through the Marble Hall, which is in fact made of
pink Derbyshire alabaster; this leads to the piano nobile, or the first floor,
and state rooms. The most impressive of these rooms is the Saloon, which
has walls lined with red velvet. Each of the major state rooms is symmetrical
in its layout and design; in some rooms, false doors are necessary to fully
achieve this balanced effect.
• It has been described as "The finest Palladian interior in England." The
grandeur of the interior is obtained with an absence of excessive ornament,
and reflects Kent's career-long taste for "the eloquence of a plain surface".
• The room is over 50 feet (15 m) from floor to ceiling and is dominated by the
broad white marble flight of steps leading to the surrounding gallery,
or perihstyle: here alabaster Ionic columns support
the coffered, gilded ceiling, copied from a design by Inigo Jones, inspired by
the Pantheon in Rome. The fluted columns are thought to be replicas of
those in the Temple of Fortuna Virilis, also in Rome. Around the hall are
statues in niches; these are predominantly plaster copies of classical deities.
EXTERIOR
The marble
hall
The Marble Hall
coffered ceiling
The marble
columns
PLANNING
• The flanking wings contain service and secondary rooms—the
family wing to the south-west; the guest wing to the north-west;
the chapel wing to the south-east; and the kitchen wing to the
north-east. Each wing's external appearance is identical: three
bays, each separated from the other by a narrow recess in the
elevation.
• The grandest, the Saloon, is situated immediately behind the
great portico, with its walls lined with patterned red caffoy (a
mixture of wool, linen and silk) and a coffered, gilded ceiling. In
this room hangs Rubens's Return from Egypt.
• The North Dining Room, a cube room of 27 feet (8.2 m) contains
an Axminster carpet that perfectly mirrors the pattern of the
ceiling above. A bust of Aelius Verus, is set in a niche in the wall
of this room. A classical apse gives the room an almost temple
air. The apse in fact, contains concealed access to the labyrinth
of corridors and narrow stairs that lead to the distant kitchens
and service areas of the house. Each corner of the east side of
the principal block contains a square salon lit by a huge Venetian
window, one of them—the Landscape Room—hung with paintings
by Claude Lorrain and Gaspar Poussin.
• Rooms have symmetrical walls, even where this involves
matching real with false doors. The major rooms also have
elaborate white and multi-coloured marble fireplaces, most with
carvings and sculpture in the Statue Gallery. Much of the
furniture in the state rooms is in a stately classicising baroque
manner.
• The Green State bedroom is the principal bedroom decorated
with paintings and tapestries.
• Holkham Hall. The severely Palladian south facade with its Ionic
portico is devoid of arms or motif; not even a blind window is
allowed to break the void between the windows and roof-line,
while the lower windows are mere piercings in the stark
brickwork. The only ornamentation is from the two
terminating Venetian windows.
• The external appearance of is a huge Roman palace. Holkham is a
Palladian house, and yet even by Palladian standards the external
appearance is austere and devoid of ornamentation.
• Each bay is surmounted by an unadorned pediment. The
composition of stone, recesses, varying pediments and chimneys
of the four blocks is almost reminiscent of the English
Baroque style.
• The one storey porch at the main north entrance was designed in
the 1850s by Samuel Sanders Teulon.
• On the ground floor, the rusticated walls are pierced by small
windows more reminiscent of a prison than a grand house..
Holkham Hall. The severely Palladian south facade with its Ionic portico is devoid of arms or motif; not even a blind window is allowed to break the void between
the windows and roof-line, while the lower windows are mere piercings in the stark brickwork. The only hint of ornamentation is from the two terminating Venetian
windows.
No ornamentation at
the pediment
6 ionic columns used
at the portico
Use of venetian
windows
Flanking rectangular
blocks
Unadorned pediment
Venetian
window
View of holkham hall
View of the Green State
bedroom
Section of holkham hall
Simplified, unscaled plan of the piano nobile at Holkham, showing the four symmetrical wings at each corner of the
principal block. South is at the top of the plan. 'A' Marble Hall; 'B' The Saloon; 'C' Statue Gallery,
with octagonal tribunes at each end; 'D' Dining room (the classical apse, gives access to the tortuous and discreet
route by which the food reached the dining room from the distant kitchen), 'E' The South Portico; 'F' The Library in
the self-contained family wing IV. 'L' Green State Bedroom; 'O' Chapel.
• This event was commemorated by the
construction in 1730 of the obelisk, 80
feet (24 m) in height, standing on the
highest point in the park.
• It is located over half a mile to the south
and on axis with the centre of the house.
• An avenue of trees stretches over a mile
south of the obelisk. Thousands of trees
were planted on what had been
windswept land; by 1770 the park
covered 1,500 acres (6.1 km2).

2. Sheet No
2
SignRagini Sahu
B.Arch 3 year
14ARCH010
ACA, Agra
Date
12/02/17
NEOCLASSICAL ARCHITECTURE
UNITED STATES CAPITOL BUILDING
EXTERIOR
• The Capitol is built in a distinctive neoclassical style and has a white
exterior. Both its east and west elevations are formally referred to
as fronts, though only the east front was intended for the reception
of visitors and dignitaries.
• The original building was expanded with the addition of the
massive dome.
• U.S. Capitol Building has over 600 rooms.
• The U.S. Capitol combines function with aesthetics. Its designs
derived from ancient Greece and Rome evoke the ideals that guided
the nation's founders as they framed their new republic. As the
building was expanded from its original design, harmony with the
existing portions was carefully maintained.
• Its length, from north to south, is 751 feet 4 inches; its greatest
width, including approaches, is 350 feet. Its height above the base
line on the east front to the top of the Statue of Freedom is 288 feet.
The building contains approximately 540 rooms and has 658 windows
(108 in the dome alone) and approximately 850 doorways.
• Marble is used for exteriors instead of sandstone as it deteriorates
quickly. Stone work has been changed to georgia marble.
• Freedom is a colossal bronze standing figure 19½ feet (6 meters) tall
• She is a female allegorical figure whose right hand holds the hilt of a
sheathed sword while a laurel wreath of victory and the Shield of
the United States are clasped in her left hand.
INTERIOR
Statue of freedom
Pediment having
resemblance to
parthenon
Copper covered dome
White facade
88M
29 M
Use of columns
like in Pantheon
• The Capitol has a long history in art of the United States, beginning
in 1856 with Italian/Greek American artist Constantino Brumidi and
his murals in the hallways of the first floor of the Senate side of the
Capitol. The murals, known as the Brumidi Corridors, reflect great
moments and people in United States history.
• The current Senate Chamber opened in 1859 and is adorned
with white marble busts of the former Presidents of the Senate (Vice
Presidents).
• A late entry by amateur architect William Thornton was submitted on
January 31, 1793, to much praise for its "Grandeur, Simplicity, and
Beauty" by Washington, along with praise from Thomas Jefferson.
Thornton was inspired by the east front of the Louvre, as well as
the Paris Pantheon for the center portion of the design.
PLANNING
• The U.S. Capitol Building is
divided into five levels. The
first, or ground, floor is
occupied chiefly by committee
rooms and the spaces
allocated to various
congressional officers. The
areas accessible to visitors on
this level include the Hall of
Columns, the Brumidi
Corridors, the restored Old
Supreme Court Chamber, and
the Crypt beneath the
Rotunda, where historical
exhibits are presented.
• The second floor holds the
Chambers of the House of
Representatives (in the south
wing) and the Senate (in the
north wing) as well as the
offices of the congressional
leadership. This floor also
contains three major public
areas. In the center under the
dome is the Rotunda, a
circular ceremonial space that
also serves as a gallery of
paintings and sculpture
depicting significant people
and events in the nation's
history. The Rotunda is 96
feet in diameter and rises 180
feet 3 inches to the canopy.
• The third floor allows access
to the galleries from which
visitors to the Capitol Building
may watch the proceedings of
the House and the Senate
when Congress is in session.
The rest of this floor is
occupied by offices,
committee rooms and press
galleries.
• The fourth floor and the
basement/terrace level of the
U.S. Capitol are occupied by
offices, machinery rooms,
workshops and other support
areas.

3. Sheet No
3
SignRagini Sahu
B.Arch 3 year
14ARCH010
ACA, Agra
Date
12/02/17
NEOCLASSICAL ARCHITECTURE
BRITISH MUSEUM
14M
Use of false pediment
pinnacle creating a vertical axis
that bisects the main entrance
way
Same 8 number of columns as in
parthenon
scrolled capitals of the ionic
order
Elevation of british museum
• The external architecture of the Museum was designed to reflect the purpose
of the building. The monumental South entrance, with its stairs, colonnade and
pediment, was intended to reflect the wondrous objects housed inside. The
design of the columns has been borrowed from ancient Greek temples, and the
pediment at the top of the building is a common feature of classical Greek
architecture. The east and west residences (to the left and right of the
entrance) have a more modest exterior. This is an example of mid-nineteenth
century domestic architecture and reflects the domestic purpose of these
wings. They housed the Museum’s employees, who originally lived on site.
• White building had two requests about the design of the building: that it had a
monumental entrance (the steps which run up to the entrance) and an
inscription (which is above the doorway). These can both be seen from
Montague Street.
EXTERIOR
FLOOR PLANS
• The building was constructed using up-to-the-minute 1820s technology. Built
on a concrete floor, the frame of the building was made from cast iron and
filled in with London stock brick. The public facing sections of the building were
covered in a layer of Portland stone.
MATERIALS USED
INTERIOR
• The Weston Hall was designed by Sydney Smirke, who took over from his
brother, Sir Robert Smirke, in 1845. The patterns and colours on the ceiling of
the Weston Hall were borrowed from classical Greek buildings, which would
have been brightly decorated. The electric lamps in the entrance hall are
replicas of the original lighting lamps in the Museum. The Museum was the first
public building to be electrically lit.
• It followed that the Great Court offer an urban experience in microcosm.
Unlike other museums, where the first thing you see is the gift shop, as you
enter the Great Court from the south, the drum of The Reading Room sits
before you In the courtyard like rotunda surrounded by the hustle and bustle
of the Museum.Greats Court is more that a restoration, it is creation of
something powerful distinctively new. It mixes urban design and architecture
and confronts the language of classism with computer generated computer
design.
• Beneath Its own glass sky the Great Court has created new ways of accessing
and enjoying the Museum's collections and has pioneered patterns of social
use hitherto unknown within this or any other museum. The Great Court is a
new kind of civic space -a cultural plaza - which people are invited to use and
enjoy from early in the morning to late at night In a crowded city and a busy
Museum it is an oasis.
Entablature (detail) Robert Smirke, The British Museum, 1823-57 (London)
• The Greek Revival façade
facing Great Russell Street is
a characteristic building of Sir
Robert Smirke, with 44
columns in the Ionic order 45
ft (14 m) high, closely based
on those of the temple of
Athena Polias at Priene in Asia
Minor. The pediment over the
main entrance is decorated by
sculptures by Sir Richard
Westmacott depicting The
Progress of Civilisation,
consisting of fifteen allegorical
figures, installed in 1852.
• The Greek Revival façade
facing Great Russell Street is
a characteristic building of Sir
Robert Smirke, with 44
columns in the Ionic order 45
ft (14 m) high, closely based
on those of the temple of
Athena Polias at Priene in Asia
Minor. The pediment over the
main entrance is decorated by
sculptures by Sir Richard
Westmacott depicting The
Progress of Civilisation,
consisting of fifteen allegorical
figures, installed in 1852.
• • The entablature (the entire
horizontal area carried by the
columns) is composed of a
tripartite architrave (the
lowest part of the
entablature) with a blind
frieze above (without
sculptural decoration) and a
dentilated cornice (dentils are
the repeated blocks forming a
pattern at the base of the
cornice)—all running in an
unbroken chain around the
whole length of the south
portico