All good architectural study obviously begins and ends with the placement of revival columns on the facade of none other than a parking garage, but if i must go further...
The closest i could find to the Parthenon was the center of the Albright Knox Art Gallery. The ionic columns, rectangular shape and roofing all try and emulate it.
The facade of Hayes Hall on South Campus radiates the Parthenon as well, with its columns, similar roofing, and shape etched in.
In general though the column as portrayed on the Parthenon is present in almost every architectural setting.
In this storefront in the heart of the Delaware District.
Or here on the front and most featured part of this Presbyterian Church near South Campus.
And also in simple homefronts as seen here, though not that simple because its on Chapin Parkway.
The top two here are the American cities, New York then Chicago. The bottom two are Prague and Budapest. The first striking thing that i notice about these two sets of cities is the absolute urban sprawl of the commercial skyscraper in the American cities. The height of the first two just crush the European wonders. This seemingly is the American of the city, the grandeur and in fact heights that our cities have grown into. This is primarily due to the modern aspect to our cities, first the building architectures and secondly the time period in which they became metropolises. The European cities here predated our American centuries by over a thousand years, and the old fashioned ways seem to show. This is made possible because both of these European cities were left infra structurally intact despite both world wars, allowing for the old world look and feel to permeate. This old world or cultural feel to the European cities seems to be absent from the American ones, as if they had no significant history other than being a product of industrialization, urbanization, and growth. It seems as if each of the European cities has its own unique aura over it, while the American cities, more or less, are painted over in one broad stroke of modernism.
