Doric order

This is what happened with Obama.

Remember when Obama, when he came in, you know, and they had the Doric columns, and it almost looked like Berlin, Germany.

He took the nominee, he got the nominee, and it was like, it literally was like, you know, it was like Berlin.

Doric columns behind him, you know, the big O, making an O with their hands.

And then, of course, when he got into office, said basically, we're in charge.

You're in the back of the bus.

John Summerson's 1960s The Classical Language of Architecture is a more recent synthesis.

The This language has the five classical orders, Doric, Ionic, Corinthian, Tuscan, and Composite, specific modules and parts like columns, arches, and pediments, and rules of proportions, all of which can be learned from books and applied to any kind of work.

Arguably, this systematization increases tolerance to failures.

A poorly executed classical building is boring but fine.

High upon the green wooded bluffs of Northern Virginia, rising above the wide and silvery Potomac River, stands Arlington House.

With its colossal portico, its eight massive Doric columns plastered in pale ochre, and its grand wings extending into the shade of ancient chestnut and red oak trees, Arlington was, for a time, an American acropolis.

Built in the opening years of the 19th century by George Washington Park Custis, the grandson of Martha Washington and the adopted son of Mount Vernon, Arlington was conceived from its foundation as a living temple to the father of the country.

Inside, it's the lofty, echoing halls, surrounded by four poster beds upon which George Washington had slept, gazing into lanterns that had illuminated Mount Vernon, and taking tea from porcelain services presented to Washington by the Society of the Cincinnati.

It was finished around 456 BCE.

It was built in the Doric style, the plainer and more solid of the two main styles of Greek architecture, with six columns across each end and thirteen along each side, thirty-four in all, each one more than ten metres tall.

The columns were made not of marble, which was not found nearby, but of a local shell limestone, rough and full of tiny fossil shells, which was then coated with a fine white stucco, so that from a distance the whole temple gleamed as if it were made of marble.

Only the sculptures and the roof tiles were made of real marble, brought from the island of Paros.

Collaboration.

I've had so much more success when I'm collaborating with others with even like it's even better if they have opposite skill sets, you know, both in terms of personality, like me and my wife, like we went to a museum once and there's a column, it was like a Doric column and you sit on the opposite side of each other and you can't see what you're doing, but the challenge is to draw the column.

And so we both went about it and then we looked and she had taken her, her pencil and turned it sideways and filled in all of the shadows and drawn the column based off of shadows and mine.

I had taken, and I drawn all of the lines and all of the defined, all of the light areas, same column, same concept, but we just approached things complimentary, like just the opposite, but got to the same place.