Exemplary Neoclassicism: The Altes Museum, Berlin, Germany

As an architecture student in the 21st century, I seem to take for granted ancient civilizations and architecture that is now so readily accessible. Until I began to study architecture, it did not occur to me that entire cities such as Pompeii and Herculaneum were hidden treasures that were only uncovered by accident in the 18th century. The discovery of these ancient cities led western Europe into an age of Enlightenment in which ornamental decorative styles were replaced with the classical sincerity of antiquity. Rococo frivolity was exchanged for the simplicity of Greek and Roman styles and the Bourgeoisie was convinced that it was returning to the truth of the ancients. The Grand tour led young men to travel Europe and experience these antiquities as part of their aristocratic education. With the revival of Plato's ideas, these young artists and architects sought to imitate the beauty of the ancients. One of these young architects was Karl Friedrich Schinkle. In 1822 at the height of Neoclassicism, his design for the Altes Museum in the Berlin exemplified the neoclassical ideals of the time and set the typology for museums in generations to come. 

Schinkle was a Prussian born designer during the Neoclassical period. He traveled throughout France and Italy extensively, seeing the discovery of ancient cities first-hand. In 1822, he was commissioned to design the Royal Museum in Berlin by King Friedrich Wilhem III. The purpose of the new museum was to share the Royal collection with the public as to educate them in the arts. The facade of the museum consists of columns in the Ionic order, creating a portico in front of the entrance into the main atrium. In contrast to the continuity of the columns in ancient temples, the ionic columns stop at the front facade. The remaining facades are simple planes out of brick, emphasizing the entrance. Since the museum was built on a plinth to evade floods and moisture damaging the artwork, the ceremonial steps in the front create the visual and physical connection needed to enter the museum. 

In section, the double story dome was modeled after the Pantheon to allow light to enter the atrium. However, it was encased in a rectangular shape so it would not compete with the Berliner Dom Cathedral. 

In plan, the circular atrium beneath the dome recalls the use of a central plan in many Palladian Villas with the galleries creating the circulation around the atrium. The layering of the fluted ionic columns encase the precious works within, reminiscing on the glory of antiquity. 

The monumentality of the museum's design was scaled down in comparison with its Roman and Greek counterparts. Instead of building a temple for a god, he designed a temple for the work of men. Nevertheless, Schinkle remained true to the influence of the Greeks and Romans. He interpreted the ideals of the ancients to his own time.  However you look at it, it is the perfect example of the revival of classical orders. 

(sources: http://www.greatbuildings.com/cgi-bin/gbi.cgi/Altes_Museum.html/cid_altes_rh_001.html)