Relevant bibliographies by topics / De architectura (Vitruvius Pollio)

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Academic literature on the topic 'De architectura (Vitruvius Pollio)'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "De architectura (Vitruvius Pollio)"

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Cigola, Michela, and Yibing Fang. "Traces and echoes of De Architectura by Marcus Vitruvius Pollio in the work of Xu Guangqi in 17th century China." Frontiers of Mechanical Engineering 11, no. 1 (December 7, 2015): 3–11. http://dx.doi.org/10.1007/s11465-015-0359-5.

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KATO, KUNIO. "IMAGE DE L'ARCHITECTE DANS L'ANTIQUITE CLASSIQUE EN EUROPE : A travers de la lecture de DE ARCHITECTURA LIBRI DECEM de Marcus Vitruvius Pollio." Journal of Architecture, Planning and Environmental Engineering (Transactions of AIJ) 396 (1989): 46–54. http://dx.doi.org/10.3130/aijax.396.0_46.

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Burrows, Steve. "Return of the master architect." Structural Engineer 98, no. 1 (January 1, 2020): 40–42. http://dx.doi.org/10.56330/jibi9980.

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Long before architecture became a profession, the ‘architect’ was the ‘chief carpenter’, from the Greek word architekton. Architecture as a profession was formalised in the UK in 1834 and the USA in 1857. Prior to that, architects and engineers were pretty much as one, a great example being Marcus Vitruvius Pollio, often cited as the first architect but just as often referred to as the Chief Engineer of the Roman Empire. Vitruvius described the need for architecture to be well built (firmitas), useful in its purpose (utilitas) and beautiful to look at (venustas) – sentiments I think we can all align with today. In my opinion, the Great Pyramid, which I have been fortunate to study for TV shows, represents the birth of modern architecture. I refer to ‘modern architecture’ as the Great Pyramid is the epitome of a complex three-dimensional design conceived and created using method-led off-site manufacturing and construction techniques – to the extent that even 4500 years later we cannot determine how Hemiunu, its engineer/architect, actually did it. Fast forward to 2014, which is the year Frank Gehry said, ‘Let me tell you one thing. In this world we are living in, 98% of what gets built and designed today is pure s**t’. Whether you agree with this vulgarity or not, the construction industry needs a shake-up and that shake-up has now arrived. It’s called PropTech or ConTech. ConTech refers to the digital transformation of the construction industry. With that transformation, two tectonic shifts are about to occur: 1. It will become the greatest time in history to be an engineer (that’s an article for another day). 2. The master architect will return to rival the feats of Hemiunu and Vitruvius.
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Kim, Young Jae. "Discussing Architecture and the City as a Metaphor for the Human Body : From Marcus Vitruvius Pollio, Leon Battista Alberti, Andrea Palladio to Other Renaissance Architects." Architectural research 18, no. 1 (March 30, 2016): 1–12. http://dx.doi.org/10.5659/aikar.2016.18.1.1.

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Pöhlmann, Egert. "Vitruvius De Architectura V." Greek and Roman Musical Studies 9, no. 1 (March 29, 2021): 157–74. http://dx.doi.org/10.1163/22129758-12341380.

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Abstract In Book 5 of De architectura, the main subjects of Vitruvius are the Roman and Greek theatre and their acoustic qualities, explained with the help of several Greek theories. Vitruvius tries to enhance them by introducing a system of assisted resonance. Following the Harmonics of Aristoxenus, he recommends equipping theatre buildings with ἠχεῖα of bronze or earthenware, with the aim of increasing the strength of the voices of actors. Archaeological evidence for such equipment is nonexistent. But in Eastern and Western churches, vessels under the floor and in the walls were found. The Western examples begin in Carolingian times, when De architectura became known again. Thus, there is a debate about whether or not the work of Vitruvius had an influence on Carolingian architecture. The ἠχεῖα of Vitruvius and the resounding vessels in churches work as Helmholtz-Resonators, the sound-absorbing effects of which were used in churches with high internal resonance, while their sound-reinforcing effects were the aim of the ἠχεῖα in theatres.
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Kennerly, Michele, and Jennifer K. L. Buchan. "VITRUVIUS IN DYSTOPIA OR WHEN MOST HUMANS DON'T MEASURE UP." Ramus 52, no. 2 (December 2023): 208–19. http://dx.doi.org/10.1017/rmu.2024.8.

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In the second decade of the fifteenth century, the book-hunter Poggio Bracciolini and two friends recognized Vitruvius’ De architectura among the moldy manuscripts at the monastic library at St. Gall in Switzerland. Although their find was not the first copy of De architectura to be identified, the reception of Vitruvius among Italian humanists tends to be afforded special attention in academic, public, and popular culture alike. Commonly shuffling at the center of that attention is L'Uomo Vitruviano of Leonardo da Vinci, usually dated to the 1490s. In Italian, and in his famous mirror writing, Leonardo mentions Vitruvius by name in the first word of his notes above his rendering of the homo bene figuratus and engages with the content of De architectura 3.1.2f. above and below it.
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Walden, Daniel K. S. "Frozen Music: Music and Architecture in Vitruvius’ De Architectura." Greek and Roman Musical Studies 2, no. 1 (January 28, 2014): 124–45. http://dx.doi.org/10.1163/22129758-12341255.

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AbstractThis paper explores the convergence of musical and architectural theory in Vitruvius’De Architectura.Section 1 describes Vitruvius’ architectural lexicon, borrowed from Aristoxenus (I.2), and explores his description of the laws of harmony, modeled onElementa Harmonica(V.4). Section 2 explores how Vitruvius proposes using music theory in practical architectural design, including construction of columns using architectural orders analogous to Aristoxeniangenera(I.2.6; IV.1); acoustical designs for theatres (V.5); and the development of machines, including siege engines ‘tuned’ like musical instruments (X.12) and water-organs [hydrauli] constructed to execute all the different varieties of tuning (X.8). Section 3 reflects on Vitruvius’ use of analogies with a musical instrument, thesambuca, to explain his understanding of cosmic harmony and architectural form, and his possible sources (VI.1). Finally, Section 4 discusses Vitruvius’ ideas about the importance of a liberal arts education that includes study of music theory. The best architects, Vitruvius explains, can discover in music the secrets to forms they both encounter in nature and create themselves.
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Constantinescu, Muguraş, and Lucian Constantinescu. "Cultures technique et générale dans la traduction de l’architecture : le cas Cantacuzino." Équivalences 50, no. 1 (2023): 91–112. http://dx.doi.org/10.3406/equiv.2023.1611.

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The Romanian translation of Vitruvius’ treatise De architectura [Ten Books on Architecture], done by architect George Matei Cantacuzino, contains numerous notes on various technical terms as well as an extensive Introduction which places Vitruvius’ work at the crossroads of three cultures : Etruscan, Greek, and Roman.
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Dupuy, Estèle, and Corinne Féron. "Contribution à l’étude diachroniquedu vocabulaire relatif au son — remarques sur la traduction du livre v du de architectura de vitruve par jean martin 1547." Romanica Wratislaviensia 63 (October 11, 2016): 21–40. http://dx.doi.org/10.19195/0557-2665/63.3.

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CONTRIBUTION TO THE DIACHRONIC STUDY OF THE VOCABULARY RELATED TO SOUND: REMARKS ON JEAN MARTIN’S TRANSLATION 1547 OF THE FIFTH BOOK OF DE ARCHITECTURA BY VITRUVIUS Our study tries to precise the signification of words which were used to speak about sound in technical, scientific or practical texts since these words were apprehended only through literary source in ancient and modern dictionaries. This paper deals with lexical choices made by Jean Martin in his translation of De Architectura of Vitruvius, which is the first French translation 1547. This translation has been followed by several other translations including those by Claude Perrault, Charles Maufras, Catherine Saliou. We focused on three terms: loquence and barbotement, which are products of an interpretation of Vitruvius’ text, and resonance, which, in Martin’s meaning, is a product of a semantic change.
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Fara, Giovanni Maria. "Una nota su Albrecht Dürer e Vitruvio = A Note on Albrecht Dürer and Vitruvius." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 7 (December 13, 2019): 65. http://dx.doi.org/10.5944/etfvii.7.2019.26177.

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In questo saggio l’autore propone una riconsiderazione globale del rapporto di Albrecht Dürer con il De Architectura di Vitruvio, prestando costante attenzione alle fonti rimaste. Inoltre, l’autore indaga anche un aspetto trascurato di questo rapporto, che riguarda la significativa accoglienza dei trattati di Dürer tra i traduttori e i commentatori di Vitruvio tra il XVI e il XVII secolo.AbstractIn this essay the author proposes an overall reconsideration of Albrecht Dürer’s relationship with Vitruvius’ De Architectura, paying constant attention to the surviving sources. Furthermore, the author also investigates an overlooked aspect of this relationship that concerns the significant reception of Dürer’s treatises among Vitruvius’ translators and commentators between the XVIth and the XVIIth centuries.
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Dissertations / Theses on the topic "De architectura (Vitruvius Pollio)"

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Fisher, Matt 1959. "Erasing Vitruvius." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61129.

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De architectura libri decim, the oldest extant treatise on Architecture in the Greco-Latin tradition, has historically constituted the archetype of architectural discourse, if its specific content would now seem largely irrelevant. And yet to the extent that we still distinguish theoretical activity and practice, we remain de-limited by the essential terms of the Vitruvian text, and the rational order which they prescribe, an order of the logos. But within the prescription itself we find the traces of a diversity and richness largely repressed, traces of an other logos, another understanding of the traditional world of artifice--including the artifice of writing--that undermines the structure and space of the logos which Vitruvius has attempted to erect, and which we still inhabit. If Architecture is The Ten Books ..., it is also a writing, a multiple, palimpsestic writing in which the play of artifice will leave its trace in the stratification of the inscription.
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McEwen, Indra Kagis. "Vitruvius : writing the body of architecture." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37779.

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Vitruvius dedicated his, the only work on architecture to have survived from classical antiquity, to Augustus Caesar, the first Roman emperor, and claimed repeatedly that he was "writing the body of architecture (corpus architecturae)." A detailed examination of meaning of this claim, read in the specific imperial context that brought De architectura to light in ca. 25 B.C., is the principal focus of this study, which has been undertaken less as an effort to come to positive terms with the relevance (or irrelevance) of Vitruvius' normative prescriptions for Roman building practice than in the attempt to try to understand what he was trying to say about architecture and why.
The exegesis is developed in four parts. The first deals with the corporeal identity of the book itself: a ten-scroll "angelic" messenger, whose written form proves to be as significant an index of its meaning as its content. The second part assesses Vitruvius' presentation of his treatise to Augustus in the preface to Book 2 of his treatise as the emperor's Herculean body: at once the agent and proof of Roman conquest and, like Hercules, the philanthropic purveyor of the benefits of civilisation to conquered peoples. The third unravels what Vitruvius meant when he said that buildings, temples especially, were to be put together in the same way that nature puts together the bodies of beautiful men. The fourth part concludes that the beautiful body, in question is the body of the king: that of the emperor himself, whose body---corpus imperii---was, at that historical juncture, imagined as congruent with the body of the Roman world. For Vitruvius, through architecture---as architecture---this kingly body was to be the chief agent of the empire's enduring coherence.
That the project of Roman world dominion so consistently shaped this first self-conscious attempt to give a comprehensive account of architecture raises troubling questions about the discipline itself. It is in raising such questions that Vitruvius' De architectura acquires more than antiquarian interest.
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Wulfram, Hartmut. "Literarische Vitruvrezeption in Leon Battista Albertis "De re aedificatoria" /." München : K. G. Saur, 2001. http://catalogue.bnf.fr/ark:/12148/cb38963958s.

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Spriggs, Megan. "Fabrique et discours : Salomon de Caus and the Vitruvian ideal of architecture." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30139.

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A study of Salomon de Caus' manuscript commentary on the first book of Jean Martin's French translation of Vitruvius (c. 1622--1624) which takes the form of a dialogue between an Architect, an Engineer and a Mathematician. The removal of music and natural philosophy from the Vitruvion program of education; the need for the updating of Vitruvius' classical theory of founding cities and building their fortified walls; the emphasis on convenience in the planning of buildings and the separation of engineering and architecture within the Vitruvion corpus all point to a reduction in the role of architecture as cosmic analogy. A comparison with de Caus' treatises on perspective, mechanics, musical harmony, solar clocks and mensuration reveal that for de Caus, it is the engineer whose making can reconcile human and divine through a form of technical know-how that although it cannot be considered true knowledge, reveals the wonder of God to the senses.
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McIntosh, Gillian Elizabeth. "Re-thinking the Roman Domus: how architects and orators construct self, space, and language." Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1061239970.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains viii, 220 p. Includes abstract and vita. Advisor: Erik T. Gunderson, Dept. of Greek and Latin. Includes bibliographical references (p. 203-220).
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Manenti, Leandro. "Repensando vitrúvio : reflexão acerca de princípios e procedimentos de projeto." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/97848.

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Este trabalho propõe-se a retomar os seis conceitos fundamentais relacionados ao projeto arquitetônico descritos por Vitrúvio em seu tratado De architectura no século I a.C. Analisando a bibliografia a respeito do autor romano, identificam-se, ainda hoje, lacunas nos entendimentos a respeito da teoria do projeto, sendo estas motivadoras do aprofundamento proposto. A partir do mapeamento completo das ocorrências dos conceitos de ordinatio, dispositio, eurythmia, symmetria, decor e distributio no texto do tratado, bem como dos demais conceitos correlatos, o estudo procura levantar e discutir os possíveis entendimentos, que, na sequência, são confrontados com as descrições de projetos também contidas no tratado. A partir deste cotejo, procura-se validar os princípios e procedimento de projeto segundo Vitrúvio, além de contribuir para a discussão do fazer arquitetônico de forma ampla.
This study resumes the six fundamental concepts related to architectural design described by Vitruvius in his treatise De architectura in the first century BC. Analyzing the literature about the Roman author, it is possible to identify, still today, shortcomings in the understanding of the design theory, which are motivators to the proposed in depth study. From the complete mapping of the occurrences of the concepts of ordinatio, dispositio, eurythmia, symmetria, decor and distributio in the text of the treatise, as well as other related concepts, the study seeks to raise and discuss the possible understandings, which in sequence are confronted with descriptions of the projects also contained in the treatise. From this comparison, the study aims at validating the principles and procedures of designing according to Vitruvius as well as contributing to the discussion of architectural making in a broad sense.
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Lima, Clovis Antonio Benedini. "Ratio Venustatis: razões da beleza nos livros I e III do De Architectvra de Vitrúvio." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-03102015-122813/.

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Segundo Vitrúvio, a arquitetura deve se orientar pelos princípios de firmeza, utilidade e venustidade. Procurou-se perquirir de que modo a ratio uenustatis se insere no De Architectura e o papel desempenhado. Em torno da noção de uenustas reúnem-se termos - tais como: species, aspectus, aspiciens, figura, uisus, oculus - concernentes às preocupações visuais dirigidas às obras, indicadas já nas definições fundamentais da arquitetura - ordinatio, dispositio, eurythmia, symmetria, decor e distributio. Lê-se no Livro III que o aspectus da obra lhe confere autoridade (auctoritas), e o templo eustilo pseudodíptero se afigura como exemplo maior na preceptiva. Mas é preciso contar antes com a auctoritas do arquiteto, para isso instruído nas letras (litterae), dentre variadas artes e erudições, e apto simultaneamente ao fazer e ao raciocinar (fabrica et ratiocinatio). As autoridades egrégias (egregias auctoritates) prometidas no primeiro exórdio à majestade do poder conduzido pelo Imperator, por ocasião dos esforços empreendidos na construção pública, dizem respeito às oportunidades e vantagens (opportunitas) advindas de uma adequada ordenação dos recintos urbanos (moenia) - desde a escolha do sítio até a determinação das obras de uso comum -, demonstrando-se intrinsecamente conexas à diligência no campo das venustidades, que permeia os demais âmbitos da arte edificatória.
According to Vitruvius, architecture must be oriented by the principles of firmitas, utilitas and uenustas. We tried to question how the ratio uenustatis is inserted in the De Architectura and its role. There are some terms which are gathered around the concept of uenustas - such as: species, aspectus, aspiciens, figura, uisus, oculus - concerning the visual matters directed to the building works, already indicated by the architecture\'s fundamental definitions - ordinatio, dispositio, eurythmia, symmetria, decor and distributio. As it is witten in Book III, the aspectus bestows aucthority (auctoritas) on the building and the eustylos pseudodipteros temple appears as a major exemplum in the set of preceptions. But before it is necessary to the authorized work to count upon the architect\'s authority, to that instructed in the litterae, among varied arts and eruditions, and apt at the same time to fabrica and ratiocinatio. The prominent authority (egregias auctoritates) promised to the majesty of the power lead by the Imperator in the first exordium, on the occasion of the efforts undertaken in the public building, are concerned with the opportuniies and advantages (opportunitas) issued from an adequate arrangement of the limited urban area (moenia) - from the selection of the site to the common use buildings settlement - showing themselves intrinsically connected with the heed of the ratio uenustatis that permeates the other fields of the ars aedificatoria.
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Mafra, Adriano Vilela. "O Cosmos no Corpus : Vitrúvio e as estruturas do universo no tratado da arquitetura." reponame:Repositório Institucional da UFABC, 2017.

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Orientadora: Profª. Drª. Anastasia Guidi Itokazu
Dissertação (mestrado) - Universidade Federal do ABC, Programa de Pós-Graduação em Filosofia, São Bernardo do Campo, 2017.
A pesquisa investiga a arquitetura do universo tal como proposta por Vitrúvio no século I a.C. São apresentadas as artes e disciplinas da arquitetura vinculadas às práticas da gnomônica e o contexto que envolve o arquiteto na Antiguidade, tal como alguns aspectos políticos e religiosos que integram o discurso das estruturas do universo descritas no Tratado de Arquitetura. São desenvolvidas as questões que envolvem o livro como objeto traduzido e transformado ao longo de milhares de anos e algumas reflexões quanto aos desenhos e as pinturas mencionadas na obra. Também temos os comentários e desenvolvimentos das questões quanto à cosmologia junto às elaborações de mapas e ilustrações a partir do conteúdo descrito pelo arquiteto. Foram pesquisadas as teorias de autores que antecedem o período da obra e que forneceram os ensinamentos para a execução das enxertias de Vitrúvio, assim como também se buscou aplicar os termos que são apresentadas como definições constitutivas da arquitetura, ao considerarmos o livro como um produto desta arte.
The present research investigates the architecture of the universe as proposed by Vitruvius in the first century BC. The arts and disciplines of architecture related to the practices of gnomonics and the context surrounding the architect in Antiquity are presented, as well as some political and religious aspects that end up integrating the discourse about the structures of the universe as described in the Treatise on Architecture. The book is hereby presented as an object translated and transformed over thousands of years and some reflections on the drawings and paintings are proposed. Comments and developments regarding the cosmology required for the elaborations of maps and illustrations are also examined in the text provided by the architect. Finally, some of the the theories of authors that precede the period of the work and who provided the teachings for Vitruvius' graftings were investigated, as well the applications tof terms that are presented as constitutive definitions of the architecture, the book being taken as a product of this art.
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Millette, Daniel M. "Vitruvius, memory and imagination : on the production of archaeological knowledge and the construction of classical monuments." Thesis, 2002. http://hdl.handle.net/2429/13200.

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As the "Revolution" threatened Rome during the final decades of the Republic, the many landscapes of the city — built, intellectual, social and natural — became inextricably linked within a confused cultural matrix. Vitruvius was not simply observing a set of places; he was living within spaces that, while having lost many of their explicit meanings over time, contained within them implicit, albeit unclear, cultural codes for him to ponder. Vitruvius in fact was not describing Roman architecture as it was; he was describing it as he wished it to be. There are a host of reasons to question the physical exactitude of his examples and subsequent models: The vantage point of a single individual living within a specific place at a particular moment in time was, and continues to be, limited at best. There are geographical and architectural inaccuracies that leave the reader wondering if Vitruvius actually saw much of what was inserted within the treatise. And Vitruvius would have generalized in order to arrive at the broad sets of tenets contained in the books. The "looseness" characterizing the tenets of Vitruvius is precisely what has enabled imaginative interpretations over the centuries. By including drawings within translations, the classical imagination has become fused with memories of what monuments should look like. Linked to this, translated versions of Vitruvius' treatise can be usurped in order to connect ruins more closely to Roman architectural ideals than they may have been in the first place. The translation and annotation project of Jean Gardet and Dominique Bertin in the 1550s is an example of how the treatise of Vitruvius was attached, inextricably, to the antiquities of southern France. The habit of turning to the De Architectura in order to produce a body of archaeological knowledge and in turn to provide "proof for the architectural reconstruction of classical monuments has persisted. In the end, the monument can serve as confirmation for the translated text, and the text re-confirms the monument. In Orange, the use of the treatise by architects has been retraced to show that the reconstructed theater does not correspond, in its rebuilt state, to that which would have stood in its place. Eventually, the habit of turning to Vitruvius was adapted to such an extent that it practically became invisible, with architects and archaeologists turning to it with little thought as to its contextual validity. This is probably why we see so few explicit references to its use in the literature documenting the re-building of monuments; it is only by retracing field notes that the extent to which it was used, even relatively lately, can be assessed. At the same time, classical archaeology has — and continues to — direct its attention to deblayage, remaniements, consolidations and in time, la sauvegarde. The present-day impetus for these activities is closely connected to history, heritage and ultimately, the notion of patrimoine. The difficulty today is that the more we re-build, whether it be for basic cultural consumption or within grander state agendas, the recourse to producing related bodies of knowledge to justify architectural plans has the potential to increase significantly. The understanding of classical architecture within the context of history and heritage must be met by a corresponding comprehension of its temporal, formal and social nature; Vitruvius' words, as I have stressed, do not necessarily depict a material architecture. Vitruvius' architect lived within an urban setting that was highly dynamic and not necessarily readily interpreted. And while Republican spaces derived from a need for function, efficiency, beauty and representation, they were not necessarily or completely redesigned each time they were reused; they were often modified to suit. Notions related to specific and ideal spaces were most probably stored within the minds of the multifaceted designers to be shaped according to particular sets of pre-existing cultural and built conditions as well as geographical settings. And to these, the craftspeople would have added personal interpretations. Today the problems arise when architects and archaeologists, eager to convince themselves and others of their theoretic, forget that we simply do not know what memories resided in the mind of Roman architects.
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Matys, Marián. "Antické tradice v architektuře zámku Kačina." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313081.

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The subject of this paper is the study of history of the Kačina Chateau from the point of view of its inspiration from the art and architecture of the ancient world. The introductory chapters were dedicated to the general atmosphere of the time in which the castle was designed and built, the general ideas of the Enlightenment, and also to its relations to Count Chotek. There is an unresolved problem whether its relations to Classical antiquity monuments existed directly, or if they were mediated by other sources. While working on the theme it turned out that the foundation of Kačina Chateau derived from earlier models that were developed during centuries. The work of Marcus Vitruvius Pollio was of substantial importance for all Classicist architecture and especially the architects of the Renaissance knew it very well and used it frequently. For the architecture of Kačina Chateau the most important stimuli were those of Andreas Palladio who transformed earlier patterns according to his own artistic views. One of the following chapters concentrates on the personality of the owner of the estate, the Count Jan Rudolf Chotek, and then on the architects and builders of the castle. Following chapters are dedicated to the description of the castle, of its exterior, the segmentation of its interior...
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Books on the topic "De architectura (Vitruvius Pollio)"

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Cesariano, Cesare. Vitruvio De architectura. Milano: V & P Università, 2002.

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Pierre, Gros, Corso Antonio, and Romano Elisa, eds. De architectura. Torino: Giulio Einaudi, 1997.

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D, Rowland Ingrid, Howe Thomas Noble 1949-, and Dewar Michael, eds. Vitruvius: Ten books on architecture. New York: Cambridge University Press, 1999.

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1834-1919, Reber Franz von, ed. De architectura libri decem =: Zehn Bücher über Architektur. Wiesbaden: Marixverl., 2004.

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Felici, Enrico. Antium: Archeologia subacquea e Vitruvio nel porto di Nerone. Bari: Edipuglia, 2021.

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Rome, Ecole française de, Institut de recherche sur l'architecture antique (France), and Scuola normale superiore (Italy), eds. Le Projet de Vitruve: Objet, destinataires et réception du "De Architectura" : actes du colloque international. [Roma]: Ecole française de Rome, 1994.

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Martini, Francesco di Giorgio, 1439-1502. and Biffi Marco, eds. La traduzione del De architectura di Vitruvio: Dal ms. II.I.141 della Biblioteca nazionale centrale di Firenze. Pisa: Scuola normale superiore, 2002.

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Martini, Francesco di Giorgio, 1439-1502. and Scaglia Gustina, eds. Il " Vitruvio magliabechiano". Firenze: Gonnelli, 1985.

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1514-1570, Barbaro Daniel, ed. Le savoir de Palladio: Architecture, métaphysique et politique dans la Venise du Cinquecento. [Paris]: Klincksieck, 1995.

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Louis, Callebat, Gros Pierre, and Jacquemard-Le Saos Catherine, eds. De l'architecture. Paris: Les Belles Lettres, 1999.

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Book chapters on the topic "De architectura (Vitruvius Pollio)"

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Cigola, Michela, and Marco Ceccarelli. "Machine Designs and Drawings in Renaissance Editions of de Architectura by Marcus Vitruvius Pollio." In History of Mechanism and Machine Science, 291–307. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-22680-4_17.

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Jesberg, Paulgerd. "Marcus Vitruvius Pollio." In Vom Bauen zwischen Gesetz und Freiheit, 29–33. Wiesbaden: Vieweg+Teubner Verlag, 1987. http://dx.doi.org/10.1007/978-3-322-84113-1_4.

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Cigola, Michela, and Marco Ceccarelli. "Marcus Vitruvius Pollio (Second Half of the Ist Century B.C.)." In History of Mechanism and Machine Science, 309–46. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-8947-9_15.

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Callegari, Massimo, Stefano Brillarelli, and Cecilia Scoccia. "The Odometers of Marcus Vitruvius Pollio and Leonardo Da Vinci." In Mechanisms and Machine Science, 75–82. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55807-9_9.

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Öhrström, Lars. "I Told You So, Said Marcus Vitruvius Pollio." In The Last Alchemist in Paris. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199661091.003.0021.

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Rural Massachusetts is delightful at the end of summer. The classic New England architecture blends with the lawns, gardens, and green forests into a picture of perfect harmony. It is sunny, and the right time in the afternoon for a stroll around the college town of Amherst. However, after a few blocks a distinct crack appears in this idyll: a traditional white wooden house is being renovated and a skull and crossbones sign on the lawn is telling us to keep out due to danger of lead poisoning. It turns out that the customary white colour of the houses around here was oft en due to lead-based pigments. The use of lead in paints was phased out in 1978, but it is still an issue judging from the 16-page pamphlet available in six languages from the US Environmental Protection Agency, and the criminal cases brought against real estate companies and landlords failing to inform tenants and buyers of the lead status of their homes. Marcus Vitruvius Pollio would probably have agreed with this pamphlet and legislation, and so most certainly would Alice Hamilton. Although almost two millennia separate the Roman engineer from the first woman on the faculty of Harvard Medical School, they are united in the fight against the dangers of lead to the workforce and to the public. We do not know much about the life of the first century BC architect and engineer Marcus Vitruvius Pollio, otherwise known as Vitruvius, except what can be inferred from his famous work The Ten Books on Architecture. This magnum opus, written in the days of the Emperor Augustus, probably represents the summary of the professional experience of an old man. The title is slightly misleading, as architecture in Roman times would cover a much broader area than today. So Vitruvius tells us a great deal about engineering in general, about the chemistry of pigments and, to the benefit of this story, about aqueducts and the proper treatment of water. He is also clearly a conservative man, lashing out against ‘decadent frescos’ and ‘these days of bad taste’.
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"18. Je vous avais prévenus, dit Marcus Vitruvius Pollio." In Le dernier Alchimiste à Paris, 197–206. EDP Sciences, 2020. http://dx.doi.org/10.1051/978-2-7598-2038-2-019.

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"18. Je vous avais prévenus, dit Marcus Vitruvius Pollio." In Le dernier Alchimiste à Paris, 197–206. EDP Sciences, 2020. http://dx.doi.org/10.1051/978-2-7598-2038-2.c019.

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MILNOR, KRISTINA. "Other Men’s Wives: Domesticity and Display in Vitruvius’ de Architectura." In Gender, Domesticity, and the Age of Augustus, 94–139. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780199235728.003.0003.

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Wiggers, Raymond. "Foundations." In Chicago in Stone and Clay, 29–34. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501765063.003.0005.

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This chapter details the foundation and engineering of skyscrapers in Chicago. According to Roman author Marcus Vitruvius Pollio's famous treatise On Architecture, any building should follow three cardinal values: utilitas, firmitas, and venustas. The chapter explains how Chicago served as the home of many skyscrapers due to its bedrock being deep underground. Additionationally, the exact composition and thicknesses of the layers of till and lakebed sediments vary from neighborhood to neighborhood and even block to block, as does the depth to bedrock. The chapter explores the challenges of erecting ever larger and heavier structures in the city's treacherous substrate, referencing the build of Custom House and Windy City buildings.
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Green, Steven J. "Setting Gentlemanly Limits for Imperial Stellar Investigation in Vitruvius’ De Architectura." In Disclosure and Discretion in Roman Astrology, 109–18. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199646807.003.0006.

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