Journal articles: 'De architectura (Vitruvius Pollio)'

1

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

11

Persyn, Marcie Gwen. "‘WHICH THE GREEKS CALL …’: THE RHETORIC OF CODE-SWITCHING IN DE ARCHITECTURA 3.1." Ramus 52, no. 2 (December 2023): 148–62. http://dx.doi.org/10.1017/rmu.2024.5.

Full text

Abstract:

In the first chapter of De architectura book 3, Vitruvius famously expounds upon the theory of proportionality, ultimately crafting the analogy of the human body as a composition of ideal ratios. In this exposition, the architect repeatedly makes use of technical jargon, implementing terms found nowhere else within the Latin literary corpus. Amidst this series of rare Latin vocabulary, however, Vitruvius also includes a striking twenty-seven Greek borrowings—of which twelve are novel terms not found in the corpus before this passage, and seven are terms not found again. While many of these Grecisms are explicated by Vitruvius through the use of subordinate clauses or apposition, the very existence of Latin equivalents and the resultant redundancy of terms renders Vitruvius’ linguistic vacillation strictly unnecessary and rather obfuscating in effect. After all, why borrow a term that requires definition when a corollary already exists within one's primary, ‘matrix’ language? Likewise, once one has committed to adopting a second language of technical vocabulary, why bother translating? Other, similar lexical borrowings are evident throughout De architectura, yet the opening of book 3 offers a unique opportunity to analyze Vitruvius’ method of code-switching in close detail, revealing how the author uses the technique to draw attention both to the technicality of his art and to the Greek tradition evoked by these words.

APA, Harvard, Vancouver, ISO, and other styles

12

Kołoczek, Bartosz Jan. "Tell me a curious (hi)story. Historical content in Vitruvius’ De architectura." Symbolae Philologorum Posnaniensium Graecae et Latinae 32, no. 1 (August 18, 2022): 57–78. http://dx.doi.org/10.14746/sppgl.2022.xxxii.1.3.

Full text

Abstract:

The article examines the significance of history–themed passages (historiae) in Vitruvius’ architectural treatise De architectura and assesses their veracity vis–à–vis their rhetorical impact. The article’s particular focus lies on Vitruvius’ reflections on history, since the sound knowledge of it—as the author claims—is vital for any competent architect. It asserts that Vitruvius tends to stretch the historical truth whenever he makes an attempt at self–promotion (as an author or an architect) or seeks to win the approval of his patron emperor Augustus, to whom he dedicated his work.

APA, Harvard, Vancouver, ISO, and other styles

13

Szentpéteri, Márton. ""Fabrica" and "Ratiocinatio". Introductory Notes on Design and Semiotics." Disegno 6, no. 2 (2022): 4–7. http://dx.doi.org/10.21096/disegno_2022_2msz.

Full text

Abstract:

Although Vitruvius’ De architectura libri decem is generally regarded as the most ancient remaining piece of some sort of architectural theory, it is better to think of it as a book devoted to ancient design culture mutatis mutandis. We can do this retrofitting or intended retrospective anachronism with good conscience since a book on architectura written more than two thousand years ago can hardly be described as an example of the theory of architecture, since the concept did not exist at the time. A quick look at Vitruvius’ masterpiece brings to attention, for example, that its tenth book is on architectura organica, which has naturally nothing to do with the mod-ern style and phenomena of organic architecture, but with the design and building of machines, tools, and instruments (that is, organa). Etymologically speaking, architectus (or its Greek equivalent, architektōn) means someone who designs and creates the principal structures of any designed environment. In order to do so, one applies fabrica and ratiocinatio at the very same time. On the one hand, therefore, the architectus is well versed in craf ting basic structures, but he is equally capable of inventing, imagining, or designing these environments, objects, tools, and instruments, as well as clearly explaining and instructively interpreting their structure and executing process. Hence, according to Vitruvius, a designer who strives only to manual prac-tice without written culture (sine litteris) cannot be successful at all.

APA, Harvard, Vancouver, ISO, and other styles

14

Roby, Courtney. "Natura machinata: artifacts and nature as reciprocal models in Vitruvius." Apeiron 46, no. 4 (October 2013): 419–45. http://dx.doi.org/10.1515/apeiron-2012-0041.

Full text

Abstract:

Abstract The De architectura of Vitruvius represents architecture as a discipline blending elements of theory and practice, science and social utility, and Greek and Roman culture. His vision of architecture accordingly embraces both the natural and the artificial, emphasizing the connections between their governing principles rather than a polar or antagonistic opposition. He uses this connection to clarify and simplify his descriptions of both natural systems and mechanical artifacts, and to reinforce each body of knowledge using what is known from the other. The analogy between the natural and artificial appears as well in other ancient authors, but Vitruvius restructures this analogy in a distinctive way. His version is predicated on the careful observation of a specific set of mechanical artifacts, each chosen because it models some natural phenomenon particularly well. Artifacts that model natural phenomena, such as clocks and celestial models, help the user to visualize natural systems that may not be subject to direct sensory apprehension because of their great size. He insists that mechanical cleverness can elucidate the divinity within the principles of natural phenomena, which would otherwise remain hidden in the heavens. Vitruvius complements this type of modeling with a reciprocal version in which natural phenomena serve as models to shape technological works like theaters. Throughout the De architectura, Vitruvius proposes a variety of ways in which the natural and artificial can model one another. A material model may replicate the behavior of a natural system which is already known from observation; a material model may replicate unknown but hypothesized behavior of such a system; finally, a hypothesized material model may replicate the hypothesized behavior of a natural system through a kind of thought-experiment. Alternatively, the unknown behavior of one natural system may be hypothesized to resemble the behavior of another natural system known from observation, and this hypothesis applied to the design of man-made artifacts. From this viewpoint, describing technological artifacts and explaining the natural world are mutually reinforcing activities. So, in composing the De architectura, Vitruvius is not merely attempting to provide a picture of the state of the art of technology in his day, but is at the same time seeking to communicate a particular technologically-informed way of understanding natura itself.

APA, Harvard, Vancouver, ISO, and other styles

15

Kurent, Tine. "Kozmos = arhitektura." Linguistica 25, no. 2 (December 1, 1985): 167–73. http://dx.doi.org/10.4312/linguistica.25.2.167-173.

Full text

Abstract:

Tisti, ki se ima za arhitekta, mora (med drugim) biti seznanjen z zvezdoslovjem in nebesnimi računi … Kajti v astrologiji (arhitekt) spozna … nebesni red. Vitruvius, De architectura, I, I, 3 in 10 Grška beseda •arhitektura" je nastopila v današnjem pomenu besede razmeroma pozno. Pred njo je umetnost gradnje, se pravi lepo in urejeno oblikovanje zgradbe in prostora, označevala beseda "kozmos".

APA, Harvard, Vancouver, ISO, and other styles

16

Rihll, T. E. "DEPRECIATION IN VITRUVIUS." Classical Quarterly 63, no. 2 (November 8, 2013): 893–97. http://dx.doi.org/10.1017/s0009838813000384.

Full text

Abstract:

Vitruvius has something interesting to say at De architectura 2.8.8: Non enim quae sunt e molli caemento subtili facie venustatis, non eae possunt esse in vetustate non ruinosae. itaque cum arbitrio communium parietum sumuntur, non aestimant eos quanti facti fuerint, sed cum ex tabulis inveniunt eorum locationes, pretia praeteritorum annorum singulorum deducunt octogesimas et ita – ex reliqua summa parte reddi pro his parietibus – sententiam pronuntiant eos non posse plus quam annos LXXX durare.Those structures made of soft rubble, for all their subtle attractiveness, are not the ones that will resist ruin as time passes. And thus when assessors are appointed to evaluate party walls, they never assess soft rubble walls according to their initial cost, but rather, when they look at the price recorded in the original contracts, they deduct 1/80th of that sum for each subsequent year, and the remaining amount is fixed as the current value of the walls. They have rendered judgement, in effect, that such walls cannot last more than 80 years.By contrast, mud-brick walls were not depreciated at all if they were standing when assessed (Vitr. 2.8.9). The calculation performed for concrete walls demonstrates clear understanding of what we call ‘depreciation’ or ‘amortization’ in ancient Roman thought. It appears to have been overlooked to date.

APA, Harvard, Vancouver, ISO, and other styles

17

PATTERSON, RICHARD. "Interpretations of Vitruvius Critical misunderstandings." Architectural Research Quarterly 8, no. 2 (June 2004): 101–2. http://dx.doi.org/10.1017/s1359135504210120.

Full text

Abstract:

In ‘A Primitive exchange: on rhetoric and architectural symbol’ (arq 8/1, pp39–45), Stephen Frith mounts three distinct arguments. The Vitruvian story of the ‘agonistic’ origins of building, drawn from Book II, is initially used to claim that de Architectura proposes a primitive origin for the essential elements of architecture. This, through a somewhat curious imputation of Aristotelian thoughts on causality and limit, is then claimed as evidence (along with a supplemental argument regarding the importance of eloquence) of Vitruvius's use of rhetoric as a model framework for architecture (‘The way Vitruvius teaches us to design a work of architecture is similar to that for putting a speech together’). And the importance of the use of rhetoric is that ‘Rhetoric and architecture share the same symbolic heritage. Both rely on “figurative” language, the analogous relations between things … [from which it follows that] Proportion becomes a symbol, a metaphor of order … of substituting this for that’.

APA, Harvard, Vancouver, ISO, and other styles

18

Mitrovic, Branko. "Paduan Aristotelianism and Daniele Barbaro's Commentary on Vitruvius' De Architectura." Sixteenth Century Journal 29, no. 3 (1998): 667. http://dx.doi.org/10.2307/2543683.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Masterson Mark. "Status, Pay, and Pleasure in the De Architectura of Vitruvius." American Journal of Philology 125, no. 3 (2004): 387–416. http://dx.doi.org/10.1353/ajp.2004.0028.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Habinek, Thomas. "Art and Oikeiosis in Book 2 of Vitruvius de Architectura." Arethusa 49, no. 2 (2016): 299–316. http://dx.doi.org/10.1353/are.2016.0006.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Tallon, Andrew. "Acoustics at the Intersection of Architecture and Music." Journal of the Society of Architectural Historians 75, no. 3 (September 1, 2016): 263–80. http://dx.doi.org/10.1525/jsah.2016.75.3.263.

Full text

Abstract:

The Cathedral of Noyon houses the most unusual—and largely unknown—installation of acoustic vases in Western Europe, the caveau phonocamptique, a chamber installed beneath the pavement of the crossing. Acoustic vases are simple earthenware pots placed in the walls and vaults of postclassical churches, their installation inspired by Marcus Vitruvius Pollio's De architectura libri decem. In Acoustics at the Intersection of Architecture and Music: The Caveau Phonocamptique of Noyon Cathedral, Andrew Tallon investigates the intended operation of the caveau as a monumental amplifier. According to the principle of conservation of energy, the effect of an acoustic vase can only be one of absorption, but when sung directly into, a vase appears to “sing back.” Tallon asserts that this effect, along with the importance of Vitruvius as the foremost authority on ancient architecture known to European builders and patrons, must ultimately account for this unique array at Noyon.

APA, Harvard, Vancouver, ISO, and other styles

22

Lefas, Pavlos. "The Strict and the broad sense of Symmetry in vitruvius’ de Architectura." Symmetry: Culture and Science 29, no. 3 (September 2018): 353–63. http://dx.doi.org/10.26830/symmetry_2018_3_353.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Longo, Bernadette. "(RE)Constructing Arguments: Classical Rhetoric and Roman Engineering Reflected in Vitruvius' De Architectura." Journal of Technical Writing and Communication 30, no. 1 (January 2000): 49–55. http://dx.doi.org/10.2190/ydb7-u3f7-9j45-bam9.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Píry, Martin, Eva Škorvagová, and Martin Decký. "Green Infrastructure: Legislative and Behavioral Approaches in the Context of Urban Engineering." Civil and Environmental Engineering 19, no. 2 (December 1, 2023): 748–57. http://dx.doi.org/10.2478/cee-2023-0068.

Full text

Abstract:

Abstract The authors of the article integrate legislative, cognitive-behavioural, and construction approaches to green infrastructure in the context of urban engineering involving green space as a fundamental attribute of quality of life. They briefly introduce the ideas of ideal cities of the geniuses of antiquity, Marco Vitruvius Pollio, Leonardo da Vinci, and Thomas More. The main focus is on the legislative issues of green infrastructure, particularly concerning the activities of local authorities. They perceive green infrastructure as an institute with a multi-beneficial meaning, within the framework of administrative science understood as a public interest incorporating a range of partial issues from the primary interest of environmental protection, economic development of settlements, promotion of public and mental health, social issues, and sports.

APA, Harvard, Vancouver, ISO, and other styles

25

Lefas, Pavlos. "How many columns did Hermogenes remove? A comment on Vitruvius' De Architectura III,3,8." Revue archéologique 31, no. 1 (2001): 93. http://dx.doi.org/10.3917/arch.011.0093.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Rodríguez Hidalgo, José Manuel. "De la reconstrucción tradicional a la virtual. Una visión desde la Arqueología." Virtual Archaeology Review 1, no. 1 (April 11, 2010): 163. http://dx.doi.org/10.4995/var.2010.5140.

Full text

Abstract:

<p>This paper, that starts out from the multidiscplinarity of modern archaeological practice, which is highly computerised and technical, presents a very succint overview and analysis of the graphic representation that has been undertaken on the monuments of antiquity. From the re-edition of the treatise De Architectura by M Vitruvius down to the present-day three-dimensional reconstructions, which permit virtual visits, a multitude of reconstructions have been created, each of which is conditioned by the technical and aesthetic criteria of their day. Some have been strictly technical, while others were based upon drawings and paintings, both allows a two-dimensional image to be presented. Models, which are the greatest exponent of three-dimensionality, down to the present-day virtual reconstructions have also been created.</p>

APA, Harvard, Vancouver, ISO, and other styles

27

Cellauro, Louis. "Daniele Barbaro and Vitruvius: the architectural theory of a Renaissance humanist and patron." Papers of the British School at Rome 72 (November 2004): 293–329. http://dx.doi.org/10.1017/s0068246200002749.

Full text

Abstract:

DANIELE BARBARO E VITRUVIO: LA TEORIA ARCHITETTONICA DI UN UMANISTA E PATRONO DEL RINASCIMENTOL'aristocratico veneziano Daniele Barbaro (1514–70), collezionista d'arte, di libri e di strumenti matematici, fu un importante patrono delle artie delle scienze della Venezia del XVI secolo. La sua pubblicazione più imponente e significativa fu la traduzione commentata del De Architectura Libri Decem di Vitruvio. Lo scopo di questo articolo è quello di fornire un'analisi della teoria architettonica di Daniele Barbaro, cosi come emerge dai suoi commentari e di stabilire il suo rapporto con Vitruvio nel contesto del Rinascimento. Mi focalizzo sui principi teoretici rilevanti per la pratica architettonica, inclusi l'atteggiamento di Barbaro verso Vitruvio, la sua teoria del progresso dell'architettura classica, i rapporti nella sua teoria tra le retorica e l'architettura, le sue opinioni sul ruolo delle proporzioni armoniche nel disegno architettonico e sui sei concetti vitruviani del disegno architettonico. Ilprincipale contributo di Barbaro alla comprensione di Vitruvio nel Rinascimento consiste nell'enfasi posta sulla flessibilità con cui egli credeva che le regole di Vitruvio dovessero essere comprese e sull'importanza delle correzioni ottiche per il disegno architettonico nella teoria dell'autore antico.

APA, Harvard, Vancouver, ISO, and other styles

28

Pellecchia, Linda. "Architects Read Vitruvius: Renaissance Interpretations of the Atrium of the Ancient House." Journal of the Society of Architectural Historians 51, no. 4 (December 1, 1992): 377–416. http://dx.doi.org/10.2307/990736.

Full text

Abstract:

From Alberti to Palladio, Renaissance architects and architectural theorists struggled to interpret the description of the ancient Roman house set forth by Vitruvius in De architectura. The debate concerning the form and function of the atrium-the most essential room of the ancient domus-provides the basis for a case study of the process by which Renaissance readers transformed words into images to visualize the parts of the ancient house. Lacking archaeological remains of the Roman domus, architects were forced to rely on written sources. Their zeal to understand led them to appropriate the philological tools of humanists, explicating Vitruvius's words by reading other texts. The result was a wealth of contradictory information, which permitted, indeed encouraged, a variety of reconstructions of the atrium. During a period of about one hundred years-from the 1450s to the 1560s-the Vitruvian atrium underwent numerous incarnations: a courtyard, a vestibule, a domed octagonal sala, a three-aisled basilica. Despite their often imaginative and probing research, none of the Renaissance architects ever conceived of the atrium exactly as it was in antiquity. Their [mis]interpretations, nonetheless, had an impact on contemporary design. In a period in which patrons wanted houses inspired by antiquity, the reconstructed atriums of Renaissance theorists appeared in the palaces and villas of princes, popes, and cardinals.

APA, Harvard, Vancouver, ISO, and other styles

29

Corso, Antonio. "Fra Giocondo e i monumenti di Atene." Acta Archaeologica Academiae Scientiarum Hungaricae 71, no. 1 (June 1, 2020): 219–26. http://dx.doi.org/10.1556/072.2020.00009.

Full text

Abstract:

AbstractThis paper focuses on the important scholar and antiquarian Giovanni Giocondo from Verona and in particular his two editions of the De architectura of Vitruvius published in 1511 and in 1513. Two illustrations of this friar are related to the two Vitruvian passages concerning the female architectural supports called Caryatids and the Tower of the Winds at Athens. A careful study of these two drawings leads to the conclusion that they cannot depend only on the Vitruvian text, but also on visual sources. These sources of inspiration are identified respectively with the so-called Lodge of the Caryatids of the Erechtheum at Athens and with the same Tower of the Winds. Probably Friar Giocondo got information and perhaps drawings of these two monuments in 1506 when he traveled in the Saronic Gulf. Thus Giocondo’s drawing of the Caryatids probably reveals that the wrong interpretation of the Korai of the Erechtheum as Vitruvian Caryatids already existed in the early 16th century.

APA, Harvard, Vancouver, ISO, and other styles

30

LOSITO, MARIA. "IL IX LIBRO DEL DE ARCHITECTURA DI VITRUVIO NEI COMMENTARI DI DANIELE BARBARO (1556-1567)1." Nuncius 4, no. 1 (1989): 3–42. http://dx.doi.org/10.1163/182539189x00013.

Full text

Abstract:

Abstract<title> SUMMARY </title>Book IX of Vitruvius's DE ARCHITECTURA is devoted to the Gnomonica, which is the art of making solar clocks, or the second part of architecture, and to the basic construction of the Analemma, an orthographic projection of different circles of the sky - blue sphere.The present paper explains the changes to this Book between the 1556 edition and the 1567 editions of Daniele Barbaro's Commentationes.Indeed, while in 1556 Barbaro reconstructs the Vitruvian Analemma, that he had studied in the De horologiis describendis libellus, in 1567 he will more clearly define the Vitruvian Analemma by considering the Ptolemaic Analemma, after the 1562 study in Federico Commandino's Claudii Ptolemaei liber de Analemmate. Barbaro will also apply this Analemma in detail to the construction of the sun-dial, which was done neither by Vitruvius nor by Ptolemy, but in Commandino's Liber de Horologiorum descriptione.The relevance of the Analemma to the theory of planar projections of meridians is pointed out here. Indeed, even if the work of Barbaro seems traditional from the point of view of an astronomer, its implications for projective geometry are of great importance.

APA, Harvard, Vancouver, ISO, and other styles

31

YASUOKA, Yoshifumi. "ON THE RELATIONSHIP BETWEEN THE ARCHITECTURAL PHILOSOPHY IN VITRUVIUS' “DE ARCHITECTURA” AND THE SURROUNDING ARCHITECTURAL CULTURES." Journal of Architecture and Planning (Transactions of AIJ) 82, no. 736 (2017): 1581–89. http://dx.doi.org/10.3130/aija.82.1581.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Volkovynskyi, Oleksandr, and Serhiy Hnatenko. "EMERGENCE AND DEVELOPMENT OF THE CONCEPT &ARCHITECTONICS[ IN CULTURAL AND SCIENTIFIC DIMENSIONS." IVAN OHIIENKO AND CONTEMPORARY SCIENCE AND EDUCATION, no. 19 (December 29, 2022): 89–99. http://dx.doi.org/10.32626/2309-7086.2022-19.89-99.

Full text

Abstract:

DIMENSIONSThe main aspects of the overall evolution of the concept «architectonics» from the emergence of its prerequisites and the moment of coining to the present day are considered in the paper. It is highlighted that the foundations of the ap-pearance of the concept «architectonics» date back to the era of antiquity in Greece. Plato`s and Aristotle`s doctrines have been especially instrumental in the formation of the general ideas about systematicity, orderliness, and integrity. Plato`s categories «Ideas (Forms)», «Unity», «Harmony», «Universals» would be useful to the following generations of thinkers, who would discuss architec-tonics. Aristotle emphasized that not only the structural components of a work are important, but also the connections between them. The ancient Greek philos-opher basically prepared the foundations of the concept of architectonics without using the term itself. The term «architectonics» appeared in Marcus Vitruvius’ treatise «Ten Books on Architecture» (Marcus Vitruvius «De architectura libri decem»). According to the principle of parity Vitruvius derives three main laws of architecture – strength (endurance), utility (convenience), and beauty. They were universal in nature and could be applied to works of art of various kinds.The next stages of the concept development occurred in the theoretical works by Philip Sidney, George Puttenham. The concept «architectonics» was especially productively developed in the works of Immanuel Kant, Wilhelm von Humboldt, Georg Wilhelm Friedrich Hegel. The concept was further developed in general works on culture studies, including those by Oswald Spengler, Nicolai Hartmann, Roman Ingarden, György Lukács, Maurice Merleau-Ponty, Jean-Paul Sartre, Gilles Deleuze, Hans Ulrich Gumbrecht.In contemporary literary studies architectonics is generally considered as the ordered overall integrity of the text and work of literature based on the har-monious correlation of all substantive and formal elements. Architectonics de-termines and correlates the choice of individual elements from the standpoint of the overall organization of the text. The composition is implemented through the qualities of sequence and subordination in the internal arrangement of existing structural elements of the text. The presence or absence of certain elements, the specifi cs of their functional purpose determine the features of the structure.

APA, Harvard, Vancouver, ISO, and other styles

33

Kashima, Akihiro. "The difference between the town planning principles of the Ordinances of Philip II and Vitruvius' De Architectura Libri Decem." Journal of the City Planning Institute of Japan 39.3 (2004): 859–64. http://dx.doi.org/10.11361/journalcpij.39.3.859.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Kashima, Akihiro. "The difference between the town planning principles of the Ordinances of Philip II and Vitruvius' De Architectura Libri Decem." Journal of the City Planning Institute of Japan 39 (2004): 144. http://dx.doi.org/10.11361/cpij1.39.0.144.0.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Fapohunda, Christopher. "THE DEPICTION OF STRUCTURAL AND CIVIL ENGINEERING IN VITRUVIUS’S TEN BOOKS ON ARCHITECTURE — A STATE-OF-THE-ART REVIEW." Architecture and Engineering 8, no. 1 (March 31, 2023): 3–12. http://dx.doi.org/10.23968/2500-0055-2023-8-1-3-12.

Full text

Abstract:

Introduction: Ten Books on Architecture (De Architectura) is a treatise by Vitruvius that describes construction work, as taught and practiced in the 1st century. In it, the functions and duties performed in the built environment by architects, construction workers, civil engineers, surveyors, sculptors, decorators, etc., are all lumped together into either architecture or civil engineering. However, for civil engineers, who operate both in built and unbuilt environments, the scope and depth of subjects covered by this work could serve as useful resources as they develop their competences in core practical aspects of civil engineering. Materials and Methods: This paper explores Ten Books on Architecture in relation to civil engineering in the 21st century. The materials used for this work were obtained from internet sources, university libraries, textbooks, write-ups and commentaries that were purchased from open markets and bookshops. Results: The review shows that: (i) the profession of the architect, used in the times of Vitruvius interchangeably with the civil engineer and town planner, as well as the very concept of architecture or civil engineering, in terms of social standing, differs significantly from the present times; (ii) most of the projects discussed in the book form the core of what is classified in the 21st century as civil engineering; (iii) civil engineers ought to be versatile in the art solving of problems that may arise during the course of construction, both in the built and unbuilt environments; and (iv) the buildability issues of civil engineering make knowledge of how to assemble simple construction equipment a necessity. Conclusion: Though not recommended in the curriculum, a working knowledge of either Latin or Greek will help to make the book an indispensable companion for structural and civil engineering practitioners and also enhance their performance capacity.

APA, Harvard, Vancouver, ISO, and other styles

36

Izenour, George C. "Sense and nonsense concerning design and engineering of the theaters of classical antiquity and the writings of M. Vitruvius Pollio on the subject." Journal of the Acoustical Society of America 106, no. 4 (October 1999): 2227. http://dx.doi.org/10.1121/1.427572.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Saliou, Catherine. "MARDEN F. NICHOLS, AUTHOR AND AUDIENCE IN VITRUVIUS’ DE ARCHITECTURA. Cambridge: Cambridge University Press, 2017. Pp. xxvii + 238, illus. isbn 9781107003125. £75.00." Journal of Roman Studies 110 (March 9, 2020): 292–93. http://dx.doi.org/10.1017/s0075435820000210.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Roby, Courtney. "VITRUVIUS AND HIS LITERARY CONTEXT - (M.F.) Nichols Author and Audience in Vitruvius’ De architectura. Pp. xviii + 238, ills, colour pls. Cambridge: Cambridge University Press, 2017. Cased, £75, US$99.99. ISBN: 978-1-107-00312-5." Classical Review 69, no. 1 (December 21, 2018): 105–7. http://dx.doi.org/10.1017/s0009840x18002998.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Ajufoh, Michael C. O., W. A. Gumau, and Yaktor Joshua Inusa. "Curbing the Menace of Building Collapse in Nigeria." International Letters of Natural Sciences 20 (July 2014): 168–78. http://dx.doi.org/10.18052/www.scipress.com/ilns.20.168.

Full text

Abstract:

Marcus Vitruvious polio, the Roman writer, Architect and Engineer, was famous for asserting in his book De Architectura that a structure must exhibit the three qualities of firmitas, utilitas and venustas – that is, it must be strong or durable, useful and beautiful. Hugo Alvar Aalto the Finnish Architect and designer, argued that the responsible designer/Architect must “do no harm” on the end users of such a building nor provide environments unsuitable for their use. Part of the federal Government of Nigeria’s transformation agenda is the provision of quality and affordable infrastructure through Housing and Urban Development. But the spate of collapsed buildings in the country has reached an alarming rate. The incessant cases are enough reasons to declare a state of emergency in the construction industry. A building collapse could be a total or partial failure of one or more components of a building leading to the inability of the building to perform its principle function of safety and stability. In an attempt to find a solution to this menace, this paper therefore tries to examine some of the major causes of building collapse and tries to proffer remedial measures that may curb its devastating effects. The paper also briefly outlines its implications on real estate investment and also briefly tries to advice on procedures for rescuing people from collapsed buildings.

APA, Harvard, Vancouver, ISO, and other styles

40

Ajufoh, Michael C. O., W. A. Gumau, and Yaktor Joshua Inusa. "Curbing the Menace of Building Collapse in Nigeria." International Letters of Natural Sciences 20 (July 23, 2014): 168–78. http://dx.doi.org/10.56431/p-9q3lxt.

Full text

Abstract:

Marcus Vitruvious polio, the Roman writer, Architect and Engineer, was famous for asserting in his book De Architectura that a structure must exhibit the three qualities of firmitas, utilitas and venustas – that is, it must be strong or durable, useful and beautiful. Hugo Alvar Aalto the Finnish Architect and designer, argued that the responsible designer/Architect must “do no harm” on the end users of such a building nor provide environments unsuitable for their use. Part of the federal Government of Nigeria’s transformation agenda is the provision of quality and affordable infrastructure through Housing and Urban Development. But the spate of collapsed buildings in the country has reached an alarming rate. The incessant cases are enough reasons to declare a state of emergency in the construction industry. A building collapse could be a total or partial failure of one or more components of a building leading to the inability of the building to perform its principle function of safety and stability. In an attempt to find a solution to this menace, this paper therefore tries to examine some of the major causes of building collapse and tries to proffer remedial measures that may curb its devastating effects. The paper also briefly outlines its implications on real estate investment and also briefly tries to advice on procedures for rescuing people from collapsed buildings.

APA, Harvard, Vancouver, ISO, and other styles

41

Nikolic, Milorad. "An Investigation of Vitruvius’ Technical Vocabulary Relating to Water Conduits and Pipelines in “De Architectura” 8.6.6–9; Libramentum and Geniculus (Re)Examined." Hermes 139, no. 4 (2011): 443–53. http://dx.doi.org/10.25162/hermes-2011-0035.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Thomas, E. V. "H. Geertman and J. J. de Jong (Eds), Munus non ingratum. Proceedings of the International Symposium on Vitruvius' de Architectura and the Hellenistic and Republican Architecture, Leiden, 20–23 January, 1987 (Babesch Supplement 2). Leiden: Bulletin Antieke Beschaving, 1989. Pp. 239, numerous illus. ISBN 91-72821-01-7. Fl. 135. - Vitruve, De l'architecture, Livre I. Ed. and trans. P. Fleury (Association G. Budé). Paris: Les Belles Lettres, 1990. Pp. cxviii + 367, 5 pls, 14 figs, 3 plans, ISBN 2-251-01349-0." Journal of Roman Studies 81 (November 1991): 210–11. http://dx.doi.org/10.2307/300528.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Peart, Alex-Jaden. "Divina Mens: Imperial Propaganda in De architectura 6.1." New England Classical Journal 50, no. 1 (May 5, 2023). http://dx.doi.org/10.52284/necj.50.1.article.peart.

Full text

Abstract:

This paper, framed by “racecraft” theory (Fields and Fields 2012), argues that the first chapter of Book VI of Vitruvius’ De architectura positions the Roman state led by Augustus—established at the temperate middle of the ecumene by the “divine intellect” (divina mens)—as imbued with the tools to expand its territory at this critical point in the nation’s history. Exploring Vitruvius as a transitory figure, existing within both the late Republic and the early Principate, I argue that we can understand how his reception of environmental determinism theory placed Italy and its people between racial and climatic extremes.

APA, Harvard, Vancouver, ISO, and other styles

44

Lefas, Pavlos. "Quod significat: Vitruvius’ ultimate criterion for (good) architecture." British Journal of Aesthetics, January 11, 2024. http://dx.doi.org/10.1093/aesthj/ayad035.

Full text

Abstract:

Abstract The present paper proposes a new reading of one of the most obscure passages of De Architectura; in I, 1,3 Vitruvius claims that in architecture there is always a signifier and a signified, but his approach differs from Quintilian’s as presented in the latter’s Institutio Oratoria. Vitruvius’ is closer to Chrysippus approach, but he fails to mention the third constituent, the tynchanon. This omission is probably due to the fact that Vitruvius speaks of designs rather, than of existing buildings. What can successfully signify a proposed building is, according to my reading, the design and erection of a building that is easily recognized by the public as realizing the intentions of the community to erect the proposed building. Such successful signification constitutes the ultimate criterion for good architecture.

APA, Harvard, Vancouver, ISO, and other styles

45

Olijnyk, Liuba. "VERBAL CHARACTERIZATION OF THE ARCHITECT IN VITRUVIUS’ TRACTATE “DE ARCHITECTURA”." Inozenma Philologia 1, no. 127 (September 12, 2014). http://dx.doi.org/10.30970/fpl.2014.127.181.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Camerota, Filippo. "From Vitruvius to the Science Of Drawing Daniele Barbaro’s Concept of “Scaenographia”." Art and Science, no. 1 (December 11, 2020). http://dx.doi.org/10.30687/va/2385-2720/2020/01/001.

Full text

Abstract:

Daniele Barbaro’s treatise on perspective is one of the most authoritative technical-scientific sources of the sixteenth century. Although largely based on the unpublished work of Piero della Francesca, the treatise had the precise and original purpose of filling a gap in the Vitruvian text about the contents of the so-called ‘scaenographia’, a discipline based on optical geometry of which Vitruvius provided only meagre and sibylline words. The subdivision of the treatise, examined here into the individual parts that constitute it, follows a clearly Vitruvian structure, with the first three parts dedicated to ichnographia (perspective drawing of plans), orthographaia (perspective drawing of solid bodies) and scaenographia (perspective drawing of the buildings and their ornaments), and with two other parts specifically dedicated to the measurements of the human body and to the drawing of the planisphere, themes treated by Vitruvius respectively in the third and ninth books of De architectura. In this sense, La pratica della perspettiva, published in 1568, should be considered as an integral text of the most authoritative commentary on Vitruvius’ I Dieci libri dell’architettura, published in 1556 and 1567.

APA, Harvard, Vancouver, ISO, and other styles

47

Camerota, Filippo. "From Vitruvius to the Science Of Drawing Daniele Barbaro’s Concept of “Scaenographia”." Art and Science, no. 1 (December 11, 2020). http://dx.doi.org/10.30687/va/2385-2720/2020/06/001.

Full text

Abstract:

Daniele Barbaro’s treatise on perspective is one of the most authoritative technical-scientific sources of the sixteenth century. Although largely based on the unpublished work of Piero della Francesca, the treatise had the precise and original purpose of filling a gap in the Vitruvian text about the contents of the so-called ‘scaenographia’, a discipline based on optical geometry of which Vitruvius provided only meagre and sibylline words. The subdivision of the treatise, examined here into the individual parts that constitute it, follows a clearly Vitruvian structure, with the first three parts dedicated to ichnographia (perspective drawing of plans), orthographaia (perspective drawing of solid bodies) and scaenographia (perspective drawing of the buildings and their ornaments), and with two other parts specifically dedicated to the measurements of the human body and to the drawing of the planisphere, themes treated by Vitruvius respectively in the third and ninth books of De architectura. In this sense, La pratica della perspettiva, published in 1568, should be considered as an integral text of the most authoritative commentary on Vitruvius’ I Dieci libri dell’architettura, published in 1556 and 1567.

APA, Harvard, Vancouver, ISO, and other styles

48

Oksanish, John Matthew. "Behaviors and Bodies in the Second Preface of Vitruvius' De Architectura." SSRN Electronic Journal, 2010. http://dx.doi.org/10.2139/ssrn.1608214.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Akkerman, Abraham, and Jingkun Shao. "The Bagua as an Intermediary between Archaic Chinese Geomancy and Early European Urban Planning and Design." Journal of Chinese Architecture and Urbanism, February 24, 2021, 1–23. http://dx.doi.org/10.36922/jcau.v2i1.968.

Full text

Abstract:

Present-day concerns with urban design for pedestrians largely surround the issue of microclimate in streetscapes. Such concerns are not new and have been extensively discussed during the European Renaissance. Western historical references on urban design and microclimate primarily converge on a single source: The octagonal, radial-centric plan of an ideal city in Book I of the Ten Books of Architecture written in the late first century BCE by Marcus Vitruvius Polio. As his own source Vitruvius pointed to the Tower of the Winds in Athens, designed c. 50 BCE by Andronicus of Cyrrhus on an octagonal plan, respectful of eight wind directions. We posit that octagonal Bagua geomantic map made its way from Chang’an in China to Cyrrhus in western Asia during the first century BCE, and was possibly one of two sources that stirred Andronicus toward his design of the tower, the other source being the Pharos Lighthouse in Alexandria. The Bagua corresponds to the Luo Shu magic square that guided the ideal city plan of Han China, while the octagon, through Vitruvius, inspired several city plans in Renaissance and Baroque Europe. Beyond the rainbow of multiple impact on Roman urbanism from neighboring civilizations, the ancient Chinese ideal city plan through the intermediary of the Bagua, may also have played a role in Vitruvius’ own ideal city plan, by way of the Tower of the Winds. The environmental message of the Bagua, thus, has possibly carried an indirect impact upon Renaissance and Baroque urbanism, and upon urbanist concerns lasting to this day.

APA, Harvard, Vancouver, ISO, and other styles

50

Nichols, Marden Fitzpatrick. "JULIUS CAESAR AND THE LARCH: BURNING QUESTIONS AT VITRUVIUS’ DE ARCHITECTVRA 2.9.15–16." Classical Quarterly, April 24, 2024, 1–14. http://dx.doi.org/10.1017/s0009838824000120.

Full text

Abstract:

Abstract This article argues that Vitruvius’ description of Julius Caesar's ‘discovery’ of the larch (larix, De arch. 2.9.15–16), previously read as a journalistic account of the author's first-hand experience in Caesar's military entourage, should instead be interpreted as a highly crafted morality tale illustrating human progress thwarted. In the passage, the use of larch wood to construct a defensive tower renders the Alpine fortress at Larignum impregnable to assault by fire; only the fear aroused by siege provokes the inhabitants to surrender to Caesar and his troops (2.9.15–16). Nevertheless, the outcome of this discovery is not a complete victory, because the logistics of importing this remarkable timber to Rome are as yet insurmountable (2.9.16). Once the siege of Larignum is recognized as a diptych to Vitruvius’ narrative of the origins of civilization, in which fire and wood likewise play essential roles (2.1.1–7), and compared with similar aitia and source histories across the De architectura, it becomes clear that Larignum and its resources emblematize obstacles to a Vitruvian conception of imperial success, in which the city of Rome catalogues and indexes architectural knowledge amassed throughout the empire.

APA, Harvard, Vancouver, ISO, and other styles

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

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles