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Vitruvius’ Judgment
Vitruvius Codex, 9th or 10th century, Sélastat
Vitruvius: The manuscript
• Poggio, a papal secretary had "rediscovered" one of the extant manuscripts in the monastery of St. Gall in Switzerland in 1415.
• The first printing of the manuscript appeared in 1487. This is after Alberti's De re aedificatoria was published in 1485.
• Later important editions are: Fra Giocondo, 1511; Cesariano, 1521; Daniele Barbaro and Palladio 1556; [Henry Wotton 1624] Claude Perrault 1674. The current most respected edition is that of Fensterbusch published in 1964.
Vitruvius wrote his De architectura libridecem or Ten Books on Architecture around the time of Augustus. He had himself worked
for Julius Ceasar in Spain, building Siege machines and perhaps bridges. After the death of Julius Ceasar in 44 BC he was
involved in the Construction of the Roman water supply under Octavian. He retired at around 33 BC and through the good offices
of Emperor Augustus’ sister, received a pension which ensured him a care-free old
age.
It grieved me that so many great and nobleInstructions of Ancient authors should be lost by theinjury of Time, so that scarce any but Vitruvius hasescaped this general wreck: A Writer indeed ofuniversal knowledge, but so maimed by Age, that inmany Places there are great Chasms, and manyThings imperfect in others. besides this, his style isabsolutely void of all ornaments, and he wrote in sucha Manner, that to the Latins he seemed to writeGreek, and to the Greeks Latin: But indeed it is plainfrom the Book itself, that he wrote neither Greek norLatin, and he might almost as well have never wroteat all, at least with regard to us, since we cannotunderstand him. Alberti (1955) Book VI, Chap. 1, p. 111.
• De Architectura• First (edited) publication in 1486 and is divided into 10 books about;• ∙ Book I: City planning and Architecture in general• ∙ Book II: Building materials and constructions• ∙ Book III: Temple construction• ∙ Book IV: Temple proportions of columns• ∙ Book V: Public buildings (theatres and baths)• ∙ Book VI: Private and agricultural buildings• ∙ Book VII: Floors and stucco decorations• ∙ Book VIII: Water installations• ∙ Book IX: Astronomy• ∙ Book X: Civil and military engines
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Vitruvian man, Hildegard von Bingen, Liber Divinorum Operum, 13th c, Lucca, representation of Macrocosm and Francesco di Giorgio Martini, Architettura,
ignegnaria e arte militare, late 15th c, Turin, vitruvian man
De architectura libri decem, cum commentariis Danielis Barbari. Venedig, F. dei Franceschi u. G. Chrigero 1567 en Leonardo
Francesco di Giorgio Martini, 01 Architettura, ignegnaria e arte militare, late 15th c, anthropometric entablature J.F. Blondel idem. 17° C.
Callimachus, R Freart de Chambray, Parallele des ordres antiques et modernes, and
Claude Perrault, The Corinthian Order
Vitruvius, Cesariano edition 1521, the discovery of fire
The application of reason enables you to describe and
explain your work.
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architecture is a disciplinabased on scientia: the architect
must have knowledge of subjects which are already
established as systematiseddisciplines, such as writing, drawing, geometry, history,
philosophy, music, medicine, law and astronomy.
This is not as difficult as it sounds because (and I like this)
each subject is different in its practical method (opus) but their
theoretical basis (ratio) is common to all
i.e. all arts are different practical expressions of commonly held thought.
Marcus Vitruvius Pollio (84‐14 BC)BOOK I, CHAPTER 3
Haec autem ita fieri debent, ut habeatur ratio firmitatis, utilitatis, venustatis. Firmitatis erit habita ratio, cum fuerit fundamentorum ad solidum depressio, quaque e materia, copiarum sine avaritia diligenselectio; utilitatis autem, emendata et sine inpeditione usus locorumdispositio et ad religiones sui cuiusque generis apta et conmoda
distributio; venustatis vero, cum fuerit operis species grata et elegansmembrorumque commensus iustas habeat symmetriarum
ratiocinationes
Now these should be so carried out that account is taken of strength, utility and grace. Account will be taken of strenght when the foundations are carried down to the solid ground, and when from each material there is a choice of supplies without parsimony; of utility, when the sites are arranged without mistake and impediment to their use, and a fit and convenient disposition for
the aspect of each kind; of grace, when the appearance of the work shall be pleasing and elegant, and the scale of the constituent parts is justly calculated for symmetry
Variations on the theme
"Well building hath three conditions: firmness, commodity, and delight." Sir Henry Wotton,
1624
The ideal building has three elements; it is sturdy, useful, and beautiful.
Vitruvius’ criteria of judgement
Utilitas
Venustas
Architecture
Firmitas
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Vitruvius’ criteria of judgement
Useful-ness
Beauty
Architecture
Stability
Vitruvius’ criteria of judgement
Com-modity
Delight
Architecture
Firmness
What if…• We define these words not as separate entities each with its own territory… Maps of Europe, 1815 & 1870
But as words which help to defineeach other…
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After the storm: A house humiliates a mountain
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Vitruvius’ criteria of judgement
Use
Desire
Architecture
Structure
Vitruvius’ criteria of judgement
Function
Form
Architecture
Force
BaroqueDutch C
lassicism
Rome Em
pire
Dutch Renaissance
Colonial Powers
Historicism &
oriëntalismN
eo Classicism
& Rom
aticism
500BC 0 1140 19001400
Classical G
reece
Romanesque
Hellenistic Greece
HighRenaissance
MannerismG
othic
Late Gothic
Rococo
17501600
Ottoman Empire
IslamChristianity
Judaeism
Early Gothic
Early Renaissance
300
Rome Repulic
Art N
ouveau
Modernism
InternationalismN
ationaal Socialism
ReactionPost M
odernismSuper M
odernism
Cubism
DadaSurrealism
Regionalism
Empire
1960
Brutalisme
High Tech
Byzantium British Empire
Eclecticism
Style
Early Christian
FrenchRev
WW
1 & 2
Asturian
The Middle Ages
Ottom
anC
arolingian
UTILITAS
Pelgrim The Road to Santiago de Compostella
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Santiago de Compostela,
1080 ‐ 1130 and later.
By Bernard the Old
more than 100mLong
Santiago de Compostela
Santiago de Compostela
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Conques, abbatiale Sainte Foy de Conques, 12e S
Conques,
Ste Foy,
Beeld relikwieënhouder
van de heilige Fides
Conques, Ste Foy, 11th C
Santiago de Compostela,
1080 ‐ 1130
and later.
By Bernard the Old
more than 100mLong
Conques
Ste Foy,
11th C
Conques, abbatiale Sainte Foy de Conques, 12e S, village
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Conques, approach to the town
Conques, Ste Foy, 1050‐1120 siteplan
Conques, Ste Foy, Groundplan and surroundings Huizen bij het westfront
Conques, Ste Foy,
1050‐1130
Conques, Ste Foy, Main Portal, West facade, 1130
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Conques, abbatiale Sainte Foy de Conques, 12e S, Satan. qui préside aux supplices des damnésConques, abbatiale Sainte Foy de Conques, 12e S, Le Braconnier roti par les lapins
Conques, Ste Foy, Interior
Conques, abbatiale
Sainte Foy de Conques, 12e S, la coupole à la croisée du transept
Conques, Aveyron, Sainte Foy, 1050‐1130, middenschip
Conques, abbatiale Sainte Foy de Conques,
12e S, Le déambulatoire
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Conques, Ste Foy, view
from the east
Vezelay, France,
Processional path
FirmitasNotre Dame,
Paris,
Rose window
Chartres, Noordelijk en Zuidelijk Roosvenster Chartres, Noordelijk roosvenster, detail
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Comparative sections, Laon, Notre Dame & Bourges, Chartres, Reims, Amiens
Cathedrale Saint‐Pierre de Beauvais; France, Beauvais; 1247‐72 Imaginary Model of the finished cathedral
Cathedral Saint‐Pierre de Beauvais is located 60km north of Paris. The cathedral is huge but only the choir and two transepts were constructed. Cathedral Saint‐Pierre de Beauvais was constructed in 10th century beside the earlier church of the Carolingian Period.The cathedral was destroyed by fire in 1180 and in 1225. The reconstruction began in 1225.The construction of the choir was completed in 1272 but the vault fell down in 1284. The Choir was reconstructed again in 1322, adding another pier between each pair and changing the quadripartite vaults to sexpartite vaults.The North and South transepts were constructed in 1500‐48. The tower on the crossing, 151m high, was constructed in 1558‐69 fell in 1773 and was never reconstructed again.
Beauvais, Cathédrale Saint‐Pierre, Chevet et trancept Sud, 13e & 16e s
Beauvais Cathedral, 10th C & Choir 1225‐1272
collapse of choir 28 Nov 1284,
repair by Enguerrand le Riche, from 1338, 1499
transept and nave by Martin Chambiges
tower built 1561 onw and collapsed 1563
Beauvais, Saint Pierre, begonnen in 1225 en na
de instortingen van 1284 &
1573 vernieuwd
Beauvais, 1225 and later, interior
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Beauvais, Cathédrale Saint
Pierre,
13e et 16e s.
Voûtes du choeur,
13e s, 48,5 m
Beauvais, Cathédrale Saint Pierre,
13e et 16e s,
Chevet Gothique, 13e s
Beauvais, Saint Pierre,
gezicht op het koor,
begonnen in 1225 en na de instorting van
1284 vernieuwd
venustas
Florence, Pazzi Chapel, Sta Croce, By Brunelleschi, 1430‐
61
Urban Context Pazzi Chapel
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Filippo Brunelleschi, 1377‐1446, Second Cloister, Santa Croce
Florence, Sta Croce & Pazzi Chapel, plan
Filippo Brunelleschi, Pazzi, Kapel, 1429‐61, Florence Florence, Pazzi Chapel
Florence, Pazzi Chapel, section and plan Filippo Brunelleschi, 1377‐1446, Pazzi Chapel, detail facade
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Florence, Pazzi Chapel
Florence, Pazzi Chapel, section
Florence, Pazzi Chapel
Florence, Pazzi Chapel
Florence, Pazzi Chapel, Interior of
Loggia
Florence, Pazzi Chapel
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Florence, Pazzi Kapel, Koepel.
Brunelleschi, Pazzi Chapel Interior, 1442
Filippo Brunelleschi, Capella dei Pazzi, S Croce, 1430 Filippo Brunelleschi, Capella Pazzi
Florence, Pazzi ChapelAlvar Henrik Aalto (1898 – 1976)
affordance & the dispositive, the body in its space
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Aalto wood sculpture Aalto, Glass
The Trout and the Stream, Alvar Aalto (1947)
When I have to solve some architectural problem, I am constantly ‐ almost without exception, indeed ‐ faced with an obstacle difficult to surmount, a kind of “three in the morning feeling”. The reason seems to be the complicated, heavy burden represented by the fact that architectural planning operates with innumerable elements which often conflict. Social, human, economic and technical demands combined with the psychological questions affecting both the individual and the group, together with the movements of human masses and individuals, and internal frictions ‐ all these form a complex tangle which cannot be unraveled in a rational or mechanical way. The immense number of different demands and component problems constitute a barrier from behind which it is difficult for the architectural basic idea to emerge. I then proceed as follows ‐ though not intentionally. I forget the entire mass of problems for a while, after the atmosphere of the job and the innumerable different requirements have sunk into my subconsciousness. I then move on to a method of working which is very much like abstract art. I just draw by instinct, not architectural syntheses, but what are sometimes childlike compositions, and in this way, on this abstract basis, the main idea gradually takes shape, a kind of universal substance which helps me bring the innumerable contradictory component problems into harmony.
Alvar Aalto,
Viipuri Library, 1927‐35,
aerial view, site plan
Alvar Aalto, Viipuri Library, 1927‐35, main facade
Aalto, Viipuri City Library, 1933‐35, facade
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Aalto, Viipuri City Library, 1933‐35, window
Aalto, Viipuri City Library, 1933‐35, interior entry
Alvar Aalto, Viipuri Library, 1927‐35, lobby
Aalto, Viipuri City Library, 1933‐35, section
Alvar Aalto, Viipuri Library,
1927‐35, stairway
Alvar Aalto, Viipuri Library, 1927‐35, stools
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Alvar Aalto, Viipuri Library, 1927‐35, reading room
Alvar Aalto, Viipuri Library, 1927‐35,
plans
Aalto, Viipuri City Library, 1933‐35, interior
Alvar Aalto, Viipuri Library, 1927‐35
Aalto, Viipuri City Library, 1933‐35,
reading room
Alvar Aalto, Viipuri Library, 1927‐35, auditorium