Marcantonio Raimondis so-called Caryatid Façade has received scant attention, yet it occupies an important place in the printmakers oeuvre and was widely admired and imitated in the sixteenth century. The image, which features an architectural façade adorned with Caryatid and Persian porticoes and an oversized female capital, does not fit easily with the usual narrative about Raimondis career in Rome, summed up in Vasaris account that he collaborated with Raphael to publicise the masters storie. Rather than being an illustration of (...) a religious or mythological subject, it brings together architectural fantasia, archaeology and Vitruvian studies, reflecting on the origins of the orders and the nature of architectural ornament. Arguably, it is also an indirect trace of Raphaels unfinished projects to reconstruct Rome and to collaborate with humanist Fabio Calvo and others on a new, illustrated edition of Vitruvius. (shrink)

The domestic spaces of the built environment are traditionally associated with residential architecture. But the domestic spaces can also extend out, metaphorically, into familiar public spaces in which one may feel at home, and also extend inwards into self-perception, insofar as you may say that you dwell within yourself. This article begins by recalling Vitruvius’ fundamental notion of architectural utilitas concerns accommodating not a building’s owners but foreigners and strange outsiders. Vitruvius’ view on utility heavily favoured architecture’s socio-political (...) function, and the guests he believed that architecture ought to accommodate were not merely a home’s owners or their visiting friends, but those people who are more distant from a home’s owners: those who are stranger and less well understood, known as xenos and who ought to be respected under the Ancient Greek religious and ethical principle of xenia. It is on these grounds that Vitruvius makes an ethical critique of residential architecture in favour of the virtue of public architecture. Next the reach of xenia is proposed to extend towards those who are different not merely because of ethnic differences but cognitive and sensory differences. Such accommodations are today accounted for as part of accessibility design and salutogenic design. Similar conceptions are noted in Nietzsche’s notion of an “architecture for the perceptive” and the surrealist’s interpretation of the minotaur as a hybrid not only of animal and human but a hybrid of civilised citizen and barbarian outsider. Together these sketch out an expanded sense of the domestic that includes public spaces designed to accommodate strange outsiders and the hybrid forms used to signify them. (shrink)

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. 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. (shrink)

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. (shrink)

This extended, provocative, and extensively documented meditation addresses Vitruvius’ intention in producing the first treatise on architecture, the only one surviving from antiquity, which was dedicated to Caesar Augustus. McEwen argues that in assembling various preexisting fragments into a coherent whole and putting that whole into words to produce “the whole body of architecture,” Vitruvius is producing the counterpart to Augustus’ program, that of making a coherent unity from the spatial fragments of the world under Roman rule and (...) from their scattered peoples. Vitruvius explains how this architecture would serve, embody, and make visible the imperial program in the new and renewed cities and the fora, temples, and theaters prominent in them. (shrink)

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. (shrink)

The article analyses innovative ethno-geographical systems of the first century BC. During Hellenistic times, the science of geography made use of increasingly advanced mathematical and astronomical skills to ensure a scientific basis for the cartographical project; however, this geographical research apparently disregarded the natural and human environments. There is a paradigm change in the referred century. The Stoic Posidonius focuses on the concept of zones found in the early philosophers and finds a compromise between the ‘scientific’ and the ‘descriptive’ geographies. (...) Likewise, Vitruvius conveys a geographical system which associates climatic, somatic, and psychic features. (shrink)

This work discusses the origin of the architect and the architecture presented in the treatise _De Architectura_ by Vitruvius and its association with imitation. It is discussed the Vitruvian notion of the progression of humanity and its connections with the architect and the establishment of Architecture as the science of the architect. The proposal of training for professionals from various areas is analyzed, which would guarantee, according to Vitruvius, a generalist training and at the same time specialized in (...) their field. It also discusses the attributes necessary, according to the author, for a good professional, which would allow him to achieve recognition for his authority. (shrink)

This article seeks to show the effect that Vitruvius’ probable social status had on the contents of the De Architectura. The education proposed for the architect, the receipt of a wage, and pleasure all shape the treatise in significant ways. The article supplements these discussions with a close reading of a section of the De Architectura hitherto neglected in the secondary literature: the cameo appearance of Aristippus in the preface to Book 6. Vitruvius arguably uses the figure of (...) Aristippus, the pleasure-loving philosopher whom Vitruvius offers to the reader as a stand-in for the architect, to focus and negotiate further the issues of status, pay, and pleasure. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Architectural Theory, Volume 1: An Anthology from Vitruvius to 1870Peg RawesArchitectural Theory, Volume 1: An Anthology from Vitruvius to 1870, edited by Harry Francis Mallgrave. Malden MA, Oxford, Victoria: Blackwell Publishing, 2006, 590 pp., $49.95.This anthology is a rich and comprehensive documentation of the key stages that construct Western architectural theory, from Vitruvius's classical writing to Gottfried Semper's theories in late-nineteenth-century Europe. Comprised of 229 (...) texts by these and other significant writers of architectural theory, it represents an extremely valuable resource for architectural design, history, and theory education and, more broadly, for aesthetic education, art history, aesthetics, and visual culture. Professor Mallgrave's career as an architectural historian and theorist at the Illinois Institute of Technology, and editor of Architecture and Aesthetics for the Texts and Documents Series at the Getty Research Institute, has enabled him to bring together a large number of canonical texts by architects and writers, including Alberti, Palladio, Vasari, Perrault, Wotton, Wren, Soufflot, Blondel, Boullée, Ledoux, Soane, Reynolds, Pugin, Viollet-le-Duc, Ruskin, and Greenough. In addition, Mallgrave has selected important contextualizing texts that inform the philosophical, cultural, and aesthetic development of the discipline by writers such as Rousseau, Voltaire, Montesquieu, Morris, Chambers, Winckelmann, Locke, Hume, Ramsey, Burke, Walpole, Price, von Schlegel, Wolff, Jefferson, Emerson, Hugo, Zola, and Leibnitz.Six stages of development are laid out, beginning with the Classical and Renaissance periods in part I. In part II the debates about Classicism in France and Britain develop, leading into part III, in which texts from the Neoclassical and Enlightenment debates in Europe take precedence. In part IV, Picturesque and Sublime theories are documented, from which part V turns to consider the importance of Historicism in the nineteenth century and, finally, in part VI the impact of Historicism is examined in relation to developments in industrialization.Introducing each part, Mallgrave succinctly highlights the historical, cultural, and political structures that underpin the development of architectural ideas and debates during the period. Within each part, internal sections further distinguish the particular ideas that preoccupied specific individuals and groups to comprise different theoretical positions. Part II, for example, is divided into the nationalist differences between "French Classicism: Ancients and Moderns" and "British Classicism and Palladianism," and part IV identifies key texts that contribute to the theorization of eighteenth-century aesthetics in three stages: "Sources of the Picturesque," "Toward a Relativist Aesthetics," and "Consolidation of Picturesque Theory." In addition, Mallgrave introduces each individual text, drawing attention to the author's intellectual ambitions and the contemporary debates in which their contribution is constructed. Architectural [End Page 111] theory is therefore characterized as a discipline that is made up of dynamic discussions, which are frequently unresolved and irregular in their formation. Diverse and opposing agendas are pursued, both within and between different institutions, academies, and communities, including the late-sixteenth-century "stylistic battles" of Alberti and Serlio's treatises, which were developed out of Vitruvius's ten "books" of architecture; the pluralism of styles in the United States in the mid-nineteenth century that was comprised of puritanical influential theories, Gothic and French Classicism, and the new generation of American architectural theorists; and the emergence of a German architectural theory within the political disputes that led to the unification of Germany in 1871. Architectural theory is therefore firmly constructed in relation to social, material, cultural, and political systems and frameworks.This colorful construction of architectural theory is evident, especially in those sections that are central to Mallgrave's ongoing research interests, in the tension between the rational, technical, and empirical discussions that inform seventeenth-, eighteenth-, and nineteenth-century aesthetics. Running through parts II and III, for example, is one of the most drawn-out and bitter disputes, which dominated architectural theory in the seventeenth- and eighteenth-century French Academy of Architecture. Focused on the value of Vitruvius's Roman origins of Classicism, versus revivalist ambitions to retrieve the ornamental Classicism of Greek and Gothic styles, this great quarrel occupies the texts, letters, essays, and articles by architects and writers, including Blondel, Perrault, Piranesi, Soufflot, Winckelmann, Le Roy, Boullée, and Ledoux. But this debate is also important in the context of... (shrink)

Journal Name: Apeiron Issue: Ahead of print.

This book brings to light central topics that are neglected in current histories and theories of architecture and urbanism. It traces two models for the practice of architecture. One follows the ancient model in which the architect renders his service to serve the interests of others; it survives and is dominant in modernism. The other, first formulated in the fifteenth century by Leon Battista Alberti, has the architect use his talent in coordination with others to contribute to the common good (...) of a republican civil order that seeks to protect its own liberty and that of its citizens. It stresses the importance and urgency, of restoring traditional practices so that we can build just, beautiful, and sustainable cities and rural districts. (shrink)

Provoked by Tom Geue’s recent book Author Unknown (2019), this article argues that a close reading of Calpurnius Siculus’ fourth Eclogue provides significant information about how and where the poet expected his poem to be received by its audience. Read against Vitruvius’ description of painted porticos and Diomedes’ account of the ‘common kind’ of poetry, in which ‘the poet himself speaks and speaking characters are also introduced’, the text was evidently designed to be presented as a performance, probably in (...) the imperial property on the Palatine. (shrink)

Vitruvius’ technical text De architectura and Horace’s poetic letter 2.1 are both directed at Augustus. Within the corpus of Augustan literature they alone contain two anecdotes in which Alexander the Great clearly functions as a role model for the princeps. It is striking that in both cases the ruler’s relationship to the arts - architecture and poetry respectively - is addressed. In the following article I shall give a close reading of both passages and place them in their literary (...) and historical context. Although both texts belong to very different genres, remarkable similarities can be observed. Alexander turns out to be an ambivalent figure, to whom Augustus and his artistic advisors cannot but refer back. (shrink)

Vitruvius's De Architectura has long held a special interest for aestheticians. So too, have Wordsworth's Preface to Lyrical Ballads, Tolstoy's What is Art?, an.

In The LEGO Movie, Vitruvius's notion of the "The Special" introduces what will be a central motif for the film. As it turns out, the one who finds this "Piece of Resistance" is not quite the hero he was expected to be. Emmet Brickowoski, a construction worker, will find this "Piece of Resistance". Throughout the film, others suggest to Emmet both implicitly and explicitly that he brings nothing of value to any particular individual or to society, and that consequently (...) he himself has no value. If one interpret The LEGO Movie as being driven by Emmet's quest for discovering his value, the real philosophical turning point in the film is not when Emmet's double‐decker couch permits the Master Builders to escape from the sinking submarine and they realize that Emmet's ideas actually are useful. Rather, it is when Emmet realizes their approval is irrelevant to his value. (shrink)

In this essay Noël Carroll explores the question of whether a moral defect in a work of architectural art can ever also count as an aesthetic /artistic defect. Adopting the stance of a moderate moralist and mobilizing what has been called the “uptake argument,” he argues against the moderate autonomist that sometimes a moral defect in an architectural artwork can also be an aesthetic/artistic defect.

Introduction -- Historical essays -- The humanist brain : Alberti, Vitruvius, and Leonardo -- The enlightened brain : Perrault, Laugier, and Le Roy -- The sensational brain : Burke, Price, and Knight -- The transcendental brain : Kant and Schopenhauer -- The animate brain : Schinkel, Bötticher, and Semper -- The empathetic brain : Vischer, Wölfflin, and Göller -- The gestalt brain : the dynamics of the sensory field -- The neurological brain : Hayek, Hebb, and Neutra -- The (...) phenomenal brain : Merleau-Ponty, Rasmussen, and Pallasmaa -- Neuroscience and architecture -- Anatomy : architecture of the brain -- Ambiguity : architecture of vision -- Metaphor : architecture of embodiment -- Hapticity : architecture of the senses -- Epilogue: The architect's brain. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Crystal Order That Is Most Concrete:The Wittgenstein HouseHui Zou (bio)IntroductionIn the instruction of architectural history, some historical references have to be mentioned in terms of the relationship between building and language. In Chapter I, Book II, of The Ten Books on Architecture, the ancient Roman theorist Vitruvius discussed the "origin of the dwelling house." According to him, the "primitive hut" originated from the gathering of men around (...) a fire through communicating in language.1 In the primitive hut, the origin of architecture was co-presented with the origin of language; the language helped establish a harmonic relationship, which developed builders' construction collectivity. Such a language-collectivity relationship was witnessed in the record of the Tower of Babel in the biblical scripture where the Lord decided to stop the human beings' construction of the tower by "confus[ing] their language there."2 During the Renaissance, the alphabetic language and the design of buildings were correlated through the application of geometry that was supposed to embody the "divine proportion." In the Franciscan professor Luca Pacioli's book On Divine Proportion, letters of the alphabet were geometricized to become objects of contemplation for tracing "God's light."3 In Chinese gardens, there has been a long tradition of naming a specific view with a poetical phrase that thematicized the scene into a meaningful unity of the view and the viewer—jing.4 In all these historical cases, language and building were integrated into a cosmological picture grounded in divine transcendence.After the modernism in architectural history of the 1960s and 1970s, a loss of meaning in architecture was widely observed,5 and the interrelationship between language and architectural design began to emerge as a prominent issue. Several trends in architectural theories during the 1960s and 1970s studied how meaning was created through architectural design. One was the post-modern development in architecture that sought to apply classic architectural elements to the facades of new buildings as gestures to [End Page 22] the past.6 Another trend was phenomenological, which attempted to discover a common language of building contexts that led to building humanized living environments.7 Yet another trend was to apply linguistic approaches to the rational methodology of architectural analysis.8 The analogy of building with language was provoked by an impelling sense of the crisis that the traditional embodied order was being lost in the prevalent instrumentalized practice of architecture.The predicament of the loss of meaning in contemporary architecture can be traced as far back in philosophy as the splitting of mind and body proposed by René Descartes in the seventeenth century. This split began to distance architecture from its traditional embodiment of transcendental meanings in the second half of the eighteenth century9 and finally led to the division of the metaphysical and physical parts in modern architecture, especially after the industrialization of the nineteenth century. Correspondingly, language became an instrumental means for architecture to impose posterior "ideas" to the material bodies of buildings rather than acting as an inherent component of architectural design for the creation of meaning in architecture. The desire for meanings in modern architecture, based on the split of the metaphysical and physical, theoretically catered to linguistic research, such as semiotics, and tended to define architecture as a symbol. The linguistic structure of signifier-signified was, however, coarsely transplanted into architectural theory and reduced architectural symbolism to a simple dualism of idea and form in which the former was usually arbitrarily applied to the latter by a designer. Such an arbitrary imposition of external "meanings" onto an architectural form through language intensified their separation, which in turn produced nihilism in architecture.The lessons learned from the transplantation of linguistic studies into architectural theories remind us that we need to pay close attention to the historical events that could open up the interaction between language and building and reveal the "fundamental linguistic character of our experience of the world" in Gadamer's sense.10 A house designed and built by Austrian philosopher Ludwig Wittgenstein (1889-1951) provides a unique case for us to contemplate this issue. My historical study of the Wittgenstein House is not to understand Wittgenstein's subjective intentions... (shrink)

This collection offers a set of new readings on the history, meanings, and cultural innovations of the grotesque as defined by various current critical theories and practices. Since the grotesque frequently manifests itself as striking incongruities, ingenious hybrids, and creative deformities of nature and culture, it is profoundly implicated in early modern debates on the theological, philosophical, and ethical role of images. This consideration serves as the central focus from which the articles in the collection then move outward along different (...) lines of conceptualization, chronology, cultural relevance, place, and site. They cover a wide spectrum of artistic media, from prints to drawings, from sculptures to gardens, from paintings to stuccos. As they do this, they engage with, and bring together, theoretical perspectives from writers as diverse as Plato and Paleotti, Vitruvius and Vasari, Molanus to Montaigne. Whether travelling a short distance from Nero's Domus Aurea to Raphael's Vatican logge, or across the ocean from Italy to New Spain, this volume goes further than any previous study in defining the historic understanding of grotesque and, in so doing, providing us with a more nuanced resource for our understanding of an art form once viewed as peripheral. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Cambridge Companion to Greek and Roman PhilosophyBrad InwoodDavid Sedley, editor. The Cambridge Companion to Greek and Roman Philosophy. New York: Cambridge University Press, 2003. Pp. xiv + 396. Cloth, $65.00, Paper, $24.00.Readers of this journal are familiar with the Cambridge Companions. What is striking about this one is its broad sweep. A Companion to all of ancient philosophy will necessarily present the reader with a somewhat shallow (...) overview. Is this really such a good idea? What is its role, when there are already Companions to Early Greek Philosophy, Plato, Aristotle, The Stoics, and Plotinus? The editor answers this by aiming also to provide a "book to accompany survey courses on the history of ancient philosophy." It is challenging to provide an overview of the first millennium and more of Western philosophy, but this pedagogical goal is tougher. David Sedley has managed both tasks well. Although some chapters are not suitable hors d'oeuvres for beginners, all will nourish the hungry and whet the appetite for more. Even those chapters which amount to substantial entrées too rich for novices are excellent meat. There are no reheated leftovers. From beginning to end this is a feast of reason.The book makes abundant use of tables to present large amounts of complex material economically—lists of Plato's dialogues indicate topics, speakers and lengths; Roman philosophers are displayed with biographical notes, school affiliations, and major works; philosophical commentators are given with date and the author and work commented on; nineteen Presocratics are adorned with birthplace, date, key ideas and thumbnail comments. Many of the chapters cultivate an elegant but economical style which must be due in part to editorial encouragement and example. Though it is bound to skip over much, it avoids even the appearance of superficiality. Jill Kraye's chapter on "The legacy of ancient philosophy" to the medieval and modern world is a masterpiece of clarity and compression as well as a superb piece of intellectual history.Kraye's survey concludes the volume. Sedley's substantial introduction begins it by motivating the study of ancient philosophy through two characteristic questions, "What is a good human life?" and "Why isn't the earth falling?" and culminates in a highly informative guide to our various textual sources and a compact demonstration of how they become the editions and translations we use.Jonathan Barnes opens (ch. 1) with a homily on "Argument in ancient philosophy"; splendid stuff, but for all its lucidity, not an ideal appetizer for the survey course students I teach—it's a dessert better served later in the volume. Similarly thematic chapters on "Philosophy and literature" (ch. 8, Martha Nussbaum), "Philosophy and science" (ch. 10, R.J. Hankinson) and "Philosophy and religion" (ch. 11, Glenn Most) set ancient philosophy in broader context. Hankinson splendidly communicates the scientific agenda of the ancient world, perhaps over-emphasizing the mathematical sciences, Galen and scientific epistemology at the cost of "scientific" writers like Strabo, Pliny, and Vitruvius. Nussbaum concentrates on the fourth century B.C. at the expense of later centuries, but gives excellent value on the canonical texts, the Republic and the Poetics. Most's essay explores the interpenetration of religious themes with the philosophical (emphasizing how differently pagan religion interacted with philosophy than does any modern faith) and adds an acute though exaggerated set of observations on the religious quality of the ancient philosophical way of life. It would be hard to locate the saintly sages Most presents as typical in the logical landscape evoked by Barnes.The remaining chapters cover periods and major figures. Malcolm Schofield on the Presocratics (ch. 2), Sarah Broadie on the Sophists and Socrates (ch. 3), Christopher Rowe on Plato (ch. 4), John Cooper on Aristotle (ch. 5), Jacques Brunschwig and David Sedley on Hellenistic philosophy, A.A. Long on Roman (ch. 7), and Frans de Haas on Late ancient philosophy. The authors are all eloquent authorities and it's a menu with no bad choices—though I'm sure my undergraduates will find Cooper's treatment of the figures of Aristotle's syllogisms indigestible. I found Rowe's careful balance of old and new in his introduction to... (shrink)