Characters of Ancient Architectural Orders and their Mannerist Interpretation in Dietterlin’s Book from 1598

The aim of this paper is to explore a particular metaphorical pictorial language used by German mannerist painter Wendel Dietterlin in his book on architecture at the end of the sixteenth century. It was formed through personal imaginary interpretation of the Vitruvian notion regarding personal characters of the five ancient architectural Orders. In that context it has all aspects of the mannerist approach in inventing metaphorical meanings by combining ancient, mediaeval, and contemporary narratives. However, in that process Dietterlin unavoidably refers to cultural and social aspects of his time, particularly when reflecting on the issue of the invention of the ‘new [German] architecture’. By this, Dietterlin enters the group of the majority of German sixteenth and seventeenth century authors on architecture emphasizing one particular prerogative in their writings: to merge the ancient roots with the longing for a coherent German cultural identity. However, it seems that in the process of narration, used to ‘invent’ new forms of architectural expression, Dietterlin refers also on particularities related to the historical development of mankind in a personal manner.

Inspiracje kulturami lokalnymi w awangardowej architekturze początków XXI w.

Local cultural inspirations in avant-garde architecture in the wake of the twenty-first century This paper attempts to systematise the manner in which avant-garde architecture employed regional motifs during the first two decades of the twenty-first century. Architecture has used local patterns since its beginnings. However, as soon as the models of architectural orders had become widespread in the modern era, folk architecture and inspirations drawn from regional traditions were marginalised. Post-modern architecture questioned the ideas of universal practices, giving prominence to regional architecture. At the beginning of the twenty-first century, avant-garde architecture once more redefined the employment of local traditions as inspirations. The paper seeks to systematise the modern references to local traditions, distinguishing three basic categories: a) inspirations by architectural form, b) inspirations by construction materials and craft, c) inspirations by the ’idea of community‘. The selected examples are representative of these modern architectural solutions, and are discussed in connection to earlier projects.

DIGITAL SURVEY AND ALGORITHMIC MODELING IN HBIM. TOWARDS A LIBRARY OF COMPLEX CONSTRUCTION ELEMENTS

<p><strong>Abstract.</strong> In the study of built heritage, the introduction of BIM models provides the advantage of a set of data that can be shared between different platforms. Despite the continuous progress in research, the modeling processes of complex construction elements, typical of historical architectures, always require a certain attention and care that involve considerable investments in terms of both resources and time. In this paper we present the first results of an ongoing research aimed at considering possible methods that can allow a simplification of the modeling processes of elements of historical architectures in the BIM environment. In particular, the research aims to explore the possibilities offered by the algorithmic modeling of complex construction elements. In the study of historical architecture, an enough recurring theme concerns those elements that can be traced back to the principles of architectural orders. In the survey of historical architecture, a quite recurring case study concerns those elements or parts of building ruled by the principles of architectural orders. One of the first elements taken into consideration was that of the column that, in its articulation in base, shaft and capital, offers three different levels of complexity of the modeling process very suitable for the research path. Starting with a collection of data acquired from digital photogrammetric modeling, we considered a initial set of different case studies that allowed us to conduct a first working hypothesis by embracing a quite wide range of possible variations starting from a basic column.</p>

Transformation of the column order in the Baroque architecture in St. Petersburg of the XVIII century

The forms and proportions of the Baroque column order of the buildings in St. Petersburg of the XVIII century differ substantially from the Western European canonical designs. The independent order system was created in each historical period under the influence of European architectural concepts, local style preferences, and creative choice of architects, and is of undoubted interest to both historians of architecture and restorers of historic buildings. The authors made a comparative analysis of the construction and drawing of architectural orders of buildings in St. Petersburg with architectural orders of classical works of the Renaissance, architectural works of the XVII - XVIII century. The process of gradual formation and modification of the column order in the architecture of St. Petersburg in the first half of the XVIII century is expounded. The main features of the construction of architectural orders during the Peter’s, Ann’s, and Elizabethan Baroque periods are revealed.

Palladio's Architectural Orders: From Practice to Theory

The enduring concept of the orders was fundamental to the perpetuation of the classical tradition, and it is central to much architectural theory. One of the most resoundingly influential of its elucidations was published in 1570 by Andrea Palladio (1508–80) in the opening book of his architectural treatise, the Quattro libri dell'architettura (Four Books of Architecture). There, as in other theoretical works from around this period and later, the five orders — Tuscan, Doric, Ionic, Corinthian and Composite — are presented as a hierarchy of purportedly ideal exemplars; and, in this particular case, their universal ‘principles’ (precetti) are conveyed through two sets of illustrations, one depicting colonnades (Fig. 1) and the other arcades (Fig. 2), together with many further plates showing various individual details. In each of the main illustrations, the specimen is given its own designated proportions of column-diameter to column-height, ranging from 1:7 for Tuscan to 1:10 for Composite, and a distinctive formal make-up for both the column and its accompanying entablature. What is little borne in mind, however, is that this published rendition of the orders dates from towards the end of Palladio's career and was preceded by three decades of prolific practice, during which time his approach — as we shall discover — was in many respects very similar. In other words, the Quattro libri treatment of the orders was not merely a necessary and predictable inclusion in such a publication, or just a theoretical or ‘paper’ exercise, which is rather how it has also been viewed, since, as we shall see, it was representative to a very substantial degree of Palladio's actual established practice and its underlying rationale and philosophy.

Frozen Music: Music and Architecture in Vitruvius’ De Architectura

This 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.