De architectura libri decim, the oldest extant treatise on Architecture in the Greco-Latin tradition, has historically constituted the archetype of architectural discourse, if its specific content would now seem largely irrelevant. And yet to the extent that we still distinguish theoretical activity and practice, we remain de-limited by the essential terms of the Vitruvian text, and the rational order which they prescribe, an order of the logos. But within the prescription itself we find the traces of a diversity and richness largely repressed, traces of an other logos, another understanding of the traditional world of artifice--including the artifice of writing--that undermines the structure and space of the logos which Vitruvius has attempted to erect, and which we still inhabit. If Architecture is The Ten Books ..., it is also a writing, a multiple, palimpsestic writing in which the play of artifice will leave its trace in the stratification of the inscription.

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

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L’objet de cette étude est la représentation de l’architecture dans la peinture (ou architectura picta), en Égypte ancienne, à travers une étude de cas : la tombe comme motif iconographique au Nouvel Empire et au début de la Troisième Période intermédiaire.Après une mise au point sur les principes de représentation égyptiens et l’image architecturale en Égypte, dans toute sa diversité, l’étude porte sur l’évocation de la nécropole et des abords de la tombe dans l’iconographie. Une part importante de l’analyse est consacrée à la montagne en tant qu’objet figuré, notamment sa genèse à la XVIIIe dynastie, et aborde la question de la « représentation paysagère » en Égypte ancienne.L’architecture funéraire fait l’objet d’une mise en image à partir de la XVIIIe dynastie, dans le cadre de la représentation de rites funéraires sur les parois des tombes. Si les premières représentations sont conventionnelles et renvoient à l’architecture sacrée, elles intègrent au cours de la XVIIIe dynastie des éléments du réel, prenant pour modèle les tombes telles que se présentent au Nouvel Empire, c'est-à-dire des tombes pourvues d’une structure pyramidale. Cette image de la tombe à pyramide devient un motif du répertoire iconographique égyptien et perdure sur les cercueils et les papyri funéraires à la Troisième Période intermédiaire, après que les tombes à pyramide cessent elles-même d’exister. L’étude pose donc la question, en filigrane, du rapport au réel dans la peinture égyptienne, mais aussi de la fonction d’une telle image. / The study examines the representation of architecture in painting (or architectura picta) in ancient Egypt, through a case study of the tomb as an iconographical motif during the New Kingdom and the early Third Intermediate Period.After an overview of the principles of Egyptian representation and the architectural images in ancient Egypt, in all their diversity, the study focuses on the iconographical evocation of the necropolis and the tomb’s surroundings. An important part of this study concerns the mountain as an object of representation and in particular, its origins during the XVIIIth Dynasty, as well as dealing with landscape depictions in ancient Egypt.The funerary architecture is put in painting during the XVIIIth Dynasty, within depictions of funerary rites in private tombs. If the first tomb depictions refer to sacred architecture, according to representational conventions ; they show realistic elements in the course of the XVIIIth Dynasty, being modeled after the tomb architecture as it is during the New Kingdom, which is to say a pyramid-topped tomb. This tomb motif is integrated into the Egyptian iconographical repertoire and remains on coffins and funerary papyri, after the pyramid tomb itself disappeared from architecture in the Third Intermediate Period.The underlying question in this study is the relation to reality in Egyptian painting, but also the function of the tomb image.

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

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

Hochschule für Bildende Künste, Habil.-Schr.--Braunschweig, 2000. / Die Vorlage enth. insgesamt 3 Werke.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-04-08T18:53:05Z No. of bitstreams: 6 Jadilson 6.pdf: 937584 bytes, checksum: ece0bf37f0ec19cdd03b3f6c943286ae (MD5) Jadilson 5.pdf: 3979718 bytes, checksum: 27f7e866c34228453dcafd60cc5358af (MD5) Jadilson 4.pdf: 5256101 bytes, checksum: bbd0126202dec45efa4f47b58da1fbca (MD5) Jadilson 3.pdf: 5541746 bytes, checksum: 4a1c587a4b083364ba86f03d664ea08b (MD5) Jadilson 2.pdf: 4755975 bytes, checksum: b4f7daa8bf66ab4b6180f20f3ac2b274 (MD5) Jadilson 1.pdf: 5037371 bytes, checksum: 6bd275d610e91f2a0ec132275838b8e3 (MD5) / Approved for entry into archive by Lêda Costa(lmrcosta@ufba.br) on 2013-04-18T12:05:43Z (GMT) No. of bitstreams: 6 Jadilson 6.pdf: 937584 bytes, checksum: ece0bf37f0ec19cdd03b3f6c943286ae (MD5) Jadilson 5.pdf: 3979718 bytes, checksum: 27f7e866c34228453dcafd60cc5358af (MD5) Jadilson 4.pdf: 5256101 bytes, checksum: bbd0126202dec45efa4f47b58da1fbca (MD5) Jadilson 3.pdf: 5541746 bytes, checksum: 4a1c587a4b083364ba86f03d664ea08b (MD5) Jadilson 2.pdf: 4755975 bytes, checksum: b4f7daa8bf66ab4b6180f20f3ac2b274 (MD5) Jadilson 1.pdf: 5037371 bytes, checksum: 6bd275d610e91f2a0ec132275838b8e3 (MD5) / Made available in DSpace on 2013-04-18T12:05:44Z (GMT). No. of bitstreams: 6 Jadilson 6.pdf: 937584 bytes, checksum: ece0bf37f0ec19cdd03b3f6c943286ae (MD5) Jadilson 5.pdf: 3979718 bytes, checksum: 27f7e866c34228453dcafd60cc5358af (MD5) Jadilson 4.pdf: 5256101 bytes, checksum: bbd0126202dec45efa4f47b58da1fbca (MD5) Jadilson 3.pdf: 5541746 bytes, checksum: 4a1c587a4b083364ba86f03d664ea08b (MD5) Jadilson 2.pdf: 4755975 bytes, checksum: b4f7daa8bf66ab4b6180f20f3ac2b274 (MD5) Jadilson 1.pdf: 5037371 bytes, checksum: 6bd275d610e91f2a0ec132275838b8e3 (MD5) Previous issue date: 2011-06-09 / Antônio Vicente Mendes Maciel antes de se estabelecer na Bahia, conta a tradição oral, tinha uma promessa a cumprir; erguer vinte e cinco igrejas em terras distantes do seu torrão natal – o Ceará. As informações acerca de Antônio Conselheiro história foram as dos últimos quatro anos enquanto líder fundador da comunidade do Belo Monte e provocador do conflito fratricida que exterminou toda nação belomontense: a Guerra de Canudos. Entretanto, pouco se sabe e se divulgou sobre a vida pregressa do beato no período que vai de 1874 até a fundação do arraial canudense, período de maior atuação como construtor e restaurador de obras pias. Também, quase nada se discutiu sobre os seus seguidores, suas produções culturais tais como: crenças e devoções religiosas, festas, artes plásticas, arquitetura, dentre outras. Sobre o Antônio Vicente Mendes Maciel construtor e restaurador, nos sertões da Bahia, praticamente nada se pesquisou, o que veio a contribuir para o esquecimento e aniquilamento de formidáveis exemplares de sua lavra. Sendo assim, o presente trabalho, através de pesquisas realizadas em campo, buscou por intermédio de fontes orais e consultas em documentos tais como: cartas, jornais, fotografias, bem como nas obras de cronistas, jornalistas, poetas, etc., reconstituir e rememorar a partir de imagens oitocentistas exemplares já destruídos, bem como divulgar as obras de arquitetura religiosa presididas por Antônio Conselheiro e sua gente que ainda se encontram intactas, porém mergulhadas no esquecimento. Por outro lado, buscou-se, também, revelar algumas construções que ganharam mais visibilidade a partir dessa pesquisa, pois, antes, foram sequer apontadas como pertencentes ao “Povo da Companhia” (povo conselheirista). A obra artística: material e imaterial consolidada pelo beato Antônio Conselheiro e seu séquito constitui-se em uma grande fonte histórica do episódio extremamente tenso ocorrido no sertão da Bahia, e num riquíssimo material para os variados diálogos com o passado. Nesse sentido, evidenciar um Antônio Conselheiro, arquiteto popular, decorador, restaurador, fundador de cidades, enquanto sujeito de seu tempo, dos desejos de sua época, das aspirações de sua geração e sentimentos religiosos, nos obrigará a ver, também, os seus adeptos, não como jagunços e fanáticos, mas como agentes construtores de valores sociais e estéticos, bem como produtores de histórias e memórias. / Salvador

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