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Florence counts as one of the cradles of European Renaissance art and architecture where linear perspective first emerged. These developments led to the pivotal role perception played in Florence's architectural and urban design conceptions, as seen in the works of Brunelleschi (1377–1446), Michelozzo (1396–1472), and Alberti (1404–1472), among others. Alberti's De re aedificatoria presented an analogy of the city as a house and vice versa, negating hard distinctions between architectural and urban design, while Alberti's oeuvre, particularly De pictura, underscores the primacy of the eye. This suggests the exploration of mathematical relationships between architectural façades and urban space configurations within the Florentine context. Through this approach, the paper explores the cases of Palazzo Pitti, Strozzi, and Rucellai, and advances ongoing debates regarding Palazzo Rucellai's envisioned finished appearance by using a 3D Digital Twin (DT) of the palace and its immediate urban context to test alternative façade hypotheses. Ultimately, the results unveil the multidimensional character of Renaissance architectural façade design and their urban role as signifiers of the cultural, intellectual, economic, and political valour of their inhabitants. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Filosofía (0034-8244) is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

En la historia de la fotografía existe un escenario de discusión en torno a las primeras fuentes bibliográficas que mencionan la cámara oscura en el contexto de la configuración del relato sobre los orígenes de dicha técnica. El objetivo de este artículo es exponer este debate a partir del análisis y comparación de las historias de la fotografía de Beaumont Newhall (1949 y 2002) y Helmut Gernsheim (1969) donde algunos textos de Leon Battista Alberti son particularmente discutidos.

The facciata double meaning as façade and outer appearance embodies the Italian city-state's political, cultural, and social values that Leon Battista Alberti outlined in his famed De re aedificatoria libri decem (1485). This concept lies at the heart of Florence's urban fabric: one of the early cradles of Renaissance architecture that originated from the artistic expenditure of prosperous families including, the Medici, Strozzi, and Rucellai. In this context, the Palazzo Rucellai (c.1446-66) marks an important historical moment in history as its façade, with its three superimposed orders and well-proportioned urban composition, was the first of its kind in Renaissance Florence. However, the palazzo's unfinished façade sparked a debate regarding its finished appearance which the paper revisits by positioning a 3D digital twin onto the façade's historic urban context and by applying through Space Syntax to explore its relationship to the urban fabric. [ABSTRACT FROM AUTHOR]

Over the years, architects have experimented with cross‐disciplinary practices, techniques and concepts to enable them to push the boundaries of their work. At the Woodbury School of Architecture, faculty and students are actively encouraged to take this path. Interim Dean Heather Flood and Chair Aaron Gensler describe some recent successful work and its various individual preoccupations. [ABSTRACT FROM AUTHOR]

The article focuses on the use of quotations as a rewriting device in the architectural treatise composed by Alessandro Galilei in the first half of 18th century and left unpublished until recently. By examining the different manuscript versions of the treatise, the essay demonstrates that for Galilei quotations are pivotal in providing him authority as an expert in architecture, but they are also useful means for facilitating the dissemination of specialized knowledge.

The European Court of Justice is in Luxembourg since 1973, in a group of buildings constructed and transformed little by little over the last 50 years. At the heart of what has become an urban complex, stands the original courthouse, the work of architects Jean-Paul Conzemius, François Jamagne and Michel Van der Elst. In 2008, the architect Dominique Perrault restructured the palace and extended it by enveloping it with an “architectural ring”. This article presents, firstly, the original structure, a unique example of metallic architecture from the end of the 20th century by explaining the principles of its composition and its construction, its spatialities and its materialities as well as its symbolic qualities. It then proposes a reflection upon the 2008 intervention and the ring that led to a redesign of the palace’s architecture. Finally, it shines a light on the promising innovation introduced by its label as “Outstanding Contemporary Architecture”, namely the possibility, through the label’s sliding 100-year period, of superimposing the theories and practices of architectural creation and conservation.

La estética, en tanto que reflexión sobre la imagen, no se puede entender como una disciplina inmutable. La percepción de los valores estéticos, sean estos relativos a la belleza o la fealdad, a la armonía o al desequilibrio, han venido determinados históricamente por condicionantes sociales, científicos o filosóficos.

The Histoire de l’art par les monumens by Séroux d’Agincourt (1810-1823) reveals, beyond the attention paid to the history of medieval art, an essential interest in the artistic production linked to Antiquity, whose parabola from decadence (4th century) to rebirth (16th century) the author sets out to illustrate. The investigation of the beginnings of this rebirth is a strong point of his historiographical design, particularly with regard to architecture. Séroux considered the architects of the Italian Renaissance as the pioneers of a substantial change and presented Alberti as the initiator of a systematic investigation of Antiquity as a source for the architecture of his time. The essay investigates the context and networks, both Italian and French, between Florence, Rome, Rimini and Mantua, through which the new look at the history of 15th-century architecture, of which Séroux was one of the founders, developed between the 1770s and the 1810s. [ABSTRACT FROM AUTHOR]

The method of perspective representation has consolidated over time, up to its complete formalization, through a series of important and complementary achievements both in the scientific and artistic fields. While the study of the laws of ancient optics, combined with practical experimentation, slowly contributed to the rigorous formalization of the method in Renaissance intellectual circles, the workshop practice required operational rules that quickly and easily enabled artists to produce images in which the depth of the space and the three-dimensionality of the subjects it contains were evident. The study presented here intends to focus attention on the procedures practiced by artists, with particular attention to perspectives rules that really weren’t , in the scientific sense of the term, but which contributed to establish a shared and widespread basis for the development of sensitivity of seeing and representing in perspective, in the intimate and labile boundary between prospectiva pingendi and fingendi.

El propósito de la investigación es profundizar en el estudio del Templo Malatestiano a partir de la teoría expresada en el libro I del De re aedificatoria de Leon Battista Alberti, cuestión que hasta el momento no ha sido discutida. La atención se centra en el proceso de diseño y el programa estético que comprende lineamenta, en particular en la analogía edificio-cuerpo y los principios regio, area, partitio, paries, tectum y apertio. Se propone que, en el Malatestiano, Alberti puso de manifiesto la intención de establecer entre el legado clásico y su presente una relación dialéctica, donde la composición de la obra arquitectónica es resultado de la tradición y de las novis inventis.

The author publishes the initial fragment of an unknown treatise by Leon Battista Alberti on the casting of statues written around 1455 and preserved in cod. Ottob. lat. 1870. The fragment contains a discussion on the nature of light and the element of fire.

O artigo é um recorte de uma pesquisa de doutorado em andamento que investiga as relações entre a obra Ex Ludis Rerum Mathematicarum de Leon Battista Alberti e seu contexto sócio-histórico-cultural. A obra foi escrita em 1450 atendendo a um pedido do príncipe Meliaduse da corte dos Este de Ferrara na Itália. Neste recorte, as autoras se debruçam sobre a referida obra e seu contexto político e social. O eixo temporal se inicia com a amizade entre Alberti e Meliaduse, iniciada antes de 12 de outubro de 1437, e termina com a escrita da obra e sua dedicação ao príncipe em 1450. Recorrendo a Teoria da Objetivação, destacam-se alguns processos sociais que se manifestam em torno da escrita da obra, com ênfase nos processos de subjetivação. A fonte primária do estudo é a tradução brasileira da obra, intitulada Matemática Lúdica, publicada em 2006 pela editora Jorge Zahar Ed.

Ecatonfilea di Leon Battista Alberti può essere interpretata come una predica parodica. Il contributo si concentra soprattutto sugli aspetti formali della ripresa parodica del sacro nell’Ecantonfilea, senza approfondire la (eventuale) presenza della parodia sacra in altre opere albertiane. Dopo un analisi dei rapporti che il testo intrattiene con le altre opere amatorie di Alberti e con il modello di riferimento omiletico (la forma del sermone, la presenza/assenza di exempla e di auctoritates, le tecniche retoriche) viene valutata la funzione di Ecatonfilea in quanto parodia del sermone all’interno del sistema delle opere erotiche albertiane, per concludere con alcune osservazioni sul significato della parodia sacra in relazione alla concezione della religione e dell’amore femminile in Alberti. Intrepretare Ecatonfilea come ripresa parodica di un genere sacro permette di spiegarne alcuni tratti formali come l’impianto precettistico, lo sviluppo delle parti in cui è diviso il testo, il ruolo delle allusioni e delle fonti, l’imitazione dell’oralità, l’inserzione degli inserti autobiografici in funzione di exemplum più che di racconto psicologico. Con l’uso della parodia, inoltre, si vede come Alberti riesca a muoversi nel sistema dei generi a sua disposizione caricandoli di nuove funzioni: la ripresa della forma del sermone si unisce alla voce femminile per trattare il tema erotico in modi diversi, ma non indipendenti, rispetto a quelli tentati nelle altre opere amatorie; la parodia introduce un elemento di distanziamento ironico che si riflette sulla lettura complessiva del monologo, che deve essere interpretato non in modo univoco, ma ricordando che i piani del serio e del comico si sovrappongono e che Ecatonfilea non è una figura a cui prestare ciecamente fiducia.

Članek se osredotoča na sostavo Albertija

With this article we want to show the deep conceptual and philosophical innervation that is established in the sixteenth century between literature and painting, between image and word. The Horatian motto ut pictura poesis constantly returns in the reflection of the various writers who, imbued with figurative art, in a fruitfully creative and artistically stimulating age, often justify their work by resorting to confrontation with the painter and with painting. Of course, this comparison between painted images and poetic language is also at the basis of the Renaissance philosophical culture which makes of Plato, of his dialogues, a fundamental and original moment of reflection. [ABSTRACT FROM AUTHOR]

This paper discusses the quotation frequency and reference strategies of Leon Battista Alberti, Federico Borromeo, and Gabriele Paleotti. These three Catholic art theoreticians of Early Modern period engaged Classical texts as the point of reference and expertly manipulated the Classical sources to provide contextual arguments in the formation of their own artistic theories. Alberti, Borromeo, and Paleotti directly alluded or referred to Pliny the Elder, Plutarch, Xenophon, Strabo, Aulus Gellius, and other Classical sources rather extensively. This can be noticed from various quotation strategies applied in Alberti, Borromeo, and Paleotti treatises and by statistical data on quotation frequency in Alberti’s De pictura, Paleotti’s Discorso intorno alle immagini sacre e profane, and Borromeo’s De pictura sacra.

In his 1553 paper Giovan Battista Bellaso presented his first polyalphabetic cipher, writing that this was an improved reprint of a previous cipher of 1552 that had been printed in Venice on a loose leaflet without instructions. There was much speculation about this early cipher, since no print of that cipher was reported to have been found. Now a printed copy of that leaflet has been found in Venice by the author, and this paper is a report of that finding. [ABSTRACT FROM AUTHOR]

Italian architect Aldo Rossi's rise to fame, and recognition by professionals and public alike, was predicated on him putting across his personal passions and memories of life experience. Italian‐born, London‐based architect and tutor Robin Monotti Graziadei investigates how the intertwining of architecture with the personal imperatives of the architect produced some extraordinary work. [ABSTRACT FROM AUTHOR]

Los Angeles‐based architect Tom Wiscombe describes some of the methods his internationally renowned practice uses to create architecture. He introduces us to his infatuation with toys and models, and his notions of 'model ontology' and the strange morphology of model parts, their boxes and diverse scales and jointing that inform his studio's architectural lexicon. [ABSTRACT FROM AUTHOR]

Copyright of Literature / Literatura is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

What most differentiates the Discrete from previous architectural paradigms? Architect and theorist Philippe Morel, who co‐founded Paris office EZCT Architecture & Design Research, examines related evolutions in theory and practice. The key, as he sees it, is a break away from anthropomorphism and rationalism, resulting in a truly computational architecture that is free from human‐imposed parameters. [ABSTRACT FROM AUTHOR]

This article traces the increasing theorization of secret spaces tailored for the prince’s household in 15th- and 16th-century architectural treatises. From Leon Battista Alberti to Francesco di Giorgio Martini, architects and humanists conceived of the prince’s household as one in which secret and public spaces were carefully distinguished. A number of architectural devices, such as secret doors, private stairs and listening tubes were designed so that the prince could be able to control all movements in his household. The echoes of this theorization, mediated by later treatises, such as that by Sebastiano Serlio, can be traced in 16th- and 17th-century literary works, such as those by Bartolomé Torres Naharro or Lope de Vega, both in the Italian and the Iberian Peninsula.

This paper aims at presenting the work of Dutch architecture Hans van der Laan through a comparison with the Renaissance architect Leon Battista Alberti by stating the similarity of the role assigned to proportion in architectural design by both architects. In particular, the study will show how both Van der Laan and Alberti understood proportion and the perceptive and aesthetic values of proportioned forms as the result of an intellectual appreciation.

Emblem books are the result of conscious work to mediate messages using combinations of words, images, and forms. It seems that some of the early work during the Renaissance is in good concert with aesthetic and functional principles of contemporary information design. [ABSTRACT FROM PUBLISHER]

Digital technology is eliminating the separation between design and making that had existed since the Renaissance. But in order to seamlessly produce experience rather than just artefacts, architects have been turning to software developed for other fields. Adam Modesitt - assistant professor at the New Jersey Institute of Technology and founding principal of New York-based Modesitt Design - discusses the new directions that this hybridisation of workflows is allowing architecture to take. [ABSTRACT FROM AUTHOR]

The spatial expression and ordering of social processes is one of the primary aims of architecture. Such is the view of Zaha Hadid Architects (ZHA), where Shajay Bhooshan heads the computation and design group (CoDe). Here he explains how the practice has followed in the footsteps of the automotive, aircraft and shipbuilding industries in adopting a hybrid approach to design development. As demonstrated by a mathematics-themed gallery conceived by ZHA for London's Science Museum, it assimilates historical knowledge while facilitating fabrication and allowing for future flexibility. [ABSTRACT FROM AUTHOR]

Copyright of Croatica: Magazine for Croatian Language, Literature & Culture is the property of University of Zagreb, Faculty of Humanities & Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Insisting on some aspects mattered, and other not so many, its intentions and meanings about Pienza and its plaza as urban heart and agglutinative, its functions and connotations, there is here an exhaustive study wich, as a reflexive essay, goes on demonstring, in the rigth context of middle Quattrocento, the achievement and meaning of this pioner experience of architecture and city, as a consequence of the ideal of its cultured principal, Pope Pius II, under the essential components and coordinates of the Albertian thoughts, and the qualifed support, in situ, of Bernardo Rossellino.

Como historia cultural que aúna texto e imagen, arte y literatura, planteamos un recorrido, con referencia a la monarquía hispana entre 1516 y 1658, sobre el tema, clave respecto a esta institución, de la educación o instrucción del príncipe, desde los datos de fuentes impresas coetáneas.

O ensaio analisa duas representações do belo do Renascimento Florentino, aquelas do humanista Leon Battista Alberti e do filósofo neoplatônico Marsilio Ficino.

Could Parametricism 2.0 prove the final resting place for Parametricism1.0? Architect and Assistant Dean of the Yale School of Architecture, Mark Foster Gage questions the underlying currency and influence of Parametricism, condemning it as a 'true red herring' of a style. [ABSTRACT FROM AUTHOR]

The use of scripted parameters that define objects in architecture is generally regarded as a recent phenomenon, associated with digital design. Mario Carpo, Reyner Banham Professor of Architectural Theory and History at the Bartlett School of Architecture, University College London (UCL), describes how parametric notations are part of an enduring architectural lineage that has its roots in the theses of classical antiquity and the Middle Ages, previous to printing, when the only means of disseminating the proportions and combining of elements was to describe them, writing them out by hand without the aid of illustration. [ABSTRACT FROM AUTHOR]

This article traces the increasing theorization of secret spaces tailored for the prince's household in 15th- and 16th-century architectural treatises. From Leon Battista Alberti to Francesco di Giorgio Martini, architects and humanists conceived of the prince's household as one in which secret and public spaces were carefully distinguished. A number of architectural devices, such as secret doors, private stairs and listening tubes were designed so that the prince could be able to control all movements in his household. The echoes of this theorization, mediated by later treatises, such as that by Sebastiano Serlio, can be traced in 16th- and 17th-century literary works, such as those by Bartolomé Torres Naharro or Lope de Vega, both in the Italian and the Iberian Peninsula. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses various reports within the issue on topics including architectural design of historic buildings, long-lasting buildings, and urban public spaces.