Статті в журналах: "Vitruvio"

1

Camerota, Filippo. "Introduzione. La prospettiva come tema vitruviano = Introduction. Perspective as a Vitruvian Theme." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 7 (December 13, 2019): 17. http://dx.doi.org/10.5944/etfvii.7.2019.26188.

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Con la diffusione della prospettiva lineare, l’architettura divenne uno dei principali temi di studio degli artisti rinascimentali. La necessità di rappresentare architetture credibili impose ai pittori di imparare a disegnare come gli architetti, combinando piante e alzati e applicando le regole proporzionali e morfologiche tramandate da Vitruvio. I trattati di prospettiva accolsero sistematicamente mirate istruzioni sul disegno degli edifici, così come i trattati di architettura dedicarono spazio alla rappresentazione prospettica, considerandola come una disciplina corrispondente a ciò che Vitruvio chiamava «scaenographia». A sancire lo stretto legame tra la prospettiva dei pittori e la scenografia vitruviana fu principalmente Daniele Barbaro che compose il suo celebre trattato di prospettiva come approfondimento del tema che tanto lo aveva impegnato nel suo altrettanto celebre commento a Vitruvio.AbstractWith the spread of linear perspective, architecture became one of the main disciplines studied by Renaissance artists. The need to represent credible architecture forced painters to learn how to draw like architects, combining plans and elevations and applying the proportional and morphological rules handed down by Vitruvius. The treatises of perspective systematically welcomed instructions on the design of buildings, just as the architectural treatises dedicated space to perspective representation, considering it as a discipline corresponding to what Vitruvius called «scaenographia». To establish the close link between the perspective of painters and the Vitruvian scenography was mainly Daniele Barbaro who composed his famous treatise on perspective as a deepening of the theme that had so busy him in his equally famous commentary on Vitruvius.

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Fara, Giovanni Maria. "Una nota su Albrecht Dürer e Vitruvio = A Note on Albrecht Dürer and Vitruvius." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 7 (December 13, 2019): 65. http://dx.doi.org/10.5944/etfvii.7.2019.26177.

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In questo saggio l’autore propone una riconsiderazione globale del rapporto di Albrecht Dürer con il De Architectura di Vitruvio, prestando costante attenzione alle fonti rimaste. Inoltre, l’autore indaga anche un aspetto trascurato di questo rapporto, che riguarda la significativa accoglienza dei trattati di Dürer tra i traduttori e i commentatori di Vitruvio tra il XVI e il XVII secolo.AbstractIn this essay the author proposes an overall reconsideration of Albrecht Dürer’s relationship with Vitruvius’ De Architectura, paying constant attention to the surviving sources. Furthermore, the author also investigates an overlooked aspect of this relationship that concerns the significant reception of Dürer’s treatises among Vitruvius’ translators and commentators between the XVIth and the XVIIth centuries.

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Cellauro, Louis. "Daniele Barbaro and Vitruvius: the architectural theory of a Renaissance humanist and patron." Papers of the British School at Rome 72 (November 2004): 293–329. http://dx.doi.org/10.1017/s0068246200002749.

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DANIELE BARBARO E VITRUVIO: LA TEORIA ARCHITETTONICA DI UN UMANISTA E PATRONO DEL RINASCIMENTOL'aristocratico veneziano Daniele Barbaro (1514–70), collezionista d'arte, di libri e di strumenti matematici, fu un importante patrono delle artie delle scienze della Venezia del XVI secolo. La sua pubblicazione più imponente e significativa fu la traduzione commentata del De Architectura Libri Decem di Vitruvio. Lo scopo di questo articolo è quello di fornire un'analisi della teoria architettonica di Daniele Barbaro, cosi come emerge dai suoi commentari e di stabilire il suo rapporto con Vitruvio nel contesto del Rinascimento. Mi focalizzo sui principi teoretici rilevanti per la pratica architettonica, inclusi l'atteggiamento di Barbaro verso Vitruvio, la sua teoria del progresso dell'architettura classica, i rapporti nella sua teoria tra le retorica e l'architettura, le sue opinioni sul ruolo delle proporzioni armoniche nel disegno architettonico e sui sei concetti vitruviani del disegno architettonico. Ilprincipale contributo di Barbaro alla comprensione di Vitruvio nel Rinascimento consiste nell'enfasi posta sulla flessibilità con cui egli credeva che le regole di Vitruvio dovessero essere comprese e sull'importanza delle correzioni ottiche per il disegno architettonico nella teoria dell'autore antico.

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Lewis, Michael. "Vitruvius and Greek aqueducts." Papers of the British School at Rome 67 (November 1999): 145–72. http://dx.doi.org/10.1017/s0068246200004530.

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VITRUVIO E GLI ACQUEDOTTI GRECILa sezione di Vitruvio (VIII 5-6.9) sugli acquedotti ha causato molte difficoltà agli studiosi della materia che non riescono a riconciliarlo né con le pratiche conosciute nell'occidente romano, né con le teorie dell'idraulica moderna. In questo articolo si sostiene che, con l'eccezione dei passaggi sulle dimensioni dei tubi e sulla distribuzione urbana, le fonti di Vitruvio siano interamente greche. La sua descrizione dei chorobates deriva da Carpo di Antiochia, i suoi dati sul gradiente da Filone di Bisanzio, mentre le sue specifiche riguardanti le condutture dell'acqua, complete con un sifone invertito, corrispondono esattamente all'acquedotto Karapinar a Smirne. Tre grandi sifoni del secondo secolo a.C. (Smirne, il Madra Dag a Pergamo e l'esempio di stile ellenistico ad Alatri) tutti includono una caratteristica ingegneristica che spiega l'enigmatico colluviaria di Vitruvio. Le ‘pietre rosse’ che Vitruvio consiglia come ancore di sifoni possono essere ritrovate solo negli acquedotti dell'Asia Minore occidentale. La sua teoria idraulica è comprensibile più in termini di disciplina stoica che di fisica moderna. Se ne conclude che Vitruvio fosse ampiamente influenzato da fonti pergameniche del secondo secolo a.C, e che forse perfmo il suo resoconto del tipico acquedotto romano con tubazioni, che sembra descrivere l'Anio Vetus, possa derivare di seconda mano dalle stesse fonti.

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Esteban Lorente, Juan Francisco. "La teoría de la proporción arquitectónica en Vitruvio." Artigrama, no. 16 (December 9, 2022): 229–56. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.2001168428.

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Vitruvio considera el cosmos, el hombre y la arquitectura sometidos a las armonías musicales. Concibe la posibilidad de usar armonías geométricas pero no las explica. Explicamos las armonías musicales del texto de Vitruvio. Aclaramos el concepto y contenido de términos oscuros. Recogemos la composición de la columna y la teoría del módulo en Vitruvio. Ponemos unos ejemplos de la Alta Edad Media donde todo ello se ha usado con rigor o con alguna interpretación.

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Martínez E., J. Rafael. "Acordes vitruvianos en Leonardo." INTERdisciplina 8, no. 21 (May 1, 2020): 47. http://dx.doi.org/10.22201/ceiich.24485705e.2020.21.75147.

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En el Libro III del De Architectura, Vitruvio describió lo que a su parecer debería medir el hombre. Quince siglos más tarde, recuperado este texto y puesto en manos de Leonardo da Vinci, el modelo vitruviano se dice encontró quien lo ilustrara. El resultado fue el ‘hombre de Vitruvio’, la imagen que se ha convertido en símbolo de la cultura pop y la más famosa de nuestro tiempo, según muchos autores. Para quienes han abordado el estudio de esta imagen, sea desde una perspectiva histórico–filosófica, físico–matemática o artístico–musical, es evidente la complejidad del tema y que su entendimiento nos enfrenta con múltiples interrogantes. El texto que aquí se presenta explora algunos de los elementos más relevantes en torno de esta imagen y en particular se ocupa de analizar algunas de las propuestas que se han presentado para explicar el proceso de elaboración geométrica de esta maravillosa imagen. La conclusión es que el enigma permanece como tal.

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7

Clarke, Georgia. "Vitruvian Paradigms." Papers of the British School at Rome 70 (November 2002): 319–46. http://dx.doi.org/10.1017/s0068246200002191.

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PARADIGMI VITRUVIANIQuesto articolo esamina la diffusione e la conoscenza del De archittctura di Vitruvio in Italia nel quindicesimo secolo e dimostra come l'interesse verso di esso sia aumentato nel corso del secolo, come attestato dal numero di copie di manoscritti realizzato dalla metà del secolo in poi, dall'influenza vitruviana sulla scrittura e la traduzione di altri trattati di architettura, e dalla stampa del De architettura nel 1487/8. Questo tipo di attenzione va messo in relazione con il contemporaneo interesse nei confronti dell'architettura da parte di mecenati, studiosi ed architetti. Nei primi decenni del sedicesimo secolo, Vitruvio occupava di già una posizione centrale in rapporto alla teoria architettonica tanto che fu prodotta nel corso del secolo tutta una serie di edizioni del testo. In alcuni testi, ma sopratutto nella pubblicazione sull'architettura del 1537 di Sebastiano Serlio, gli ordini vennero enfatizzati come la parte più importante dell'architettura e a Vitruvio fu concessa la massima autorità. In seguito, riferimenti a Vitruvio furono usati per giustificare teorie che dipendevano sia dalle idee e formulazioni del sedicesimo secolo che dal De architettura stesso.

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8

Esteban Lorente, Juan Francisco. "La metrología y sus consecuencias en las iglesias de la Alta Edad Media española. I: San Juan de Baños, Santa Lucía del Trampal, San Pedro de la Nave, Santa María de Melque, San Miguel de Escalada y San Cebrián de Mazote." Artigrama, no. 20 (December 9, 2022): 215–54. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.2005208314.

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Exponemos las consecuencias de un análisis metrológico en las iglesias de San Juan de Baños, Santa Lucía del Trampal, San Pedro de la Nave, Santa María de Melque, San Miguel de Escalada y San Cebrián de Mazote. El control de su espacio arquitectónico está confiado especialmente a números de simbolismo cristiano y a la figura del triángulo equilátero como símbolo de la Trinidad. También se aplican las armonías musicales y se considera que el templo cristiano debe estar hecho a imitación del cuerpo del hombre, de Cristo, idea de Vitruvio, recogida por San Agustín. La composición de las columnas se acerca algo a los principios de Vitruvio. El orden, distancia al eje de las columnas, suele regir la arquitectura. Sistemas similares también se encuentran en las iglesias europeas de la misma época. Detrás de todo ello está el conocimiento de las lecciones de Vitruvio y de la construcción de la basílica de San Pedro del Vaticano.

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9

Palmero Iglesias, Luis Manuel. "Editorial." VITRUVIO - International Journal of Architectural Technology and Sustainability 7, no. 1 (June 29, 2022): 2–3. http://dx.doi.org/10.4995/vitruvio-ijats.2022.17973.

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Niglio, Olimpia. "Editorial." VITRUVIO - International Journal of Architectural Technology and Sustainability 6, no. 2 (December 31, 2021): 1. http://dx.doi.org/10.4995/vitruvio-ijats.2021.16966.

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11

Castorena Sáenz, Nithia. "Salvadoreñas divinas en Ciudad Juárez." Chihuahua Hoy 19 (2021): 213–40. http://dx.doi.org/10.20983/chihuahuahoy.2021.19.9.

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Se presenta la historia de vida de una mujer trans migrante centroamericana que, junto con otras, busca llegar a Estados Unidos, pero debió establecerse temporalmente en Juárez por la pandemia. Para el análisis se plantea tanto un modelo de exclusiones titulado Orden de Vitruvio, que implica la operación múltiple e interseccional de distintos criterios que derivan en formas de exclusión agudas, así como una propuesta de análisis localizado, con la historia reciente de El Salvador. Finalmente, el texto concluye que es la colectividad una apuesta política y estratégica de resistencia frente a la operación del orden de Vitruvio.

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12

Corredor-Matheos, José. "Pedro Antonio González Moreno, La erosión y sus formas (Antología 1986-2006), Madrid, Vitruvio, 2007, pp. 136." Estudios Humanísticos. Filología, no. 30 (December 15, 2008): 423. http://dx.doi.org/10.18002/ehf.v0i30.4427.

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13

Sánchez-Polack-Morate, Carlos, and Francisco Granero-Martin. "Las claves del entablamento de orden jónico en el Tratado de Vitruvio." EGA Revista de Expresión Gráfica Arquitectónica 26, no. 41 (March 24, 2021): 42. http://dx.doi.org/10.4995/ega.2021.15232.

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El Tratado de Vitruvio, o Los Diez Libros de Arquitectura, posee el gran valor de ser el único de su época que nos ha llegado y, por tanto, la referencia para intentar comprender los fundamentos de aquella arquitectura. Ha sido estudiado desde el punto de vista del historiador, del filólogo traductor, y por los arquitectos renacentistas en cuanto a su confrontación con la arquitectura romana, o las ruinas de la misma, que observaban. Pero entendemos que es necesario analizarlo desde la visión y punto de vista del arquitecto contemporáneo en sus aspectos aritméticos, geométricos, compositivos y técnicos. El artículo recoge una manera de enfocar un nuevo estudio de Vitruvio revisando el texto, pero sin asumir explícitamente las conclusiones obtenidas por los arquitectos renacentistas. Centrados en el Entablamento Jónico, hemos descifrado las relaciones y proporciones de cada uno de sus elementos, analizando y rebatiendo, en su caso, tanto algunas prescripciones incluidas en la teoría de Vitruvio, como ciertas interpretaciones que hacen los distintos traductores consultados, entre las que existen inconcebibles desacuerdos. Todo ello con el fin de alcanzar una regla cuantificable, que resumimos en tablas, y aportamos, mediante una investigación rigurosa, de resultados novedosos, unas relaciones coherentes entre la altura de la Columna y la del Entablamento.

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Abad Doménech, Eugenio, and Francisco Carlos Bueno Camejo. "Vitruvio y la idea estética del Decorum." EGE-Expresión Gráfica en la Edificación, no. 2 (June 30, 2001): 30. http://dx.doi.org/10.4995/ege.2001.12577.

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Calduch Cervera, Juan. "El Tratado de Vitruvio ilustrado : los dibujos de la basílica = The Vitruvian treaty illustrated. The basilica drawings." Cuaderno de Notas, no. 15 (November 28, 2014): 95. http://dx.doi.org/10.20868/cn.2014.2961.

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Los dibujos del levantamiento de un edificio suponen, ya, un alto grado de abstracción o conceptualización que consiste en traducir en elementos gráficos la información aportada por la imagen sensible. Cuando el paso entre la visión del edificio a su imagen dibujada está mediatizado por el lenguaje hablado o escrito, el dibujo es más elocuente del pensamiento de quien lo traza que del autor que lo describe o la realidad a la que se remite. Los dibujos de la basílica antigua elaborados a partir del tratado de Vitruvio por Fra Giocondo (1511), Cesariano (1523), Palladio (1556, 1570), Perrault (1673) Galiani (1758) y Ortíz y Sanz (1778), así como sus diferencias, más que la idea del tratadista romano, nos permiten conocer los intereses que movían a sus respectivos autores. Abstract Any drawing representing a building implies by itself a high level of abstraction and conceptualization, because it supposes the translation into graphic elements of all the complex information kept by our senses. This situation becomes even more extreme when this process does not begin from the direct observation of the building, but from a spoken or written language. For this reason, the drawing of a building which has been described in a narration, talks on fact more about its author’s point of view, than about the one who is describing it, or even more than the real building itself. The drawings of the basilicas using Vitruvius’ treatise as a reference, and made by Fra Giocondo (1511), Cesariano (1523), Palladio (1556, 1570), Perrault (1673), Galiani (1758) and Ortiz y Sanz (1778), more than talking about roman’s author ideas, allow us to know the thoughts of their respective authors.

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16

LOSITO, MARIA. "IL IX LIBRO DEL DE ARCHITECTURA DI VITRUVIO NEI COMMENTARI DI DANIELE BARBARO (1556-1567)1." Nuncius 4, no. 1 (1989): 3–42. http://dx.doi.org/10.1163/182539189x00013.

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Abstract<title> SUMMARY </title>Book IX of Vitruvius's DE ARCHITECTURA is devoted to the Gnomonica, which is the art of making solar clocks, or the second part of architecture, and to the basic construction of the Analemma, an orthographic projection of different circles of the sky - blue sphere.The present paper explains the changes to this Book between the 1556 edition and the 1567 editions of Daniele Barbaro's Commentationes.Indeed, while in 1556 Barbaro reconstructs the Vitruvian Analemma, that he had studied in the De horologiis describendis libellus, in 1567 he will more clearly define the Vitruvian Analemma by considering the Ptolemaic Analemma, after the 1562 study in Federico Commandino's Claudii Ptolemaei liber de Analemmate. Barbaro will also apply this Analemma in detail to the construction of the sun-dial, which was done neither by Vitruvius nor by Ptolemy, but in Commandino's Liber de Horologiorum descriptione.The relevance of the Analemma to the theory of planar projections of meridians is pointed out here. Indeed, even if the work of Barbaro seems traditional from the point of view of an astronomer, its implications for projective geometry are of great importance.

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Palmero Iglesias, Luis. "Editorial." VITRUVIO - International Journal of Architectural Technology and Sustainability 3, no. 2 (December 26, 2018): 1. http://dx.doi.org/10.4995/vitruvio-ijats.2018.11151.

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In order to respond to the Call of past months, our magazine Vitruvio has on this occasion approached its content in a specific way towards the reuse and sustainable recovery of the built architectural and landscape heritage....

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18

Martínez Díaz, Ángel. "Vitruvio affigurato. Cesariano y el dibujo para el conocimiento." EGA Revista de Expresión Gráfica Arquitectónica 25, no. 40 (November 17, 2020): 116. http://dx.doi.org/10.4995/ega.2020.13312.

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El Vitruvio de Cesare Cesariano es, sin duda, una de las piezas clave de la literatura arquitectónica de su época. Lo es por su contenido, por su esfuerzo para cancelar un abismo de 1.500 años actualizando y vulgarizando un saber considerado como necesario. Pero lo es sobre todo por su formalización, por su manera de plantear un discurso integral en el que lo verbal se funde radical e íntimamente con lo gráfico en una obra que utiliza los incipientes recursos de la imprenta. Aquí se señalan los principales rasgos de los dibujos que componen el libro y su complemento manuscrito madrileño, rastreando su filiación, su contenido y sus recursos narrativos más significativos. Más que por haber sido el autor de la supuesta segunda edición ilustrada de los Diez Libros, son esos recursos los que aseguran a Cesariano un lugar preeminente en la historia del Dibujo de Arquitectura.

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Esteban Lorente, Juan Francisco. "La metrología de la catedral románica de Jaca: 2." Artigrama, no. 15 (December 9, 2022): 231–58. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.2000158456.

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Siguiendo el estudio metrológico de la catedral románica de Jaca nos vamos a ocupar de su planta, sus alzados y de su simbolismo arquitectónico. Se pueden extraer las siguientes conclusiones: Se inicia el plan con una geometría basada en el triángulo equilátero al cual se someten distintas partes como los presbiterios, las ventanas, incluso la altura de las naves laterales y los arcos torales del crucero. Se continúa con una geometría del pentágono que puede encontrarse en los tramos de las naves. Se termina la iglesia con una geometría basada en las armonías musicales que se encuentra en el último tramo de las naves y en el pórtico de los pies. Todo ello integra la «dispositio» vitruviana. Se muestra cómo se cuidó la superposición métrica de las diferentes partes en planta y alzado, «eurythmia» en Vitruvio. Se muestra el simbolismo de las formas y de los números arquitectónicos, «decor» para Vitruvio. Octava conclusión: Hay cuatro planes diferentes y sucesivos, cuatro arquitectos que, aproximadamente, trabajan desde 1050 a 1110.

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Lara, Salvador. "El trazado vitruviano como mecanismo abierto de implantación y ampliación de los teatros romanos." Archivo Español de Arqueología 65, no. 165-166 (July 3, 2018): 151. http://dx.doi.org/10.3989/aespa.1992.v65.475.

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En base a su trabajo monográfico sobre el teatro de Sagunto, el autor identifica, por el análisis directo de las obras de fábrica, diferentes fases constructivas que suponen ampliaciones sucesivas de una primera implantación romana del teatro. Relacionándolas por medio de su correspondencia con el tipo definido por Vitruvio, se descubre el sistema que utilizaron los constructores romanos para ampliar el edificio teatral saguntino que había, ya previamente, obtenido una primera implantación basada en un trazado vitruviano ortodoxo. Desde esta perspectiva se contemplan los tres tipos de teatros romanos propuestos por D. Small en su artículo de AJA de enero de 1983 como tres estadios de la evolución del mismo tipo teatral y el trazado de F. Sear aparecido en esta misma publicación en abril de 1990 como un caso particular del sistema general que se propone aquí como regulador de la evolución de las estructuras teatrales romanas. La hipótesis que se presenta a continuación, como propone una metodología generalizable para el estudio de los teatros romanos, se comprueba en aquellos de Hispania de los que se dispone de planimetría fiable (Acinipo, Itálica y Segóbriga ... ) identificando la validez de su planteamiento.

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García Sánchez, Rafael. "Consideraciones sobre elementos de la arquitectura y la venustas en Vitruvio y en San Isidoro. Similitudes y diferencias." Liño 26, no. 26 (June 9, 2020): 9. http://dx.doi.org/10.17811/li.26.2020.9-20.

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RESUMENVitruvio e Isidoro de Sevilla hacen referencia a la venustas. Sin embargo, el sentido que se le otorga en De Architectura difiere en lo sustancial al que aparece en las Etimologías. En este artículo nos proponemos constatar tales diferencias, lo que nos lleva a concluir que el hispalense no funda-menta su noción de arquitectura en el tratado vitruviano.Palabras clave: Vitruvio; Isidoro de Sevilla; Venustas; Pulchritudo; Arquitectura.

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Phillips, Maria A. "Il "Vitruvio Magliabechiano" di Francesco di Giorgio Martini Gustina Scaglia." Journal of the Society of Architectural Historians 46, no. 3 (September 1987): 311–13. http://dx.doi.org/10.2307/990249.

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23

GEERTMAN, Herman. "Vitruvio, la realtà architettonica e la progettazione di porte templari." BABESCH - Bulletin Antieke Beschaving 68 (January 1, 1993): 209–45. http://dx.doi.org/10.2143/bab.68.0.2005964.

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Stramschak, Julieta. "Vitruvio: the network of architecture, art, design and urbanism libraries." Art Libraries Journal 30, no. 3 (2005): 5–7. http://dx.doi.org/10.1017/s0307472200014012.

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Why create a network of architecture, art, design and urbanism libraries in Argentina and Latin America? Would it not have been better to join one of the existing networks in developed countries, which are more efficient? But do we have the same needs, requests and resources? The Vitruvio network originated in Argentina about 10 years ago and has spread, unplanned, to other countries in this region such as Peru, Uruguay and Ecuador, establishing its objectives to suit the libraries co-operating in the project. Sustainable products and services have been developed, in line with the needs of the region, using a minimum of financial, technological and human resources, and highlighting the profession’s determination and hard work.

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Montijano García, Juan M. ª. "Significación y designación: traducciones e interpretaciones de los términos lineamenta de León Battista Alberti y scaenographia de Vitruvio. Fundamentos teóricos para el proyecto arquitectónico en el clasicismo español." Boletín de Arte, no. 16 (June 10, 2022): 23–32. http://dx.doi.org/10.24310/bolarte.1995.vi16.14894.

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Durante los siglos XVI y XVII el proyecto arquitectónico utiliza principalmente el diseño dibujado y en la maqueta. Estas opciones tienen sus fundamentos teóricos en las interpretaciones de los términos latinos que aparecen en los tratados de Vitruvio y Alberti. La polémica en cuanto a las interpretaciones darán origen a versiones y traducciones de dichos términos en la teoría arquitectónica italiana y española, correspondiéndose a una u otra opción proyectual.

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Jones, Mark Wilson. "Designing the Roman Corinthian capital." Papers of the British School at Rome 59 (November 1991): 89–151. http://dx.doi.org/10.1017/s0068246200009685.

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IL CAPITELLO CORINZIO ROMANO: DISEGNO E PROGETTAZIONELo studio è concentrato sui capitelli corinzi dei templi a Roma, ma vengono anche considerate le testimonianze greche, ellenistiche ed italiche per quanto concerne il composito ed altre forme corinzieggianti. La spiegazione di Vitruvio non è sufficiente per capire come veniva progettato il capitello corinzio. Il capitello può essere meglio capito studiando proporzioni diverse da quelle menzionate da Vitruvio. Il disegno spesso rispetta una regola che vuole l'altezza del capitello uguale alla larghezza o minima distanza tra le facce opposte dell'abaco. Inoltre, la larghezza in diagonale dell'abaco corrisponde spesso a due volte il diametro inferiore del fusto della colonna. Inoltre ancora, molte dimensioni importanti di un'ordine corinzio normale corrispondono all'uno o all'altro di questi calcoli. Lo schema che emerge mette in contrasto la semplicità e cosistenza di certe regole a confronto di una grande numero di variazioni nei particolari. Ciò dipende dalla costrizione delle forme architettoniche ma anche dei mezzi di produzione. Dallo studio dei capitelli abbozzati è emerso che i calcoli più usati erano quelli più importanti per la lavorazione. Nel periodo imperiale, soprattutto, ci fu un sistema per il proporzionamento combinato con tendenze verso la standardizzazione al fine di incrementare la produzione su larga scala. L'intreccio tra le regole e le variazioni rivela un ingegnioso, ed allo stesso tempo pragmatico approccio alla questione del disegno e dell'ornato.

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Chadwick, Michael, Hendrik Kolvenbach, Fabio Dubois, Hong Fai Lau, and Marco Hutter. "Vitruvio: An Open-Source Leg Design Optimization Toolbox for Walking Robots." IEEE Robotics and Automation Letters 5, no. 4 (October 2020): 6318–25. http://dx.doi.org/10.1109/lra.2020.3013913.

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Rubio Garrido, Alberto, and Juan Calduch Cervera. "Goethe y la arquitectura teatral." EGA. Revista de expresión gráfica arquitectónica 21, no. 28 (September 29, 2016): 44. http://dx.doi.org/10.4995/ega.2016.6299.

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Goethe, como dramaturgo y director del teatro de Weimar, se interesó por la arquitectura teatral, tal como quedó reflejado en sus dibujos arquitectónicos. El tipo de teatro descrito por Vitruvio, y su adaptación a la época moderna propuesta por Palladio en su teatro Olímpico de Vicenza, fueron los cauces por donde canalizó sus ideas. Todo esto quedó plasmado en varios esbozos dibujados y en el proyecto elaborado junto con el arquitecto Coudray tras el incendio del teatro de Weimar en 1825.

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Gutiérrez Haces, Juana. "La Preparacion de Un Diccionario: los Apuntamientos... Pertenecientes a la Arquitectura del Padre Pedro Jose Marquez." Anales del Instituto de Investigaciones Estéticas 16, no. 65 (August 6, 1994): 77. http://dx.doi.org/10.22201/iie.18703062e.1994.65.1707.

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A su regreso a la Nueva España en 1816, el jesuita Pedro José Márquez fue recibido como un gran erudito de la arquitectura y la cultura clásicas. Hubo el proyecto de publicar su diccionario, Los apuntamientos... pertenecientes a la arquitectura, que es un compendio de las enseñanzas de Vitruvio. En el artículo se examina la historia del proyecto de la publicación y se analiza el contenido del diccionario y su significado dentro de la obra de Márquez y en el ambiente neoclásico de la Nueva España.

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Esteban Lorente, Juan Francisco. "La metrología en Santa María de Alaón (hacia el año 1100)." Artigrama, no. 13 (December 9, 2022): 223–41. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.1998138515.

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Estudiamos la iglesia del monasterio de Alaón (Huesca) desde eI punto de vista metrológico y de sus consecuencias significativas y simbólicas, cornparándola con otros templos contemporáneos y precedentes. Se puede concluir que es un templo reflejo del mensaje trinitario de los santos Pedro y Pablo; mensaje que de manera similar se había expresado en San Gall, Cluny II, San Hilario de Poitiers, Verona, Jaca y Luzás. En todos los ejernplos vemos usado un control del apacio arquitectónico similar y el reflejo del estudio de los libros de Vitruvio.

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Toussaint, Manuel. "Vitruvio interpretado por un arquitecto de Nueva España en el siglo XVII." Anales del Instituto de Investigaciones Estéticas 5, no. 18 (July 30, 2012): 85. http://dx.doi.org/10.22201/iie.18703062e.1950.18.494.

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Solís Rebolledo, Gabriela, and Juan Ignacio Del Cueto Ruiz-Funes. "Cicerón, Vitruvio, Daniele Barbaro y Andrea Palladio: el proceso creativo clásico de la inventio-dispositio y el concepto de disegno del Renacimiento italiano." Acta Poética 41, no. 1 (November 22, 2019): 133. http://dx.doi.org/10.19130/iifl.ap.2020.1.869.

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El propósito de la investigación es profundizar en el problema del concepto humanista de disegno en la teoría arquitectónica del Renacimiento italiano, especialmente en la interpretación de Andrea Palladio y sus referencias teóricas con énfasis en su metodología proyectual. El punto de partida del análisis se sitúa en la analogía establecida en la Antigüedad entre los procesos creativos de la forma del discurso de Cicerón y de la forma arquitectónica de Vitruvio. El estudio plantea la importancia del lenguaje de la retórica y de la arquitectura clásicas como el conocimiento en que se fundamentaron los principios del proyecto arquitectónico en el Cinquecento.

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Lepri, Nicoletta. "Per una traduzione italiana delle Medidas del romano di Diego de Sagredo (1526)." Translationes 6, no. 1 (January 1, 2014): 65–77. http://dx.doi.org/10.1515/tran-2015-0005.

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Abstract Le Medidas del romano, ‗Misure dell'edificio romano‘, sono un manuale per riprodurre proporzioni, ordini, modanature degli edifici antichi: il primo trattato architettonico scritto e pubblicato fuori d'Italia, nel 1526, da Diego de Sagredo (Burgos, 1490-Toledo, 1528 ca.). Basate sul Vitruvio latino di Giocondo da Verona, sulla volgarizzazione del Ciseriano, sul De re aedificatoria di Alberti, propongono il classicismo rinascimentale italiano come risorsa decorativa, non concettuale. Fra tante traduzioni, nessuna comparve in Italia, dove si rifuggí tale atteggiamento culturale, presto generalizzato in Europa, reintrodotto di fatto in Italia dagli artisti stranieri e valutabile oggi come effettivo fenomeno storico di ―globalizzazione.

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ARCHINARD, MARGARIDA. "LES CADRANS SOLAIRES RECTILIGNES." Nuncius 3, no. 2 (1988): 149–81. http://dx.doi.org/10.1163/182539178x00358.

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Abstract<title> RIASSUNTO </title>Gli orologi solari rettilinei, sia quelli per fasce di latitudini particolari che quelli universali, derivano da una concezione assai complessa, nonostante oggi sia abbastanza semplice verificarne la validità astronomica grazie alla trigonometria sferica.Eppure, il processo intellettuale che, all'epoca, portò alla loro creazione fu certamente di natura geometrica.Sistematicamente trascurato negli antichi trattati di gnomonica, tale processo viene qui ricostituito, partendo dal menaeus di Vitruvio, che sta alla base della struttura geometrica di tali meridiane.Abbiamo altresì esaminato tutte le fonti storiche, attualmente conosciute, per cercare di scoprire l'origine degli orologi solari rettilinei e di tracciarne la storia.

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Forlani, Maria Cristina. "The architectural design in time of crisis. A research of "roots" to support the development." VITRUVIO - International Journal of Architectural Technology and Sustainability, no. 1 (December 29, 2015): 1. http://dx.doi.org/10.4995/vitruvio-ijats.2015.4471.

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Vitruvius wrote the first treatise of Architecture and in it we find the fundamental recommendations for a good design. In the past 50 years it seems, instead, that each of these directions had been lost and there is today the need of promoting a new design paradigm that is attentive to nowadays criticalities and directed to sustainable development. The term sustainability starts to configure the quality of human actions since the 80’s following reflections on the resources limit (raw materials and fossil fuels) and the environment capacity limit of absorbing emissions and waste. The concept of sustainable development was elaborated in 1987 in the Brundtland report according to the need of distinguishing it from the concept of growth, that is to say with the goal of tending simultaneously toward the quality verification of programs in the environmental, social and economic dimensions. All that invited the whole society to reconsider its "lifestyle" that, in the specific field of architecture, meant finding a new design approach geared to a lower consumption and greater caution and responsibility in the choices. The configuration of a new design paradigm can trace their roots in the study of history and can proceed to evaluate the actions in a broad context of skills to ensure the quality of the products.

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Niglio, Olimpia, and Noriko Inoue. "Urban landscape of Okazaki in Kyoto." VITRUVIO - International Journal of Architectural Technology and Sustainability, no. 1 (December 29, 2015): 15. http://dx.doi.org/10.4995/vitruvio-ijats.2015.4472.

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Kyoto has been the capital of Japan from 794 until when the capital has moved in 1868 to Tokyo with the end of Tokugawa Shoguns and the beginning of the Meiji Restoration. The loss of the seat of government was a shock to citizens of Kyoto as the city had been the Imperial and Cultural center of the nation for over 1.000 years. The combination of the court and the great temples had enlivened and enriched the life of the city. At the beginning of the founding of the capital, in the Heian period (794-1185) to east of Kyoto, was built a noble and religious place. This area is Okazaki. Here the Emperor Kammu (736-805) had created the city of Heian-kyo (Kyoto) in 794. This area was full of Temples and Shrines. Only in the Edo period (1603-1867) Okazaki area assumed the role of suburban agricultural zone which provided the food production to the urban habitants. But after the Meiji Restoration (1868-1912), the role of Okazaki area changes completely. In 1885, Kyoto prefecture started the great public canalization project as the water supply between Kyoto and Otsu of Shiga prefecture. Kyoto prefecture also planed the industrial district construction in Okazaki area. From the late nineteenth century Okazaki area became a symbol of the modernization of Kyoto city. This contribution intends to analyze the urban landscape composed of the different styles of architecture especially constructed after the Meiji period (1868-1912). Tangible and intangible signs remained as modern gardens, significant museums and cultural institutions among the ancient temples provide opportunities to reflect on the important role of suburban area of the historic city. These studies are supported by archival documents and by current measures and policies for landscape conservation by Kyoto Municipality.

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De Berardinis, Pierluigi, Chiara Marchionni, and Luisa Capannolo. "The urban lighting in the rehabilitation of the minor historical centre. The design scenarios for the architectural valorisation and the energy efficiency improvement of the urban environment." VITRUVIO - International Journal of Architectural Technology and Sustainability, no. 1 (December 29, 2015): 27. http://dx.doi.org/10.4995/vitruvio-ijats.2015.4473.

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In the last decades, the topic of lighting of the historical minor centres is taking a prominent role in the cultural debate on the urban recovery interventions, because of the development of a greater awareness of the regenerative potential role that a careful planning system of urban lighting can take in this context.The latter, which had a purely functional role in the past, has recently taken a figurative and emotional role, associated with the vision of the urban light scene during the night and its valorization.The study of light, therefore, has inevitably turned into an instrument of knowledge and critical interpretation of the urban spaces, aimed both to functional recovery of the lighting network technology, and the regeneration of the urban image and its night scenes.The needs that this sector should satisfy are multiple and, sometimes, conflicting: the need for road safety, the reduction of light pollution, the need for energy and cost savings.The research aims to define an operative methodology to deal with the light planning in complex contexts as the minor historical centers, in which the concept of transformation of the urban scene clashes directly with the concept of preserving the identity features of the places and its constructive values and materials.Among the goals, there is therefore the aim of highlighting the main gaps in the network, due both to plant engineering reasons and to the obsolescence of the existing lighting fixtures.We operatively work in the urban voids system field, as spaces that characterize the urban scene. Through the knowledge of their dominant features it is possible to preserve their identity and, at the same time, enhance their singularity, with a suitable lighting project, which requires the study of materials, colors and consumption.The purpose is to promote an urban development, able to produce positive economic, social and cultural effects, oriented to improve the quality of life, as well as to value the architectural and environmental heritage giving importance to energy and economic saving.

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Schroeder, Horst, and Manfred Lemke. "Sustainability of earth building materials - Environmental product declarations as an instrument of competition in building material industry." VITRUVIO - International Journal of Architectural Technology and Sustainability, no. 1 (December 29, 2015): 45. http://dx.doi.org/10.4995/vitruvio-ijats.2015.4474.

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The evaluation of the building process in terms of their environmental impact in all life cycle phases of a building leads to the key principle of sustainable building: the analysis of the life cycle of the materials used in a building. The goal of this analysis is to reduce waste and keep the environmental impact as low as possible by “closing” the cycle. During an inventory, the entire life cycle is assessed. This includes the sourcing and extracting of the raw material, the use of the raw material to produce building products, elements and structures, the use in finished buildings including emission of pollutants, decay and maintenance, and, finally, the demolition of the building and the recycling of the demolition materials. Transportation between the individual phases as well as production-related material and energy flows are also included in this evaluation.Several European and national norms and regulations define core rules and a special instrument for the evaluation of the sustainable quality of a building product based on a quantitative analysis of the life cycle of the materials used in a building: the Environmental Product Declaration EPD. These documents are voluntary standards, commitments or guarantees for building products. They are provided by producers, organizations and quality assurance associations in order to establish the “environmental performance” of buildings in the form of a certificate. Such declarations must fully include all phases of the life cycle of a product by describing the environmental impact during production and use as well as possible health hazards for the users.Until now, EPDs for earth building products do not exist. This paper will give current information about a project for developing EPDs for earth mortars and earth blocks started by the German Dachverband Lehm e.V. (DVL).

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Friedman, Avi. "Design strategies for integration of green roofs in sustainable housing." VITRUVIO - International Journal of Architectural Technology and Sustainability, no. 1 (December 29, 2015): 57. http://dx.doi.org/10.4995/vitruvio-ijats.2015.4475.

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Green roofs are the integration of plant material and its supporting structures in buildings. Such an approach provides a habitat for local flora and fauna, helps manage storm water, reduces heat demand in winter and the cooling load in the summer, enhances the aesthetic values of dwellings, provides the occupants with comfort and amenities and strengthens environmental responsibility. Because roofs represent approximately 40 percent to 50 percent of the surfaces in urban areas, green roofs have an important role in drainage and as a result water management as well. In fact, when a green roof is installed on 50 percent or more of the roof’s surface, it guarantees 2 points and can contribute 7 additional points toward LEED certification - almost 20 percent of the required rating. This paper classifies green roofs and offers strategies for their integration in residential buildings and examines their benefits, construction principles and applications.

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Bonomo, Pierluigi, Anatoli Chatzipanagi, and Francesco Frontini. "Overview and analysis of current BIPV products: new criteria for supporting the technological transfer in the building sector." VITRUVIO - International Journal of Architectural Technology and Sustainability, no. 1 (December 29, 2015): 67. http://dx.doi.org/10.4995/vitruvio-ijats.2015.4476.

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The growing demand for nearly-Zero Energy Buildings is rapidly contributing to change the building skin from being a passive barrier towards a sensitive and active interface. Building Integrated Photovoltaics (BIPV) is a unique solution for delivering clean, safe, affordable and decentralized electricity to people transforming the building surfaces in active solar collectors. Despite photovoltaic (PV) technology and their basic usage are today known to everybody, the particular requirements for building integration have brought to the surface some issues over the years so that BIPV is still a niche market. Starting from this observation, the paper presents the results of an investigation on the current market of BIPV products for roofs and façade. The analysis aimed to identify the relevant possibilities the products today offer and the level of information that the producers make available within the technical description of BIPV systems. After disclosing the actual lack of information in comparison to conventional building products, the authors propose to implement a new “building-based” approach that could support the BIPV market by including a more comprehensive description of the product’s quality (today mainly comprising electrical and basic physical features). Such a “building-technology” perspective, also considering the recent normative framework in BIPV field, is expected to encourage the technological transfer of PV in the building sector by facilitating the daily work of architects, installers and the whole value chain.

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Marí Farinós, Jesús. "Enviromental responsability and corporate social responsability." VITRUVIO - International Journal of Architectural Technology and Sustainability, no. 1 (December 29, 2015): 87. http://dx.doi.org/10.4995/vitruvio-ijats.2015.4477.

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The environmental management of companies and organizations in general is going to be internalized in the operation and management structures, linking conceptual and chronologically to improve corporate reputation, management excellence, knowledge and innovation. Embracing, undoubtedly too, with the assumption of an ethical commitment of the company to society: environmental sustainability and generational solidarity in the transmission of culture and values of that nature. The existing need to know the potential impact of business operations on society and the environment results in the appearance of a document, which may well be called a Sustainability Report or Social Balance, which is compiled from a series social indicators, which are the instruments responsible to reflect the value of the shares held by the company in social and environmental fields.

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García-Esparza, Juan Antonio. "Re-thinking the validity of the past. Deconstructing what authenticity and integrity mean to the fruition of cultural heritage." VITRUVIO - International Journal of Architectural Technology and Sustainability 1, no. 1 (June 21, 2016): 21. http://dx.doi.org/10.4995/vitruvio-ijats.2016.4595.

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There is a lively ongoing debate on Critical Heritage Studies and the Authorised Heritage Discourse, but quite a few authors have viewed the issue from a canonical perspective where the wider Cultural Built Heritage visual experience is assessed and valued in relation with authenticity and integrity. The terms static authenticity and dynamic authenticity appear in this text as dependent on heritage connectivity. Two main arguments are developed in this study. Firstly, a general overview of the context is proposed in order to understand the vernacular internationally. Secondly, the article offers an inside view intended to provide an accurate interpretation of how the vernacular is scrutinised and understood. A fundamental issue discussed in this paper is how cultural heritage is ruled, protected, enhanced, experienced and managed on different scales.

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Castagneto, Francesca. "Social inclusion in the regeneration processes of historic centr." VITRUVIO - International Journal of Architectural Technology and Sustainability 1, no. 1 (June 21, 2016): 13. http://dx.doi.org/10.4995/vitruvio-ijats.2016.4659.

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Dobrolubsky, Andrey, Nadia Ieksarova, and Vladimir Yeksarov. "Smart port city of Odessa: brilliant embodiment of Vitruvius` theories of beauty." VITRUVIO - International Journal of Architectural Technology and Sustainability 1, no. 1 (June 21, 2016): 1. http://dx.doi.org/10.4995/vitruvio-ijats.2016.5157.

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The condition of successivedevelopment, sustainability of the whole is a continuous relation between the present, the past and the future. An interdisciplinary approach aimed to create the holistic picture of the world helps to get an objective assessment of the logic of the environment changing process. The birth of a new Polis of the North Black Sea Region at the end of 18th c. led to the complex of geostrategic economic prerequisites for the development of the southern territories of the Russian Empire.The generation of the founders of the port city of Odessa (J. de Ribas, F. de Volan etc.) was formed in the era of European classicism the cultural context of which “was washed by the Gulf Stream of antiquity”. Noospheric approach was manifested in the ability to create reality by means of techniques mentioned in Vitruvius` theories of beauty. The characteristic featureof the development of Odessa is creating the comfortable environment in harsh, aggressive conditions of the southern steppe zone – “deadly heat in the summer and terrible blizzards in the winter, sandy and alkaline soil, lack of freshwater springs”. Taking into consideration astronomical, climatic and hydrogeological factors, they chose the harbour, the place to create the port city of Odessa, perfectly well. They provided optimal sun exposure and healthy living conditions. F. de Volan`scity planof Odessa is themaster plan of the world`ssocio-natural development. The genetic code of the unique Polis culture was established in 1794, in accordance with the requirements of eurhythmy-harmony -“Strength, Utility and Beauty” by Vitruvius.

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Ramón, José Enrique, José Manuel Gandía-Romero, Manuel Valcuende, and Román Bataller. "Integrated sensor network for monitoring steel corrosion in concrete structures." VITRUVIO - International Journal of Architectural Technology and Sustainability 1, no. 1 (June 21, 2016): 65. http://dx.doi.org/10.4995/vitruvio-ijats.2016.5191.

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Corrosion is one of the main triggering factors affecting the service life and durability of structures. Several methods are used for corrosion studies but electrochemical techniques are the most commonly applied. Corrosion processes monitoring and control by means of non-destructive techniques, such as the implementation of embedded sensors, has been the target of many works. It is possible to obtain relevant information of structural corrosion processes in real time. This document describes a system including specific equipment and which allows obtaining relevant information about these corrosion processes. This system is formed by a sensor network. There are several types of electrodes, which are distributed throughout the structure under study and a specific equipment developed by the research group, which is used to determine pertinent parameters such as the corrosion potential (Ecorr) and the corrosion density (icorr) by applying sequences of potentiostatic pulses. The system allows to reliably determine the corrosion rate in different areas of the structure. The sensor, due to its configuration, provides information of a specific area of the structure, but on the other hand it is involved in the galvanic events that can occur along the structure by differential aeration, galvanic cells, etc. because the sensor is not isolated from the structure. This system also procures information of buried and submerged elements. Besides, it is possible to obtain information related to temperature, concrete resistance. The system includes specific potentiometric sensors to monitor chloride access and carbonatation processes.

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Paupérico, Esmeralda, Xavier Romão, António Arêde, Aníbal Costa, Humberto Varum, João Guedes, and Nelson Vila Pouca. "Structural survey and diagnosis of historical constructions – the experience of the Construction Institute." VITRUVIO - International Journal of Architectural Technology and Sustainability 1, no. 1 (June 21, 2016): 49. http://dx.doi.org/10.4995/vitruvio-ijats.2016.5269.

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The sustainable rehabilitation of an historical construction can only be achieved if there is adequate knowledge about its state of conservation. To obtain such knowledge, reliable structural survey and diagnosis procedures need to be employed. An overall definition of the more important technical procedures that need to be considered is addressed to provide general guidelines for the structural survey and diagnosis of historical constructions. A more detailed description of some of the methods is then also performed. Several case studies are then presented to illustrate these approaches, emphasizing the importance of the technical inspection and survey data in the rehabilitation actions that were developed in each case study.

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Mecca, Ippolita. "In situ experimentations for the compatibility and durability of the restorations: the case study of the Sassi of Matera." VITRUVIO - International Journal of Architectural Technology and Sustainability 1, no. 1 (June 21, 2016): 35. http://dx.doi.org/10.4995/vitruvio-ijats.2016.5686.

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De Gregorio, Stefania. "From Kyoto to Paris: searching the sustainability." VITRUVIO - International Journal of Architectural Technology and Sustainability 1, no. 1 (June 21, 2016): VII. http://dx.doi.org/10.4995/vitruvio-ijats.2016.5799.

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Chamel, Olivier. "Design/build: A Relevant Pedagogy for Architecture Education." VITRUVIO - International Journal of Architectural Technology and Sustainability 1, no. 2 (December 20, 2016): 53. http://dx.doi.org/10.4995/vitruvio-ijats.2016.6773.

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The predominance of drawing as a mean to create and represent architecture, whether in an educational setting or in professional practice, has had a profound influence on the design process. Drawings are so much a part of that process that they can often be mistaken for architecture itself. But drawings are not architecture, rather they are tools to create and control.Historically, drawings greatly contributed to the establishment of the profession of architect inaugurated by the Italian Renaissance. They became the means by which architects gained control over design and by extension over the construction process. Control of the design process eventually moved from the hands of the master builders to architects’ pencils.The long-held monopoly of drawings in architecture has perpetuated a structural disconnect between design process and the “making of things”. The heavy reliance on drawings has lead to tendencies for abstraction, repetition, self reference and a diminished sense of genuine innovation.Design/build as an alternative delivery method focuses on a more intuitive approach based on the creative powers of manual labor and the interaction of the designer with the material world. This methodology has the advantage to re-engage a generation of student increasingly invested in a world of virtual stimuli with the physical materiality of things and promote the creative value of Homo Faber. By “making things” students are designing. A hands-on approach would also meet the needs of a student body who responds well to active learning pedagogy.This paper will present a series of recent furniture design/build exercises where students designed and furniture and small building prototypes with limited reliance on drawings. We will discuss how subjects such as structures, material sourcing and construction detailing can be transposed from various courses and applied to design/build projects. We believe that a pedagogy based on physical experimentations could infuse energy throughout curricula no matter the course subject.

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Giordano, Roberto, Cristina Allione, Andrè Clos, Elena Montacchini, and Silvia Tedesco. "The integrated design of building services by an equipped and eco-efficient module (MOTE2)." VITRUVIO - International Journal of Architectural Technology and Sustainability 1, no. 2 (December 20, 2016): 13. http://dx.doi.org/10.4995/vitruvio-ijats.2016.6795.

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The targets set out by European Directives concerning the energy savings in the construction sector refer both to building envelope and to its services. With regard to building services it is mandatory meeting requirements related to heating, cooling, lighting and ventilation.Building services take up a variable space in the buildings that cannot be considered anymore negligible and they would always be fully integrated into buildings.Equipped and Eco-efficient Technological Module (MOTE2) is a research project aimed at implementing the integration in a unique services cupboard of some building services: heating and cooling; domestic hot water; mechanical ventilation.The project was organized according to four main phases. In phase 1 a set of rules was defined matching requirements related to the energy efficiency to environmental building design standards. During the phase 2 six building models were studied in order to size the corresponding building services according to scenario analysis set down for existing buildings. In phase 3 the project was focused on designing the assembly among services.The cupboard design is like a Tetris® game through the planning of the best combination among services shape. Based on the drawings developed a first mock-up was built up and monitored. Finally, in phase 4 the paper deals with the MOTE2’s expected performances.Outlook and some conclusions point out the future steps of the research activities.

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