Notes from Vitruvius, The Ten Books on Architecture, Book 1, Chapters 1-3:

Ch. 1 “The Education of the Architect”

The architect should be equipped with knowledge of many branches of study and varied kinds of learning, for it is by his judgment that all work done by the other arts is put to test.

A weighty sentence, especially being the opening one, but a bit difficult to interpret. I understand it as meaning the architect must be educated in many areas and arts because so many desperate areas of thought and activity are used for both the criticism of architecture and the direct use of architecture. Architecture needs to support all these areas both in theory and in use.

Two points in architecture

…the thing signified, and that which gives it its significance. That which is signified is the subject of which we may be speaking; and that which gives significance is a demonstration on scientific principles.

Architecture as both theory and practice, the practical design of buildings and the theory behind the design.

Let him be educated, skillful with the pencil, instructed in geometry, know much history, have followed the philosophers with attention, understand music, have some knowledge of medicine, know the opinions of the jurists, and be acquainted with astronomy and the theory of the heavens.

Specific areas in which Vitruvius believed an architect should be educated: drawing, mathematics, history, philosophy, music, medicine (or biology, I would say), law, and astronomy. Why music? It seems that Vitruvius was interested in the sonic interpretation and effects of architecture (which interests me greatly). Drawing and mathematics lend physicality to architectural theory taken from philosophy and science. “The theory of the heavens” was important for Vitruvius for religious reasons, but a modern architect can use this to various amounts to produce a desired effect in a work.

In theaters, likewise, there are the bronze vessels which are placed in niches under the seats in accordance with the musical intervals on mathematical principles. These vessels are arranged with a view to musical concords or harmony, and apportioned in the compass of the fourth, the fifth, and the octave, and so on up to the double octave, in such a way that when the voice of an actor falls in unison with any of them its power is increased, and it reaches the ears of the audience with greater clearness and sweetness.

Fascinating, never read about this. I’m interested in designing spaces for specific sonic experiences (other than performance spaces), much of my art is about the aural experience of space. The design of these theaters is something to look into further.

For an architect ought not to be and cannot be such a philologian as was Aristarchus, although not illiterate; nor a musician like Aristoxenus, though not absolutely ignorant of music; nor a painter like Apelles, though not unskillful in drawing; nor a sculptor such as was Myron or Polyclitus, though not unacquainted with the plastic art; not again a physician like Hippocrates, though not ignorant of medicine; nor in the other sciences need he excel in each, though he should not be unskillful in them. For, in the midst of all this great variety of subjects, an individual cannot attain to perfection in each, because it is scarcely in his power to take in and comprehend the general theories of them.

In other words, an architect knows something about a lot of things, as opposed to an engineer that knows a lot about a single thing.

Ch. 2 “The Fundamental Principles of Architecture”

Architecture depends on Order, Arrangement, Eurythmy, Symmetry, Propriety, and Economy.

Order: measure to the members of a work considered separately, symmetrical agreement to the proportions of the whole

Arrangement: putting of things in their proper places, elegance of effect which is due to adjustments appropriate to the character of the work; Reflexion: careful and laborious thought, watchful attention directed to the agreeable effect of one’s plan; Invention: solving of intricate problems and the discovery of new principles by means of brilliancy and versatility

Eurythmy: beauty and fitness in the adjustments of the members (proportion)

Symmetry: proper agreement between the members of the work itself, and relation between the different parts and the whole general scheme, in accordance with a certain part selected as standard

Propriety: perfection of style which comes when a work is authoritatively constructed on approved principles, from prescription, usage, or nature

Have some disagreements here, following Le Corbusier’s arguments against the “styles.”

Economy: proper management of materials and of site, thrifty balancing of cost and common sense in the construction of works

Ch. 3 “The Departments of Architecture”

There are three departments or architecture: the art of building, the making of time-pieces, and the construction of machinery. Building is, in its turn, divided into two parts, of which the first is the construction of fortified towns and of works for general use in public places, and the second is the putting up of structures for private individuals.

Public spaces vs. private spaces, design of the urban center vs. design of the suburban

All these must be built with due reference to durability, convenience, and beauty. Durability will be assured when foundations are carried down to the solid ground and materials wisely and liberally selected; convenience, when the arrangement of the apartments is faultless and presents no hindrance to use, and when each class of building is assigned to its suitable and appropriate exposure; and beauty, when the appearance of the work is pleasing and in good taste, and when its members are in due proportion according to correct principles of symmetry.