The Body to measure the space

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1. The body as a reference
short excursus trough history
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MESOPOTAMIA

NIPPUR-CUBIT = 518,3mm

that means 30 DIGITI (Fingers) >> 1 DIGITUS = 17,277mm

16 DIGITI = 276,45mm = NIPPUR-FEET



Nippur Cubit, Archeological Museum of Istanbul



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2.525 (2.000 + 500 + 20 + 5)

1 10
100 1.000
10,000 100.000
1.000.000
*

EGYPT

OLD EGYPTIAN ROYAL-CUBIT = 20!2/28 Nippur-Cubitus " 52,388 cm

BIG EGYPTIAN ROYAL-CUBIT = 20!2/28 old King-Cubitus= 52,920 cm
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Royal Cubit = 52,3 cm
GIZA
IV. Dynasty (circa 2.600 BCE)
GROUND FLOOR great Pyramid ! 230,35 m = 440 Cubits
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440 + 440 + 220 = 1100
1000!2 = 1414.21...
1000!3 = 1732.05...
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Greece and Rome
GREECE
1 Stadioi = 17200 cm
1 Daktyloi = 1.85 cm
1 Podes = 28 cm / 29.6 cm
1 Pechyes = 45 cm

ROME
1 digiti = 1.85 cm (1/16 pedes)
1 palami = 7.4 cm (1/4 pedes)
1 pedes = 29.6 cm
1 passus = 5 pedes = 1.48 m
1 stadius = 125 passus = 185 m
1 milium = 8 stadi = 1000 passus 1480 m = 5000 pedes


Apiano, 1548
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1 stadion/stadium = 600 Feets [ Lexikon der Antike, S. 5424]
> Greek-Roman Stadion = 176,6 m
> olymp. Stadion = 192,28 m
> delph. Stadion = 177,55m

Stadion of Aphrodisias, Turkey
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MILIARIUM =
Mile Stones
Miliarium Aureum
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Odometer (after Vitruvius)
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Chartres, 1194 1260 circa
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MS = (e2 / G)1/2 = (10) -10 Kg
LS = (G x e2 / c4) 1/2 = (10) -37 m
TS = (G x e2 / c6) 1/2 = (3x10) -46 sec

G = Gravitation
c = light speed
e = Energie of the electron
The meter was originally defined as 1/10,000,000 of the
distance between the equator and either pole; however,
the original survey was inaccurate and the meter was
later defined simply as the distance between two
scratches on a bar made of a platinum-iridium alloy and
kept at Sevres, France, near Paris.
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2. How the body influenced the
design of spaces
4 examples
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1. Renaissance: the menkind as the center
The body in Vitruvius symmetria
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Ars sine scientia nihil est
Cosimo de Medici
! cheap materials
! quick!
! Several bilding sites at the
same time
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Masaccio, La
trinit, Kirche
Santa Maria
Novella, Firenze,
1425-28
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Filippo Brunelleschi, Ospedale degli Innocenti, Florence, 1420 circa
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Palace Medici-Riccardi,
Michelozzo di Bartolomeo, Florence,
1444
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VITRUVIUS
DE ARCHITETTURA LIBRI DECEM
(Ten books about architecture)
I. Jh. v.C.
LEON BATTISTA ALBERTI
DE RE AEDIFICATORIA
1442-1452

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Carlo Amati, 1829-1830
The planning of temples
depends upon symmetry: and
the method of this architects
must diligently apprehend. It
arises from proportion (which
in Greek is called analogia).
Proportion consists in taking
a fixed module, in each case,
both for the parts of a
building and for the whole,
by which the method of
symmetry and proportion is
put into practice. For
without symmetry and
proportion no temple can have
a regular plan; that is, it
must have an exact proportion
worked out after the fashion
of the members of a finely-
shaped human body.
Vitruvius, book 3, Chapter I
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For Nature has so planned the human
body that the face from the chin to
the top of the forehead and the roots
of the hair is a tenth part; also the
palm of the hand from the wrist to
the top of the middle finger is as
much; the head from the chin to the
crown, an eighth part; from the top
to the breast with the bottom of the
neck to the roots of the hair, a
sixth part; from the middle of the
breast to the crown, a fourth part; a
third part of the height of the face
is from the bottom of the chin to the
bottom of the nostrils; the nose from
the bottom of the nostrils to the
line between the brows, as much; from
that line to the roots of the hair,
the forehead is given as the third
part.
The foot is a sixth of the height of
the body; the cubit a quarter, the
breast also a quarter. The other
limbs also have their own
proportionate measurements.
And by using these, ancient painters
and famous sculptors have attained
great and unbounded distinction.
Carlo Amati, 1829-1830
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Carlo Amati, 1829-1830
In like fashion the members of
temples ought to have dimensions
of their several parts answering
suitably to the general sum of
their whole magnitude. Now the
navel is naturally the exact
center of the body. For if man
lies on his back with hands and
feet outspread, and the center
of a circle is placed on his
navel, his figure and toes will
be touched by the circumference.
Also a square will be found
described within the figure, in
the same way as a round figure
is produced. For if we measure
from the sole of the foot to the
top of the head, and apply the
measure to the outstretched
hands, the breadth will be found
equal to the height, just like
sites which are squared by rule.
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Carlo Amati, 1829-1830
Therefore if Nature has planned
the human body so that the
members correspond in their
proportions to its complete
configuration, the ancients seem
to have had reason in
determining that in the
execution of their works they
should observe an exact
adjustment of the several
members to the general pattern
of the plan. Therefore, since in
all their works they handed down
orders, they did so especially
in building temples, the
excellences and the faults of
which usually endure for ages.
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Albrecht Drer, 1528
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Cesare Cesariano, 1521 Leonardo Da Vinci, 1452- 1519, text von Luca
Pacioli
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Francesco di Giorgio Martini, Santo Spirito (F. Brunelleschi), Duomo di Pavia
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Filippo Brunelleschi, San Lorenzo, Florence, 1420 circa
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1 cubit = 58,36 cm
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Filippo Brunelleschi, Santo Spirito, Florence, 1444 circa
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BRACCIO FIORENTINO
Miglio m1653,607

Braccio


cm 58,3626 ! bis 1. Juli 1861
soldo cm 2,9181
quattrino cm 0,9727
denaro cm 0,2432
punto cm 0,0203
un braccio e 1/4 cm 72,9532
2/3 di braccio cm 38,9084
16 soldi cm 46,69008
3/10 di braccio cm 17,50778
3/4 di braccio cm 43,7718
8 quattrini cm 7,7816
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2. Margarete Schtte-Lihotzky: her functional kitchen
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Margarete Schtte-Lihotzky (1897-2000)
1915 till 1919 she studies in Vienna at the faculty of architecture
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Frankfurter Kche, Margarete Schtte Lihotzky, 1926

(from 1926 till 1930 = circa 10.000 // Ernst May Das neue Frankfurt)
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Das Handbuch Bauentwurfslehre entstand
ursprnglich aus den Unterlagen der
Vorlesungen von Prof. Ernst Neufert an
der staatlichen Bauhochschule in
Weimar. Diese Unterlagen basieren auf
Messungen, Erfahrungen und
Erkenntnissen aus Praxis und Forschung
im Umkreis der Menschen, die beim
Planen von Bauten, Einrichtungen und
Auenanlagen notwendig sind.

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4. Le Corbusier and the MODULOR
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MODULOR, 1947
(Charles Eduard
Jeanneret)
Le Corbusier
(1887-1965)
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FIBONACCI (Leonardo von Pisa)
born 1170


Fibonacci Numbers:

1 2 3 5 8 13 21 34 #

1+2 = 3
3+2 = 5
5+3 = 8
#..

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GOLDEN RATIO


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1.Edition 1948 = 1,75 m
2.Edition 1955 = 1,83 m

113, 70, 43 cm " 43 + 70 = 113; 113 70 = 43

226, 140, 86
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srie rouge srie bleue
mtres Pouces Mtres pouces
4,79 116"1/2 9,57 233"
2,96 72" 5,92 144"
1,83 44"1/2 3,66 89"
1,13 27"1/2 2,26 55"
0,70 17" 1,40 34"
0,43 10"1/2 0,86 21"
0,26 6"1/2 0,53 13"
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55
its not for everybody
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cm 27 , 43 for chairs
cm 70 arm-rest
cm 86, 113, 140 stool

! and for buildings!
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Unit dhabitation, Marsiglia (France) 1947-52
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59
2,26
1,83
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Il cabanon, 1951-52
" Me vioci de nouveau la
chartreuse d'Ema. Cette fois, J'ai
dessin, aussi, les choses me sont
mieux entres dans la tte...Et je
suis parti dans la vie pour la plus
grande bagarre. J'avais 23 ans.
Dans cette premire impression
d'harmonie, chartreuse d'Ema, le
fait essentiel, profond ne devait
m'apparatre que plus tard - la
prsence, l'instance de l'instance de
lquation rsoudre confie la
perspicacit des hommes: le
binme: " individucollectivit." Mais
la solution porte galement une
lecon tout aussi dcisire celle-ci:
pour rsoudre une lecon tout aussi
dcisire celle-ci: pour rsoudre une
grande part des problmes
humains, il faut disposer de lieux et
de locaux. Et c'est de l'architecture
et de l'urbanisme. La chartreuse
d'Ema tait un lieu, et les locaux
taient prsentes, amags selon la
plus belle biologie architecturale. La
chartreuse d'Ema est un organisme.
La terme "organisme" avait pris
naissance dans ma conscience"

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Le cabanon, 1951-52
ONE ROOM :: 3,66m x 3,66m (12 feets x 12)
Mtres pouces
9,57 233"
5,92 144"
3,66
89"
2,26 55"
1,40 34"
0,86 21"
0,53 13"
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Le cabanon, 1951-52
ROOM :: 3,66m x 3,66m (12 feets x 12)
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TO SUM UP!

> The use of the body in the history = how to measure /
quantify something

> Vitruvius = the concept of Symmetria (modularity) and its
application in some Churches in the Renaissance (Brunelleschi:
San Lorenzo and Santo Spirito)

> Madame Schtte Lihotzky = the kitchen for Frankfurt

> Le Corbusier and the Modulor (the Unit dAbitation
Marseille; Cabanon)
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