• Journal for History of Mathematics
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• v.29 no.4
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• pp.233-242
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• 2016

The painter Leon Battista Alberti insisted that mathematics was very important in painting in his famous book "Della Pittura(On Painting)" at 15th century. At the first part of the book, he explained about points, lines, and planes mathematically. And he emphasized that the proportion was very useful for accurate description of objects. This is the perspective that Alberti showed by using visual pyramid. In this paper, we investigate the Alberti' s method and the background of Alberti's perspective.

• Journal of architectural history
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• v.23 no.3
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• pp.55-63
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• 2014

This paper discusses Leon Battista Alberti's vision of the paradigmatic city. In his De re aedificatoria, Alberti proposes how the architecture of both individual buildings and cities should be ordered and embellished. Borrowing ideas from the ancient writers on one hand, and reflecting on actual urban reality on the other, Alberti proposes an ideal city where the sacred and the secular come together in hierarchical harmony, beautified under the principle of ornament. In Book VIII, dealing with secular public works of architecture, he writes about the composition of a new humanist city that transcends actual reality. Ornament, a central idea of his aesthetics, supports his conception of the paradigmatic city.

• The Journal of Art Theory & Practice
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• no.9
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• pp.195-215
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• 2010

Alberti's De re aedificatoria is the earliest case in the history of Italian Renaissance architectural treatises dealing with recovery of antiquity through textual and archaeological pursuits. The key source of the Renaissance theoreticians was Vitruvius' De architectura. However, Alberti was keenly aware of inaccuracy and Hellenization of Latinity in this classical text, and tried to compensate them in his own treatise. Furthermore he claimed a reformed discipline of the architects as well as the patrons, and prescribed how future buildings and cities should be built, based on the proper authority of ancient architecture in proper and intelligible Latin. Such an adaptation of classical usage in order to reestablish a modern norm preceded in his earlier work Momus, a satire on the contemporary Italian society of his own by following the model of Lucian. Alberti's suggestion of proper government in Momus's phrase was expanded in De re aedificatoria, for he consider the buildings are subject to the rules of morality and public interests. He proclaimed that the nature of beauty is the reasoned harmony of every part within a body, and architectural beauty also lies on the harmonized arrangement of all the elements within an individual building and of all individual buildings and facilities within a city. For the architects to execute this task, he formulated the concept of lineanenta, the form derived from the mind in order to prescribe the proper place, numbers, scale, and orders for whole building structure. It is the future oriented city-plans and building designs to serve the public interest and the good of all the individual citizens who make up the City-State that Alberti pursued in his treatise.

• Journal of architectural history
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• v.10 no.4 s.28
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• pp.57-75
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• 2001

The music has influenced on the aesthetics, structure and symbol of the architecture from the ancient to the present. and been to be like architecture. It is important part that through the study of musical proportion by number, which is method of architectural and musical composition, resemblance can be found, music is resemble to architecture and this recognition is general as well in renaissance as architect and musician after that time. Therefore, in this background and aesthetics, the purpose of this study is to research purpose and methodology of the proportion of musical consonance and dissonance used in L. B. Alberti's architecture. At first, for the background of aesthetics this study previewed characteristic of aesthetics arranged by subjectivism and objectivism, and this musical proportion which is applicable for Alberti's architecture was defined. secondly, Alberti's architectural aesthetics (concinnitas) of the higher concept was defined by methodology of the lower concept, and this study described the application of dissonance used by the method of canon in music. thirdly, after according to characteristic of aesthetics in chapter three, proportion system was researched by the more objective, applicable unit in renaissance: roman foot and local unit differs meter in the present, Alberti's architectures was researched by the method of cannon in music.

• Journal of architectural history
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• v.12 no.3
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• pp.7-18
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• 2003

The purpose of this study is to analyze the plan of central area in Pienza town. The nucleus of the plan was the principal square with the surrounding buildings - Cathedral, Piccolomini, Episcopal and Communal palace, focused attention on the first city plan of the Renaissance. The results of study are as follow: 1. The plan of central area in Pienza town is formed by relation with each other, in which theory including the "De re aedificatoria" of Alberti and practical plan of Pienza were united. 2. Though the plan of Pienza is not total city planning for new function and system, it has a many influence for city planning, square type and building disposition, through new project method as a result of prospective at central area in Pienza town 3. The square plan is formed of centripetal role to integrate with harmony the partial units of each other from diverse elements in scale, function, style and type of buildings, in which it can characteristics of the beginning of Renaissance. 4. Not only composition of plan, elevation and section of the Cathedral, Piccolomini and Episcopal palace, but composition of opennings are formed of proportional system of 1:1, 1:${\surd}$2, 1:2 etc.. And such proportional systems is composed of relation with each other in harmony, deciding width, length and height from among part and part, whole and part for spatial and formal composition.

• Architectural research
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• v.18 no.1
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• pp.1-12
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• 2016

This thesis explores Vitruvius and his impact upon other Renaissance architects who compare a city to a building or a building to a city, who match the city and the building into a human body, and who develop their own works. The objective of this study is to furnish an interpretation of their theory and practice through their literature and designs. In this point of view, this article takes notice of Vitruvius's six concepts coined from venustas and divides them into two parts: i.e. aesthetic quality (ordinatio, dispositio, and distributio) and technical activity (eurythmia, symmetria, and $d{\acute{e}}cor$) each. This thesis indicates that Vitruvius's successive impacts from the concepts bring about concrete design principles through proportional measurements, placing together, and hierarchic values for the former, as well as appropriate use through beautiful look, symmetrical harmony, and appropriate uses for the latter, tracking notions between a city as a house and vice versa, and either the ideas of the house or the city in the synthesis of the human body, which follows the perfect number and module based on the human body. The thesis shows that the representations of architecture and the city take place with the form of a circle and a square that express the religious belief and the cosmos, substantiating the connection between the proportions of the human body and numbers, and ultimately satisfying a concept of centrality, which is slowly extended to the enclosed plaza at the urban level from chambers, atrium, and corridors at the residence level.

• The Journal of Art Theory & Practice
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• no.14
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• pp.159-186
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• 2012

Julio Romano decorated the facade of his house in Mantua with a statue of Mercury to give expressions to his ideas on painting. Hereby the painter from Rome could show his home to the world as that of a painter. To be concrete, Mercury was the planet god to which visual artists belonged, and so was basically related to visual arts. In his role to deliver diverse features of art works Mercury could also convey concepts and emotions expressed in a picture to the viewer. The power of a painting to arouse certain emotions or move the mind of the viewer was further connected to the role of Mercury as the guide of the human soul. This function again related the Roman god to the characteristic of a portrait to present absent persons to the viewer. Above the statue of Mercury, a Lucian head of the god is seen, so that they together form the central axis of the facade. This seems to emphasize that the theme of the facade decoration was the powerful persuasive forces of eloquence. The two masks on the left could then refer to sources of eloquence, I.e. various beautiful expressions of a language and its generative process. On the other hand, the masks on the right could represent consequences of eloquence, for instance, prudence, evil effects which come about to imprudent listeners, and other influences on listeners. Finally, it would be useful to remind us of a line from On Architecture by Leon Battista Alberti. According to the humanist architect parts of a building which are seen from the outside, like a facade, should be appropriately designed, since the decoration of a house could play a significant role to enhance the fame and honor of the family and its fatherland. This theory of Alberti could have provided the foundation to the facade decoration of the Casa Pippi which proudly presented the profession of painting to the public in visual form.

• Journal for History of Mathematics
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• v.27 no.6
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• pp.395-402
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• 2014

When the circle inscribed in a square is projected to a picture plane, one sees, in general, an ellipse in a convex quadrilateral. This ellipse is poorly described in the works of Alberti and Durer. There are one parameter family of ellipses inscribed in a convex quadrilateral. Among them only one ellipse is the perspective image of the circle inscribed in the square. We call this ellipse "the projected ellipse." One can easily find the four tangential points of the projected ellipse and the quadrilateral. Then we show how to find the center of the projected ellipse. Finally, we describe a pair of conjugate vectors for the projected ellipse, which finishes the construction of the desired ellipse. Using this algorithm, one can draw the perspective image of the squared-circle tiling.

• Journal of Korean Society of Occupational and Environmental Hygiene
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• v.24 no.3
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• pp.383-392
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• 2014

Purpose: In this study, we sought to understand the risk factor for chronic disease of workers by studying the association between occupational standing time and metabolic syndrome(MetS) in full-time 300 male workers. Materials: Data on age, life habit, work related information of the subjects were surveyed using self-reported questionnaire and interview. MetS was identified based on the report of Alberti et al.(2009). As for the data analysis, SPSS 19.0 was used to conduct the descriptive statistic, ANOVA, Pearson correlation coefficient and multiple logistic regression analysis. Results: Daily working hour affects on the lifting heavy objects, running and strenuous exercise(r=-0.137, p<0.01), and total physical function decreased with the increase in age(r=-0.145, p<0.01). Also, obese was significantly associated with genuflection and bend over(r=-0.110, p<0.05). On multiple logistic regression analysis for the diagnostic indices of MetS, occupational standing time were significantly associated with waist circumference(odds ratio=0.885, ${\beta}$ value=-0.122, 95% CI=0.797-0.983, p<0.05) and triglyceride (odds ratio=0.873, ${\beta}$ value=-0.136, 95% CI=0.800-0.953, p<0.01). Conclusions: These results suggest that the working posture may be important risk factor in pathogenesis and growing of MetS and cardiovascular disease.

• BMB Reports
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• v.35 no.2
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• pp.220-227
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• 2002

Two aspartate aminoransferase (EC 2.6.1.1) isoenzymes (AAT-1 and AAT-2) from Lupinus albus L. cv Estoril were separated, purified, and characterized. The molecular weight, pI value, optimum pH, optimum temperature, and thermodynamic parameters for thermal inactivation of both isoenzymes were obtained. Studies of the kinetic mechanism, and the kinetics of product inhibition and high substrate concentration inhibition, were performed. The effect of some divalent ions and irreversible inhibitors on both AAT isoenzymes was also studied. Native PAGE showed a higher molecular weight for AAT-2 compared with AAT-1. AAT-1 appears to be more anionic than AAT-2, which was suggested by the anion exchange chromatography. SDS-PAGE showed a similar sub-unit molecular weight for both isoenzymes. The optimum pH (between 8,0 and 9.0) and temperature ($60-65^{\circ}C$) were similar for both isoenzymes. In the temperature range of $45-65^{\circ}C$, AAT-2 has higher thermostability than AAT-1. Both isoenzymes showed a high affinity for keto-acid substrates, as well as a higher affinity to aspartate than glutamate. Manganese ions induced an increase in both AAT isoenzymes activities, but no cooperative effect was detected. Among the inhibitors tested, hydroxylamine affected both isoenzymes activity by an irreversible inhibition mechanism.