Topic :

Book 5, Vitruvius
: The Ten Books on
Architecture
Member of The Group :
1. ANDI MUH ILHAM NUR FAKHRI (D051201101)
2. HIROTAKA HARANO (D051201109)
3. MUH. MORIANSYAH F. JURAIDIN (D051201018)
4. NILAM ALIFAH DEAS (D051201086)
5. NUR AFIFAH SULFITRI (D051201058)
01.
Introduction
Architectural treaties couldn't be in the
same terms with poetry because in
architectural stuff, it's not using a well-
known names or a common use words.
But could be underlined in this book is
that the author write about treat of the
laying out of public places.
02.
CHAPTER I
// THE FORUM AND BASILICA
 Untuk part pertama dalam buku 5 yang dapat
disimpulkan sama seperti judulnya yaitu mengenai
forum dan basilika. Tetapi untuk lebih spesifiknya,
-NUR AFIFAH SULFITRI

dalam part ini di bahas mengenai bagaimana

perletakan posisi, ukuran dan kolom dari forum
maupun basilika itu sendiri. Penjelasan tentang
kolom dibuat sedetail mungkin dalam penjelasan di
bagian bawah part untuk bagian basilika, termasuk
mengenai balok dan juga pilar. Selain itu di sebutkan
juga penempatan posisi antara basilika dan juga
forum yang seharusnya dibangun berdekatan dengan
beberapa alasan yang tercantum.
03.
CHAPTER II
// THE TREASURY, PRISON, AND SENATE HOUSE
-NUR AFIFAH SULFITRI

Dalam pembahasannya membahas mengenai dimensi

bangunan tersebut yang dapat di proposikan dengan dimensi
forum. Di bagian ini juga dibahas mengenai tinggi bangunan
dengan dinding yang di lapisi 'coronae' untuk menahan suara.
04
CHAPTER III
.//
The Theatre: Its Site, Foundations, and Acoustics
 After the forum has been arranged, next, to see plays or festivals of the
immortal gods, a site as healthy as possible should be selected for the
theatre. The foundation walls will be an easier matter if they are on a
hillside; but if they have to be laid on a plain or in a marshy place, solidity
must be assured. Above the foundations, the ascending rows of seats,
-HIROTAKA HARANO

from the substructures up, should be built of stone and marble materials.
Audience entrances in a theatre should be built in a continuous line from
all parts of the house, without turnings, so that there is no obstruction due
to echo. Particular pains must also be taken that the site is not a deaf one,
but one through which the voice can range with the greatest clearness.
Just as musical instruments are brought to perfection of clearness in the
sound of their strings, so the ancients devised methods of increasing the
power of the voice in theatres through the application of harmonics.
05.
CHAPTER IV
// HARMONICS
 Harmonics is an obscure and difficult branch of
musical science, especially for those who do not know Greek. If
we desire to treat it, we must use Greek words, because some of
them have no Latin equivalents. There are three classes of
-HIROTAKA HARANO

modes: first, the enharmonic; second, the chromatic; third, the

diatonic. These three classes differ in their arrangement of the
tetrachord. The tetrachords are composed of two tones and a
semitone, but when they are regarded separately according to
the terms of each class, they differ in the arrangement of their
intervals. The intervals of tones and semitones of the tetrachord
are a division introduced by nature in the case of the voice. .
 They are defined by measures according to the
magnitude of the intervals and determined their characteristics
in certain ways. In each class, there are eighteen notes, of which
eight in all the three classes are constant and fixed, while the
-HIROTAKA HARANO

other ten are variable. The tetrachords, or concords of tones, are

six in number, and there are no consonances between them, but
only the harmonies of the fourth, fifth, octave, and double
octave. Their names are due to numerical value; for when the
voice becomes stationary on some one note, and then, shifting
its pitch, changes its position and passes to the limit of that note
from that one, we use the term "fourth". The term "fifth" is used
for the concords which are produced by the union of the notes.
06.
CHAPTER V
// SOUNDING VESSELS IN THE THEATRE
 Dalam menyusun vessels, terdapat hal-hal yang perlu
diperhatikan, seperti :

- jika teater tidak berukuran besar, maka bagian rentang

-HIROTAKA HARANO

setengah horizontal dibuat tanda dan di dalamnya dibagun 13

relung melengkung yang berukuran 12 spasi sama di antara
mereka

- jika teaternya agak besar, maka tingginya dibagi menjadi empat

bagian,dan ditandai serta dibangun tiga rentang horizontal
07.
CHAPTER VI
//PLAN OF THE THEATRE
-MUH. MORIANSYAH F. JURAIDIN

pokok utamanya di dalam bagian ini ditulis bahwa perencanaan teater dibagun dengan tahap
berikut :

- menetapkan pusat utama

- menarik garis lingkar yang dimana dibawah dijadikan perimeter

- menentukan letak scaena

- mengembangkan sisanya
08.
CHAPTER VII
//
 The Greek has three squares whose corners intersect the circumference. The square
with the closest margin "Scaena" and truncating a part of the circle, and the limit of
"Proscaenium" is determined by this line. Parallel to this line and tangent to the outer
-NILAM ALIFAH DEAS

circumference of the line segment, draw a line to fix the front of the scaena. Through the
center of the orchestra and parallel to the direction of the stage, a line is placed and the
center is marked where it cuts the circumference of the left and right ends of the
semicircle. Then fix the compass on the right side and draw an arc from the horizontal
distance from the left side to the left side of the reception; again centered on the extreme
left, draw an arc from the horizontal distance from the right side to the right side. of the
proscaenio.
 As a result of the three-center plan, the Greeks had a larger orchestra, a
more rear stage, and a shallower stage.
-NILAM ALIFAH DEAS

Landscape and thyme. The height of this "logeum" must not be less than
ten feet nor greater than twelve feet. Let the steps between the wedge-
shaped seats extend into the first curved aisle, arranged on the line
directly opposite the angle of the square. Above the intersection, let other
flights enter the middle between the first; at the top, every time there is a
new intersection, the number of flights on the steps always increases in
the same way.
09.
CHAPTER VIII
// Acoustics as The Site of a Theatres
 • Dissonance is where the first obvious
sound hits a solid high above, when
rejected, it slows down as the next
sound rises and drops to the bottom.
• The drawings of the floor can be
-NILAM ALIFAH DEAS
distinguished from each other due to
this difference, that is, the theater
designed by the square is designed
for the Greeks, while the Roman
theater is designed by the equilateral
triangle. Whoever is willing to follow
these instructions will be able to build
a perfect theater.
• Circumsonants are those sounds that
spread everywhere and then are forced to
the middle, where it dissolves, the end of the
box is not heard and where it dies in a vague
sound. Resonance refers to the fact that it
comes into contact with certain solid
materials and retreats, thereby generating
echoes and making the end of the shell
sound double resonance. The consonant is
the consonant that it stays on from below,
increases as it rises, and reaches the ear in
a clear and clear tone. Therefore, if you pay
more attention to the choice of venue,
through this preventive measure, the sound
effect will be perfectly adapted to the
purpose of the theater.
10.
CHAPTER IX
// COLONNADES AND WALKS
 In this section, it is mentioned that the line that was
built at the back of the screen so that there is a
-NILAM ALIFAH DEAS

shade when it rains in the middle of the show and

can also build a preparation room for all the
costumes of the show as well as a road that was
built behind the scene there is also a temple which
is very useful for the city. .
11.
CHAPTER X
// BATHS
 dalam chapter ini, disebutkan bahwa jika ingin
-MUH. MORIANSYAH F. JURAIDIN

memilih tempat yang cocok untuk kamar mandi

dengan air panas yaitu yang menghadap jauh dari
utara dan timur laut, serta yang diterangi dari barat
daya. dan hal yang perlu di garis bawahi adalah
kamar mandi wanita dan pria dibuat berdampingan
agar tungku dapat bekerja pada keduanya.
12.
CHAPTER XI
// THE PALAESTRA
 Peristyle di palaestra harus berbentuk persegi atau persegi panjang di
-ANDI MUH ILHAM NUR FAKHRI

palaestra sehingga sirkuit itu berjalan dua setadi (jarak yang di sebut orang
yunani). Dalam tiga serambi, terdapat tempat duduk yang luas, balai
pemuda, ruang tas, ruang debu, ruang cuci, ruang pengurapan, kamar
mandi, lorong, dan laconicum. Pada bagian luar, tiga pilar diatur, satu
unfuk meninggalkan peristyla dan dua dikanan dan kiri. Salah satu dari
pilar menghadap ke utara harus menjadi serambi ganda dengan lebar yang
cukup. Sementara yang lain harus tunggu untuk melayani sebagai jalan.
Dengan demikian, orang-orang berjalan mengitari pinggiran kota tidak di
ganggu oleh kaum yang sedang berlatih. Para atlet selama musim dingin
belatih dalam lintasan tertutup
13.
CHAPTER XII
// HARBOURS, BREAKWATERS, AND SHIPYARDS
 Pelabuhan memiliki manfaat sebagai tempat berlindungnya kapal dari
-ANDI MUH ILHAM NUR FAKHRI

badai dan apabila situasi memiliki keuntungan alami, dengan memirinkan

layar yang melengkung kebentuk alami mereka, seperti itu jelas pelayanan
terbedar. Tetapi apabila memiliki situasi tanpa keuntungan alami dan tidak
layak untuk tempat perlindungan badai maka perlu dibuat tembik atau
tanngul dengan cara memberi sebuah confferdam. Aturan umum galangan
kapal adalah membuat mereka menghadap ke utara. Paparan dari bagian
selatan akibat hawa panasnya menimbulkan pembusukan, cacing kayu,
ulat dan segala jenis makhluk perusak lainnya. Bangunan-bangunan ini
sama sekali tidak boleh dibangun dari kayu.