Vitruvian Man (Uomo Vitruviano) by Leonardo da Vinci Vitruvian Man (Uomo Vitruviano) by Leonardo da Vinci Vitruvian Man (Uomo Vitruviano) by Leonardo da Vinci Vitruvian Man (Uomo Vitruviano) by Leonardo da Vinci Vitruvian Man (Uomo Vitruviano) by Leonardo da Vinci Vitruvian Man (Uomo Vitruviano) by Leonardo da Vinci Daniela Bertol in the Icosahedron, inspired by Vitruvian Man (Uomo Vitruviano) by Leonardo da Vinci Vitruvian Man (Uomo Vitruviano) by Leonardo da Vinci
Anthropomorphy & the Vitruvian Man

Anthropomorphism is defined as "the attribution of human characteristics or behaviour to a god, animal, or object." But it is also uncanny how often human proportions are related to ideal geometric shapes. The most prominent example is the drawing by Leonardo da Vinci Vitruvian Man (ca. 1495), which was created according to the human body proportions specified in Vitruvius' treatise De Architectura.
The Vitruvian Man is "an interpretation of the human body based on geometric configurations (square, circle and golden rectangle) and a statement on human proportions. The Vitruvian Man has been discussed from several perspectives and disciplines, ranging from art, design and architectures to geometry and anatomy. Of great relevance, as will be emphasized in the following section, is the contribution of art historian Martin Kemp, who interpreted the Vitruvian Man as the human body expression of a microcosm (Kemp 2007). According to Kemp, in Leonardo there was a deep connection between abstract geometric concepts, nature and the human body, ultimately to be reflected by buildings and their architectural elements. Everything was related by proportions between parts and the whole. A divine design based on ideal geometries was governing the natural and human world; the harmony found in music was seen as underscoring architectural design, as shown in Leonardo's centralized design. Proportions were found in the abstract world of geometry which extended to the world of human creations from visual arts and architecture to music, whose association with mathematics had been studied since Pythagoras (Kemp 2007, 90-98). In the classical world as well as in Leonardo and the Renaissance, ideal geometries and physical reality were believed to follow a divine harmony"(Bertol 2017).

Bertol, Daniela. 2017. Form mind body space time - the geometry of human movement. Doctoral Dissertation.



HEALING GEOMETRY by Daniela Bertol

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movement infrastructure presented at:
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