Podcasts about Vitruvius

Golden ratio https://en.wikipedia.org/wiki/Golden_ratio Vitruvian Man https://en.wikipedia.org/wiki/Vitruvian_Man (via ChatGPT) Vitruvius Architecture Overview https://chatgpt.com/share/681b3509-04dc-8006-a53e-8fe1ae50ad9b Mapping our emotionally divided society: Mathematical model helps explain polarization http://phys.org/news/2025-05-emotionally-society-mathematical-polarization.html Vitruvius & the Warlords http://nybooks.com/articles/2025/05/15/vitruvius-the-warlords-all-the-kings-horses 5 surprising things linked to cancer — and what to know about them https://www.washingtonpost.com/wellness/2025/04/28/cancer-tattoos-hair-straightener-meat/ canal do radinho no whatsapp! https://whatsapp.com/channel/0029VaDRCiu9xVJl8belu51Z canal do radinho no telegram:   http://t.me/radinhodepilha ... Read more The post existem princípios universais da Beleza? a matemática e a psicologia da polarização, proporção áurea #sqn appeared first on radinho de pilha.

Az előfizetők (de csak a Belső kör és Közösség csomagok tulajdonosai!) már szombat hajnalban hozzájutnak legfrissebb epizódunk teljes verziójához. A hétfőn publikált, ingyen meghallgatható verzió tíz perccel rövidebb. Itt írtunk arról, hogy tudod meghallgatni a teljes adást. 01:40 Autószerelő art of the deal. A bennfentes kereskedő sámán. 06:07 Hiába rántja visszák a kormányt. 09:00 Ha Trump dönti be a NER-t. Frank Drebin a Fehér Házban. 13:18 Nagy roppanás már nem kell. A gazdaság összeroppanás és a politikai változás között nem fennálló korreláció. Legyen már katonai diktatúra! 17:50 A szingapúri miniszterelnök magyarázata. Magyarország ugatva kommunikál.20:57 Title race! A felcsút bajnoki ünneplése. A bilbaói uszályos ünneplés. 25:10 Honosítások szabadfogású birkózásban. Mahacskalai húspiac a világ körül. Küzdősport és szervezett bűnözés. 31:00 A legnagyobb fasz Magyarországon. A komáromi Millenium üzletház és a Vitruvius-tanulmány. 33:58 Lenke néni és a Váci úti Mohu. A magyar üvegvisszaváltás visszafejlődése. Az ember, aki az egészet bojkottálja. 42:19 A giccsfestőnő a Qubit és Szily László cikkeiben, Hankó Balázs, a tökéletes droid. A giccs fokozatai a fideszes kultúrában. 45:49 Tátrai Tátó a 88-as Csoportból. A gruftik visszatérnek. Kubai nők a Körtéren. See omnystudio.com/listener for privacy information.

Send your feedback and ideas for future episodes.Who is Vitruvius and why is he important to our larger understanding of Freemasonry?

Ancient Roman concrete: what made it so strong? Lindsay Sant and Lino Saubolle break down new discoveries on its self-healing properties, Vitruvius' architectural wisdom, and why modern engineers are taking notes. Science, history, and a little fun! The post Roman Concrete Strikes Back: The Secret to Its Eternal Strength! appeared first on StarQuest Media.

Quando a arquitetura brasileira foi pop pela primeira vez no mundo. Dê o play para ouvir a história do grupo carioca que usou curvas, arte brasileira e concreto armado para renovar a arquitetura moderna.SIGA >>> https://www.instagram.com/arquiteturaobjetiva/FOTO DE CAPA: Casa do Baile, Pampulha, Oscar Niemeyer, 1942 | Fonte: Catálogo da Exposição Brazil Builds - MoMA.REFERÊNCIAS:CAMARGO, Mônica Junqueira de. Escola Paulista, Escola Carioca. Algumas considerações. In: Seminário Docomomo Brasil, 13, 2019, Salvador. CAVALCANTE, Julia. Da discência à docência. Arquitetos modernos na Escola Nacional de Belas Artes. Arquitextos, São Paulo, ano 21, n. 250.01, Vitruvius, mar. 2021 https://vitruvius.com.br/revistas/read/arquitextos/21.250/8014. ESCOLA Carioca. In: ENCICLOPÉDIA Itaú Cultural de Arte e Cultura Brasileira. São Paulo: Itaú Cultural, 2025. Disponível em: http://enciclopedia.itaucultural.org.br/termos/80204-escola-carioca. Acesso em: 21 de fevereiro de 2025. Verbete da Enciclopédia.  ISBN: 978-85-7979-060-7  PEIXOTO, Marta Silveira. Sistemas de proteção de fachada na escola carioca de 1935 a 1955. Arqtexto. Porto Alegre. N. 2 (2002), p. 122-137, 2002. VASCONCELLOS, Juliano Caldas de. Concreto armado Arquitetura Moderna Escola Carioca: levantamentos e notas. 2004. 

Der Staudamm von Subiaco, erbaut in der römischen Antike, brach am 20. Februar 1305. Heute erstaunt uns vor allem, wie er über 1.200 Jahre dem Wasserdruck stand hielt. Von Wolfgang Meyer.

On Architecture is a treatise on architecture written by the Roman architect Vitruvius and dedicated to his patron, the emperor Caesar Augustus as a guide for building projects. The work is one of the most important sources of modern knowledge of Roman building methods as well as the planning and design of structures, both large (aqueducts, buildings, baths, harbours) and small (machines, measuring devices, instruments). He is also the prime source of the famous story of Archimedes and his bath-time discovery. (From Wikipedia.)Translated by Morris Hicky Morgan.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

On Architecture is a treatise on architecture written by the Roman architect Vitruvius and dedicated to his patron, the emperor Caesar Augustus as a guide for building projects. The work is one of the most important sources of modern knowledge of Roman building methods as well as the planning and design of structures, both large (aqueducts, buildings, baths, harbours) and small (machines, measuring devices, instruments). He is also the prime source of the famous story of Archimedes and his bath-time discovery. (From Wikipedia.)Translated by Morris Hicky Morgan.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

On Architecture is a treatise on architecture written by the Roman architect Vitruvius and dedicated to his patron, the emperor Caesar Augustus as a guide for building projects. The work is one of the most important sources of modern knowledge of Roman building methods as well as the planning and design of structures, both large (aqueducts, buildings, baths, harbours) and small (machines, measuring devices, instruments). He is also the prime source of the famous story of Archimedes and his bath-time discovery. (From Wikipedia.)Translated by Morris Hicky Morgan.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

On Architecture is a treatise on architecture written by the Roman architect Vitruvius and dedicated to his patron, the emperor Caesar Augustus as a guide for building projects. The work is one of the most important sources of modern knowledge of Roman building methods as well as the planning and design of structures, both large (aqueducts, buildings, baths, harbours) and small (machines, measuring devices, instruments). He is also the prime source of the famous story of Archimedes and his bath-time discovery. (From Wikipedia.)Translated by Morris Hicky Morgan.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

On Architecture is a treatise on architecture written by the Roman architect Vitruvius and dedicated to his patron, the emperor Caesar Augustus as a guide for building projects. The work is one of the most important sources of modern knowledge of Roman building methods as well as the planning and design of structures, both large (aqueducts, buildings, baths, harbours) and small (machines, measuring devices, instruments). He is also the prime source of the famous story of Archimedes and his bath-time discovery. (From Wikipedia.)Translated by Morris Hicky Morgan.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

On Architecture is a treatise on architecture written by the Roman architect Vitruvius and dedicated to his patron, the emperor Caesar Augustus as a guide for building projects. The work is one of the most important sources of modern knowledge of Roman building methods as well as the planning and design of structures, both large (aqueducts, buildings, baths, harbours) and small (machines, measuring devices, instruments). He is also the prime source of the famous story of Archimedes and his bath-time discovery. (From Wikipedia.)Translated by Morris Hicky Morgan.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

On Architecture is a treatise on architecture written by the Roman architect Vitruvius and dedicated to his patron, the emperor Caesar Augustus as a guide for building projects. The work is one of the most important sources of modern knowledge of Roman building methods as well as the planning and design of structures, both large (aqueducts, buildings, baths, harbours) and small (machines, measuring devices, instruments). He is also the prime source of the famous story of Archimedes and his bath-time discovery. (From Wikipedia.)Translated by Morris Hicky Morgan.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Com um toque hollywoodiano, ele criou prédios extrovertidos que conquistaram os paulistanos nos anos 1950 e 1960. Seus edifícios se tornaram ícones urbanos e morar neles continua sendo objeto de desejo. Dê o play para conhecer a história de Artacho Jurado. SIGA >>> https://www.instagram.com/arquiteturaobjetiva/ FOTO DE CAPA: Edifício LouvreFonte: https://www.facebook.com/share/1GxQzFvSH1/ REFERÊNCIAS: ARTACHO Jurado. In: ENCICLOPÉDIA Itaú Cultural de Arte e Cultura Brasileira. São Paulo: Itaú Cultural, 2024. Disponível em: http://enciclopedia.itaucultural.org.br/pessoa204857/artacho-jurado. Acesso em: 24 de novembro de 2024. Verbete da Enciclopédia. ISBN: 978-85-7979-060-7   BELIK, Laura; CARMAGNANI, Maria Pia. Artacho Jurado: polêmico visionário. Drops, São Paulo, ano 14, n. 072.07, Vitruvius, set. 2013 https://vitruvius.com.br/revistas/read/drops/14.072/4889.  DA SILVA, Luís Octávio. A constituição das bases para a verticalização na cidade de São Paulo. Arquitextos, São Paulo, ano 07, n. 080.05, Vitruvius, jan. 2007 https://vitruvius.com.br/revistas/read/arquitextos/07.080/280. GALVÃO, Walter José Ferreira; ORNSTEIN, Sheila Walbe. Artacho Jurado empreendedor: um legado para a qualidade arquitetônica e construtiva contemporânea. In: SBQP 2009-Simpósio Brasileiro de Qualidade do Projeto no Ambiente Construído. 2009.  MAGNI, Vagner Bordin. João Artacho Jurado: estudo dos edifícios residenciais construídos na capital paulista. Dissertação (Mestrado em Arquitetura e Urbanismo) – Programa de Pós-graduação da Universidade Presbiteriana Mackenzie. São Paulo, 2019. https://www.louvrepaubrazyl.org/artacho-louvre/ https://www.archdaily.com.br/br/991061/artacho-jurado-arquiteto  https://refugiosurbanos.com.br/casas-predios/edificio-bretagne/

Det undervises i klassiske arkitekturidealer på NTNU. Eller er klassisk riktig ord? Sigurd Randby kommer til podkasten og snakker om hvordan det er å studerere arkitektur med historiske idealer, akvarell og Vitruvius' Firmitas, Utilitas, Venustas. Hvordan kan vi lære av de såkalt klassiske ideene? Hva vil det si at arkitektur skal behage en, og hvordan skal vi snakke sammen om disse tingene? En podkast om klassisk formgivning og behagelig arkitektur. Sigurd er arkitekturstudent og leverer diplom i 2024.  Har du tips eller innspill? Send oss en epost på podkast@lpo.no Følg oss gjerne på instagram :)    https://rdark.no/ https://www.minerva.no/arkitektur-arkitekturopproret-ntnu/halvparten-av-arkitekturstudentene-ved-ntnu-signerte-opprop-for-klassisk-arkitektur/459348 https://www.arkitektur.no/meninger/debatt/om-klassisk-arkitektutdanning/ https://www.instagram.com/klassiskentnu/  

REX DANGERVEST!! Download the PrizePicks today & use code: REJECTS to $50 instantly when you play $5! https://prizepicks.onelink.me/LME0/RE... The Lego Movie 2: The Second Part Full Reaction Watch Along: https://www.patreon.com/thereelrejects Follow Us On Socials: https://www.instagram.com/reelrejects/  https://www.tiktok.com/@thereelrejects?lang=en They've seen The Lego Movie & Lego Batman, now Greg Alba has his first-time rewatch & Andrew Gordon his FIRST TIME Watch along with Commentary, Analysis, Breakdown, Easter Eggs, & Full Movie Spoiler Review!!  From directors of Spider-Man Into The Spider-Verse & Across The Spider-Verse (Phil Lord & Chris Miller) with an all star cast featuring Chris Pratt as Emmet, Will Ferrel as President Business, Tiffany Haddish as Queen Watevra Wa'Nabi, Stephanie Beatriz as General Mayhem, Will Arnett as Batman, Elizabeth Banks as Wyldstyle, Alison Brie as Unikitty, Morgan Freeman as Vitruvius, Jonah Hill as Green Lantern, Channing Taum as Superman, Charlie Day as Benny, Will Forte, Jake Johnson, Keegan Michael Key (From Key & Peele), Liam Neeson, & MORE! We watch & react to scenes / movie clips such as "Good Morning Apocalypsburg", "Welcome to Heck," "Lucy Learns the Truth," "Emmet Gets Thrown Under the Dryer," "Rex is Emmet," & MORE!   Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

EVERYTHING IS AWESOME!! Go to https://magicmind.com/RR20 and use code RR20 that gets you up to 48% off your first subscription for the next 10 days or 20% off for a one time purchase The Lego Movie Full Movie Reaction Watch Along:  https://www.patreon.com/thereelrejects Follow Us On Socials: https://www.instagram.com/reelrejects/  https://www.tiktok.com/@thereelrejects?lang=en The Lego Movie Reaction, Recap, Commentary, & Spoiler Review with Greg's first time re-watching & Andrew's First Time Watching!! From directors of Spider-Man Into The Spider-Verse & Across The Spider-Verse (Phil Lord & Chris Miller) with an all star cast featuring Chris Pratt as Emmet, Will Ferrel as Lord Business, Will Arnett as Batman, Elizabeth Banks as Wyldstyle, Alison Brie as Unikitty, Morgan Freeman as Vitruvius, Jonah Hill as Green Lantern, Channing Taum as Superman, Charlie Day as Benny, Will Forte, Jake Johnson, Keegan Michael Key (From Key & Peele), Liam Neeson, & MORE! We watch & react to scenes / movie clips such as "I'm Batman," "escape from Bricksburg," "Saloon," "Interrogation Scene," Everything Is Awesome Lego Movie Song, & More! #magicmind #mentalperformance #productivityhacks #animationmonday #animation #animatedmovie #animatedmovie #thelegomovie #lego #legos #chrispratt #willferrel #trynottolaugh #funny #funnyclips #hilarious #everythingisawesome  Follow Andrew Gordon on Socials:  YouTube: https://www.youtube.com/@MovieSource Instagram:  https://www.instagram.com/agor711/?hl=en Twitter:  https://twitter.com/Agor711 Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Let's relax and sleep with the first of some fresh new recordings of very, very old episodes. This time, we learn what architecture covers, what we should study, and why putting buildings in healthy spots is a good idea. Obvious? Apparently not!   Help us stay ad-free and 100% listener supported! Patreon: https://www.patreon.com/boringbookspod Buy Me a Coffee: https://www.buymeacoffee.com/d5kcMsW   Read “The Ten Books on Architecture” at Project Gutenberg: https://www.gutenberg.org/ebooks/20239   Music: "Peace,” by Lee Rosevere, licensed under CC BY, https://leerosevere.bandcamp.com   If you'd like to suggest a copyright-free reading for soft-spoken relaxation to help you overcome insomnia, anxiety and other sleep issues, connect on our website, http://www.boringbookspod.com.

Atrás de uma cerca de cactos, uma simpática casa azul, na Cidade do México, foi a morada de uma das artistas mais conhecidas do mundo. Dê o play para conhecer a casa moderna de Frida Kahlo. Siga >> https://www.instagram.com/arquiteturaobjetiva/ Foto de capa: Lorenzo Zandri | https://divisare.com/projects/446645-juan-o-gorman-lorenzo-zandri-casa-o-gorman-casa-estudio-diego-rivera-y-frida-kahlo Referências bibliográficas: GONZÁLEZ, Javier Jerez. O'GORMAN. MEXICO DF, 1932. Racionalismo, revolución y vanguardia en las casas estudio para Diego Rivera y Frida Kahlo. Tese (doutorado) – Universidad Politécnica de Madrid, Departamento de Proyectos Arquitectónicos, 2015.   MORI, Victor Hugo. Casas-estúdio de Juan O'Gorman, Diego Rivera e Frida Kahlo. Projetos modernos na Cidade do México. Arquiteturismo, São Paulo, ano 11, n. 130.01, Vitruvius, jan. 2018 https://vitruvius.com.br/revistas/read/arquiteturismo/11.130/6840. https://www.nationalgeographicbrasil.com/historia/2023/05/quem-foi-frida-kahlo-e-por-que-ela-e-tao-famosa https://www.google.com/amp/s/www.bbc.com/portuguese/articles/clwynqvyxeno.amp https://artsandculture.google.com/story/4gUhHTDPJ4ciKQ?hl=pt-BR https://mexicocity.cdmx.gob.mx/venues/la-casa-ogorman/?lang=es https://inba.gob.mx/sitios/recorridos-virtuales/casa-estudio-diego-rivera-frida-kahlo/ https://artsandculture.google.com/story/4gUhHTDPJ4ciKQ?hl=pt-BR https://www.archdaily.com.br/br/791272/classicos-da-arquitetura-casas-museu-de-frida-kahlo-e-diego-rivera-juan-ogorman

Episode: 1221 Large hall acoustics: drifting away from reality.  Today, we try to hear the music in a large hall.

Welcome to the Instant Trivia podcast episode 1233, where we ask the best trivia on the Internet. Round 1. Category: Siegfrieds And Roys 1: In an 1870s ballet, Prince Siegfried falls in love with one of these graceful birds. Swan. 2: This singer took "Oh, Pretty Woman" to No. 1 in 1964. Roy Orbison. 3: This composer of the opera "Siegfried" also named his son Siegfried. Richard Wagner. 4: Before he became the "King of the Cowboys" on film, he formed the Sons of the Pioneers singing group. Roy Rogers. 5: In a Sir Walter Scott novel, this title character is an outlaw of the MacGregor clan. Rob Roy. Round 2. Category: A Triangle Scheme 1: After 1918, no one had an eye on the USS Cyclops, one of the first U.S. ships recorded missing in this mysterious region. the Bermuda Triangle. 2: 2 interlaced triangles make up this symbol of Judaism, which dates back more than 2,500 years. the Star of David. 3: The reciprocal of cosine, it's the ratio of line AC to line AB in the triangle here. secant. 4: Longfellow detailed a love triangle between Priscilla Mullins, John Alden and this guy in "The Courtship of" him. Miles Standish. 5: The regulation of sweatshops got heavier after the 1911 fire at this factory named for the blouses it made. the Triangle Shirtwaist Factory. Round 3. Category: The Civil War Years 1: War was raging when this holiday was 1st observed nationally, on the last Thursday in November 1863. Thanksgiving. 2: During his 1864 re-election bid, Lincoln said "It was not best to swap" these "while crossing the stream". horses. 3: This 4-word motto was first stamped on U.S. coins during the war, in 1864. In God We Trust. 4: U.S. diplomat Charles Francis Adams. this president's son, sought to keep the British neutral. John Quincy Adams. 5: "Little Women" author who became famous when letters she wrote as a Civil War nurse were published in 1863. Alcott. Round 4. Category: The Roles Of Morgan Freeman 1: 1989:Hoke Colburn, a chauffeur. Driving Miss Daisy. 2: 1994:Red Redding, a lifer at a Maine prison. The Shawshank Redemption. 3: 2014:Vitruvius (voice only). The Lego Movie. 4: 2013:Archie, visiting Sin City with 3 old, old pals. Last Vegas. 5: 2009:Nelson Mandela. Invictus. Round 5. Category: Nmoɋ-Ǝɋisԁ∩ 1: According to the proverb, 1 of these is "just a frown turned upside-down". smile. 2: In "Royal Wedding" we saw him dancing on the ceiling. Fred Astaire. 3: A 1918 24¢ U.S. stamp for this type of letter is valuable if the picture is upside-down. air mail. 4: Uncommon condition in which the temperature rises as you get higher in the atmosphere. inversion. 5: In 1980 this singer had a No. 1 hit with the following:"Upside down / Boy, you turn me / Inside out / And round and round / Upside down / Boy, you turn me / Inside out / And round and round...". Diana Ross. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Frank Starkey and his family are one of those rare breeds of Floridians that actually have deep roots in the Sunshine State. We talk about how they sought to owner their grand-dad's wishes as they ultimately developed the family cattle ranch in New Port Richey. A big part of their work was the Traditional Neighborhood Development (TND) called Longleaf. And later, the Starkey Ranch project.Here's a funny real estate video about Longleaf: (funny to me, anyway)If you listen to Frank, you'll learn how an architect has a whole different perspective on the present and the future, and why he thinks he has a luxurious lifestyle now in downtown New Port Richey. You can see some of his current efforts at this link to his website.This is episode number 50 of The Messy City podcast - thanks so much for listening. If you're new to this, welcome! I look forward to the next 50, as we explore the issues and people who love traditional human settlements, and are trying to create them. I love talking to the do-ers, to the creators, and everyone who has skin in the game that's trying to build a more humane world.Find more content on The Messy City on Kevin's Substack page.Music notes: all songs by low standards, ca. 2010. Videos here. If you'd like a CD for low standards, message me and you can have one for only $5.Intro: “Why Be Friends”Outro: “Fairweather Friend”Transcript: Kevin K (00:01.18) Welcome back to the Messy City podcast. This is Kevin Klinkenberg. I'm happy today to be joined by my friend and fellow new urbanist, long time participant, Frank Starkey, joining us from Florida. Frank, how you doing today? Frank Starkey (00:20.337) Howdy, Kevin. Doing great. Happy to be with you. I've been... Kevin K (00:22.908) I didn't even check. I assume you're in Florida at home, but you could really be anywhere. Okay. Frank Starkey (00:25.617) Yeah, I am. Yeah. Yep, I'm in our we recently moved into a townhouse that Andy McCloskey, who used to work for me, built in town here and we just bought one and we're very happy here. It's really nice. Kevin K (00:40.348) Cool, cool. And you're in New Port Richey? Frank Starkey (00:45.169) Yes, Newport Richey is on the northwest side of the Tampa Bay region. It's part of the region. We're in that suburban sprawl miasma that characterizes all Florida cities. And we're about 25 miles as the crow flies from Tampa, basically from downtown Tampa, and probably 15 to 20 miles from Clearwater and 30 miles from St. Pete. So we're And we're right on the Gulf. We have a river that runs right through town that river miles from where we are out to the Gulf is maybe five river miles. So you could easily kayak and paddle board right out there or upstream pretty quickly you're into the Cypress freshwater wetlands. So we've got a lot of good nature around. Kevin K (01:39.516) Do you ever do that? Do you ever get out on a kayak or whatever and get out there on the river? Frank Starkey (01:43.089) Yeah, it's been a while. But if you go up to there's a preserve that the city owns that's up in the freshwater area. And if you're in there, you think you're in the Tarzan. A lot of the Tarzan movies and shows were filmed in Florida swamps and you feel like you're in a Tarzan movie. You can't see that you're in the middle of town. And if you go out to the coast, the barrier island and right where we are. They really start and go south from here. So from here on up through the big bend of the Panhandle in Florida, the coastline is all marshes and salt flats and grass wetlands. It's a much prettier coastline in my opinion than the more built -up barrier islands. But you can go out and kayak for days and days out in the coastal areas and see all kinds of wildlife and water life. So it's pretty cool. Kevin K (02:40.124) That's cool. That's really cool. Well, Frank and I have been talking about trying to do this for a while. We'd hoped to hook up in Cincinnati, but schedules just got in the way, as is typical for that event. But I really wanted to talk with you today, Frank, because you hit on a couple of my hot points, which is that you're an architect and a developer. Frank Starkey (02:51.313) you Kevin K (03:06.332) And I know as a designer that you also care a lot about the kind of issues that we talk about routinely within the world of new urbanism and urban design, which is, you know, creating beautiful walkable places. So I just think it'd be interesting. You know, I talked to a lot of people who come into the world of trying to be developers. You and I probably both talked to a lot of fellow architects who we try to encourage to be developers. Frank Starkey (03:06.481) Mm -hmm. Kevin K (03:33.948) And so it's fascinating to me how people come to that. So I wonder if we could start just a little bit by talking about like your path and where, you know, how you got to this point. You, did you grow up in Florida or were you in Texas? Is that right? Frank Starkey (03:51.761) Now I grew up in Florida. I went to college in Texas, but I grew up on a cattle ranch just east of here, in an area that's now called Odessa. It was a 16 ,000 acre, beef cattle ranch that our grandfather had bought in the 1930s. And we were about 20, 20 miles from downtown Tampa and Newport, Richie was our hometown because of the county we're in Pasco County. And so we came to, you know, church school. shopping was in Newport, Ritchie. But I also kind of had an orientation towards Tampa because we were sort of closer that direction. And then my extended family all lived in St. Petersburg. My parents had grown up there and then my dad grew up in Largo on a branch down there that his dad had before the one in Odessa. I... Kevin K (04:41.564) So it's like the rare species of old Florida people, right? So. Frank Starkey (04:45.361) Yeah. Yeah, but man, I have a weird, I've always come from a very mixed, I mean, just a very much kind of background, culturally, geographically, economically. My great grandparents were from, mostly from the upper Midwest. And so we kind of, and my great grandfather on my dad's side. was William Straub, who was the publisher of the St. Petersburg Times. But I later found out that he was instrumental in getting the city to hire John Nolan to do a plan for the remainder of St. Petersburg. He was instrumental in getting the city to buy up a mile of its waterfront to create a continuous waterfront park along the bay in downtown St. Petersburg, which is the crown jewel of the city in terms of civic space. So I kind of grew up and then that that kind of orientation towards parks. He also helped the County, Pinellas County establish a park system, which was one of the earliest ones in the country. And so I kind of this park orientation and public space and civic life and civic engagement was a strain through my whole childhood. You know, my whole is kind of a generational thing in our family. And so that's one thread and. Living in the country, we didn't have much in the way of neighbors. The area of Odessa in those days was pretty poor. So I rode the school bus with kids that had virtually nothing and went to school in the suburbs of Western Pasco, which was where the kids were mostly from the Midwest. Their grandparents had worked for Ford or GM or Chrysler and then they... moved to Florida and the grandkids, you know, the kids moved with them. And so those were the kids I grew up with. And so I, you know, I didn't feel like I grew up in the deep south. People, but I, but I was close enough to it that I understand it, but I don't consider myself a, you know, capital S southerner, my accent notwithstanding to the degree that a good friend of mine, Frank Starkey (07:07.793) I grew up in Plant City on the east side of Tampa, which is much more in the farming world part of Hillsborough County. And he was much more deep south than I was, even though we grew up, you know, 40 miles apart. So it's just a very different cultural setting. So I grew up with, you know, upper Midwest heritage who had been in St. Petersburg since 1899. And then, you know, poor kids, middle -class kids, and then eventually wealthier folks. So I just kind of had this really all over the place cultural background that's not nearly as simple as, I mean, all of Florida has a tapestry of, a patchwork of different kinds of cultural influences. South of I -10, north of I -10, you're in South Georgia or Alabama, but. the peninsula of Florida is very culturally mixed up. Kevin K (08:11.228) So the old canard, I guess, was that the west coast of Florida was populated by people who came from the Midwest and the east coast was from the Northeast. Does that hold true in your experience? Frank Starkey (08:22.129) Yeah, that does hold true, although there were a lot of New Yorkers in Boston, not so much New England, but still a lot of New Yorkers found their way across. So I grew up around a lot of New York Italian descent folks, as well as Midwesterners. So I, you know, it's a wonder I don't have a New York accent or a Michigan accent or a Southern accent, because those were the kind of the three, more about more, you know, Northern accents than. than Southern accents from immediately where I grew up. But yeah, I -75 goes to Detroit and that I -95 on the East Coast goes to New York. And so that means that has an impact. Kevin K (09:06.844) Did you ever know about the Kansas City connection to St. Pete then with J .C. Nichols down there in downtown St. Pete? Frank Starkey (09:17.329) And tell me about it. I mean, I, because Bruce Stevenson's book, I think touched on that because they, they had an APA convention down here back in the 1920s. Kevin K (09:20.54) Well, that's it. Kevin K (09:28.54) Yeah, J .C. Nichols who developed the Country Club Plaza here, starting really in the 19 -teens, later in his life, he was asked to, or he bought property in St. Petersburg, in or near the downtown area. And the whole concept was they were going to essentially build like another version of Country Club Plaza there in downtown St. Pete. Yeah. And so I think like a small portion of it got built down there. Frank Starkey (09:32.785) All right. Frank Starkey (09:51.665) Really? Kevin K (09:57.564) And then maybe the real estate deal fell apart or something like that. But there was, yeah, that was a big push at some point. Yeah. Yeah. Frank Starkey (10:03.633) or the Depression hit. Interesting. Now, I wasn't aware of that. I didn't know that he had bought and had plans to develop here. That's interesting. The other, St. Petersburg's, well, the Florida Land Bus was in 1926. So Florida real estate speculation really ended then, and then it didn't pick up again until after World War II. So that might have been the death of it. Kevin K (10:13.084) Yeah. Yeah. Kevin K (10:27.164) Yeah. Yeah. So you find yourself growing up on a ranch then, pretty much in Florida. What takes you to architecture? What takes you to architecture and then to Texas to go to architecture school? Frank Starkey (10:35.505) I'd have been becoming an architect. Frank Starkey (10:42.289) For whatever combination of reasons, one evening when I was in about fourth grade, I, dad recollected this years later. I asked dad at the dinner table, what do you call a person, what do you call a person who designs buildings? Not as a riddle, just, and he said, it's called an architect. And I said, well, that's what I want to be when I grow up. And I never had the sense to question that decision again. So. Kevin K (11:00.54) Yeah. Kevin K (11:09.276) That's how it sounds vaguely familiar. Frank Starkey (11:11.853) you So, you know, whether it was Legos and Lincoln Logs and the Brady Bunch. And when I was a kid, we had a cabin in North Carolina that dad had the shell built by this guy who had a lumber mill up there and he would build a shell for you for $5 ,000 or something. He built that out of green poplar wood. The whole thing was immediately warped and racked and sagged and did everything that. green wood will do, and we immediately put it in a building. But dad spent all of our vacation times up there finishing out the interior of that. So I was just around that construction. And dad was also being a counter rancher, and he knew welding. And he was always tinkering. And in addition to fixing things, he was also inventing implements to use on the ranch and things like that. So he just had a hand building. ethic that, you know, he just kind of had. So whatever made me decide I wanted to design buildings, as I grew up from that point on, I just was all about it. And so by the time I got to high school, I couldn't wait to get into working for an architect. And I was an intern for an architect in Newport, Ritchie, when I was in high school. And then I went to Rice University in Houston to go to architecture school. So after I, and I did my internship here, which is part of the program at Rice for the professional degree. I did that in New York City for Pay Cop, Read and Partners. And another ironic thing was I learned, I had a really great classical architecture history professor in college at Rice who in his summers led, he and his partner who was a art history professor also, a fine arts. Frank Starkey (13:10.289) They led an archaeological excavation outside Rome of a villa from the dated that basically dated a time period of about 600 years straddling the time of Christ. And I've spent the summer after my freshman year on that dig. So I had a had a really strong exposure to classical architecture and urbanism throughout my school. And when I worked for PAY, I worked on James Freed's projects. At that time, we were working on what became the Ronald Reagan building in Washington, D .C. It's the last big building in the federal triangle. And so it's a neoclassical exterior with a very modern interior. It's kind of like a spaceship wrapped inside a federal building. And the other project I worked on a little bit that year was the San Francisco Main Library, which is in the Civic Center right down in the Civic Center of Francisco with the City Hall and the old library. The new library is a mirror of it that's a neoclassical facade on, well, two wings of a neoclassical facade that face the Civic Center side. And then on the backside, which faces Market Street, there's a much more modern interpretation of that commercial core district facing along Market Street. So I worked on these buildings with Sirius that took, you know, this was at the end of the Pomo era of the 80s when everybody was making fun of classical architecture in, the architects were having fun with it or making fun of it, however you look at it. And Fried was taking it more seriously. It was still a updated take on neoclassical architecture. in some of the details, but it was really a fascinating exposure to the actual practice of designing classical buildings, working for one of the most famously modernist firms in the world. So. Kevin K (15:21.628) Yeah, no doubt. No doubt. Yeah. That's pretty wild. Was rice, I mean, we're about the same age, was rice kind of like most architecture schools, generally speaking, in their emphasis on looking at modernist design as the holy grail that you must pursue? Frank Starkey (15:28.433) Mm -hmm. Frank Starkey (15:38.769) Yeah, interestingly, like my childhood and the cultural mix that I described earlier, Rice was sort of in this period at that time where it was between deans. There was a series of, it's too long a story to explain here, but the previous dean who had been there for 15 years or something, O. Jack Mitchell, announced his retirement the day I started classes. And... So he was a lame duck. And then it was, you know, we basically went through a series of searches, deans, dean passed away, interim dean search, a new dean, and then he resigned. So the whole time I was in college, we really didn't have a dean. And the faculty that Mitchell had built was very, I'd say ecumenical. They kind of, we had some diehard theoretical postmodernists and we had. At the other end of the spectrum, we had a guy who did a lot of real estate development who was super practical and we always made fun of him for caring about mundane things like budgets. And I know he was, I made him a laughing stock, which I wish I'd taken more of his classes. But anyway, and then a really good core faculty who had a real sense of, and real care about urban design and. Kevin K (16:46.428) Well, yeah, exactly. Frank Starkey (17:04.401) My sophomore class field trip was to Paris and we did studies of, you know, in groups, each of us studied at Urban Plus. So I really had a strong urban design and contextual sensibility through my architecture class, all my architecture classes. In the background, there was this whole drum beat of postmodernist, post structuralism and deconstructivism. that was going on. I never caught into that. It always just seemed like anything that requires that much intellectual gymnastics is probably just kind of b******t. And it also, I was involved with campus ministries and fellowship of Christian athletes and church. And so I had a sense of mission and doing good in the world. And it also just, it just didn't work with that either. So I didn't really go in for that stuff, but the urban design stuff really did stick with me. And then the classical architecture and Vignoli, which I mentioned to you the other day, that really did kind of stick to me as a methodology. Kevin K (18:29.436) Man, I went for it hook line and sinker, man. It was, yeah. Yeah. I mean, I thought deconstructivism was like the coolest thing at that time period. And I bought the whole program for some period of time. And frankly, until I ran across some of Andreas's writings and then started learning about seaside. And that's really what kind of broke it open for me that I started to. Frank Starkey (18:32.433) Really? Frank Starkey (18:40.465) -huh. Frank Starkey (18:52.273) Mm -hmm. Kevin K (18:58.556) see things a little bit differently and all, but I, yeah, I was, I was in deconstructivism was funny because you could just kind of do anything and you know, you could call anything a building basically. Yeah. Frank Starkey (19:07.537) Yeah. Yeah, yeah, the author is dead long live the text was the, and so you could just, yeah. And to me, it was just pulling, it was just pulling stuff out of your butt and I just. Kevin K (19:22.636) totally. Yeah. Yeah. It was all b******t, but it was, I guess, fun for a 19 or 20 year old for a little while. So, all right. So fast forward then, did you come back to Florida then pretty much right after school or? Yeah. Frank Starkey (19:25.809) Yeah. Yeah. Yeah. Frank Starkey (19:38.929) Yeah, I did a gap year after college and then ended up in Austin for another year and then came back to work with my brother. So by that time, we had seen, because of where the ranch is situated, it's sort of in the crosshairs of growth patterns coming from Tampa to the south and Clearwater to the southwest. and Newport -Ritchie from the west. So it was, the growth was coming from, at us from two directions. Granddad and you know, this 16 ,000 acres that's 20 miles from downtown Tampa, as you can imagine in the 20th century is going up in value pretty dramatically from 1937 to 19, you know, to the late century. And in the early seventies, he started selling and donating land to the state for preservation. Kevin K (20:24.22) Mm -hmm. Frank Starkey (20:36.177) and so we had, you know, again, that whole park ethic, and the, so we were selling, kind of selling the Northern parts that were away from the development pattern, off. And it was partly for the state tax planning purposes and also just, but primarily to put the land into conservation. So there would be something left of native Florida for people to see in future generations. That was his. His goal. My brother had my brother six years older than me and had gone to University of Florida and gotten a finance degree. And he came back after college, which was when I was like my senior year in high school and started working for the granddad was still alive and he was working for the estate, helping with that planning. And granddad passed away while I was in college and we had the estate tax to deal with. And we ended up selling some more land to the state for conservation. And he also started learning the development. process. We knew that as much land as we could sell to the state as possible, we were not going to be able to sell at all and we were going to have to develop. Somebody was going to develop land on the ranch. And our family wanted to see that it was done in a way that was, you know, that we would be proud of that, that put together our, you know, our family goals for civic engagement, environmental preservation, and, you know, and also. It was the whole family's sole asset. So it's everybody's retirement fund and principally our parents and our cousins. So we have cousins who are half generation older than us. So we were accepting that development was inevitable and wanted to be more in control of it. So Trae had been talking to me for a while about coming back and working with him on the development stuff in the ranch. So that's what I decided to do in 1995. And the decision point for me, Kevin K (22:09.468) Yeah. Frank Starkey (22:34.449) was, you know, I had set up my career trajectory to become a consulting architect and design buildings for other people. And I realized that I had this opportunity to, you know, have a bigger imprint on developing a neighborhood that could perhaps set a pattern. By that time, I had become knowledgeable about new urbanism and what was going on at Seaside. And And at that point, I think some of the other projects were starting to come out of the ground. So this was 1995. So I was like, well, I, you know, I've got too much opportunity here. And, and with what, what I know and what I have to bring to the table, it just seems like the thing I'd need to do. So I came back and we started working on development on the southwestern corner of the ranch, which was sort of the direction that was the frontline for development. So in 1997, we held our charrette for what became Longleaf, which is a 568 acre traditional neighborhood development that we broke ground on in 1999. Our first residents moved in in 2000. And that was the first TND in Pasco County. And in my opinion, it was the last TND in Pasco County. Because the county loved it so much that they... Kevin K (24:00.38) You Frank Starkey (24:04.721) passed the TND standards ordinance, which it would never comply with and that no other developers ever wanted to do. And so nobody really has. They've kind of just, it's been compromised with, right? That's a whole other story. Kevin K (24:20.14) Yeah. Well, that sounds, I mean, we may need to get into that at some point, but, so you started this in 2000 and really in earnest 2001 or so. And obviously there was a little, little bump in the economy right then, but I guess kind of more of a bump compared to what came later. So talk about like those first, maybe that first decade then, like what all did you build and how much of this were you actively involved in the design of? Frank Starkey (24:24.529) Okay. Frank Starkey (24:39.377) Yeah. Frank Starkey (24:49.425) It's fascinating looking back on it how compressed that time frame was because we sold we we developed the first of four neighborhoods In the first neighborhood we did in As I said 99 2000 and then we built the second neighborhood in 2002 2003 we sold the third and fourth neighborhoods in 2004 which You know, six years later, we look like geniuses. If we would have been, if we'd been real geniuses, we would have waited until 2006 to sell them. But we got out before the crash, obviously. So we did well there. We were, I was, you know, Trey and I, because we had a view of building a career in real estate development, we thought we should do everything. We should touch every aspect of the process ourselves at least once. So we knew how everything worked. But then we never scaled up our operation big enough to hire people to fill in those specialties for us. So we really both kind of ended up doing a whole lot of the work ourselves. So our master, our designer was Jeffrey Farrell, who did the the overall plan for Longleaf. And he wrote the design code, but we collaborated on all that very closely, because I knew enough about what urbanism was and architecture. And so I administered that design code with our builders. He detailed out the first neighborhood. He and I detailed out the second neighborhood. collaboratively or sort of a 50 -50. And you know what I mean by detailed out, just, you know, you take a schematic plan and then you have to put it into CAD and get it, get to real dimensions and deal with wetland lines and drainage and all that stuff. You get, s**t gets real about, you know, curbs and things like that. So that kind of, those details. And the third neighborhood I detailed out, but we sold it, but the developer who bought it built it out according to what I had done. So I was... Frank Starkey (27:15.281) very involved with the planning side of it. And of course I had been involved with the entitlements and then I administered the design code with all of our builders. So I was dealing with there and we had, we didn't have sophisticated builders. We didn't have custom, we weren't a custom home builder project. We were small local production builders. So these were builders who built 300 houses a year. We weren't dealing with. David weekly, you know, a national home builder who was doing nice stuff. Nor were we dealing with the 12, you know, you know, a year custom builders. So we didn't have much sophistication on the design side coming from our builders. So I did a lot of hand holding on the design of that. I always tell if you're a architect who's going to be your. Kevin K (27:46.716) Mm -hmm. Frank Starkey (28:13.169) is going to develop a T and D. I will tell you under no circumstances do what I did. Always hire somebody else to be the bad guy because as the developer you just can't look the home builder in the eye and say let this customer go. And so even though they're asking you to do something you shouldn't. So you need somebody who can be your heavy for that and it's not going to be you as the developer. But anyway, so I did that and And then I designed some of the common buildings and then had them. I wasn't licensed yet. And so I had those CDs done by somebody with a stamp. So I always said that I, you know, between the larger planning of the ranch and the strategy there, and I also got involved in community, you know, regional and county wide planning efforts and committees and things like that and planning council. So I kind of worked at the scale from the region to the doorknob. Which, you know, is fabulous as an architect because I've found all of those levels, I still do, I find all of those levels of design and planning fascinating. Kevin K (29:17.084) hehe Kevin K (29:30.78) So let's talk about the mechanics of being a land developer for a minute and how you did it. So you obviously own the land, and then you came up with the master plan. So then how many steps did you take? You took on the burden of entitling probably the whole project in phase by phase. And then were you also financing and building infrastructure as well, and then basically selling off finished land? Frank Starkey (29:36.433) Mm -hmm. Kevin K (29:59.26) finished parcels or finished lots to other developers or builders. Frank Starkey (30:04.177) Yeah, what we, so dad on the land free and clear, he contracted the land to us under a purchase and sale agreement whereby we would pay a release price when we sold a lot. So, you know, it's favorable inside family deal. We paid him a fair price, but it was a very favorable structure that allowed it, and he subordinated it to. to lending for, we had to borrow, we don't have cash as a family, we didn't, none of us have cashflow from, you know, we don't have some other operating company that spits off cashflow. So we had asset value, but no cashflow. So we had to borrow money to pay for infrastructure, I mean, for planning and entitlement costs and engineering. And so that was our first loan. And then we had, We set up a community development district, which is a special purpose taxing district that a lot of states have different versions of them in Florida. It's called a CDD. It's basically like a quasi -municipality that a developer can establish with permission from the county and state government to establish a district, which is then able to sell tax -free government -style bonds to finance infrastructure. So it's an expensive entity to create and then to maintain. But if you're financing a big enough chunk, which in those days was like $10 million, it became efficient to have the care and feeding of the district in order to get the cheaper money. So you could get cheaper bond money for financing infrastructure. You could not finance marketing or... specific lot specific things you could for example, you could finance drainage, but you couldn't finance still so some of the Terminology was a little bit You kind of had to do some creative workarounds, but basically our so but we it also meant you had to still have a source of capital for those things that the district would not finance so we had an outside Frank Starkey (32:28.497) Loan structure in addition to the CDD financing and that was how we financed the construction of the development and then sold the lots to individual home builders We had three builders under contract in our first phase and each of them was committed to a certain number of lots and they had enough capital access on their own to finance their the construction of their houses a lot of them would use their buyers financing and use do construction permanent loans to finance the vertical construction of the houses. But the builders had the ability to take down the lots. So that was the deal. I don't know if that structure is still done very much or if there were many builders in that scale that still do that in Florida or in this area. It seems like most of those builders got just crushed. in a great recession and never came back. I'm not really aware of any builders that are in that scale, in that size range anymore. I mean, if there are, there's maybe a dozen where there used to be 100. Kevin K (33:40.86) Yeah, so they either got smaller or a lot bigger basically. Frank Starkey (33:45.681) No, they mostly just flat got killed and just went out of business. And they may have resurrected themselves. Yeah, they may have resurrected a smaller or gone to work for somebody else or retired because a lot of them were older. Of the builders that we had, yeah, I think they probably did get smaller in fairness, but they were gone. And we were out of, as I said earlier, we were long out of long leaps. And the... Kevin K (33:47.836) Yeah. Frank Starkey (34:13.969) Crosland was the developer that bought the third and fourth neighborhoods and they didn't they brought in all new builders. So they brought in David weekly and inland, which was a larger regional builder. And then Morrison, I think one of the other large, larger builders who did rear loaded T and D project product. Kevin K (34:38.108) So how much heartburn was that for you and your family to go from this position where you're like asset rich but cash poor to and then all of a sudden you're taking on pretty large debt to do this development piece? I mean, what was that like? Frank Starkey (34:54.801) Well, you know, you just you don't know what you don't know when you're young and ambitious. So it was it was there. I did. There were some real Rolade's cheering moments. I think, as I recall, the most stressful times for us were before we started construction. And it was it was frankly, it was harder on Trey because he was he was starting a family at that time. So he had. He had literally more mouths to feed than I did. I was still single and so, and I didn't have the stresses on me that he did. And once we got under development, we weren't so much, you know, the stress level shifted to different, you know, kind of a different complexion. And, you know, fortunately when the recession hit, We were done with long, we didn't have, you know, we weren't sitting with longleaf hanging on us. So that was good. but we were in the midst of entitlements for the Starkey Ranch project, which was the remainder of the land that the family still had that had not been sold to the state. And we were taking that, there was about 2 ,500 acres. We were taking that through entitlements starting in 90, in 2005. And I would say that we got our, our entitlements. not our zoning, but we got our entitlements package approved, in essence, the day before the recession hit. So, so we had borrowed again, borrowed a lot of money to relatively a lot more money to pay for that. And that also involved the whole family, because that was the rest of the ranch that that the part that long leaf is on dad had owned individually, free and clear. The remainder of it. had been in granddad's estate and that went down to children and grandchildren. And so there were seven different owners of that. And we had spent some time in the early 2000s putting that together into a partnership, into one joint venture where everybody owned a pro rata share of the whole, but we had other shareholders to answer to. And so that was a whole other level of stress. Frank Starkey (37:16.913) due to the recession because our bank went, you know, did what all banks do and they called the loan even though we hadn't gone, we hadn't defaulted. We would have defaulted if they'd waited six months, but they blanked first and they sued us and we spanked them in essence, but we, at the end of the day, but it was two years of grinding through a lawsuit that was hideous and that was really the most unpleasant. Kevin K (37:29.82) Hahaha! Frank Starkey (37:46.257) level of stress, not because we were going to lose our houses, but because we were, it was just was acrimonious and not what we wanted to be doing. Plus you had the background of the whole world having ground to a halt. So fighting that out through the dark days of the recession was, that was pretty lousy way to spend a couple of years. Kevin K (38:12.284) Yeah, so then how did you all come out of that situation then? Frank Starkey (38:17.009) We ended in a settlement. The settlement, the worst part of the settlement to me was that we had to, long story, but some of the, we had retained ownership of downtown Longleaf with the commercial core, mixed use core of Longleaf. And that wasn't completed development yet. And because we had that collateralized on another loan with the same bank, we ended up having to cut that off as part of the settlement. So. we, you know, we had to, we amputated a finger, not a hand, but still it was, it was, you know, it was our pointer finger. So that was, that was hard, but, but we lived to fight another day, which again, you know, fortunately it's better to be lucky than good, right? We were, that makes us look like, you know, we did pretty well coming out of the recession. So after the recession and after getting that settled out, and there was a couple of other small pieces of land that we had, Kevin K (38:52.124) hehe Frank Starkey (39:15.121) collateralized to the bank that we handed over, but basically got them to walk away from pursuing us further. We got that worked out and then we had to then figure out how to sell the land. Our joint venture partner, which was to have been Crosland on developing the ranch, they had gone to pieces during the recession, so they weren't there anymore. And the only buyers at those coming out of that were big hedge funds and equity funds. And they were only, their only buyers were national home builders and the national home builders, even the ones like Pulte who had tiptoed into traditional neighborhood development product before the recession. They were like, nope, nope, nope, backing up, never doing that again. They're. Kevin K (40:10.46) Yeah. Yeah. Frank Starkey (40:12.593) So everything that we had about TND and our entitlements, they're like, get that s**t out of there. TND is a four letter word. We will not do that. So we kind of de -entitled a lot of our entitlements and cut it back to just a rudimentary neighborhood structure and interconnected streets and some mix of uses and negotiated to sell it to one of these hedge funds or investment funds. who developed it with a merchant developer and sold it to national home builders. And they pretty quickly undid what was left of our neighborhood structure and developed it in a pretty conventional fashion. They did a really nice job on it and it soldered a premium to everything around it. They did a really great job with their common area landscaping, but they gutted the town center. They didn't even do a good strip center in lieu of it. They just did a freestanding public and a bunch of out parcel pieces. They squandered any opportunity to create a real there out of the commercial areas. They did beautiful parks and trails and amenities centers, but they just didn't get doing a commercial town center. Kevin K (41:36.444) What years was that when they developed that piece? Frank Starkey (41:40.337) We sold it to them in 2012 and I guess they started construction in 13 or so and it was really selling out through 2020. They still got some commercial that they're building on. I don't know if they've got any residential that they're still, I mean, it's kind of, its peak was in the 17, 18, 19 range and it was one of the top projects in the country and certainly in the Bay Area. and got a lot of awards. And yeah, so I don't, I can't complain too much about it because it sounds like sour grapes, but basically they didn't, I always just tell people I'll take neither blame nor credit for what they did because it's just not at all what we, there's very little of it that is what we laid out. So because that, so we, having sold that in 2012, that left me and Trey to go do what we wanted to do. All of the, you know, the rest of the family for that matter. And, Trey was ready to hang it up on development for a while. So he kept a piece out of the blue out of the ranch and settlements and started the blueberry farm. And I went and decided to do in town, small scale development. Ultimately ended up in Newport, Ritchie back in my own hometown. And then and that's that's what I've been doing since basically since 2015. Kevin K (43:06.844) Yeah. So I'm curious about a couple of things. So with the completion of the sale of all that and the development of both Longleaf and Starkey Ranch, I guess I'm curious how your family felt about the results of all those. Were people happy, not happy with the results? Was there... I'm just kind of curious about that dynamic because it's an interesting thing with a family property. And then... I guess secondly, with you being somebody who carried more a certain set of ideals for development, what did you take away from that whole process, especially with Starkey Ranch and anything, any useful lessons for the future for others relative to an experience like that? Frank Starkey (43:38.321) Mm -hmm. Frank Starkey (43:56.209) Couple of thoughts. As far as the whole family goes, we were, well, our cousins don't live here and they were less engaged in it intellectually and just personally. The four of us kids had grown up here and this was our backyard. They had grown up in St. Pete and one of them lived in North Georgia. And so it was, they just weren't as... emotionally invested in it. Not to say they didn't care, but it just didn't, it wasn't their backyard that had been developed. And you know, and we all are proud that three quarters of the ranch of the 16 ,000 acres, over 13, almost 13 ,000 of it is in conservation land that will always be the way it was when we were kids. Except there are no fences, which is very disorienting, but anyway. It's still, you know, that's the way granddad saw it when he was young and it will always be that way. So that's, we're all excited about that. And we pay attention to that more than we do to what happened on development. I think even long leave the, what, you know, the, the people in the surrounding area think we're sellouts and, people who have lived here. for five years or 10 years or 15 years are still just shocked and dismayed by the rapid pace of development. Well, it was a rapid pace of development, but we've been seeing it coming for 130 years now as a family. And I mean, it's why we put land into conservation going back to the early 70s when granddad started selling that. What people can see is the part along State Road 54, which is the visible stuff. which 10 years ago was a lot of pastors with long views and pleasant looking cattle who were money losing proposition as a agricultural business. But people don't see that. They just thought, it's a pretty pasture land. And how can you turn that into houses? It's so, you greedy b******s. So yeah, we get a lot of flak still to this day. I mean, and I've got a. Kevin K (46:12.092) Yeah. Frank Starkey (46:17.425) Trey's wife is a county commissioner and she gets all kinds of grief for being corrupt because people see our names on everything and they're like, well, they must be corrupt. No, you've never met any less corrupt people. And so there's kind of public blowback to it. I've said what I've said, what I just told you about how the development of the ranch did not comport with what we envisioned for it. And I don't, I don't shy away from saying that. I don't go around banging a drum about it. cause what's, what's the point of that? And a lot of people might think I just sound like sour grapes, but it, you know, it's, we, I think we all had our ugly cry about the ranch at some point. I mean, I remember when we were, we, the first closings of the ranch were in 2012 and it was a phased state down, but you know, they, they take a chunk at a time. So we stayed in our office, which was the house that we had grown up in at the ranch headquarters, right where the cattle pens and the horse barn, the truck barn and the shop and all of the ranch operations were. And the day that, eventually we had to move everything out and all that, almost all of that got torn, all of it got torn down. I remember having, I went out and stood by a tree and cried my face off for a while. Kevin K (47:46.044) Yeah. Frank Starkey (47:46.673) You know, it still chokes me up to think about it. And we all did that. I mean, but it wasn't an overnight thing to us. Whereas if you lived in a subdivision in the area that, by the way, had been a cattle ranch 20 years ago, you didn't, you know, you're not building, you're not living in a land that was settled by the other colonists. It seemed shockingly fast, just like overnight. my God, all of a sudden they're, they're. They're scraping the dirt the grass off of that and you know three weeks later. There's houses going up It's just shocking and and really disorienting we'd said we had seen it coming literally our whole lives We always knew that was going to be the case. So it was there was going to be something there our Feelings about the what what what it was compared to what we would like it to have been or another You know, that's what we have to wrestle with but the fact that it's developed We always saw that coming and people don't really understand that until because you just, you know, because it just it's perceived so differently. If you just drive by and see it developed one day when it wasn't, then if you grow up with an aerial photograph on the wall of dad's office and you know, we just know that that's not always going to be that way. Kevin K (49:05.82) Yeah. Yeah. Well, let's talk for a minute about what you're doing now then with the stuff in Newport Ritchie and the smaller scale infill stuff. What was like the first one, after shifting gears and doing that, what was like the first project you took on on your own? Frank Starkey (49:25.561) Much more much more fun topic. Thank you for shifting gears. I should have let you do that sooner Kevin K (49:30.204) Yeah. Frank Starkey (49:33.617) The, so Newport Richey is a pre -war town that was laid out in 1911 by Wayne Stiles, who I'm starting to learn more about was a pretty cool town, kind of B -list town planner who worked with people like John Nolan and the Olmsted brothers and was contemporary to them. Got a very competent little city plan for a small town and it has building stock in the downtown. the main street and Grand Boulevard downtown that dates to the 1920s and to the 1950s and 60s, kind of about half and half. And so it always had these good urban bones, some decent building stock, nothing great. It was never a wealthy town, so it doesn't have big grand Victorian houses down at Boulevard or anything, but it's got some good characteristics. But it had economically just cratered, just for years and really decades of disinvestment. moving out to the suburbs. It wasn't white flight in the traditional sense, but it was economically, it was the same just reallocation of wealth from the historic city into the suburbs and leaving the city behind. So in 2015, there was a, so downtown Newport, which he has a little lake, a about a five acre really lovely little. city park, a riverfront, and the central business district is right next to it. And then there's a pink Mediterranean revival hotel building from 1926 in that park. It kind of ties it all together. It's all the same ingredients that downtown St. Petersburg has, just in miniature and in bad shape. And St. Petersburg, believe it or not, which is now the best city in Florida, was really down in heels for most of my childhood. The Vanoi Hotel, which is their big pink hotel, was a hulking, you know, it looked like something out of Detroit when I was a kid, broken out windows and chain link fence around it and weeds and looked like a haunted hotel. So the Hacienda was kind of in that shape almost. And Downtown was doing, was, you know, just kind of sitting there with some honky tonk bars and a lot of, you know, just kind of moribund. Frank Starkey (51:54.705) commercial space. The city had bought out the First Baptist Church, which overlooked that lake right downtown when the church decamped out to the suburbs like all the other capitals in town. Even God's capital moved out to the suburbs. And the city bought it and tore down the church buildings and put a for sale sign on it, put it out for RFP a couple times, got crickets in response. Because no self -respecting developer would look at downtown New Port Richey as a place to develop. And I looked at it and as Robert Davis and Andres 20 will point out, we developers and architects and urbanists, we live in the future. You know, our brains are in what can be, not what is here now. And you've heard Andres say that the present is a distortion field. So I wasn't bothered by the fact that the neighborhoods around it weren't the greatest neighborhoods. They weren't terrible. Kevin K (52:39.8) Yeah. Yeah. Frank Starkey (52:48.177) And I looked at it and said, well, this is a pretty good gas piece of property. You got through overlooking this nice lake. There's a park. There's a downtown right there. We can work with this. So I asked the city to put it out for an RFQ, which they did. And Eric Brown, your buddy and mine, and one of your former guests on the podcast recently, was the architect for the buildings. And Mike Watkins, whom you also know, was the planner. I had them come in and do a Charette to develop a design for an apartment project on that former church property. And we negotiated a deal with the city to buy that property and we were off and running. So that was the first project. Just announcing that and showing, you know, as people were, some people were rightly skeptical that it would just end up being another low income housing thing because. This is Newport Richey. It's an economic shithole. Why would anybody put anything nice here? And surely, surely, even if you think it's going to be luxury, or if you're just saying it, it's obviously just going to, there's no way it can end up being anything but low income housing. And, but a lot of other people were excited to see that somebody was putting some investment in town. And it just kind of started to change people's thinking. Then we took on a commercial building downtown that when I was a kid had been a, IGA grocery store where we did our grocery shopping and it had, fallen into, you know, another moribund state as an antique mall that just needed to be fixed up and, and refreshing them live and up or something new. So we bought that and, did a severe gut job on it. divided it up into five tenant spaces, brought in a natural grocery store that was in town, but in a much terrible location. And a new microbrewery, the first microbrewery in town, and a taco place, and a kayak paddleboard outfitter, and a CrossFit gym. Kind of a dream lineup of revitalizing. Yeah. The kayak place didn't last very long. Kevin K (55:04.636) It's like the perfect mix. Frank Starkey (55:11.665) They were pretty much pretty ahead of the market and also just work. It wasn't their core business. They just didn't really know how to do it right. And then the taco place ended up getting replaced. The CrossFit gym outgrew the box and went to a much bigger location. And then we replaced them with an axe throwing business, which is killing it. So no joke, no pun intended. And then the microbrewery is still there. natural food store is still there. And then in the paddle boarding space, we now have a makers, a craft market that is multiple vendors that are, you know, like cottage industry makers selling under one roof. And we have a new bar and hamburger place and the former chocolate place. And they're also doing really well. And so between those two projects, it really, and then, you know, it's other, businesses started opening, new businesses opened downtown that just kind of had a new approach. They weren't honky tonks, they weren't just kind of appealing to a kind of a has -been demographic. And I just started changing the attitude. And the most remarkable occurrence was at one point, and this was around 2018, I just noticed that the online chatter in the general discussion among locals about Newport Richey kind of flipped from overwhelmingly negative people just running down the town, just saying this place is terrible. You know, get out while you can. There's nothing but crack heads and, and prostitutes and you know, it's just terrible. And to, Hey, this place is pretty cool. It's getting better. There's, it's got a lot of potential. And the naysayers started getting shattered down by the people who were more optimistic and positive about the town. And it just kind of hit that Malcolm Gladwell tipping point pretty quickly. And the attitude of the town and the self -image of people in town just has been significantly different ever since then. And then that's, of course, paid dividends and more investment coming to downtown. Now you can't find a place to rent for retail downtown. Frank Starkey (57:38.641) We actually have the problem now that there's too much food and beverage and the market isn't growing enough because we've got to bring in customers from outside of the immediate area because it's just not densely populated enough town yet. But that's so that's kind of where things started in New Port Richey. Kevin K (57:56.604) That's really, that's a great story. It's kind of, it's so indicative of also like what Marty Anderson has talked about. Let's sort of like finding your farm and a place that you care about and working there and making it better. And that's really cool. When it came to all this, were you self -financing? Were you working with investors? How was that process? Frank Starkey (58:13.169) Yeah. Frank Starkey (58:22.321) On the central, which is our apartment and on the 5800 main, which is the project that had been the IGA store, I have a financial partner on that. Who's another local who had made done well for himself in banking and lived away and moved back and was wanting to invest, but also to do some invest locally in a way that helps, you know, give something back to his own town. And that was my attitude as well. So our, our. Capital has been him and me on those two projects. And then I've got two other buildings that, one other building that I have a co -owner on and then another building I own solely by myself. So I've got a total of four projects. And all of the projects that I have are within one, two, three blocks, four blocks of each other. I was, you know, you mentioned the farm. I was very intentional about farm. I said, okay, my farm is New Port Richey. My farm yard is downtown and my barn is our office, which was right in the middle of all that. And the so that's, you know, and then now Mike and I live three blocks from all of that stuff. So we have we our new townhouse is three blocks east of downtown. Since 2018, we lived in a house that was four blocks south of downtown. So all of it was walkable. And even when downtown had just a couple of restaurants that were mostly just diners, one place that was pretty decent for lunch and salads and things, and a couple of pretty mediocre to crappy bars. I have a lot of friends here now and my office is here. And I immediately realized this is the most luxurious lifestyle I have had since college because the ability to walk everywhere and just live your life on foot is luxurious. It's just delightful. And my best friend now lives well in our old house, lives a block away. And we got to be friends living in town here and living a block from each other. And we would just ride bikes. And there was a whole other crew of Kevin K (01:00:24.284) You Frank Starkey (01:00:49.041) the people we'd ride bikes up the river in the evenings and maybe stop for a beer or maybe not and just enjoy the town. He really showed me just kind of, I smacked myself in the forehead one day when he talked about how nice it is to ride up the river during the sunset. I was like, wow, you mean you can just enjoy living in these walkable places? Because I'd always spent so much time trying to build them that I didn't spend much time just... f*****g enjoyment. Kevin K (01:01:19.676) I know, I know. It's a crazy thing. It's like it shouldn't be like a rarity or anything like that. We wish it was available to everybody, but it's wild. That was the thing about living in Savannah and that was like the hard part about leaving Savannah was, I think for a lot of us who have our ideals about walkability and everything, you kind of go back and forth about, do I want to spend my time? Frank Starkey (01:01:30.257) Yeah. Frank Starkey (01:01:37.489) Yeah, I bet. Kevin K (01:01:48.38) you know, working real hard and trying to create this as much as, as I can and, and live in a certain place where I, I guess have the economic opportunity to do that. Or do you also maybe just say, yeah, at a certain point, screw it. I just want to live somewhere where I can be, you know, do the things that I talk about all the time. So. Frank Starkey (01:02:06.513) Yeah, exactly. And it is hard to live in a place that's already kicking butt and do the things to make a place kick butt. So. Kevin K (01:02:20.124) Yeah, and in so many of these places, the places that we admire, and if you didn't get in early, you can't afford it at a certain point anymore anyway. So it's kind of a crazy deal. So as an architect, then would the infill projects, I mean, I know you worked with Eric and Mike and some others, but do you do any sketching or work on any of these sort of, is it a collaborative deal or do you at this point just be like, well, Frank Starkey (01:02:28.369) Right. Kevin K (01:02:46.268) I'm going to be a good client and be kind of hands off and just help direct my architects. Frank Starkey (01:02:50.865) I try to, I'm trying very hard to just be a good client and direct my architects. I'll let you ask Eric on whether I'm a good client or not, but that's probably been the project where I have been the most, I've left the most to the architects to on the design side. On the, the one of the commercial building that I owned by myself was a, building that didn't have any windows, two stories right on one of our main streets on a corner. So two full facades with essentially no windows. And it needed new windows storefront and upstairs. So it basically just needed a whole facade because there was just a big windowless bunker. But it had existing structural columns or structural considerations for where I could put windows. And it ended up being a interesting, challenging facade composition project. Anyway, I designed that building. And also it was a double high space where the second floor was just a mezzanine. And we closed in the second floor to make it into a mixed use building. So that because it had always been a nightclub or restaurant and it was too big as being a story and a half to for that, for this market to support because the upstairs are just kind of. You know, just sucked. So I was like, this needs to just be a regular size restaurant on the ground floor and then offices above. So I did the architecture on that, including the build out for the restaurant. I had some help on that on the layout, but I did the design, interior design stuff on that. I wish I had, I love the facade design process. And that was a really fun project. And the result was, you know, it's, it's unusual because of the constraints that it had. So, but it's, I think it's a fun, it's a good result. but if I were doing more projects, I mean, I really feel like I don't do architecture every day. So I'm not, yeah, certainly I'm not going to do construction drawings because I don't have that, capability just cause I don't, I mean, I have the technical ability to do it. Frank Starkey (01:05:15.249) and I am now licensed, I could sign and seal it, but I don't want to. And I haven't signed and sealed anything yet. So my goal is to be more of a client than I am an architect. Kevin K (01:05:27.868) So in all this stuff and going back to even your initial work with Longleaf and others, you've obviously tried to create well -designed places and beautiful places. I know you said you had some thoughts kind of based on one of the other podcasts I had where we were going back and forth and talking about beauty in buildings and the value of that versus sort of utilitarian values as well. How have you tried to balance all that and really create? beauty and do you find it at conflict with also making real estate work? Frank Starkey (01:06:04.753) I don't find beauty in conflict with making real estate work at all. I think it's critical. I don't think that things have to be built expensively in order to be beautiful. And my comment to you in my email was about y 'all had had a discussion on this, your podcast before last. about and you had said you can't legislate beauty no code in the no amount of code in the world is going to result in beauty and I've always thought about that because I agree with you that codes by their nature don't result in beauty that that human love results in beauty I mean that's you know because that's a it's a it's a spiritual outcome not a I mean, it's an outcome of the spirit. I don't mean that metaphysical terms, just, but it's something that comes from a level of care that's not, that doesn't happen from just conformance. Kevin K (01:07:10.94) Yeah, it's a value you bring to a project basically. It's something you really care to do. Yeah. Frank Starkey (01:07:16.529) Yes, that said, the American Vignoli and other handbooks that were used by builders, not by architects, but by people who were just building buildings and designing them, designing and building buildings by hand in the 1800s and early 1900s. resulted in scads of what we consider beautiful buildings with a capital B because it codified, maybe not in a sense of regulation, but in a sense of aspiration and guidance. It codified a way to arrive at competence with beautiful principles underlying it. And I wonder, it's... It's a hypothesis. I've not proved it or even set out to prove it. But if you could require that people follow the American Vignole as an example, or something else like that, where the principles of proportion are codified and they're followable, then I think you probably would still have to have some coaching. But I think you would get a whole lot closer than you can in the, because it's more like a playbook than it is a rule book for producing a competent design. Competent in the classical sense. Kevin K (01:08:54.556) Yeah. Yeah. Kevin K (01:09:02.236) Yeah, I think that's fair. It's more like coaching people about people who care. If you want to do good things, here are simple rules and patterns to follow that are not going to get you the Parthenon necessarily, but they're going to get you certainly at a minimum like a B building, like a B or a B minus building if you follow these rules. And if you do them really well and execute the details well, you could end up with an A plus building. Yeah. Frank Starkey (01:09:34.641) Yeah. Yeah, and it's something that McKim, Mead, and White can follow that and come up with something spectacular. But the same underlying principles are in every garden variety inline building on a street. Because individual urban buildings and places that we love are individually not spectacular. It's the accumulation of be buildings that are singing in the same key that makes a good chorus. Not everything can be a soloist anyway. Kevin K (01:10:11.996) And certainly, a lot of the people who produced the buildings in that era that you described, late 19th, early 20th century, I mean, there were a whole lot of just illiterate immigrants to the United States, ones who were building all that. And they didn't need 200 pages of construction drawings to follow it, but they did have patterns and illustrations and guides that they could follow. Frank Starkey (01:10:25.041) Yeah. Kevin K (01:10:42.46) and just some kind of basic standards. Yeah. Frank Starkey (01:10:43.217) And also a general cultural agreement on what looks good and what doesn't. And that's what I think you can't recreate from start, I mean, from scratch, because it's got to, that culture builds up and accumulates over decades and generations of practice. Kevin K (01:11:09.148) No doubt. Have you seen with the buildings that you have done in Newport, Richey, has there been other people who've looked at what you've done and tried to essentially say, kind of continue to raise the bar with good looking buildings? Frank Starkey (01:11:24.209) Unfortunately, I can't say that has happened yet. There hasn't been that much new construction in New Port Richey. And I don't, I can't think of any off the top of my head that have been done since we built the central, for example, which is really the only new ground up build. There's another apartment project and apartments and mixed use downtown, but it was designed in 2006 and then it was stalled and it finished about the same time we did, but it has nothing. you know, didn't follow others at all. We did have a lot of people. And this is something I would recommend, which I did accidentally. I didn't put really good drawings of the buildings into the public before they were built. I made a real now here's a blunder. There's a my blunder was I allowed the elevations of the buildings. to be the first thing that got into the public view because they were required as part of the permitting process. And an elevation drawing of a building is the architectural equivalent of a mugshot. It's representative and it's accurate, but it's accurate, but it's not representative. So it doesn't show you what a person looks like. It shows you just facts about their face. And so it shows you facts about a building, but not what it's gonna look like. So people saw the elevations. of what Eric could design, which were intentionally very simple rectangular boxes with regular, very competent, beautiful classical facades, but they looked really flat, they looked really boxy, and they looked terrible. They couldn't be at elevation, there's no depth on it. So people were like, holy s**t, of course he's building, I mean, they look like barracks. And so people lost their minds. I'm like, wait, wait, wait, wait, wait. So we quickly put together some 3D renderings. based on a quick sketchup model, we illustrated the hell out of them with landscaping and showed what a view down the street would look like. And it was a much better view. And that's really how you perceive the buildings. And so people were like, OK, well, if it looks like that, I guess I won't oppose it so much. But they were still rightfully skeptical. And so I s

De norte a sul, de leste a oeste, a arquitetura moderna brasileira merece ser celebrada. Dê o play para conhecer arquitetos e obras que fizeram história e continuam influenciando novas gerações. Foto de capa: Ministério da Educação e Saúde, 1946Marcel GautherotAcervo Instituto Moreira Salles | https://enciclopedia.itaucultural.org.br/obra9347/ministerio-da-educacao-e-saude REFERÊNCIAS CAMARGO. Mônica Junqueira de. Escola Paulista, Escola Carioca. considerações. In: Seminário Docomomo, 13, 2019, Salvador. COHEN, Jean-Louis. The Future of Architecture Since 1889. A Worldwide History. Londres: Phaidon, 2011. DERENJI, Jussara da Silveira. Modernismo na Amazônia. Belém do Pará, 1950/70. Arquitextos, São Paulo, ano 02, n. 017.04, Vitruvius, out. 2001 https://vitruvius.com.br/revistas/read/arquitextos/02.017/838. DIÓGENES, Beatriz Helena Nogueira; PAIVA, Ricardo Alexandre. Caminhos da Arquitetura Moderna em Fortaleza: a contribuição do arquiteto Acácio Gil Borsoi. In: SEMINÁRIO DOCOMOMO N-NE, 2, 2008, Salvador. ESCOLA Carioca. In: ENCICLOPÉDIA Itaú Cultural de Arte e Cultura Brasileira. São Paulo: Itaú Cultural, 2024. Disponível em: http://enciclopedia.itaucultural.org.br/termo8816/escola-carioca. Acesso em: 10 de junho de 2024. Verbete da Enciclopédia. ISBN: 978-85-7979-060-7 ESCOLA Paulista. In: ENCICLOPÉDIA Itaú Cultural de Arte e Cultura Brasileira. São Paulo: Itaú Cultural, 2024. Disponível em: http://enciclopedia.itaucultural.org.br/termo8817/escola-paulista. Acesso em: 10 de junho de 2024. Verbete da Enciclopédia. ISBN: 978-85-7979-060-7 GÁTI, Andréa Halász. Arte e artesanato na arquitetura de Interiores moderna de Janete Costa. Dissertação (Mestrado) – Universidade Federal de Pernambuco, CAC. Desenvolvimento urbano, 2014. OLIVEIRA, Simone Borges Camargo de. Eurico Calixto de Godoi na formação da arquitetura moderna em Goiânia. Dissertação (Mestrado) – Universidade Federal de Goiás, Programa de PÛs-GraduaÁ„o em Projeto e Cidade da Faculdade de Artes Visuais, Goiânia, 2016. PEREIRA, Cláudio Calovi; SZEKUT, Alessandra Rambo. O primeiro Palácio Moderno de Porto Alegre: documentação, interpretação e lições de arquitetura. In: SEMINÁRIO Docomomo Brasil, 9, 2011, Brasília. SCOCUGLIA, Jovanka Baracuhy Cavalcanti; MONTEIRO, Lia; DE MELO, Marieta Dantas Tavares. Arquitetura Moderna no Nordeste 1960-70: a produção de Borsoi em João Pessoa. Influências pernambucanas e necessidade de preservação. Arquitextos, São Paulo, ano 06, n. 063.02, Vitruvius, set. 2005 . VIDAL, C.N.C.P. Experiências do Moderno em Belém: construção, recepção e destruição. V!RUS, São Carlos, n. 12, 2016. Disponível em: http://143.107.236.240/virus/virus12/?sec=4&item=11&lang=pt. Acesso em: 01 Jun. 2024. http://portal.iphan.gov.br/pagina/detalhes/825

Ted speaks with Charles Ochello, owner of Vitruvius Design and Build and creator of Vius. He discusses his transition from being an emergency room doctor to a custom home builder, and his vision to bridge the visualization gap in the building industry. Charles shares his experience with using virtual reality technology to allow clients to visualize their finished homes and make informed decisions. Ted and Charles highlight the value of human interaction and collaboration in the design and construction process,  while his technology company continues to develop software that optimizes the luxury home building process.TOPICS DISCUSSED01:35 Emergency room doctor to home builder06:35 The transition to building and how skills carry over08:40 Teaching People to Listen and Stay Calm12:05 The Tipping Point to Become a Custom Home Builder21:05 Enhancing the Client Experience with Virtual Reality26:40 Differentiating from Other Tech Firms28:55 The Power of Human Interaction and Experience32:25 The Importance of the Human Element34:25 Collaboration in the Design and Construction Process37:30 Using Technology to Streamline Decision-Making40:53 Tech as a Tool for Augmenting the Experience49:55 Unleashing the Best Talent and Future Plans52:25 How to find VitruviusCONNECT WITH GUESTCharles OchelloWebsiteVR SoftwareLinkedInInstagramKEY QUOTES FROM EPISODEWe have this visualization data, we're working with some of the best architects, the best artists in the world, some of the best interior designers on the most incredible projects, but our clients - we haven't given them or developed the tools that they need to see their project. And so that was really the charge was to say, how can we use visual data from our architects and show our clients? Decisions that are made early in the process are really inexpensive. Decisions late at four-way are really expensive. At the end of the day, bringing clients into our office and sitting down and talking through things and seeing real emotion and then going on site and actually talking with our craftsmen and subcontractors that we work with and talking through how we're going to execute a detail or maybe it's a beam connection or all of those things. Those are irreplaceable. 

O Vitruvius é software de inteligência artificial permite criar um projeto de arquitetura em poucos minutos.Basta dar uma ideia geral do tipo de casa que se quer construir e responder a algumas perguntas sobre a localização, a dimensão, o tipo de arquitetura, as comodidades e o estilo da casa. Tudo isto através de uma conversa com um chatbot. Com base nesta informação, o Vitruvius apresenta de imediato três opções.Saiba mais sobre inovação e nova economia em supertoast.pt. 

O Vitruvius é um software de inteligência artificial que permite criar um projeto de arquitetura em poucos minutos. O objetivo é que seja capaz não só de criar o projeto de arquitectura como também gerar automaticamente os documentos de construção, orçamentos e calendários.

O Vitruvius é um software de inteligência artificial que permite criar um projeto de arquitetura em poucos minutos. O objetivo é que seja capaz não só de criar o projeto de arquitectura como também gerar automaticamente os documentos de construção, orçamentos e calendários.

What an incredible intro to the future of architecture with Charles Ochello from Vitruvius. they are building a tech company with software that engages with virtual reality to help their customers walk through their future builds of their custom homes. this helps them make adjustments early in the process saving money and time with large custom built homes. It was incredible to see the innovation they are bringing to this industry. Charles started his career out as a board certified E.R. doctor and talked about the transition he made back to real estate and the value he drew from his experience in the E.R. how that informs the company he is building and the relationships he is fostering with customers today. This was an incredible conversation packed with tons of lessons for entrepreneurs. 

Episode: 1101 A Roman engineer's not-quite-right idea for moving a pedestal.  Today, a clever Roman engineer outsmarts himself.

vChrissie explains the Vitruvian Man. Read the essay here: https://historywiththeszilagyis.org/hwts204 Find us on Twitter:The Network: @BQNPodcastsThe Show: @HistorySzilagyi.Chrissie: @TheGoddessLivia. Jason: @JasonDarkElf.Send topic suggestions via Twitter or on our Facebook page History with the Szilagyis. History with the Szilagyis is supported by our patrons:Susan Capuzzi-De ClerckLaura DullKris HillPatiJoin these wonderful supporters by visiting patreon.com/historywiththeszilagyis. Read de Architectura: https://www.gutenberg.org/files/20239/20239-h/20239-h.htmThe BQN Podcast Collective is brought to you by our listeners. Special thanks to these patrons on Patreon whose generous contributions help to produce this podcast and the many others on our network! Jason AndersonVera BibleSusan Capuzzi-De ClerckTim CooperChrissie De Clerck-SzilagyiLars Di ScenzaThad HaitMatt HarkerPeter HongJim McMahonJoe MignoneGreg MolumbyMahendran RadhakrishnanTom Van ScotterDavid WillettCarl WondersAnonymousDavid You can join this illustrious list by becoming a patron here: https://www.patreon.com/BQN

Today, we're pulling one of our best episodes from the vaults, featuring the brilliant Haesun Moon. Recommend this show by sharing the link: pod.link/2Pages I'm a bit of a geek about models, specifically the ones that reveal patterns and invite new possibilities, helping us expand our understanding of what the world is. My favorites are: the periodic table and its various alternatives, the Roman architect Vitruvius' three attributes for a building, and finally, the alphabet. A book I love is Edward Gorey's The Gashlycrumb Tinies, an alphabet book telling the tale of the demise of young children. If this isn't your style, the good news is that not all alphabet books have grisly endings.   Haesun Moon, Ph.D., is an academic, a communications scientist, a teacher, a coach, and an author. Her new book is a wonderful addition to the world of coaching, Coaching A to Z: The Extraordinary Use of Ordinary Words. Get‌ ‌book‌ ‌links‌ ‌and‌ ‌resources‌ ‌at‌ https://www.mbs.works/2-pages-podcast/  Haesun reads two pages from ‘On Dialogue' by David Bohm. [reading begins at 15:05]   Hear us discuss:  “The gap between what I heard and what you said is sometimes larger in familiar relationships.” [21:12] | Creating shared meaning on a more societal level: “Culture is nothing more than the accumulation of micro conversations.” [22:08] | How to create shared meaning when different truths exist. [27:01] | Remaining curious rather than defensive. [30:20] | Coaching A to Z. [34:09]

Paul Rand and his work have been much discussed and extolled: Thoughts on Design has been called “a manifesto” and “a bible on modern graphic design.” When Steve Jobs hired him to design the logo for NeXT Computer in 1986, he called him “the greatest living graphic designer.” In a speech honoring Rand (at which he was present), George Lois of Esquire magazine said, “Every art director and graphic designer in the world should kiss his ass.”In the introduction to Thoughts on Design, Paul Rand acknowledges that “many writers and philosophers… have helped to crystalize my thinking.” He calls out John Dewey and Roger Fry in particular. He also refers to some characters from ancient Greece and Rome, including Polykleitos, Vitruvius, and Plato. Who were these Rand influencers? And what insights might they offer today's designer?As I re-read this exposition of Rand's principles, I wasn't finding a lot of relevance to my work today — but then, I'm not an art director or graphic designer — so I decided to go a level deeper, reading source material from Dewey and Fry and revisiting ancient works, to see what I could take away from these influencers. In doing so, I explore questions like: How far back does the idea of “form follows function” go? What do we find so fascinating and instructive about the proportions of the human body? How does Plato's views on the early education of philosophers relate to the role of humor in design?I hope you'll join me on this alternative approach to learning from this towering figure of design history.Outline* The Beautiful and the Useful (1:54)* Fascination with human proportion (18:03)* Confusing things (28:38)* Takeaways* Role of humor (48:37)* Tell the story of your solution (52:17)* Be present at the point of execution (58:36)* Conclusion (61:48)References* Thoughts on Design book (Goodreads)* Paul Rand book by Steven Heller (Goodreads)* Polykleitos (Wikipedia)* Vitruvius (Wikipedia)* Art as Experience by John Dewey (Amazon)* Transformations by Roger Fry (Google Books)* A Theory of User Delight: Why Usability Is the Foundation for Delightful Experiences (Nielsen Norman Group)* How old is the practice of User Experience Design? (HEY World) This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit designersketches.substack.com

Growing up in Rembrandt's hometown Leiden, Ruben Hanssen developed an interest for the built environment and has studied Urban Planning at the University of Amsterdam and Urbanism at the Delft University of Technology. In 2021 he founded The Aesthetic City which is a podcast devoted to the discussion of how to build a more livable, healthy and beautiful environment. The channel is also featured on YouTube with educational content, such as the very informative video called "Why is it Beautiful?": https://www.youtube.com/watch?v=C9pg2j2oGy0 What is going wrong in cities all over the world? Which errant paths do planners still take? What "collective image" do we have of the future? How is the mainstream idea of the future formed by popular media and tending towards dystopian nightmarish visions? Ruben Hanssen covers these questions and more.

Knowledge of the craft and what you are up against is vital for the revival of classical architecture. Carl Korsnes sits down with Eric Norin to talk about the knowledge handed down to us by Vitruvius, good examples of building projects with local coloring, the impact of seemingly innocent standardizations, the driving force of early modernists, and more. ▶️ Watch the initial interview with Eric Norin: https://www.youtube.com/watch?v=kCFVPsnym2g

In this episode we discussed the idea of 'The Primitive Hut' in 18th and 19th century architectural theory. A vision of the first building was used by texts dating back to Vitruvius to imagine architecture's origins. We started with Marc-Antoine Laugier, author of Essai sur l'architecture (1753), which used the image of the Primitive Hut to call for a return to austere and structurally declarative classicism after the excesses of the baroque. We also discussed the idea of the Primitive Hut in the work of Viollet-le-Duc, who was influenced by ethnographic racism and eugenics in his depiction of the origin of architecture. We strongly recommend Joseph Rykwert's book On Adam's House in Paradise: The Idea of the Primitive Hut in Architectural History for an even more in-depth commentary on this subject. You can watch this episode on YouTube to see the images Nature soundscape from: https://www.edinburghrecords.com/free-sound-effects/ Edited by Matthew Lloyd Roberts. Support the show on Patreon to receive bonus content for every show. Please rate and review the show on your podcast store to help other people find us! Follow us on twitter // instagram // facebook We're on the web at aboutbuildingsandcities.org

People have used money – and made counterfeits - for thousands of years. Archimedes came up with a clever way of finding out if you've been cheated by a goldsmith. Making coins with the right proportions of the right metals presented a huge mathematical challenge for Fibonacci and other mathematicians in the middle ages.This lecture will discuss mathematical elements of coin design, denominations, and why former Gresham Professor of Astronomy Sir Christopher Wren favoured decimal coinage.A lecture by Professor Sarah HartThe transcript and downloadable versions of the lecture are available from the Gresham College website:https://www.gresham.ac.uk/watch-now/maths-coinsGresham College has offered free public lectures for over 400 years, thanks to the generosity of our supporters. There are currently over 2,500 lectures free to access. We believe that everyone should have the opportunity to learn from some of the greatest minds. To support Gresham's mission, please consider making a donation: https://gresham.ac.uk/support/Website:  https://gresham.ac.ukTwitter:  https://twitter.com/greshamcollegeFacebook: https://facebook.com/greshamcollegeInstagram: https://instagram.com/greshamcollege

Wade hears an audacious plan that would remake the city; Dee tries to solve the mystery of a strange girl who shouldn't be there. LAKE SONG is co-created by Laura Alcalá Baker, Sydney Charles, Mikhail Fiksel, Nate Marshall, Jeremy McCarter, Natalie Moore, and Kristina Valada-Viars. Starring Sydney Charles as Dee and Marcus D. Moore as Wade With Ayanna Bria Bakari, Lorena Diaz, Daniel Kyri, James Vincent Meredith, Esme Perez, Justin Reed, and Kristina Valada-Viars Original score composed and produced by Mikhail Fiksel, featuring Billy Branch "Dee's Shanty" Written and performed by Sydney Charles For full credits and to learn more, visit lakesong.fm.  

Recommend this show by sharing the link: pod.link/2Pages I'm a bit of a geek about models, specifically the ones that reveal patterns and invite new possibilities, helping us expand our understanding of what the world is. My favorites are: the periodic table and its various alternatives, the Roman architect Vitruvius' three attributes for a building, and finally, the alphabet. A book I love is Edward Gorey's The Gashlycrumb Tinies, an alphabet book telling the tale of the demise of young children. If this isn't your style, the good news is that not all alphabet books have grisly endings.   Haesun Moon, Ph.D., is an academic, a communications scientist, a teacher, a coach, and an author. Her new book is a wonderful addition to the world of coaching, Coaching A to Z: The Extraordinary Use of Ordinary Words. Get‌ ‌book‌ ‌links‌ ‌and‌ ‌resources‌ ‌at‌ https://www.mbs.works/2-pages-podcast/  Haesun reads two pages from ‘On Dialogue' by David Bohm. [reading begins at 15:05]   Hear us discuss:  “The gap between what I heard and what you said is sometimes larger in familiar relationships.” [21:12] | Creating shared meaning on a more societal level: “Culture is nothing more than the accumulation of micro conversations.” [22:08] | How to create shared meaning when different truths exist. [27:01] | Remaining curious rather than defensive. [30:20] | Coaching A to Z. [34:09]

#029:  "All you have to do is believe, then you will see everything." - Morgan Freeman, Vitruvius in The Lego Movie.Folks, have you ever wanted something so bad, but what stops you in your tracks is that you tell yourself "If only I was more confidence…" What's stopping you from imagining a future that you wish you had, become the present reality that you are currently living?Quote: "Making things happen in your life requires a faith, or an ability to believe that is unshakable, regardless of your circumstances." - Les BrownIn today's episode, I'm going to share one of the key's in unlocking how you can grow your self confidence: it's the core essence of: "Believing is Seeing."  I'm also going to share my personal story of how I applied this powerful belief in my life,  and share the framework that you can take to manifest what you want in life and strengthen your self-confidence muscle TODAY!  In today's episode, I will share:What do I mean by believing is seeing?Visualization StudyMy personal story of believing in seeing, and how I applied the visualization exercise to achieve my milestone.I'll share action steps on what you can do to manifest that next goal, challenge, milestone that will transform your business, career or life!Join our Boom Vision family and hit subscribe!  Download links and show notes for this episode are available at:https://www.benjaminyeh.com/ep-29-secret-to-building-self-confidence

Form follows function. I expect you're familiar with that quote but you may not know the entire context. The phrase is a vast simplification of an idea put forth by architect Louis Sullivan, mentor to Frank Lloyd Wright, in his 1896 article titled “The Tall Office Building Artistically Considered.” Working from an idea of the ancient Roman architect Vitruvius that a building should be solid, useful and beautiful, Sullivan developed his overriding philosophy, what he called the single "rule that shall permit of no exception." This was his complete statement: Whether it be the sweeping eagle in his flight, or the open apple-blossom, the toiling work-horse, the blithe swan, the branching oak, the winding stream at its base, the drifting clouds, over all the coursing sun, form ever follows function, and this is the law. Where function does not change, form does not change. The granite rocks, the ever-brooding hills, remain for ages; the lightning lives, comes into shape, and dies, in a twinkling. It is the pervading law of all things organic and inorganic, of all things physical and metaphysical, of all things human and all things superhuman, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form ever follows function. This is the law. Those are profound thoughts and today we are going to apply them not to the oak, the clouds or the cosmos, but to the harp, specifically to one of the more confusing aspects of harp technique, the technique of raising. What you do with your hands after you play a string or a scale or a chord is just as important as how you place your fingers before you play and how you move your fingers when you play. It's the follow through that makes a huge difference in your sound. It also affects your ability to move around the harp quickly and helps you stay relaxed while you play.  There are many schools of thought on how to raise and on today's show I'll try to get to the heart of the matter - why we raise. Because once you understand the why, the true function of raising, the gesture itself follows naturally. I'll also give you a simple formula to help you practice the perfect raise, even if you've never felt comfortable raising before.   Links to things I think you might be interested in that were mentioned in the podcast episode:  Coaching Enrollment is now open. Click here to reserve your spot. Related resource: Rich, Warm, Round: How to Create Your Sensational Harp Sound blog post Harpmastery.com LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-066

How do more practical subject areas such as architecture and engineering fit within a Classical education? Does an education founded on what is true, good, and beautiful really help students develop the academic rigor and problem-solving skills needed for fields outside of the humanities? Actually, Classical education is ideally suited to prepare students for careers in engineering, architecture, and other similar career paths. Listen to this episode to learn how an education founded on the contemplation of beautiful things helps students make this world a more beautiful place.Check out our Thales Press YouTube channel and follow us on Instagram for more information and content like this. YouTube: https://www.youtube.com/channel/UCl-5t4R8RSLX9A-CWJC9wDQInstagram: https://www.instagram.com/thalespress/

In this episode of the Concrete Logic Podcast, Paul Ramsburg of Sika gives a history lesson on concrete. What's the origin of concrete? How long has it been around? Why is this Vitruvius dude from the 1st century B.C. still important today? Find out on this episode! This is only Part 1 of a two-part episode. Make sure you catch the 2nd half of this history lesson in EP #012! Episode References Guest: Paul Ramsburg, Sika, ramsburg.paul@us.sika.com Guest Website: https://usa.sika.com/ Host: Seth Tandett, seth@concretelogicpodcast.com Host Website: concretelogicpodcast.com

Sign up for bonus episodes at www.themidnighttrainpodcast.com    Well since last week's episode left Logan up at night with nightmares and I still can't get the stains out of my shorts; we have decided to make this week's episode a little more on the lighter side. So we are diving deep into the wonderful world of politics! You got it, today we are going to discuss The Biden Administrations wonderful and brilliant plans and maybe even get an interview with Brandon himself! HA like that would ever happen. Fuck those guys. We are actually talking about the Antikythera Mechanism, and the mysteries surrounding it.   The Antikythera mechanism is a hand-powered orrery( a mechanical model of our solar system) from Ancient Greece that has been dubbed the world's first analog computer since it was used to forecast celestial locations and eclipses decades in advance. The ancient Olympic Games' four-year cycle, which was akin to an Olympiad, could also be followed using this method.   In 1901, wreckage from a shipwreck off the shore of the Greek island of Antikythera included this artifact. Archaeologist Valerios Stais recognized it as bearing a gear on May 17, 1902. The gadget, which was found as a single lump and then fragmented into three primary components that are now divided into 82 individual shards following conservation efforts, was contained in the remnants of a wooden box that measured 34 cm 18 cm 9 cm (13.4 in 7.1 in 3.5 in). While several of these shards have inscriptions, four of them have gears. The biggest gear has 223 teeth and is around 13 centimeters (5.1 in) in diameter.   Using contemporary computer x-ray tomography and high resolution surface scanning, a team at Cardiff University led by Mike Edmunds and Tony Freeth was able to image inside fragments of the crust-encased mechanism in 2008 and decipher the faintest writing that had once been inscribed on the machine's outer casing. This shows that it contained 37 bronze meshing gears that allowed it to mimic the Moon's erratic orbit, where the Moon's velocity is higher in its perigee than in its apogee, follow the motions of the Moon and Sun across the zodiac, and anticipate eclipses. Astronomer Hipparchus of Rhodes researched this motion in the second century BC, and it is possible that he was consulted when building the device. It is believed that a piece of the system, which also determined the locations of the five classical planets, is missing.   The device has been variously dated to between 150 and 100 BC, or to 205 BC, and it is thought to have been devised and built by Greek scientists. In any event, it had to have been built prior to the shipwreck, which has been dated to around 70–60 BC by many lines of evidence. Researchers suggested in 2022 that the machine's initial calibration date, rather than the actual date of manufacture, would have been December 23, 178 BC. Some academics disagree, arguing that the calibration date should be 204 BC. Up to the astronomical clocks of Richard of Wallingford and Giovanni de' Dondi in the fourteenth century, comparable complicated machines had not been seen.   The National Archaeological Museum in Athens currently has all of the Antikythera mechanism's fragments as well as a variety of reproductions and artistic reconstructions that show how it would have appeared and operated.   During the first voyage with the Hellenic Royal Navy, in 1900–1901, Captain Dimitrios Kontos and a crew of sponge divers from Symi island found the Antikythera shipwreck. Off Point Glyphadia on the Greek island of Antikythera, at a depth of 45 meters (148 feet), a Roman cargo ship wreck was discovered. The crew found various huge items, including the mechanism, ceramics, special glassware, jewelry, bronze and marble statues, and more. In 1901, most likely that July, the mechanism was pulled from the rubble. The mechanism's origin remains unknown, however it has been speculated that it was transported from Rhodes to Rome along with other seized goods to assist a triumphant procession that Julius Caesar was staging.   The National Museum of Archaeology in Athens received all the salvaged debris pieces for storage and examination. The museum personnel spent two years assembling more visible artifacts, like the sculptures, but the mechanism, which looked like a mass of tarnished brass and wood, remained unseen. The mechanism underwent deformational modifications as a result of not treating it after removal from saltwater.   Archaeologist Valerios Stais discovered a gear wheel lodged in one of the rocks on May 17, 1902. Although most experts judged the object to be prochronistic and too complicated to have been created during the same era as the other components that had been unearthed, he originally thought it was an astronomical clock. Before British science historian and Yale University professor Derek J. de Solla Price developed an interest in the object in 1951, investigations into the object were abandoned. The 82 pieces were photographed using X-ray and gamma-ray technology in 1971 by Price and Greek nuclear researcher Charalampos Karakalos. In 1974, Price issued a 70-page report summarizing their findings.   In 2012 and 2015, two more searches at the Antikythera wreck site turned up artifacts and another ship that may or may not be related to the treasure ship on which the mechanism was discovered. A bronze disc decorated with a bull's head was also discovered. Some speculated that the disc, which has four "ears" with holes in them, may have served as a "cog wheel" in the Antikythera mechanism. There doesn't seem to be any proof that it was a component of the mechanism; it's more probable that the disc was a bronze ornament on some furniture.   The earliest analog computer is typically referred to as the Antikythera mechanism. The production of the device must have had undiscovered ancestors throughout the Hellenistic era based on its quality and intricacy. It is believed to have been erected either in the late second century BC or the early first century BC, and its construction was based on mathematical and astronomical ideas created by Greek scientists during the second century BC.   Since they recognized the calendar on the Metonic Spiral as originating from Corinth or one of its colonies in northwest Greece or Sicily, further investigation by the Antikythera Mechanism Research Project in 2008 showed that the idea for the mechanism may have originated in the colonies of Corinth. The Antikythera Mechanism Research Initiative contended in 2008 that Syracuse could suggest a relationship with the school of Archimedes because it was a Corinthian colony and the home of Archimedes. In 2017, it was shown that the Metonic Spiral's calendar is of the Corinthian type and cannot be a Syracuse calendar. Another idea postulates that the device's origin may have come from the ancient Greek city of Pergamon, site of the Library of Pergamum, and claims that coins discovered by Jacques Cousteau at the wreck site in the 1970s correspond to the time of the device's creation. It was second in significance to the Library of Alexandria during the Hellenistic era due to its extensive collection of art and scientific scrolls.   A theory that the gadget was built in an academy established by Stoic philosopher Posidonius on that Greek island is supported by the discovery of Rhodian-style vases aboard the ship that carried the object. Hipparchus, an astronomer active from around 140 BC to 120 BC, lived at Rhodes, which was a bustling commercial port and a center for astronomy and mechanical engineering. Hipparchus' hypothesis of the motion of the Moon is used by the mechanism, raising the likelihood that he may have developed it or at the very least worked on it. The island of Rhodes is situated between the latitudes of 35.85 and 36.50 degrees north; it has lately been proposed that the astronomical events on the Parapegma of the Antikythera mechanism operate best for latitudes in the range of 33.3-37.0 degrees north.   According to a research published in 2014 by Carman and Evans, the Saros Dial's start-up date corresponds to the astronomical lunar month that started soon after the new moon on April 28, 205 BC. This suggests a revised dating of about 200 BC. Carman and Evans claim that the Babylonian arithmetic style of prediction suits the device's predictive models considerably better than the conventional Greek trigonometric approach does. According to a 2017 study by Paul Iversen, the device's prototype originated in Rhodes, but this particular model was modified for a customer from Epirus in northwest Greece. Iversen contends that the device was likely built no earlier than a generation before the shipwreck, a date that is also supported by Jones.   In an effort to learn more about the mechanism, further dives were made in 2014 and 2015. A five-year investigative program that started in 2014 and finished in October 2019 was followed by a second five-year session that began in May 2020.   The original mechanism probably came in one encrusted piece from the Mediterranean. It broke into three main parts shortly after that. In the meanwhile, more little fragments have come loose from handling and cleaning, and the Cousteau expedition discovered other fragments on the ocean floor. Fragment F was found in this fashion in 2005, suggesting that other fragments may still remain in storage, undetected since their first retrieval. The majority of the mechanism and inscriptions are found on seven of the 82 known fragments, which are also mechanically noteworthy. Additionally, 16 smaller components include inscriptions that are illegible and fragmentary.    The twelve zodiacal signs are divided into equal 30-degree sectors on a fixed ring dial that represents the ecliptic on the mechanism's front face. Even though the borders of the constellations were arbitrary, this was consistent with the Babylonian practice of allocating an equal portion of the ecliptic to each zodiac sign. The Sothic Egyptian calendar, which has twelve months of 30 days plus five intercalary days, is marked off with a rotating ring that is located outside that dial. The Greek alphabetized versions of the Egyptian names for the months are used to identify them. To align the Egyptian calendar ring with the current zodiac points, the first procedure is to spin it. Due to the Egyptian calendar's disregard for leap days, a whole zodiac sign would cycle through every 120 years.   Now we cannot show you pictures because well you couldn't see them. So we will try to describe them as best we can and we can also post them online.    The mechanism was turned by a now-lost little hand crank that was connected to the biggest gear, the four-spoked gear shown on the front of fragment A, gear b1, via a crown gear. As a result, the date indicator on the front dial was shifted to the appropriate day of the Egyptian calendar. Since the year cannot be changed, it is necessary to know the year that is currently in use. Alternatively, since most calendar cycles are not synchronized with the year, the cycles indicated by the various calendar cycle indicators on the back can be found in the Babylonian ephemeris tables for the day of the year that is currently in use. If the mechanism were in good operating order, the crank would easily be able to strike a certain day on the dial because it moves the date marker around 78 days each full rotation. The mechanism's interlocking gears would all revolve as the hand crank was turned, allowing for the simultaneous determination of the Sun's and Moon's positions, the moon's phase, the timing of an eclipse, the calendar cycle, and maybe the positions of planets.   The position of the spiral dial pointers on the two huge dials on the rear had to be observed by the operator as well. As the dials included four and five complete rotations of the pointers, the pointer had a "follower" that followed the spiral incisions in the metal. Before continuing, a pointer's follower had to be manually shifted to the opposite end of the spiral after reaching the terminal month place at either end of the spiral.   Two circular concentric scales may be seen on the front dial. The Greek zodiac signs are denoted on the inner scale, which is divided into degrees. A series of similar holes underneath the movable ring that rests flush with the surface and runs in a channel that makes up the outer scale are marked off with what appear to be days.   This outer ring has been thought to symbolize the 365-day Egyptian calendar ever since the mechanism was discovered, but new study contradicts this assumption and suggests it is really divided into 354 intervals. The Sothic and Callippic cycles had previously pointed to a 365 14-day solar year, as evidenced in Ptolemy III's proposed calendar reform of 238 BC. If one accepts the 365-day presupposition, it is acknowledged that the mechanism predates the Julian calendar reform. The dials aren't thought to represent his intended leap day, but by rotating the scale back one day every four years, the outer calendar dial may be adjusted against the inner dial to account for the effect of the extra quarter-day in the solar year.   The ring is most likely seen as a manifestation of a 354-day lunar calendar if one accepts the 354-day evidence. It is perhaps the first instance of the Egyptian civil-based lunar calendar postulated by Richard Anthony Parker in 1950, given the age of the mechanism's putative manufacture and the existence of Egyptian month names. The lunar calendar was intended to act as a daily indicator of succeeding lunations and to aid in the understanding of the Metonic(The moon phases return at the same time of year every almost precisely 19 years during the Metonic cycle. Although the recurrence is imperfect, careful examination shows that the Metonic cycle, which is defined as 235 synodic months, is only 2 hours, 4 minutes, and 58 seconds longer than 19 tropical years. In the fifth century BC, Meton of Athens determined that the cycle was exactly 6,940 days long. The creation of a lunisolar calendar is made easier by using these full integers.) and Saros(The saros, which may be used to forecast solar and lunar eclipses, is a period of exactly 223 synodic months, or around 6585.3211 days, or 18 years, 10, 11, or 12 days (depending on how many leap years there are). In what is known as an eclipse cycle, the Sun, Earth, and Moon return to about the same relative geometry, a nearly straight line, one saros time after an eclipse, and a nearly similar eclipse will take place. A sar is a saros's lower half.) dials as well as the Lunar phase pointer. Unknown gearing is assumed to move a pointer across this scale in synchrony with the rest of the mechanism's Metonic gearing. A one-in-76-year Callippic cycle correction and practical lunisolar intercalation were made possible by the movement and registration of the ring with respect to the underlying holes.   The dial also shows the Sun's location on the ecliptic in relation to the current year's date. The ecliptic serves as a useful reference for determining the locations of the Moon, the five planets known to the Greeks, and other celestial bodies whose orbits are similarly near to it.   The locations of bodies on the ecliptic were marked by at least two points. The position of the Moon was displayed by a lunar pointer, while the location of the mean Sun and the current date were also provided. The Moon position was the oldest known application of epicyclic gearing(Two gears positioned so that one gear's center spins around the other's center make up an epicyclic gear train, sometimes referred to as a planetary gearset.), and it mimicked the acceleration and deceleration of the Moon's elliptical orbit rather than being a simple mean Moon indicator that would signal movement uniformly across a circular orbit.   The system followed the Metonic calendar, anticipated solar eclipses, and computed the time of various panhellenic athletic competitions, including the Ancient Olympic Games, according to recent research published in the journal Nature in July 2008. The names of the months on the instrument closely resemble those found on calendars from Epirus in northwest Greece and with Corfu, which was formerly known as Corcyra.   Five dials are located on the rear of the mechanism: the Metonic, Saros, and two smaller ones, the so-called Olympiad Dial (recently renamed the Games dial since it did not track Olympiad years; the four-year cycle it closely matches is the Halieiad), the Callippic(a certain approximate common multiple of the synodic month and the tropical year that was put out by Callippus around 330 BC. It is a 76-year span that is an improvement over the Metonic cycle's 19 years.), and the Exeligmos(a time frame of 54 years, 33 days over which further eclipses with the same characteristics and position may be predicted.)   Both the front and rear doors of the wooden casing that houses the mechanism have inscriptions on them. The "instruction manual" looks to be behind the rear door. "76 years, 19 years" is inscribed on one of its parts, denoting the Callippic and Metonic cycles. "223" for the Saros cycle is also written. Another piece of it has the phrase "on the spiral subdivisions 235," which alludes to the Metonic dial.   The mechanism is exceptional due to the degree of miniaturization and the intricacy of its components, which is equivalent to that of astronomical clocks from the fourteenth century. Although mechanism specialist Michael Wright has argued that the Greeks of this era were capable of designing a system with many more gears, it includes at least 30 gears. Whether the device contained signs for each of the five planets known to the ancient Greeks is a subject of significant controversy. With the exception of one 63-toothed gear that is otherwise unaccounted for, no gearing for such a planetary display is still in existence.   It is quite likely that the mechanism featured additional gearing that was either removed before being placed onboard the ship or lost in or after the shipwreck due to the enormous gap between the mean Sun gear and the front of the box as well as the size and mechanical characteristics on the mean Sun gear. Numerous attempts to mimic what the Greeks of the time would have done have been made as a result of the absence of evidence and the nature of the front section of the mechanism, and of course various solutions have been proposed as a result of the lack of evidence.   Michael Wright was the first to create a model that included a simulation of a future planetarium system in addition to the existing mechanism. He said that corrections for the deeper, more fundamental solar anomaly would have been undertaken in addition to the lunar anomaly (known as the "first anomaly"). Along with the well-known "mean sun" (present time) and lunar pointers, he also provided pointers for this "real sun," Mercury, Venus, Mars, Jupiter, and Saturn.   A solution that differs significantly from Wright's was published by Evans, Carman, and Thorndike. Their suggestion focused on the uneven spacing of the letters on the front clock face, which seemed to them to imply an off-center sun indication arrangement. By eliminating the requirement to imitate the solar anomaly, this would simplify the mechanism. Additionally, they proposed that simple dials for each individual planet would display data such as significant planetary cycle events, initial and final appearances in the night sky, and apparent direction changes rather than accurate planetary indication, which is rendered impossible by the offset inscriptions. Compared to Wright's concept, this system would result in a far more straightforward gear system with significantly lower forces and complexity.   After much investigation and labor, Freeth and Jones released their idea in 2012. They developed a concise and workable answer to the planetary indicator puzzle. They also suggest that the date pointer, which displays the mean position of the Sun and the date on the month dial, be separated to display the solar anomaly (i.e., the sun's apparent location in the zodiac dial). If the two dials are properly synced, Wright's front panel display may be shown on the other dials as well. However, unlike Wright's model, this one is simply a 3-D computer simulation and has not been physically constructed.   Similar devices A first-century BC philosophical debate by Cicero, De re publica (54-51 BC), discusses two devices that some contemporary authors believe to be some sort of planetarium or orrery, forecasting the motions of the Sun, Moon, and the five planets known at the time. After Archimedes' demise at the siege of Syracuse in 212 BC, the Roman commander Marcus Claudius Marcellus took both of them to Rome. One of these devices was the sole thing Marcellus preserved during the siege because of his admiration for Archimedes (the second was placed in the Temple of Virtue). The instrument was kept as a family heirloom, and according to Philus, who was present during a conversation Cicero imagined had taken place in Scipio Aemilianus's villa in the year 129 BC, Gaius Sulpicius Gallus, who served as consul with Marcellus's nephew in 166 BC and is credited by Pliny the Elder with being the first Roman to have written a book explaining solar and lunar eclipses, gave both a "learned explanation" and working demonstrations of the device.   According to Pappus of Alexandria (290–c. 350 AD), Archimedes had penned a now-lost treatise titled On Sphere-Making that described how to build these contraptions. Many of his innovations are described in the ancient documents that have survived, some of which even have crude illustrations. His odometer is one such instrument; the Romans later used a similar device to set their mile marks (described by Vitruvius, Heron of Alexandria and in the time of Emperor Commodus). Although the pictures in the literature looked to be practical, attempts to build them as shown had been unsuccessful. The system worked properly when the square-toothed gears in the illustration were swapped out for the angled gears found in the Antikythera mechanism.   This technique existed as early as the third century BC, if Cicero's story is accurate. Later Roman authors including Lactantius (Divinarum Institutionum Libri VII), Claudian (In sphaeram Archimedes), and Proclus (Commentary on the First Book of Euclid's Elements of Geometry) in the fourth and fifth century also make reference to Archimedes' invention.   Cicero also said that another such device was built "recently" by his friend Posidonius, "... each one of the revolutions of which brings about the same movement in the Sun and Moon and five wandering stars [planets] as is brought about each day and night in the heavens"   Given that the third device was almost certainly in Posidonius's possession by that time and that both the Archimedes-made and Cicero-mentioned machines were found in Rome at least 30 years after the shipwreck's estimated date, it is unlikely that any one of these machines was the Antikythera mechanism discovered in the wreck. The researchers who rebuilt the Antikythera mechanism concur that it was too complex to have been a singular invention.   This proof that the Antikythera mechanism was not unique strengthens the argument that there was a tradition of complex mechanical technology in ancient Greece that was later, at least in part, transmitted to the Byzantine and Islamic worlds. During the Middle Ages, complex mechanical devices that were still simpler than the Antikythera mechanism were built in these cultures.A fifth- or sixth-century Byzantine Empire geared calendar fragment that was mounted to a sundial and maybe used to help tell time has been discovered. The Caliph of Baghdad commissioned Bani Ms's Kitab al-Hiyal, also known as the Book of Ingenious Devices, in the early ninth century AD. Over a hundred mechanical devices were detailed in this document, some of which may have been found in monastic manuscripts from antiquity. Around 1000, the scholar al-Biruni described a geared calendar that was comparable to the Byzantine mechanism, and a 13th-century astrolabe also had a clockwork system that is similar to it. It's probable that this medieval technology was brought to Europe and had a part in the region's development of mechanical clocks.   Su Song, a Chinese polymath, built a mechanical clock tower in the 11th century that, among other things, measured the positions of several stars and planets that were shown on an armillary sphere that spun mechanically.   Conspiracy Corner The Antikythera Mechanism was thought to have been created between 150 and 100 BCE at first, but recent research dates its development to approximately 205 BCE. It's interesting that this technology seems to have just vanished because comparable items didn't start turning up until the 14th century. But why did the ancient Greeks permit such a significant development to be forgotten over time? Posidonius carried on the work of the Greek astronomer Hipparchus by instructing students at an astronomy academy. Posidonius invented a contraption that "in each rotation reproduces the identical motions of the Sun, the Moon and the five planets that take place in the skies every day and night," according to Cicero, one of Posidonius' students. Which remarkably resembles the Antikythera Mechanism. However, when the Mechanism was created in the second century BCE, Posidonius was not yet alive. Hipparchus was, though. Posidonius could have built an instrument based on Hipparchus' Antikythera Mechanism, which he made many years before. What about Posidonius' instrument, though? A time traveler from the future may have developed the Mechanism, or it may genuinely be a futuristic gadget that was taken back to ancient Greece and put there on purpose if it dates to the second century BCE and equivalent technology didn't start emerging until decades later. Some people think the entire thing is a hoax despite overwhelming scientific proof to the contrary. After all, it is challenging to reconcile the Antikythera mechanism's antiquity with its growth in technology. The Turk, a fictional chess-playing robot constructed in the 18th century, has been likened to the mechanism by some. But scientists easily acknowledge that The Turk is a fraud. Why would they fabricate evidence of the mechanism's reliability? What would they be attempting to conceal? Even though it is quite old, the Antikythera mechanism represented an enormous advance in technology. So how did the Greeks of antiquity come up with the concept, much alone construct it? They didn't, according to The Ancient Aliens: “Beings with advanced knowledge of astronomical bodies, mathematics and precision engineering tools created the device or gave the knowledge for its creation to someone during the first century BC. But the knowledge was not recorded or wasn't passed down to anyone else.” Therefore, aliens either provided humanity the ability to make this gadget or the knowledge to do so, but they didn't do anything to assure that we built on it or learnt from it. It seems like the aliens weren't planning ahead very well. This theory, like the extraterrestrial one, is based simply on the observation that the Antikythera mechanism seems to be too technologically sophisticated for its period. The mythical Atlantis was a highly developed metropolis that vanished into the ocean. Many people think the city genuinely exists, despite the fact that Plato only described it in a sequence of allegories. And some of those individuals believe the Antikythera mechanism proves Atlantis existed since it was too sophisticated for any known culture at the time; they believe Atlantis, not Greece, is where the mechanism originated. According to the notion of intelligent design, a higher power purposefully created many things on Earth because they are too sophisticated to have arisen by simple evolution. Because the Antikythera mechanism is so much more sophisticated than any other artifact from that age, some people think it is proof of intelligent design. If this is the case, you have to question what divine, omnipotent creature would spend time creating such a minute object for such a trivial goal. Greece's coast is home to the island of Rhodes. Greek artifacts were placed into the ship transporting the Mechanism, which was sailing for Rome. One explanation for this might be that the Antikythera mechanism was taken together with the spoils from the island of Rhodes. How come Rhodes was pillaged? following a victorious war against the Greeks, as part of Julius Caesar's triumphal procession. Could the loss of one of history's most significant and cutting-edge technical advancements be accidentally attributed to Julius Caesar? The Antikythera mechanism may have predicted the color of eclipses, which is thought to be impossible by scientists, according to new translations of texts on the device. Therefore, were the forecasts the mechanism provided only educated guesses, or did the ancient Greeks have knowledge that we do not? According to legend, an extraterrestrial species called the Annunaki (possible episode?) invaded and inhabited Earth (they were revered as gods in ancient Mesopotamia), leaving behind evidence of their presence. The Antikythera mechanism could be one of these hints. The Mechanism uses what appears to be distinct technology that was, as far as we are aware, extremely different from anything else that was built about 200 BCE. It estimates when lunar eclipses would occur, which advanced space invaders would undoubtedly know something about. An intriguing view on the process is held by Mike Edmunds from Cardiff University. The uniqueness and technological innovation of the item are frequently highlighted in reports about it. However, Edmunds speculates that the mechanism may have been in transit to a client when the ship carrying it went down. If one device was being delivered, might there possibly be others — if not on this ship, then potentially on others from Rhodes? — he asks in his essay. There may have been more of these amazing machines that have been lost to the passage of time or are still out there waiting to be found. MOVIES - films from the future - https://filmsfromthefuture.com/movies/

Episode 79: As things moved on in the early renaissance art - painting and sculpture - led the way and theatre soon followed.  Artists tried to inject more realism into their work, showing their subjects as they really were, or as close as they could get.  The colours of clothes, skin tones, fruit, countryside scenery and, well, whatever the artist's subject was, became more subtle and realistic as artists looked at the different impacts of viewpoint, light and light sources in paintings and strived to show the world as it really was.  The discovery of an understanding of one thing in particular made those working in the theatre sit up and take note – perspective in art had arrived. Brunelleschi and the discovery of perspective painting. 1414 and the rediscovery of Vitruvius and ‘De Architectura'. Leon Battista Alberti and the beginnings of theatrical perspective design . Pellegrino de San Daniele and his perspective scenery at Ferrara. Architect Sebastiano Serlio, his perspective designs and use of the raked stage and painted flats. The development of wing space as an integral part of theatre design. The problems with perspective scenery. Aristotle de San Gallo and his reintroduction of the ‘periaktoi'. The importance of the introduction of flats throughout theatres. Lighting methods in Italian renaissance theatre. The Teatro Olympico in Vicenza, designed by Andrea Palladio and completed by Vincenzo Scamozzi.  This theatre was the panicle of perspective theatre design with seven arches at the back of the stage using perspective effect but had a short life. Advances in stage machinery by Nicola Sabbatini, known for his flying effects and his fondness for the ‘periaktoi'.  To improve this feature he designed mechanical ways of rotating the periaktoi.  Sabbatini's wave form effect. Giacomo Torelli and his mechanical decice for moving flats on and off stage, the ‘chariot pole system'. Support the podcast at: www.thehistoryofeuropeantheatre.com www.ko-fi.com/thoetp www.patreon.com/thoetp This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

"Vitruvian Man" refers to the proportions delineated by Vitruvius, who was an architect of people too.

Welcome to May 12, 2022 on the National Day Calendar. Today we celebrate rowdy poems and technology that has stood the test of time. Anna: There once was a man from Nantucket… Marlo: WHOA! You can't read that on the air. Anna: I'm just reading a limerick. Marlo: Okay, but we can't actually read a limerick. They're simple five-line poems with a set rhyme scheme, but they are usually…um…a little off-color. Anna: How about this one? There once was a man from Madras… Marlo: Stop! We don't want to know how that one ends. On National Limerick Day everyone can google some for themselves if they want. And maybe write some clean versions. Anna: Oh, okay. There have been so many technological advancements in the past century that sometimes it's hard to keep track. Inventions seem to come and go, especially in the digital age. But a few devices have stood the test of time. Like the odometer. This device was invented way back in 15 BCE by the Roman engineer Vitruvius. He rigged up a chariot wheel with a feature that would drop a pebble into an attached box after the wheel had turned 400 times—which was exactly a mile. At the end of a trip, the driver could determine the distance traveled by counting the number of pebbles that had dropped into the box. Keep track of how far you've come today on National Odometer Day.  I'm Anna Devere and I'm Marlo Anderson. Thanks for joining us as we Celebrate Every Day. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this week's episode of BOAT Briefing, Sophia reports back from the Spring Pop Up in Monaco where topics included how the war in Ukraine is impacting the market and emerging shipyard destinations. We also look at how a booked-up charter season impacted the MYBA charter show and the forthcoming Formula One Grand Prix in Miami, including the incorporation of a marina without any water. We also celebrate the winners of this year's Ocean Awards. In the news this week we cover the new flagship of Bering explorer series, the launch of the Oasis 34M and that Tankoa will build a 52 metre Vitruvius.  Links:  https://www.boatinternational.com/business/news/myba-charter-show-2022 https://www.boatinternational.com/luxury-yacht-events/ocean-awards/ocean-awards-winners https://www.boatinternational.com/yachts/news/first-benetti-oasis-34m-hits-the-water https://www.boatinternational.com/yachts/news/bering-b145-yacht-heeus https://www.boatinternational.com/yachts/news/tankoa-to-build-vitruvius-n10 BOAT Pro: https://www.boatinternational.com/boat-pro Contact us: podcast@boatinternationalmedia.com Subscribe: https://www.boatinternational.com/subscriptions

We are very pleased to welcome our first guest for this episode, Gee Cooper. Gee works for the National Trust, specializing in the history and conservation of English country houses, primarily Claydon House and Uppark. With a thorough grasp on all of the major architectural intricacies of these houses, Gee and I discuss the lasting impact of the Renaissance architectural style of Andrea Palladio, and how the 18th century English country house proliferated a Palladian revival in relation to contemporary Neoclassic trends. Andrea Palladio served the Venetian Republic as one of its most important architects from 1508 to 1580. His most famous works still stand today in Venice, Vicenza, and other parts of northern Italy. For Palladio, the primary inspiration for architectural design was Vitruvius, who wrote his architectural treatise in the first century B.C.E. This book was a major influence during the Renaissance, coming to print in 1486. As we will discuss, the impact of Vitruvius extends beyond Palladio, to the great English architects of the 1700's. *We are still working out audio issues through Zoom recording. Apologies and thanks. * Instacart - Groceries delivered in as little as 1 hour. Free delivery on your first order over $35.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show (https://www.paypal.com/donate/?business=4HTBBJSUX4BQN&no_recurring=0¤cy_code=USD)

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! La ya conocida triada de «rarities» formada por Carles Pinós, Carlos Romeo y David Pintos realizan un fructuoso trabajo de investigación en aras de conseguir sorprenderos con «rarezas nivel Dios», como diría aquel. Carlos Romeo rescatará joyas de Steve Hillage incluida su participación en Khan; Carles Pinós nos traerá una pieza selecta de Pau Riba, dos temas extraídos del libro y triple disco «Sonidos Experimentales en la Barcelona Pre-olímpica 1971-1991», uno de Perucho´s y otro de Suck Electrònic Enciclopèdic; y David Pintos recuperará tres discos, uno de The Custodian, otro de Vitruvius y otro de Oceans Of Time. No te pierdas este capítulo nutrido con «generadores de sonido» y acosado por «francotiradores del ruido». Edición: Jordi Via www.subterranea.eu Escucha este episodio completo y accede a todo el contenido exclusivo de Subterranea Podcast. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/17710

Episode 64 In the first part of season four we bridge the gap between the Medieval and Renaissance periods with a mention of the key artistic movements and historical events that can be used to mark the beginning of the period. How theatre looked back to the rediscovered plays of Ancient Greece and Rome and the writings of Vitruvius on Theatre Architecture. The earliest plays of the period, showing how the Renaissance got started in the late 1300s. A word on the development of Opera and Ballet. For the chance to see Lazarus Theatre production of Salome by Oscar Wilde on line until 5th December 2021 go to https://www.lazarustheatrecompany.co.uk/salomé To support the Podcast: www.patreon.com/thoetp www.ko-fi.com/thoetp and find more details on www.thehistoryofeuropeantheatre.com This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy