Roman architecture, renowned for its grandeur, precision, and technical innovations, has fascinated historians and enthusiasts for centuries. Blending functionality and aesthetics, it transformed the urban landscape of antiquity and left a legacy that continues to influence contemporary architecture. Iconic structures like the Colosseum, the Pantheon, and the Roman aqueducts exemplify Roman ingenuity in using materials like concrete and implementing advanced techniques like the arch and vault, ensuring durability and efficiency in their construction. However, much of the theory and knowledge underpinning these remarkable achievements has been lost over time, leaving interesting gaps in our understanding of their methods and practices.
The charming city of Volterra, nestled in the hills of Tuscany, Italy, has played an important role in advancing our knowledge of antiquity. With over 3,000 years of history, Volterra is a historical treasure trove, home to sites dating back to the 4th century BC. It is known as one of the oldest continuously inhabited cities in the world, boasting notable sites such as the world’s oldest Etruscan arch. The city is home to one of the finest examples of a Roman theatre, discovered just 50 years ago. These discoveries have been inspired by the efforts of a research team led by Professor Vladek Fuchs Volterra-Detroit FoundationCombined with technological innovations. Modern tools developed by companies such as Autodesk have enabled new and deeper analysis of the mathematical sophistication behind these ancient architectural projects.
The project took on the ambitious task of scanning Roman structures, leveraging cutting-edge technology and academic insight to uncover the secrets of these millennium-old constructions. Using drones, photogrammetry and terrestrial laser scanning, teams captured high-resolution 3D models of the city’s ancient structures and artifacts. with the support of AutodeskThese models have not only aided urban planning and restoration efforts, but also allowed global audiences to explore Volterra’s heritage through virtual platforms and 3D-printed replicas. As Tristan Randall, senior business development executive at Autodesk, explains, data processed through tools like Recap Pro and Revit facilitated detailed creation. Building Information Model (BIM)Providing deeper insight into these structures and enabling the creation of models and virtual reality tools.
A new lens on Vitruvian ideals
When Professor Vladek Fuchs began his work with the Volterra-Detroit Foundation, he could not have anticipated the unprecedented revelations the project would yield.
My core area of expertise was architectural visualization – from hand drawing to computer rendering and animation. Part of my fascination lies in showcasing the original forms of ancient structures, now in ruins, through virtual 3D reconstruction. In Volterra, Italy, remains of a Roman theater from the 1st century BC survive, but very little of the structure remains intact today. I wanted to imagine its original state. To create a CAD 3D model of it, I needed to understand how it was initially designed. However, existing documentation from previous hand measurements was confusing, with significant discrepancies between drawings. – Professor Vladek Fuchs
In August 2016, the Volterra-Detroit Foundation organized the city’s first digital preservation workshop, scanning the theater’s ruins in 3D with laser technology. This effort produced an accurate digital replica, providing reliable material for further study. Like any researcher of Roman architecture, Fuchs relied on Vitruvius ten books on architecture As a primary reference, including its section devoted to theater design. Nevertheless, it soon became clear that Volterra’s theater differed significantly from the ancient author’s descriptions. Vitruvius described an auditorium based on the geometry of a regular 12-sided polygon, but the layout in Volterra was based on a 7-sided polygon, with each side divided into three equal parts, resulting in a 21-sided figure. Hui. As a result, the stage doors for the actors could not align with specific corners of the dodecagon, as described, because no dodecagon was used. Fuchs had to identify alternative geometric theories to determine his position. He explains: “Vitruvius wrote that if a colonnade has two tiers, the height of the upper tier should be ¾ of the lower tier; in Volterra, the ratio is clearly higher – 8:9. Almost everything in them differed from Vitruvius’s prescriptions, leading to a dilemma: should I trust my observations or assume that the ancient author’s descriptions were correct?”
Archaeological evidence shows that many Roman structures differ from Vitruvius’s descriptions. While scholars often attribute these differences to later design modifications or construction errors, the precise execution of structures like the Volterra Theater suggests deliberate planning rather than on-site adjustments. This prompted Fuchs to expand his research to 50 Roman theatres, discovering that only seven followed Vitruvius’s 12-sided polygonal layout, while the others used polygons with 7 to 13 sides. Roman stage (scenes) were often based on the square grids mentioned by Vitruvius, further indicating alternative planning methods. Similarly, investigation of Roman temples revealed modular grids in their layout, while circular structures such as the Pantheon demonstrated that the Romans used a more accurate value of π (22/7) than Vitruvius’s 3.125, allowing practical And proportional designs were enabled.
According to Fuchs, Vitruvius focused on general design principles (Utilitas, Firmitas, Venustas) and aims to make architectural language accessible to a wider audience rather than detailing practical methods. This probably explains the discrepancies between his recommendations and actual Roman practices.
intersection of technology and tradition
Bringing these architectural insights to light required technological innovation, with Autodesk playing a key role in the digital preservation of the ruins of Volterra. Using terrestrial laser scanners and drone photogrammetry, Tristan Randall’s team captured detailed 3D models of these ancient sites. Randall shares, “The process of creating these scans involved over 100 individual scans just for the Roman theatre, ensuring millimetre-level accuracy. The resulting point cloud provided a flawless digital replica of the existing conditions. ” These data sets were then processed using Autodesk Recap Pro, allowing seamless integration into 3D models and even scaled replicas through 3D printing.
Although the workflow was unprecedented, it was not without challenges. From precise operation of drones on sites to management of huge data sets, the project demanded innovation at every stage. Nevertheless, as Randall emphasizes, this effort paved the way for a scalable and replicable approach to heritage conservation around the world. “These tools are more accessible and affordable than ever before, making it possible to meet digital preservation needs around the world.”
Lessons for present and future
The Volterra Project is more than an academic exercise; It acts as a bridge between the ancient and the modern. Fuchs emphasizes the potential of these discoveries to influence contemporary architectural education. “We often teach the history of architecture as a catalog of dramatic forms,” he says. “But understanding Roman design methods – how they optimized geometry and proportion – can make the history more relevant and transformative for today’s designers.”
I would venture to say that the geometry and mathematics of Roman structures are like a mix between the fingerprints of the architects and the mitochondrial DNA of all Roman architecture. Of course, it will take a long time to understand them completely – if it is even possible – because much of the material must be studied again, and it is often in ruins. So, I guess I’m just laying the groundwork for future knowledge. But this already offers a completely different perspective on ancient architecture: that it was not homogenous, as the writings of Vitruvius suggest, but rather highly diverse, much can be learned about its variations. . – Professor Vladek Fuchs
Randall echoes this sentiment, emphasizing the role of technology in preserving historical memory. “What we have achieved in Volterra can serve as a model, bringing together professionals, technologists and public groups to achieve sustainable living in these incredible places.”
We have an almost insurmountable global need to protect and preserve these important sites. What we have achieved collaboratively in Volterra can be used as a template to marshal resources around the world and unite experts, technologists and the public sector to protect these extraordinary places. – Professor Vladek Fuchs
Fuchs also notes that Roman design principles can inspire new approaches to solving architectural challenges today. “His proportional systems were not just about aesthetics; they simplified logistics and construction, offering a level of precision that minimized errors. If today’s architects could integrate that logic with modern materials and techniques, So the possibilities are endless.”
The Volterra Project has shed light on a richer and more complex tapestry of Roman architecture than the writings of Vitruvius alone. As Fuchs concludes, “The geometry and mathematics in Roman structures are like the fingerprints of the architects and the DNA of the architectural tradition. They reveal diversity and ingenuity that challenge our assumptions and invite deeper exploration. Are.” By blending advanced technologies with rigorous historical investigation, the Volterra Project is not only preserving the past – it is redefining how we understand and use it. By doing so, it ensures that the knowledge of ancient architects will continue to inspire future generations.
