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A building cannot be good to look at if it is unplanned, with its parts totally unrelated to one another; but on the other hand if the arrangement is too regular it becomes boring and dull. The object of architectural proportion is to strike the balance between these extremes, creating an interesting visible order by the repetition of similar shapes. In this book, first published in 1958, Mr Scholfield deals with the history of the theory of proportion, and in doing so develops his own positive theory, which reconciles the apparent contradictions of rival systems and serves as a key to historical understanding. Even when he is dealing with complex themes, Mr Scholfield's exposition can be followed by the uninitiated reader. Those already interested in architecture and the visual arts will certainly want the book; and those who are not will find, on reading it, that their interest is stimulated.
Ancient architects and artists had a way of striking resonant chords in the viewers of their work. This book points to a possible way of returning a sense of unity to the visual arts through a combination of theoretical ideas and practical methods, of narrative description and visual exercises.Proportion, the use of number and geometry as design tools, is seen in the context of the search for the beautiful. From the theoretic, symbolic mathematics of the Pythagoreans, Platonists, and Neo-Platonists, the book proposes an aesthetic theory, a way of approaching beauty, rooted in the idea of psyche and expressed through the ancient sciences of arithmetic, geometry, music, and astronomy. Topics treated include: an explanation of the concept of symbolic or qualitative number; an introduction to Pythagorean and Platonic numerical philosophy; the nature of beauty and its relation to number; the derivation of the ancient musical octave; the Golden Section, its mathematics, geometry, and relation to philosophy, particularly its role as a geometrical logos; and the connection of these ideas to the numerical-geometrical canons of classical architecture. These concepts are illustrated step by step as applied to the elements and archetypal compositions of classical architecture, such as the order and portico, using arithmetic, geometric, and harmonic ratio methods.The proportional idea is illustrated with reconstructions of exemplary buildings based on the methods described, following through the historical periods of Egypt, Greece, Rome, the Middle ages, the Italian Renaissance, and the Enlightenment. Though the book is focused on architecture, the methods presented may be used by artists and designers in any visual field. The book suggests several pathways on which contemporary designers might move toward creating a sane and beautiful world through a merger of art and science.
The desire for harmony is universal among all cultures. In Infinite Measure, we rediscover a fundamental starting point for designers of all ages: the simple act of drawing with a compass and a rule can sensitize the designer to the rich subtleties of spatial harmony, no matter how one ultimately chooses to express it.
The basics of the profession and practice of architecture, presented in illustrated A-Z form. The word "architect" is a noun, but Doug Patt uses it as a verb—coining a term and making a point about using parts of speech and parts of buildings in new ways. Changing the function of a word, or a room, can produce surprise and meaning. In How to Architect, Patt—an architect and the creator of a series of wildly popular online videos about architecture—presents the basics of architecture in A-Z form, starting with "A is for Asymmetry" (as seen in Chartres Cathedral and Frank Gehry), detouring through "N is for Narrative," and ending with "Z is for Zeal" (a quality that successful architects tend to have, even in fiction—see The Fountainhead's architect-hero Howard Roark.) How to Architect is a book to guide you on the road to architecture. If you are just starting on that journey or thinking about becoming an architect, it is a place to begin. If you are already an architect and want to remind yourself of what drew you to the profession, it is a book of affirmation. And if you are just curious about what goes into the design and construction of buildings, this book tells you how architects think. Patt introduces each entry with a hand-drawn letter, and accompanies the text with illustrations that illuminate the concept discussed: a fallen Humpty Dumpty illustrates the perils of fragile egos; photographs of an X-Acto knife and other hand tools remind us of architecture's nondigital origins. How to Architect offers encouragement to aspiring architects but also mounts a defense of architecture as a profession—by calling out a defiant verb: architect!
This handbook provides the student, practising architect or interested layman with a well-illustrated and readable comparative guide to proportion systems in architecture.
The two brief works presented here in translation have played an important role in shaping our understanding of the history of theories of proportion in architecture from Classical times through the Renaissance and thereafter.
Sir Kenneth Clark wrote in the Architectural Review, that the first result of this book was "to dispose, once and for all, of the hedonist, or purely aesthetic, theory of Renaissance architecture, ' and this defines Wittkower's intention in a nutshell.
In this collection of original essays, twenty-five leading scholars reconsider the long history of proportional systems across numerous periods and places, and from diverse methodological approaches including archival exploration, advanced laser scanning, and more. Prior to the advent of modern structural engineering, architects and builders used proportional systems to imbue their works with a general condition of order that was integral to their intertwined notions of beauty and structural stability. These mostly invisible intellectual frameworks ranged from simple grids and symbolic numbers, to sly manipulations of geometry and numbers that required privileged knowledge and arithmetical calculations to access. Since the origins of architectural history, proportional systems have served as objects of belief and modes of iconographical communication. Whether they are capable of fulfilling more tangible functions remains a matter of debate today, for this ancient and diverse belief system continues to infiltrate architectural thinking in subtle and sometimes surprising ways.
More than a decade in the making, this is a textbook of architecture, useful for every architect: from first-year students, to those taking senior design studio, to graduate students writing a Ph.D. dissertation in architectural theory, to experienced practicing architects. It is very carefully written so that it can be read even by the beginning architecture student. The information contained here is a veritable gold mine of design techniques. This book teaches the reader how to design by adapting to human needs and sensibilities, yet independently of any particular style. Here is a unification of genuine architectural knowledge that brings a new clarity to the discipline. It explains much of what people instinctively know about architecture, and puts that knowledge for the first time in a concise, understandable form. Dr. Salingaros has experience in the organization of the built environment that few practicing architects have. The later chapters of this new book touch on very sensitive topics: what drives architects to produce the forms they build; and why architects use only a very restricted visual vocabulary. Is it personal inventiveness, or is it something more, which perhaps they are not even aware of? There has not been such a book treating the very essence of architecture. The only other author who is capable of raising a similar degree of passion (and controversy) is Christopher Alexander, who happens to be Dr. Salingaros’ friend and architectural mentor. “Surely no voice is more thought-provoking than that of this intriguing, perhaps historically important, new thinker?” From the Preface by His Royal Highness, Charles, The Prince of Wales “A New Vitruvius for 21st-Century Architecture and Urbanism?” Dr. Ashraf SalamaChair, Department of Architecture and Urban Planning, Qatar University, Doha, Qatar “Architecture, Salingaros argues, is governed by universal and intuitively understood principles, which have been exemplified by all successful styles and in all civilizations that have left a record of themselves in their buildings. The solution is not to return to the classical styles… the solution is to return to first principles and build within their constraints… ” Dr. Roger Scruton Philosopher, London, UK “A fundamental text, among the most significant of the past several years.” Dr. Vilma Torselli Architect and Author, Milan, Italy “A Theory of Architecture demonstrates how mathematics and the social sciences offer keys to designing a humane architecture. In this brilliant tome Salingaros explains why many modern buildings are neither beautiful nor harmonious and, alternatively, how architects and patrons can employ scale, materials and mathematical logic to design structures which are exciting, nourishing, and visually delightful.” Duncan G. Stroik Professor of Architecture, University of Notre Dame, Indiana “Salingaros explores ways to clarify and formalize our understanding of aesthetic forms in the built environment, using mathematics, thermodynamics, Darwinism, complexity theory and cognitive sciences. Salingaros’ remarkable observations suggest that concepts of complexity and scale can someday provide a full-bodied explanation for both the practice and the appreciation of architecture.” Kim Sorvig Architecture & Planning, University of New Mexico See this book’s Wikipedia entry http://en.wikipedia.org/wiki/A_Theory_of_Architecture Nikos A. Salingaros is an internationally known urbanist and architectural theorist who has studied the scientific bases underlying architecture for thirty years. Utne Reader ranked him as “One of 50 visionaries who are changing your world”, and Planetizen as 11th among “The top 100 urban thinkers of all time”. He is Professor of Mathematics at the University of Texas at San Antonio.