The document discusses architectural principles of proportion and symmetry from antiquity through the Renaissance. It provides examples of how proportion was seen as key to beauty and harmony in buildings from Vitruvius to Alberti and Palladio. Specific structures are discussed like Bramante's San Pietro in Montorio to show how Renaissance architects designed central-plan churches based on classical precedents but also innovated on the forms. The document examines the shift from medieval to Renaissance perspectives through treatises and buildings.
Complexity and contradiction in architecture by Robert venturi Siva Raman
This presentation is about the critical review of the book Complexity and contradiction in architecture by Robert venturi focusing on the issues related to critical regionalism
13 propositions of Post-Modernism by Charles JencksAnshuman Mishra
This presentation contains the 13 propositions that Charles Jencks had prepared, as a summary, to introduce his students at UCLA, to the topic of Post-Modernism. The Slides were prepared by-Shanya Gupta, Nitin Sahu, Anshuman Abhisek Mishra : 4th sem B. Arch students at SPA, Bhopal.
Postmodern architecture is a reaction and evolution to the modern architecture that came before it. Not only did designers begin to make use of new innovations, but at the same time they appropriated design elements from the past. Buildings became an eclectic mix of old and new as the old "Form follows function" mantra was forgotten. One of the iconic postmodern examples is the Sony Building in New York City.
As with many cultural movements, some of postmodernism's most pronounced and visible ideas can be seen in architecture. The functional and formalized shapes and spaces of the modernist movement are replaced by aesthetics: form is adopted for its own sake, and new ways of viewing familiar styles and space abound.
Classic examples of modern architecture are the Lever House and the Seagram Building in commercial space, and the architecture of Frank Lloyd Wright or the Bauhaus movement in private or communal spaces.
Transitional examples of postmodern architecture are the Portland Building in Portland, Oregon and the Sony Building in New York City, which borrows elements and references from the past and reintroduces color and symbolism to architecture.
HISTORY OF ARCHITECTURE
"MODERN ARCHITECTURE"
Le Corbusier
Frank Lloyd Wright
Ludwig Mies van der Rohe
Walter Gropius
Louis Sullivan
C.R. Mackintosh
Edwin Lutyens
Antoni Gaudi
Complexity and contradiction in architecture by Robert venturi Siva Raman
This presentation is about the critical review of the book Complexity and contradiction in architecture by Robert venturi focusing on the issues related to critical regionalism
13 propositions of Post-Modernism by Charles JencksAnshuman Mishra
This presentation contains the 13 propositions that Charles Jencks had prepared, as a summary, to introduce his students at UCLA, to the topic of Post-Modernism. The Slides were prepared by-Shanya Gupta, Nitin Sahu, Anshuman Abhisek Mishra : 4th sem B. Arch students at SPA, Bhopal.
Postmodern architecture is a reaction and evolution to the modern architecture that came before it. Not only did designers begin to make use of new innovations, but at the same time they appropriated design elements from the past. Buildings became an eclectic mix of old and new as the old "Form follows function" mantra was forgotten. One of the iconic postmodern examples is the Sony Building in New York City.
As with many cultural movements, some of postmodernism's most pronounced and visible ideas can be seen in architecture. The functional and formalized shapes and spaces of the modernist movement are replaced by aesthetics: form is adopted for its own sake, and new ways of viewing familiar styles and space abound.
Classic examples of modern architecture are the Lever House and the Seagram Building in commercial space, and the architecture of Frank Lloyd Wright or the Bauhaus movement in private or communal spaces.
Transitional examples of postmodern architecture are the Portland Building in Portland, Oregon and the Sony Building in New York City, which borrows elements and references from the past and reintroduces color and symbolism to architecture.
HISTORY OF ARCHITECTURE
"MODERN ARCHITECTURE"
Le Corbusier
Frank Lloyd Wright
Ludwig Mies van der Rohe
Walter Gropius
Louis Sullivan
C.R. Mackintosh
Edwin Lutyens
Antoni Gaudi
metamorphic architecture - guardiola house by architect peter eisenmann, which is yet to be built. how the architect relates timaeus theory of plato to the guardiola house is very interesting
IMMATERIAL - Perceived absence of matter,
Philosophically spiritual rather than physical, Realm of ideas, a formless phenomenon
Immaterial is an idea where material is an object
The richness of the user’s experience of any building depends on awareness of all the senses, but immaterial architecture may trigger a sense more often associated with the immaterial, such as smell and touch
ORDER Introduction Ideas o f O r d e r ... Ra.docxhopeaustin33688
ORDER
Introduction: Ideas o f O r d e r
" ... Ranron Fernandez, tell me, i f y o u know,
Why, when fir? singing ended a i l d rue turned
Toward the town, tell why theglassy lights,
Tke lights iirr tiltfishing boats nt airchor there,
As rlight descended, tiltir~g in the air,
Mastered the night and portioned out the sea,
Fixing einblazoned zoiles and fiery poles,
Arranging, deepening, enchailtiiig night ..."
-WALLACE STEVENS
The title of this book, Ideas of Order, comes
from a poem by Wallace Stevens, "The Idea of
Order at Key WesY'. Stevens' poem elegantly and
compactly addresses issues which in this text are
drawn out over three hundred pages. The poem
recounts the tale of a woman singing by the shore.
The words of her song and the natural rhythms of
the sea mimic one another, yet the gulf between
language and the grinding water keep them from
ever forming a dialogue. Instead, the contrast be-
tween the song and the sounds of the wind and
sea provides a frame which reveals both with new
clarity. When the singing ends, the sea still can-
not be grasped as an autonomous, independent
entity. Instead, a new frame emerges; the lights
of the fishing boats mark out a visual structure
which fixes a new order for the sea.
The primary aim of ideas o f Order is to pro-
v i d e conceptual a n d historical frames of
reference which can be used to 'portion out' the
order of architecture, a task that is by no means
easy. Most of our training prepares us to deci-
pher linguistic and numeric information. We
have little training in making sense out of visual
and graphic material. Ground rules in visual
literacy are presented in this book in an attempt
to demystify the study of architecture, a disci-
pline which is so fraught with jargon a n d
specialized argot that without a primer, the
novice may become hopelessly muddled, or
worse, indifferent to the built environment. The
intent is not to develop an historical or art his-
torical argument, but rather to provide insight
into the way architects make decisions so that
I D E A S C
the reader may better appreciate the rich-
ness of the materlal world.
We do not presume to divine the inten-
tions of architects nor to understand the
precise reasoning followed in their design
processes. Instead, we shall examine objec-
tive data: the physical forms of buildings
a n d the interrelationships among the
whole, the constituent p a r t s and the
broader context. Formal analysis of build-
ings a n d d r a w i n g s shall act as a
springboard for our discussion, although
excurses may range into more abstruse
theoretical territory. Many complementary
and contradictory readings may be prof-
fered. That is why the book is called ldeas
of Order, rather than The Idea of Order. In
Stevens' poem, an interpretation of the sea
which emphasizes its auditory structure is
supported by the song; another interpreta-
tion which emphasizes i t s s p.
Alejandro Aravena, Quinta Monroy / Elemental, ma0/emmeazero, Playsacpe, Ecosistema Urbano, Ecoboulevard, Association Aurore + Yes We Camp + Plateau Urbain, Les Grands Voisins, Austrian Pavilion at 15 Biennale di Venezia,
Curated by Elke Delugan-Meissl, Places for
People, Caramel Architekten, EOOS, Social Forniture, Rural studio
In between Classicism and Romanticism, The industrial revolution and the industrial city, The critique to the industrial city, the Picturesque Beauty and the Nature of Gothic, John Ruskin and William Morris, Camillo Sitte and Ebenezer Howard. The Garbatella neighborhood in Rome. Innocenzo Sabattini and the Istituto Case Popolari.
Urban Retrofit: a proposal from Inarch Master of Sustainable ArchitectureMarialuisa Palumbo
La presentazione racconta la strategia proposta dal Master INARCH in Architetture Sostenibili per realizzare una operazione di recupero energetico, architettonico e di qualità urbana a scala di quartiere e mostra la metodologia del lavoro del Master attraverso una sequenza di immagini tratte dal lavoro di tesi del gruppo di Valentina Coccia, Michela Pirro e Gemma Renella, della XIX edizione del Master.
Appunti per un metabolismo urbano a ciclo (quasi) chiusoMarialuisa Palumbo
Città, matabolismo urbano e gestione dei rifiuti. Legislazione europea e italiana rifiuti. Roma verso rifiuti zero. Incenerire conviene? Le conseguenze sanitarie di discariche e inceneritori.
Deconstruction and Deconstructivism. The new “architectural dictionary” of the twenty-first century
and the fragmentation of the architectural discourse
White wonder, Work developed by Eva TschoppMansi Shah
White Wonder by Eva Tschopp
A tale about our culture around the use of fertilizers and pesticides visiting small farms around Ahmedabad in Matar and Shilaj.
Between Filth and Fortune- Urban Cattle Foraging Realities by Devi S Nair, An...Mansi Shah
This study examines cattle rearing in urban and rural settings, focusing on milk production and consumption. By exploring a case in Ahmedabad, it highlights the challenges and processes in dairy farming across different environments, emphasising the need for sustainable practices and the essential role of milk in daily consumption.
Connect Conference 2022: Passive House - Economic and Environmental Solution...TE Studio
Passive House: The Economic and Environmental Solution for Sustainable Real Estate. Lecture by Tim Eian of TE Studio Passive House Design in November 2022 in Minneapolis.
- The Built Environment
- Let's imagine the perfect building
- The Passive House standard
- Why Passive House targets
- Clean Energy Plans?!
- How does Passive House compare and fit in?
- The business case for Passive House real estate
- Tools to quantify the value of Passive House
- What can I do?
- Resources
Storytelling For The Web: Integrate Storytelling in your Design ProcessChiara Aliotta
In this slides I explain how I have used storytelling techniques to elevate websites and brands and create memorable user experiences. You can discover practical tips as I showcase the elements of good storytelling and its applied to some examples of diverse brands/projects..
Technoblade The Legacy of a Minecraft Legend.Techno Merch
Technoblade, born Alex on June 1, 1999, was a legendary Minecraft YouTuber known for his sharp wit and exceptional PvP skills. Starting his channel in 2013, he gained nearly 11 million subscribers. His private battle with metastatic sarcoma ended in June 2022, but his enduring legacy continues to inspire millions.
Can AI do good? at 'offtheCanvas' India HCI preludeAlan Dix
Invited talk at 'offtheCanvas' IndiaHCI prelude, 29th June 2024.
https://www.alandix.com/academic/talks/offtheCanvas-IndiaHCI2024/
The world is being changed fundamentally by AI and we are constantly faced with newspaper headlines about its harmful effects. However, there is also the potential to both ameliorate theses harms and use the new abilities of AI to transform society for the good. Can you make the difference?
2. Proportion is a due adjustment of the size of the different parts to each other and to
the whole; on this proper adjustment symmetry depends.
1. On Principles and Foundations
6. Proportion is a due adjustment of the size of the different parts to each other and to
the whole; on this proper adjustment symmetry depends.
Man is the measure of all things
Protagoras, c.450 BC
8. Proportion is a due adjustment of the size of the different parts to each other and to
the whole; on this proper adjustment symmetry depends.
It is not too much to claim that a pattern of tiles used in this sense
represents the modern 'systematic space' in an artistically concrete
sphere, well before it had been postulated by abstract mathematical
thought… Once again this perspectival achievement is nothing other
than a concrete expression of a contemporary advance in epistemology
or natural philosophy... abandoning the Scholastic idea of a cosmos with
the middle of the earth as its absolute center and with the outermost
celestial sphere as its absolute limit; the result was the concept of
infinity. The vision of the universe is detheologized.
Erwin Panofsky, Perspective as Symbolic Form
12. Proportion is a due adjustment of the size of the different parts to each other and to
the whole; on this proper adjustment symmetry depends.
To make clear my exposition in writing this brief commentary on
painting, I will take first from the mathematicians those things with which
my subject is concerned.
Leon Battista Alberti, Della Pittura
16. De revolutionibus orbium coelestium (On the Revolutions of the Heavenly Spheres)
1543 | Nicolaus Copernicus
17. Proportion is a due adjustment of the size of the different parts to each other and to
the whole; on this proper adjustment symmetry depends.
People gave ear to an upstart astrologer who strove to show that the
earth revolves, not the heavens or the firmament, the sun and the
moon... This fool wishes to reverse the entire science of astronomy; but
sacred Scripture tells us [Joshua 10:13] that Joshua commanded the
sun to stand still, and not the earth.
Martin Luther
22. Proportion is a due adjustment of the size of the different parts to each other and to
the whole; on this proper adjustment symmetry depends.
02. On Beauty
23. De Re Aedificatoria (On the Art of Building in Ten Books), c.1450 | Leon Battista Alberti
25. Proportion is a due adjustment of the size of the different parts to each other and to
the whole; on this proper adjustment symmetry depends.
Ut sit pulchritudo quidem certa cum ratione concinnitas universarum
partium in eo cuius sint: ita ut addi, aut diminui, aut immutari possit nihil,
quam improbabilius reddat.
[Beauty is] the harmony and concord of all parts achieved in such a
manner that nothing could be added or taken away or altered except for
the worse.
Alberti, De re aedificatoria, Book VI
26. Proportion is a due adjustment of the size of the different parts to each other and to
the whole; on this proper adjustment symmetry depends.
Aedium compositio constat ex symmetria, cuius rationem diligentissime
architecti tenere debent. ea autem paritur a proportione, quae graece
ἀναλογία dicitur. proportio est ratae partis membrorum in omni opere
totiusque commodulatio, ex qua ratio efficitur symmetriarum.
The design of Temples depends on symmetry, the rules of which
Architects should be most careful to observe. Symmetry arises from
proportion, which the Greeks call ἀναλογία. Proportion is a due
adjustment of the size of the different parts to each other and to the
whole; on this proper adjustment symmetry depends.
Vitruvius, De Architectura, III, 1
28. Proportion is a due adjustment of the size of the different parts to each other and to
the whole; on this proper adjustment symmetry depends.
All the new elements introduced by Alberti in the facade, the columns,
the pediment, the attic, and the scrolls, would remain isolated features
were it not for the all-pervading harmony which formed the basis and
background of his whole theory. Harmony, the essence of beauty,
consists in the relationship of the parts to each other and to the whole,
and, in fact, a single system of proportion permeates the facade, and the
place and size of every single part and detail is fixed and defined by it.
Proportions recommended by Alberti are the simple relations of one to
one, one to two, one to three... which are the elements of musical
harmony and which Alberti found in classical buildings...
The whole facade of S. Maria Novella can be exactly circumscribed by a
square. A square of half the side of the large square defines the
relationship of the two stories. The main story can be divided into two
such squares, while one enclose the upper storey. In other words, the
whole building is related to its main parts in the proportion of one to
two...
Rudolf Wittkower, Architectural Principles in the Age of Humanism
30. Proportion is a due adjustment of the size of the different parts to each other and to
the whole; on this proper adjustment symmetry depends.
If Nature, therefore, has made the human body so that the different
members of it are measures of the whole, so the ancients have, with
great propriety, determined that in all perfect works, each part should be
some aliquot part of the whole; and since they direct, that this be
observed in all works, it must be most strictly attended to in temples of
the gods, wherein the faults as well as the beauties remain to the end of
time.
Vitruvius, De Architectura, III, 1
31. I sette libri dell'architettura, c.1537 | The Five Orders
32. Proportion is a due adjustment of the size of the different parts to each other and to
the whole; on this proper adjustment symmetry depends.
Beauty will result from the beautiful form and from the correspondence
of the whole to the parts, of the parts amongst themselves, and of these
again to the whole; so that the structures may appear an entire and
complete body, wherein each member agrees with the other and all
memebrs are necessary for the accomplishment of the building”
Palladio, Book 1, chap. 1
46. Proportion is a due adjustment of the size of the different parts to each other and to
the whole; on this proper adjustment symmetry depends.
Deus est sphaera infinita, cuius centrum est ubique, circumferentia
nullibi.
God is an infinite sphere whose center is everywhere and circumference
nowhere.
Nicolò Cusano, De Docta Ignorantia, 1440
52. Proportion is a due adjustment of the size of the different parts to each other and to
the whole; on this proper adjustment symmetry depends.
Le più belle, e più regolate forme, e dalle quali le altre ricevono le
misure, sono la Ritonda e la Quadrangulare...
la Ritonda... sola tra tutte le figure è semplice, uniforme, eguale, forte e
capace, faremo I Tempij rotondi.
...è attissima a dimostrare la Unità, la Infinita Essenza, la Uniformità, et
la Giustizia di Dio.
The most beautiful and most regular forms and from which the other
receive their measure are the round and the quadrangular. The round...
it is the only one among all the figures that is simple, uniform, equal,
strong, and spacious. Therefore let us make our temples round”
Palladio, Book I, chap 1
57. Proportion is a due adjustment of the size of the different parts to each other and to
the whole; on this proper adjustment symmetry depends.
This building is a reconstruction by Bramante of an ancient Roman
circular temple – or so it seems at first.
He mounts it [the theme of the circular temple] on three steps and sets a
continuous moulded plinth under the order. This plinth gives the little
building a sudden and auspicious 'lift' – enough to ratify its sanctity. And
each Doric column has an answering Doric pilaster on the wall of the
inner building – what is called the cella. This cella rises higher than the
colonnade and is covered with a hemi-spherical dome. Now, is this a
literal reconstruction of a Roman temple or is not? Clearly not. It is an
extension of an idea borrowed from the Romans. The plinth and the
vertical penetration of the central cylinder up and through to a hemi-
spherical dome are Bramante's inventions and highly successful ones to
judge by the numbers of times they have been imitated.
John Summerson, The Classical Language of Architecture
66. Proportion is a due adjustment of the size of the different parts to each other and to
the whole; on this proper adjustment symmetry depends.
04. On the Church's Facade
68. Proportion is a due adjustment of the size of the different parts to each other and to
the whole; on this proper adjustment symmetry depends.
Far from leaving the orders out when they [the Romans] built vaulted
amphi-theatres, basilicas and triumphal arches, they brought them in, in
the most conspicuous way possible, as if they felt that no building could
communicate anything unless the orders were involved in it. To them the
orders were architecture... The Romans took this highly stylized but
structurally quite primitive kind of architecture and married it to arched
and vaulted multi-storey buildings of great elaborations. And in doing so
they raised architectural language to a new level...
...all major Roman buildings other than temples were designed on the
basis of arches and vaults, whereas the orders belong strictly to the
more primitive system of 'trabeation'. To marry the two in the sense of
giving the old types of temple column the job of carrying arches could
work up to a point but it was never satisfactory... So what did the
Romans do? The Colosseum at Rome answers the question at once...
every row of arches is framed inside a continuous colonnade. The
colonnades have no structural purpose – or very little. They are
representations of temple architecture carved, as it were, in relief on a
building which is not a temple, which is multi-storeyed and is built as a
system of arches and vaults.
John Summerson, The Classical Language of Architecture
89. Proportion is a due adjustment of the size of the different parts to each other and to
the whole; on this proper adjustment symmetry depends.
05. On Cities as Monuments
106. Proportion is a due adjustment of the size of the different parts to each other and to
the whole; on this proper adjustment symmetry depends.
The ancient Romans moved the umbelicus mundi figuratively from
Delphi to the Forum, where it remained until medieval legend shifted it
once more to the Campidoglio. Here it was permanently fixed in
Michelangelo's pavement, which combined its zodiacal inferences with
its mound-like forme. Marcus Aurelius, mounted at the center, might
have been a foreign element if iconic tradition had not permitted his
association with the umbelicus. As Kosmokrator, he succeeded to
Apollo's position upon the mound, and since the ancient sculptor had not
equipped him with the requisite attributes, Michelangelo placed around
his base the corona of Apollo: the twelve pointed rays which also serve
as the starting-points of the zodiacal pattern.
James Ackerman, The Architecture of Michelangelo