Every age and every culture has relied on the incorporation of mathematics in their works of architecture to imbue the built environment with meaning and order. Mathematics is also central to the production of architecture, to its methods of measurement, fabrication and analysis. This two-volume edited collection presents a detailed portrait of the ways in which two seemingly different disciplines are interconnected. Over almost 100 chapters it illustrates and examines the relationship between architecture and mathematics. Contributors of these chapters come from a wide range of disciplines and backgrounds: architects, mathematicians, historians, theoreticians, scientists and educators. Through this work, architecture may be seen and understood in a new light, by professionals as well as non-professionals.Volume I covers architecture from antiquity through Egyptian, Mayan, Greek, Roman, Medieval, Inkan, Gothic and early Renaissance eras and styles. The themes that are covered range from symbolism and proportion to measurement and structural stability. From Europe to Africa, Asia and South America, the chapters span different countries, cultures and practices.
Fractal analysis is a method for measuring, analysing and comparing the formal or geometric properties of complex objects. In this book it is used to investigate eighty-five buildings that have been designed by some of the twentieth-century's most respected and celebrated architects. Including designs by Le Corbusier, Eileen Gray, Frank Lloyd Wright, Robert Venturi, Frank Gehry, Peter Eisenman, Richard Meier and Kazuyo Sejima amongst others, this book uses mathematics to analyse arguments and theories about some of the world's most famous designs. Starting with 625 reconstructed architectural plans and elevations, and including more than 200 specially prepared views of famous buildings, this book presents the results of the largest mathematical study ever undertaken into architectural design and the largest single application of fractal analysis presented in any field. The data derived from this study is used to test three overarching hypotheses about social, stylistic and personal trends in design, along with five celebrated arguments about twentieth-century architecture. Through this process the book offers a unique mathematical insight into the history and theory of design.
This book presents new ways of facilitating design thinking, through the combination of cognitive design strategies and information technologies. It provides readers with an in-depth understanding of the traditional and digital design processes and activities that are employed in architecture, computational design, communication design and graphic design.
The book is divided into three parts: Part I, which focuses on creativity, uses evidence derived from empirical studies to develop an understanding of the way computational environments shape design thinking and may lead to more inventive outcomes. Part II considers the cognitive dimensions of design teams, crowds and collectives. It investigates the ways digital design platforms promote interactive and collective thinking. Lastly, Part III addresses culture, examining the linguistic and cultural context of the globalised design ecosystem.
Providing valuable insights into design thinking, this book helps readers engage with their local and global environments. It will appeal to academics, researchers and professionals with an interest in understanding design thinking in the context of creativity, collaboration and culture.
This book presents the first detailed mathematical analysis of the social, cognitive and experiential properties of Modernist domestic architecture.The Modern Movement in architecture, which came to prominence during the first half of the twentieth century, may have been famous for its functional forms and machine-made aesthetic, but it also sought to challenge the way people inhabit, understand and experience space. Ludwig Mies van der Rohe's buildings were not only minimalist and transparent, they were designed to subvert traditional social hierarchies. Frank Lloyd Wright's organic Modernism not only attempted to negotiate a more responsive relationship between nature and architecture, but also shape the way people experience space. Richard Neutra's Californian Modernism is traditionally celebrated for its sleek, geometric forms, but his intention was to use design to support a heightened understanding of context. Glenn Murcutt's pristine pavilions, seemingly the epitome of regional Modernism, actually raise important questions about the socio-spatial structure of architecture. Rather than focussing on form or style in Modernism, this book examines the spatial, social and experiential properties of thirty-seven designs by Wright, Mies, Neutra and Murcutt. The computational and mathematical methods used for this purpose are drawn from space syntax, isovist geometry and graph theory. The specific issues that are examined include: the sensory and emotional appeal of space and form; shifting social and spatial structures in architectural planning; wayfinding and visual understanding; and the relationship between form and program.