The Dynamics of Architectural Form
by Arnheim, RudolfEdition: 30th
Format: Paperback
Pub. Date: 2009-10-19
Publisher(s): Univ of California Pr
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Summary
Rudolf Arnheim has been known, since the publication of his groundbreaking Art and Visual Perceptionin 1974, as an authority on the psychological interpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. InThe Power of the Center, Arnheim uses a wealth of examples to consider the factors that determine the overall organization of visual form in works of painting, sculpture, and architecture.The Dynamics of Architectural Formexplores the unexpected perceptual consequences of architecture with Arnheim's customary clarity and precision.
Author Biography
Rudolf Arnheim (1904-2007) was Professor Emeritus of the Psychology of Art at Harvard University and the author of many books, including Art and Visual Perception, Film as Art, Power of the Center, and Visual Thinking.
Table of Contents
| Introduction | p. 1 |
| Elements of Space | p. 9 |
| Space created by things | p. 9 |
| Architectural implications | p. 13 |
| The fields in between | p. 16 |
| Empty and forlorn | p. 20 |
| The dynamics of surrounding space | p. 25 |
| Vertical and Horizontal | p. 32 |
| Asymmetrical space | p. 32 |
| Vision takes to the upright | p. 35 |
| Piercing the ground | p. 39 |
| Horizontality | p. 44 |
| Weight and height | p. 46 |
| Dynamics of the column | p. 48 |
| The plan and the section | p. 53 |
| The second and third dimensions | p. 57 |
| The mind adds the meaning | p. 64 |
| Solids and Hollows | p. 67 |
| Buildings in context | p. 67 |
| Boundless ground | p. 68 |
| The interplay of spaces | p. 69 |
| The street as figure | p. 76 |
| Crossings and squares | p. 81 |
| Crossings in churches | p. 87 |
| Inside and outside | p. 91 |
| Concavity and convexity | p. 94 |
| Interiors interrelated | p. 100 |
| Looking from both sides | p. 101 |
| As It Looks and As It Is | p. 110 |
| Perceiving a solid | p. 110 |
| Perspective deformations | p. 112 |
| The thread of Ariadne | p. 114 |
| The reading of vistas | p. 117 |
| Models and sizes | p. 122 |
| The range of images | p. 127 |
| The parts of the whole | p. 130 |
| The building made visible | p. 134 |
| Obliqueness and depth | p. 138 |
| Mobility | p. 144 |
| The autonomy of containers | p. 144 |
| Dignified immobility | p. 146 |
| Shelter and burrow | p. 148 |
| Motor behavior | p. 151 |
| The dynamics of the channel | p. 155 |
| Order and Disorder | p. 162 |
| Contradiction is a flaw | p. 162 |
| The constraints of order | p. 164 |
| Three modifications of order | p. 165 |
| How to make noise | p. 169 |
| Disorder, its causes and effects | p. 171 |
| Levels of complexity | p. 178 |
| The Porta Pia | p. 183 |
| Interaction of shapes | p. 188 |
| Balancing elements | p. 193 |
| The range of orders | p. 198 |
| Different functions, different orders | p. 201 |
| Symbols Through Dynamics | p. 205 |
| Visual labels | p. 206 |
| Symbolism | p. 207 |
| Inherent expression | p. 210 |
| The artifact in nature | p. 213 |
| Is it sculpture? | p. 217 |
| Dynamic proportions | p. 220 |
| The openness of buildings | p. 225 |
| Expansion from a base | p. 233 |
| Cefalù in three dimensions | p. 239 |
| The dynamics of arches | p. 242 |
| Expression and Function | p. 248 |
| Ornament and beyond | p. 248 |
| Expression from dynamics | p. 252 |
| Function cannot make form | p. 254 |
| What vessels express | p. 257 |
| Spontaneous symbolism: Mies and Nervi | p. 262 |
| Buildings mold behavior | p. 268 |
| How ideas gain shape | p. 270 |
| Alt thoughts take to building | p. 272 |
| Notes | p. 275 |
| Bibliography | p. 279 |
| Acknowledgments | p. 284 |
| Index | p. 285 |
| Table of Contents provided by Ingram. All Rights Reserved. |
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