Architecture and Geometry in the Age of the Baroque

ARCHITECTURE & GEOMETRY in the Age of BaroqueGeorge L. Hersey

J. Diego Quezada M.Adán Daza Alvear.Abdel Xochipiltecatl.

domingo 10 de febrero de 2013

LIFEBorn in august/30th/1927 in Cambridge, Massachusetts. Died in october/23th/2007. American art-historian. He studied American Art / History of Architecture and Culture. International expert know by his work with architecture & sculpture in the italian renaissance. Also bye his stydies of

the Europian Art in the XIX century. Professor at the YALE university.


• NOBLER SHAPES

• RATIONAL NUMBERS are those that can be express as a fraction and get a finite number of decimals. Producing divine and exact proportion.

CONCEPT ONE.


Nobler Shapes.domingo 10 de febrero de 2013

• FROZEN MUSIC is predicated on the ways in which heaven-derived musical sounds, and music itself, can be transleted into visual forms. The geometry can be read musically, making melodies.

CONCEPT TWO.



intervals from the front elevation of Bernini’s Baldacchino

intervals from the side elevation of Bernini’s Baldacchino

the tune of Bernini’s Baldacchino


CONCEPT THREE.• LIGHT OF UNSEEN WORLDS fastens on optics,

the science of light. Here again heaven, the main source of earthly ligth, is the key. Ligth-projection, conic sections, and projective geometry were studied as heavenly emanations


directrix

focus

axis




CONCEPT FOUR.• CUBICES RATIONES deals with de baroque

mystique of the cube. The cube was considered the parent—literally—of all other forms.



CONCEPT FIVE.• THE GOLDEN SECTION SECUENCE which is the relationship of 1:1.618.



SYM ETRY

CONCEPT SIX.


• SYMETRY this changed the way baroque architects thougth about crucial procedures in their design tecniques, —among them mirror reflection, repetition, invertion, lattices, and rotation.


• REFLECTIVE SYMETRY bilateral reflection. a central miror axis. left-hand and right-hand sides or hedrons.

ABCD ↔ DCBA



• TRANSLATORY SYMETRY it doesn’t mirror itself as reflective symetry, instead; it repeat itself creating a patern.

ABCD ↔ ABCDABCDABCDABCDABCDABCDABCDABCDABCDABCDABCD ABCDABCDABCDABCDABCDABCDABCDABCDABCDABCD ABCDABCDABCDABCDABCDABCDABCDABCDABCDABCD ABCDABCDABCDABCDABCDABCDABCDABCDABCDABCD ABCDABCDABCDABCDABCDABCDABCDABCDABCDABCD ABCDABCDABCDABCDABCDABCDABCDABCDABCDABCD ABCDABCDABCDABCDABCDABCDABCDABCDABCDABCD ABCDABCDABCDABCDABCDABCDABCDABCDABCDABCDCDABCDA


A B C D


• GLIDE SYMETRY this third type combines the last two types. Reflective S.

Traslatory S.



• WALLPAPER SYMETRY is a variation of tiling. A repetition in all four cordenades.



• SPIRAL SYMETRY or rotational, is not only os spirals and wheels but of circles, globes, and many regular polygons and polyhedrons.



CONCEPT SEVEN.




Architecture and Geometry in the Age of the Baroque

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Architecture and Geometry in the Age of the Baroque

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