By Tomás García-Salgado (auth.), Tomás García-Salgado (eds.)
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Additional resources for Architecture, Mathematics and Perspective
Piranesi or the fluidity of forms. Oppositions 11. FLORENSKIJ, Pavel. 1983. La prospettiva rovesciata e altri scritti. Rome: Casa del libro. GIOSEFFI, Decio. 1957. Perspectiva artificialis Trieste: Istituto di storia dell’arte antica e moderna dell’Università di Trieste. ———. 1999. Introduction to “Logica e Forma”. Seminar at the Politecnico di Milano organized by Generative Design Lab. GOMBRICH, E. H. 1961. Art and Illusion, a Study in the Psychology of Pictorial Representation. New York: Princeton University Press.
12, No. 1, 2010 43 Fig. 12. Variations of the Babel project by the author. All these 3D models are completely generated and represented with the author’s software Sergei Eisenstein, in Oppositions 11 , describes the increasing complexity of Piranesi's engraves through the addition of new stratified layers. Piranesi used different points of view for these “new” perspectives in a way such that these new layers perform jumps in scale and in space geometries. Eisenstein argues that this method is similar to the vertical sequences in Japanese Kakemono paintings, with the difference that Piranesi unpredictably magnified the subsequent layers instead of reducing them in accordance with the rules of perspective (fig.
This is of no importance here for the interesting question of “displacement of the square”. 7. Specifically, see [Bergdolt 2007]. In general, see [Lindberg 1976]. References ALBERTI, Leon Battista. 2000. Das Standbild – Die Malkunst – Grundlagen der Malerei. Herausgegeben, eingeleitet, übersetzt und kommentiert von Oskar Bätschmann und Christoph Schäublin unter Mitarbeit von Kristine Patz. Darmstadt: Wissenschaftliche Buchgesellschaft. BERGDOLT, Klaus. 2007. Das Auge und die Theologie: Naturwissenschaften und “Perspectiva” an der päpstlichen Kurie von Viterbo - ca.
Architecture, Mathematics and Perspective by Tomás García-Salgado (auth.), Tomás García-Salgado (eds.)