By Harry Francis Mallgrave
The Architect's mind: Neuroscience, Creativity, and Architecture is the first publication to think about the connection among the neurosciences and structure, delivering a compelling and provocative learn within the box of architectural concept. Explores various moments of architectural notion over the past 500 years as a cognitive manifestation of philosophical, mental, and physiological theoryLooks at architectural idea in the course of the lens of the notable insights of latest neuroscience, fairly as they've got complex in the final decadeDemonstrates the neurological justification for a few very undying architectural ideas, from the multisensory nature of the architectural experience to the essential courting of ambiguity and metaphor to inventive considering
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Additional resources for Architect's Brain: Neuroscience, Creativity, and Architecture
47 All three rely heavily on the Latin text of Vitruvius (although less in the case of the third one), and in fact the former two, as Betts also suggests, might be seen as the earliest attempt to translate the Roman author. What makes all three manuscripts especially appealing is the fact that they are profusely illustrated with dozens and dozens of drawings in which the human face or body are superimposed over measured capitals and cornices, columns, building plans, sections, and elevations. All point to his belief in the profound correlation between human proportions and architecture, which is evidently all-encompassing: And this [an order] has more beautiful appearance if, as has been said, the columns, bases, capitals, and cornices, and all other measures and proportions … [originate] from the members and bones of the human body.
As would have been much appreciated by Leonardo, Perrault had been dissecting corpses since his early days in medical school. Humanist theory, however, did not go gently into that good night. Blondel died in 1686, just as the quarrel between the ancients and the moderns was rising to the level of a clamor. Perrault followed him two years later – quite understandably, of an infection incurred while dissecting a camel. The classical curriculum of the school that Blondel established remained relatively intact for much of the next century, while Perrault languished in relative obscurity, in part because of the slow pace of building activity on the Louvre.
He justified this approach, moreover, with two arguments that would eventually prove devastating to humanist theory. First, on the basis of his medical studies, he denounced the premise that harmonic values should be the same for both music and architecture, because physiologically the eye and the ear process their perceptions in two different ways. Musical harmonies, he reasoned, are perceived by the auditory sense directly without the assistance of the intellect, while visual harmonies are understood only through the mental operations of the brain.
Architect's Brain: Neuroscience, Creativity, and Architecture by Harry Francis Mallgrave