7/31/2023 0 Comments Hyperspaces geometry![]() ![]() In dealing with proportions of structures, the author covers the 'Golden Mean' and the Fibonacci series, as well as concepts of Vitruvius, Corbusier's Modulor, etc. The scientific bases of aesthetic perception are explained in terms of the wavelength of visible light and its effect on the human eye, including the concept of monotonous waves. Bahrdt and draws his own conclusion that aesthetic characteristics are expressed not only by form, colour, light and shadows, but also by the objects' immediate surroundings and environment. In questioning whether objects have aesthetic qualities, the author discusses the concepts of I. The book is unique in that the author has given his own interpretive rules and guidelines on bridge aesthetics in the first 70 pages and then analysed bridges of all varieties from stone to concrete and from small elevated structures to mighty arches in concrete to suspension structures in steel. As a doyen of the engineering profession, Dr Leonhardt has succeeded in this attempt to bring to structural and bridge designers concrete concepts for building bridges which are not only strong, durable and economical, but also architecturally pleasing and appealing to the senses. Ghaswala** This large volume with colour photographs seeks to bring the complex subject of bridge design and engineering into the realms of aesthetic analysis. Deutsche Verlags-Anstalt, G.m.b.h., Stuttgart, 1982, 308 pp., iIlus. Ironically some of these ideas appear even more fantastic than those advocated by the mystics and Theosophists. Contemporary scientists involved in the empirical verification of General Relativity, observational confirmation of the existence of black holes, and cosmology are seriously proposing island worlds embedded in an inflationary universe. Henderson notes that the "fourth dimension" may become an influential concept once again-although ideas of space-time have evolved significantly since Riemann and Lobachevsky. Clearly the concepts took on lives of their own, and diverged from their original sources. The bulk of this book is the study of the work of artists influenced by the concept of four-dimensional space. Henderson tracks the transmutation of these ideas as they were incorporated and popularized by philosophers, science-fiction writers, and Theosophists. The author presents a lucid account of the historical evolution of the mathematical and scientific ideas involved in non-Euclidian geometry, multi-dimensional hyperspaces and Einsteinian Special and General Relativity. Most of the material is new, however, and will be of interest to readers of Leonardo. Selected portions of this thesis have been published before, in particular the challenge to the claimed historical connection between Cubism and Relativity. Malina* This comprehensive and scholarly account details the influence of the concepts of four-dimensional space on visual artists. Princeton University Press, Princeton, 1983.457 pp., iIlus. The Fourth Dimension and Non-Euclidian Geometry in Modem Art. Bertin, Semiologie Graphique (Paris: Gauthier-Villars, 1967). ![]() King, Quantitative Geography (New York: John Wiley, 1968). Raisz, Principles ofCartography (New York: McGraw-Hill, 1962). The text is logically organized for so vast a resource, with comparative discussions for guidance in selection of the most appropriate representations. ![]() This manificent effort by Howard Fisher consolidates many accumulated results and extends important areas of consideration in useful forms. In lieu of an abstract, here is a brief excerpt of the content:Ħ0 Book Reviews design is still evolving in the cartographic community. ![]()
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