The Dynamics of Architectural Form

Overview

Rudolf Arnheim has been known, since the publication of his groundbreaking Art and Visual Perception in 1974, as an authority on the psychologicalinterpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009.
In The Power of the Center, Arnheim uses a wealth of examples to consider the actors that determine the overall organization of visual form in works of painting, sculpture, and architecture. The Dynamics of ...

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Overview

Rudolf Arnheim has been known, since the publication of his groundbreaking Art and Visual Perception in 1974, as an authority on the psychologicalinterpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009.
In The Power of the Center, Arnheim uses a wealth of examples to consider the actors that determine the overall organization of visual form in works of painting, sculpture, and architecture. The Dynamics of Architectural Form explores the unexpected perceptual consequences of architecture with Arnheim's customary clarity and precision.

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Product Details

  • ISBN-13: 9780520261259
  • Publisher: University of California Press
  • Publication date: 10/19/2009
  • Edition description: 30th Anniversary Edition
  • Edition number: 2
  • Pages: 296
  • Sales rank: 1,166,591
  • Product dimensions: 6.00 (w) x 8.90 (h) x 0.80 (d)

Meet the Author

Rudolf Arnheim (1904-2007) was Professor Emeritus of the Psychology of Art at Harvard University and the author of many books, including Film as Art and Visual Thinking.

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Table of Contents

Introduction 1

I Elements of Space 9

Space created by things 9

Architectural implications 13

The fields in between 16

Empty and forlorn 20

The dynamics of surrounding space 25

II Vertical and Horizontal 32

Asymmetrical space 32

Vision takes to the upright 35

Piercing the ground 39

Horizontality 44

Weight and height 46

Dynamics of the column 48

The plan and the section 53

The second and third dimensions 57

The mind adds the meaning 64

III Solids and Hollows 67

Buildings in context 67

Boundless ground 68

The interplay of spaces 69

The street as figure 76

Crossings and squares 81

Crossings in churches 87

Inside and outside 91

Concavity and convexity 94

Interiors interrelated 100

Looking from both sides 101

IV As It Looks and As It Is 110

Perceiving a solid 110

Perspective deformations 112

The thread of Ariadne 114

The reading of vistas 117

Models and sizes 122

The range of images 127

The parts of the whole 130

The building made visible 134

Obliqueness and depth 138

V Mobility 144

The autonomy of containers 144

Dignified immobility 146

Shelter and burrow 148

Motor behavior 151

The dynamics of the channel 155

VI Order and Disorder 162

Contradiction is a flaw 162

The constraints of order 164

Three modifications of order 165

How to make noise 169

Disorder, its causes and effects 171

Levels of complexity 178

The Porta Pia 183

Interaction of shapes 188

Balancing elements 193

The range of orders 198

Different functions, different orders 201

VII Symbols Through Dynamics 205

Visual labels 206

Symbolism 207

Inherent expression 210

The artifact in nature 213

Is it sculpture?217

Dynamic proportions 220

The openness of buildings 225

Expansion from a base 233

Cefal├╣ in three dimensions 239

The dynamics of arches 242

VIII Expression and Function 248

Ornament and beyond 248

Expression from dynamics 252

Function cannot make form 254

What vessels express 257

Spontaneous symbolism: Mies and Nervi 262

Buildings mold behavior 268

How ideas gain shape 270

Alt thoughts take to building 272

Notes 275

Bibliography 279

Acknowledgments 284

Index 285

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