作者：RobinEvans
出版社：TheMITPress
副标题：ArchitectureandItsThreeGeometries
出版年：2000-8-28
页数：456
定价：USD46.95
装帧：Paperback
ISBN：9780262550383
内容简介
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Winner of the 1997 Alice Davis Hitchcock MedallionAnyone reviewing the history of architectural theory, Robin Evans observes, would have to conclude that architects do not produce geometry, but rather consume it. In this long-awaited book, completed shortly before its author's death, Evans recasts the idea of the relationship between geometry and architecture, drawing on mathematics, engineering, art history, and aesthetics to uncover processes in the imagining and realizing of architectural form. He shows that geometry does not always play a stolid and dormant role but, in fact, may be an active agent in the links between thinking and imagination, imagination and drawing, drawing and building. He suggests a theory of architecture that is based on the many transactions between architecture and geometry as evidenced in individual buildings, largely in Europe, from the fifteenth to the twentieth century.From the Henry VII chapel at Westminster Abbey to Le Corbusier's Ronchamp, from Raphael's S. Eligio and the work of Piero della Francesca and Philibert Delorme to Guarino Guarini and the painters of cubism, Evans explores the geometries involved, asking whether they are in fact the stable underpinnings of the creative, intuitive, or rhetorical aspects of architecture. In particular he concentrates on the history of architectural projection, the geometry of vision that has become an internalized and pervasive pictorial method of construction and that, until now, has played only a small part in the development of architectural theory.Evans describes the ambivalent role that pictures play in architecture and urges resistance to the idea that pictures provide all that architects need, suggesting that there is much more within the scope of the architect's vision of a project than what can be drawn. He defines the different fields of projective transmission that concern architecture, and investigates the ambiguities of projection and the interaction of imagination with projection and its metaphors.
评论 ······
第二章。讲现代艺术里的碎片化如何反映了认识论上的去中心化、导致了建筑和城市理论中从20世纪初到战后到20世纪末的各种对片段、断裂、拼贴的追求。启蒙之前，一切哲学都致力于平息人们对于“不确定”的困惑；启蒙之后，一切都致力于打破素常期望。“the sustaining condition of modernity's convulsions is stability.”
Robin Evans 带给你那种智力上的回报是巨大的
几何被用来建造内心的一部分，因此就有了imagination-geometry-drawing-perception之间可逆的冗余，作者当是有了文末的diagram再把所有章节嵌入。画法几何不好连建筑史都不行=。=。。。
The perspective projections of the painter and the parallel (orthographic) projections of the architect; the distinction between projective geometry, concerned with the continuous transformation of im…
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