Semiology Study of Shrine Geometric Patterns of Damavand City of Tehran Province1
Special Issue INTERNATIONAL JOURNAL OF HUMANITIES AND December 2015 CULTURAL STUDIES ISSN 2356-5926 Semiology Study of Shrine Geometric patterns of Damavand City of Tehran Province1 Atieh Youzbashi Masterof visual communication, Faculty of Art, Shahed University, Tehran, Iran [email protected] Seyed Nezam oldin Emamifar )Corresponding author) Assistant Professor of Faculty of Art, Shahed University, Tehran city, Iran [email protected] Abstract Remained works of decorative Arts in Islamic buildings, especially in religious places such as shrines, possess especial sprits and visual depth. Damavand city having very beautiful architectural works has been converted to a valuable treasury of Islamic architectural visual motifs. Getting to know shrines and their visual motifs features is leaded to know Typology, in Typology, Denotation and Connotation are the concept of truth. This research is based on descriptive and analytical nature and the collection of the data is in a mixture way. Sampling is in the form of non-random (optional) and there are 4 samples of geometric motifs of Damavand city of Tehran province and the analysis of information is qualitatively too. In this research after study of geometric designs used in this city shrines, the amount of this motifs confusion are known by semiotic concepts and denotation and connotation meaning is stated as well. At first the basic articles related to typology and geometric motifs are discussed. Discovering the meaning of these motifs requires a necessary deep study about geometric motifs treasury of believe and religious roots and symbolic meaning of this motifs. Geometric patterns with the centrality of the circle In drawing, the incidence abstractly and creating new combination is based on uniformly covering surfaces in order not to attract attention to designs independently creating an empty space also recalls “the principle of unity in diversity” and “diversity in unity”.
Catoptric Anamorphosis on Free-Form Reflective Surfaces Francesco Di Paola, Pietro Pedone
7 / 2020 Catoptric Anamorphosis on Free-Form Reflective Surfaces Francesco Di Paola, Pietro Pedone Abstract The study focuses on the definition of a geometric methodology for the use of catoptric anamorphosis in contemporary architecture. The particular projective phenomenon is illustrated, showing typological-geometric properties, responding to mechanisms of light re- flection. It is pointed out that previous experience, over the centuries, employed the technique, relegating its realisation exclusively to reflecting devices realised by simple geometries, on a small scale and almost exclusively for convex mirrors. Wanting to extend the use of the projective phenomenon and experiment with the expressive potential on reflective surfaces of a complex geometric free-form nature, traditional geometric methods limit the design and prior control of the results, thus causing the desired effect to fail. Therefore, a generalisable methodological process of implementation is proposed, defined through the use of algorithmic-parametric procedures, for the determination of deformed images, describing possible subsequent developments. Keywords: anamorphosis, science of representation, generative algorithm, free-form, design. Introduction The study investigates the theme of anamorphosis, a 17th The resulting applications require mastery in the use of the century neologism, from the Greek ἀναμόρϕωσις “rifor- various techniques of the Science of Representation aimed mazione”, “reformation”, derivation of ἀναμορϕόω “to at the formulation of the rule for the “deformation” and form again”. “regeneration” of represented images [Di Paola, Inzerillo, It is an original and curious geometric procedure through Santagati 2016]. which it is possible to represent figures on surfaces, mak- There is a particular form of expression, in art and in eve- ing their projections comprehensible only if observed ryday life, of anamorphic optical illusions usually referred from a particular point of view, chosen in advance by the to as “ catoptric “ or “ specular “.
{ Final version for JMA - Nov 2, 2017 } Möbius Bridges Carlo H. Séquin CS Division, University of California, Berkeley E-mail: [email protected] Abstract Key concepts and geometrical constraints are discussed that allow the construction of a usable bridge that is topological equivalent to a Möbius band. A multi-year search in publications and on the internet for real-world bridges that meet these requirements has not identified a single clean construction that warrants the designation “Möbius bridge,” but a few promising designs can be found. Several simple but practical designs are presented here. 1. Introduction July 2017 marks the twentieth installment of the annual Bridges conference [1], which elucidates the connections between mathematics and art, music, architecture, and many other cultural venues. This year the conference has been held in Waterloo, Canada. In its twenty-year history it has visited many places around the globe, including Seoul in South Korea, Coimbra in Portugal, Pécz in Hungary, and Leeuwarden in the Netherlands, the hometown of M.C. Escher. This conference series got started by Reza Sarhangi [2] at Southwestern College in Winfield, Kansas. After a few occurrences at this initial location, Reza Sarhangi and other core members of this conference started discussing the possibility of establishing some kind of a commemorative entity of the conference on the Winfield campus. Since Escher, Möbius, and Klein are among the heroes of this Math-Art community, suggestions included an Escher Garden, a Möbius Bridge, or a Klein Bottle House. This prompted me to study the feasibility of such entities; and over the following year, I developed some practical designs for bridges and buildings that follow the geometry of a Möbius band [3].
Fibonacci number From Wikipedia, the free encyclopedia • Have questions? Find out how to ask questions and get answers. • • Learn more about citing Wikipedia • Jump to: navigation, search A tiling with squares whose sides are successive Fibonacci numbers in length A Fibonacci spiral, created by drawing arcs connecting the opposite corners of squares in the Fibonacci tiling shown above – see golden spiral In mathematics, the Fibonacci numbers form a sequence defined by the following recurrence relation: That is, after two starting values, each number is the sum of the two preceding numbers. The first Fibonacci numbers (sequence A000045 in OEIS), also denoted as Fn, for n = 0, 1, … , are: 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987, 1597, 2584, 4181, 6765, 10946, 17711, 28657, 46368, 75025, 121393, ... (Sometimes this sequence is considered to start at F1 = 1, but in this article it is regarded as beginning with F0=0.) The Fibonacci numbers are named after Leonardo of Pisa, known as Fibonacci, although they had been described earlier in India. [1] [2] • [edit] Origins The Fibonacci numbers first appeared, under the name mātrāmeru (mountain of cadence), in the work of the Sanskrit grammarian Pingala (Chandah-shāstra, the Art of Prosody, 450 or 200 BC). Prosody was important in ancient Indian ritual because of an emphasis on the purity of utterance. The Indian mathematician Virahanka (6th century AD) showed how the Fibonacci sequence arose in the analysis of metres with long and short syllables. Subsequently, the Jain philosopher Hemachandra (c.1150) composed a well-known text on these.
De Divino Errore ‘De Divina Proportione’ Was Written by Luca Pacioli and Illustrated by Leonardo Da Vinci
De Divino Errore ‘De Divina Proportione’ was written by Luca Pacioli and illustrated by Leonardo da Vinci. It was one of the most widely read mathematical books. Unfortunately, a strongly emphasized statement in the book claims six summits of pyramids of the stellated icosidodecahedron lay in one plane. This is not so, and yet even extensively annotated editions of this book never noticed this error. Dutchmen Jos Janssens and Rinus Roelofs did so, 500 years later. Fig. 1: About this illustration of Leonardo da Vinci for the Milanese version of the ‘De Divina Proportione’, Pacioli erroneously wrote that the red and green dots lay in a plane. The book ‘De Divina Proportione’, or ‘On the Divine Ratio’, was written by the Franciscan Fra Luca Bartolomeo de Pacioli (1445-1517). His name is sometimes written Paciolo or Paccioli because Italian was not a uniform language in his days, when, moreover, Italy was not a country yet. Labeling Pacioli as a Tuscan, because of his birthplace of Borgo San Sepolcro, may be more correct, but he also studied in Venice and Rome, and spent much of his life in Perugia and Milan. In service of Duke and patron Ludovico Sforza, he would write his masterpiece, in 1497 (although it is more correct to say the work was written between 1496 and 1498, because it contains several parts). It was not his first opus, because in 1494 his ‘Summa de arithmetic, geometrica, proportioni et proportionalita’ had appeared; the ‘Summa’ and ‘Divina’ were not his only books, but surely the most famous ones. For hundreds of years the books were among the most widely read mathematical bestsellers, their fame being only surpassed by the ‘Elements’ of Euclid.
Accepted manuscript for The Mathematical Intelligencer, ISSN: 0343-6993 (print version) ISSN: 1866-7414 (electronic version) The final publication is available at Springer via http://link.springer.com/article/10.1007/s00283-016-9630-9 DOI 10.1007/s00283-016-9630-9 Bridges: A World Community for Mathematical Art Kristóf Fenyvesi Mathematical Art Reborn: Academic Gathering or Festival of the Arts? This is not the first time the Mathematical Communities column has featured the Bridges Organization: the 2005 conference1, in the breathtaking Canadian Rocky Mountains at Banff, was described in these pages by Doris Schattschneider [Schattschneider, 2006], a regular Bridges participant and Escher-specialist. The 2005 conference saw the debut of Delicious Rivers, Ellen Maddow’s play on the life of Robert Ammann, a postal worker who discovered a number of aperiodic tilings.2 Marjorie Senechal, The Mathematical Intelligencer’s current editor-in-chief, served as Maddow's consultant.3 A theatre premiér at a conference on mathematics? A production performed by mathematicians, moonlighting as actors? But this is Bridges. A quick look at the 2005 conference relays the “essence” of this scientific and artistic “happening” resembling a first-rate festival of the arts. True to its title, Renaissance Banff, the 2005 Bridges gave all members of its community, whether based in the sciences or the arts, the feeling that they had helped bring about a genuine rebirth. I use “community” in its most complete sense—including adults, children, artists, university professors, art lovers and local people—for the wealth of conference activities could only be accomplished through the participation of each and every individual present.
Mathematics of Origami Angela Kohlhaas Loras College February 17, 2012 Introduction Origami ori + kami, “folding paper” Tools: one uncut square of paper, mountain and valley folds Goal: create art with elegance, balance, detail Outline History Applications Foldability Design History of Origami 105 A.D.: Invention of paper in China Paper-folding begins shortly after in China, Korea, Japan 800s: Japanese develop basic models for ceremonial folding 1200s: Origami globalized throughout Japan 1682: Earliest book to describe origami 1797: How to fold 1,000 cranes published 1954: Yoshizawa’s book formalizes a notational system 1940s-1960s: Origami popularized in the U.S. and throughout the world History of Origami Mathematics 1893: Geometric exercises in paper folding by Row 1936: Origami first analyzed according to axioms by Beloch 1989-present: Huzita-Hatori axioms Flat-folding theorems: Maekawa, Kawasaki, Justin, Hull TreeMaker designed by Lang Origami sekkei – “technical origami” Rigid origami Applications from the large to very small Miura-Ori Japanese solar sail “Eyeglass” space telescope Lawrence Livermore National Laboratory Science of the small Heart stents Titanium hydride printing DNA origami Protein-folding Two broad categories Foldability (discrete, computational complexity) Given a pattern of creases, when does the folded model lie flat? Design (geometry, optimization) How much detail can added to an origami model, and how efficiently can this be done? Flat-Foldability of Crease Patterns 훗 Three criteria for 훗: Continuity, Piecewise isometry, Noncrossing 2-Colorable Under the mapping 훗, some faces are flipped while others are only translated and rotated. Maekawa-Justin Theorem At any interior vertex, the number of mountain and valley folds differ by two.
“VIENS A LA MAISON" MOROCCAN HOSPITALITY, A CONTEMPORARY VIEW by Anita Schwartz A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts & Letters in Partial Fulfillment of the Requirements for the Degree of Master of Art in Teaching Art Florida Atlantic University Boca Raton, Florida May 2011 "VIENS A LA MAlSO " MOROCCAN HOSPITALITY, A CONTEMPORARY VIEW by Anita Schwartz This thesis was prepared under the direction of the candidate's thesis advisor, Angela Dieosola, Department of Visual Arts and Art History, and has been approved by the members of her supervisory committee. It was submitted to the faculty ofthc Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree ofMaster ofArts in Teaching Art. SUPERVISORY COMMIITEE: • ~~ Angela Dicosola, M.F.A. Thesis Advisor 13nw..Le~ Bonnie Seeman, M.F.A. !lu.oa.twJ4..,;" ffi.wrv Susannah Louise Brown, Ph.D. Linda Johnson, M.F.A. Chair, Department of Visual Arts and Art History .-dJh; -ZLQ_~ Manjunath Pendakur, Ph.D. Dean, Dorothy F. Schmidt College ofArts & Letters 4"jz.v" 'ZP// Date Dean. Graduate Collcj;Ze ii ACKNOWLEDGEMENTS I would like to thank the members of my committee, Professor John McCoy, Dr. Susannah Louise Brown, Professor Bonnie Seeman, and a special thanks to my committee chair, Professor Angela Dicosola. Your tireless support and wise counsel was invaluable in the realization of this thesis documentation. Thank you for your guidance, inspiration, motivation, support, and friendship throughout this process. To Karen Feller, Dr. Stephen E. Thompson, Helena Levine and my colleagues at Donna Klein Jewish Academy High School for providing support, encouragement and for always inspiring me to be the best art teacher I could be.
Exploring space-filling origami Wenwu Chang [email protected] Shanghai Putuo Modern Educational Technology Center, China Abstract A new tetrahedra origami model was discussed in this paper. Sommerville in 1922 found four kinds of tetrahedron can fill space. This model starts from a rectangle paper, whose shape ratio is 1:√2, to produce one Sommerville’s main tetrahedron. It is proved that as long as the original paper is big enough, one can produce by this origami method more and more so-called Sommerville-tetrahedrons without cutting or pasting. Furthermore, these tetrahedrons fill three-dimension space in the same time. Just like Peano curve fills two-dimensional space, the original paper (two dimensional manifold) used in producing tetrahedrons fills the three-dimensional space. This article also introduces some interesting models in the lower number cases. Introduction In 1922, D.M.Y Sommerville found Aristotle, a famous philosopher during Ancient Greek Times, made a mistake. Aristotle stated there were two kinds of regular polyhedron, including regular tetrahedra could tile space. In fact, cube is the only regular polyhedron that can fill space. Sommerville in his paper ended this mistake and pointed out that several general tetrahedra could fill space indeed. Resulting from the way of cutting and reassembling a cube, he found 4 kinds of tetrahedra. The most important tetrahedron was the one made up of four triangles whose edge ratios are 2:√3:√3. I will call it Sommerville-tetrahedron within this paper. Another three kinds of tetrahedra were developed by dissection or reassembling of the dissection to this original tetrahedron.
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Simple Rules for Incorporating Design Art Into Penrose and Fractal Tiles
Bridges 2012: Mathematics, Music, Art, Architecture, Culture Simple Rules for Incorporating Design Art into Penrose and Fractal Tiles San Le SLFFEA.com [email protected] Abstract Incorporating designs into the tiles that form tessellations presents an interesting challenge for artists. Creating a viable M.C. Escher-like image that works esthetically as well as functionally requires resolving incongruencies at a tile’s edge while constrained by its shape. Escher was the most well known practitioner in this style of mathematical visualization, but there are significant mathematical objects to which he never applied his artistry including Penrose Tilings and fractals. In this paper, we show that the rules of creating a traditional tile extend to these objects as well. To illustrate the versatility of tiling art, images were created with multiple figures and negative space leading to patterns distinct from the work of others. 1 1 Introduction M.C. Escher was the most prominent artist working with tessellations and space filling. Forty years after his death, his creations are still foremost in people’s minds in the field of tiling art. One of the reasons Escher continues to hold such a monopoly in this specialty are the unique challenges that come with creating Escher type designs inside a tessellation[15]. When an image is drawn into a tile and extends to the tile’s edge, it introduces incongruencies which are resolved by continuously aligning and refining the image. This is particularly true when the image consists of the lizards, fish, angels, etc. which populated Escher’s tilings because they do not have the 4-fold rotational symmetry that would make it possible to arbitrarily rotate the image ± 90, 180 degrees and have all the pieces fit[9].
SCIENCE • ART • TECHNOLOGY 24 JULY THROUGH 10 AUGUST 2008 < Rinus Roelofs, PROGRAMME OF EVENTS new design for artwork consisting of a single 24 JULY – 10 AUGUST, 2008 continuous surface! (Location: Boer) BRIDGES, an annual conference founded in 1998 and serving since then 4 metres long, 2.5 metres high, as an international platform for artists, scientists and scholars working on corten steel the interface of science, art and technology will be held this year in Leeuwarden, The Netherlands from 24 - 29 July 2008. The approximately 200 visitors to the conference from 25 different countries will be coming to Leeuwarden to participate in a broad program of mathematical connections in art, music, architecture and science. Associated with the conference is a highly varied programme Gerard Caris > Polyhedral Net of cultural activities open to the general public that will run through Structure # 1, 10 August 2008. During the Open Day held on 29 July 2008, you can 160 x 95 x 95 cm become acquainted with a number of scientists and artists whilst young and old can participate in various workshops on Grote Kerkstraat in Exhibitions in churches Leeuwarden. The winners of the Gateways to Fryslân Competition will be announced during the conference. The artists exhibiting their work have come from abstract mathematical backgrounds to create many different visual products. Some artists, such as Gerard Caris (1925), limit their oeuvre to a single theme. In his case, this is the pentagon. In the village of Zweins, this artist will be showing a selection of his work including his ‘Polyhedral Net Structure # 1’.