The Plan-Net As a Geometry for Analysis of Pre-Modern Architectural Design and Layout
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Architectural Guidelines
ARCHITECTURAL GUIDELINES EFFECTIVE JANUARY 1, 2006 The standards and procedures set forth herein are subject to change from time to time. L:\TRANSACTIONS- Dallas\Central\Pointe West\CCRs\Master Declaration\Architectural Guidelines\PW Architectural Guidelines FINAL 01-01-06.DOC Table of Contents 1.0 Introduction....................................................................................................................................1 1.01 Purpose of the Architectural Guidelines.............................................................................1 1.02 Community Master Plan .....................................................................................................1 1.03 Relationship to Legal Documents and Government Approvals..........................................1 1.04 Approval of Contractors .....................................................................................................1 1.05 Rules and Regulations ........................................................................................................2 2.0 Organization and Responsibilities of the Architectural Review Board ....................................2 2.01 Mission and Function..........................................................................................................2 2.02 Scope of Responsibility ......................................................................................................2 2.03 Enforcement Powers...........................................................................................................3 -
Painting by the Numbers: a Porter Postscript
Painting by the Numbers: A Porter Postscript Chris Bartlett Art Department Towson University 8000 York Road Towson, MD, 21252, USA. E-mail: [email protected] Abstract At the 2005 Bridges conference the author presented a paper titled, “Fairfield Porter’s Secret Geometry”. Porter (1907-1975), an important American painter, is known for his “naturalness” and seems to eschew any system of proportioning. This paper briefly traces other influences on Porter’s use of geometry in art and offers an analysis of two more of his paintings to reveal detailed and sophisticated geometric structures based on the Golden Ratio and Dynamic Symmetry. Introduction Artists throughout history have sought a key to beauty in proportioning systems in composition, a procedural method for compositional structure. Starting in the late 19th century there was a general resurgence of interest in geometrical structure as a basis for painting. Artists were researching aids to producing analogous and self-similar areas and repetitions of ratios in assigning the elements of a painting. In the 1920’s in America compositional methods gained new popularity fueled by Matila Ghyka and Jay Hambidge such that Milton Brown was prompted to title a critical article in the Magazine of Art, “Twentieth Century Nostrums: Pseudo-Scientific Theory in American Painting”. [1] More recently there have been growing circles criticizing the hegemony of the Golden Mean as a universal aesthetic panacea. [2] The principle of beauty underlining the application of the Golden Ratio and Dynamic Symmetry proportioning in a composition is not irrefutable, but what seems like a more useful exercise than to debate research in perception of elegant proportion is to look at the works of artists who seem to have fallen under its spell. -
Proposal for a Professional Operating Business Plan Willows Mansion at 490 Darby-Paoli Road Submitted to Radnor Township June 1St, 2017 Table of Contents
Proposal for a Professional Operating Business Plan Willows Mansion at 490 Darby-Paoli Road Submitted to Radnor Township June 1st, 2017 Table of Contents 01...................................Scope of Services 02...........................Project Team Resumes 03..........................................Qualifications 04.................Standard Terms & Conditions 01 Scope of Services June 2, 2017 Mr. Robert A. Zienkowski Township Manager/Secretary Radnor Township 301 Iven Avenue Wayne, PA 19087 [email protected] 610-688-5600 Project: Planning Services for an Operating Business Plan for The Willows Mansion Radnor, Pennsylvania Dear Mr. Zienkowski: We are pleased to present this proposal to provide business planning, community engagement and design services in response to Radnor Township’s (The Client) May 10th Request for Proposals for Professional Operating Business Plan Development Services for The Willows Mansion located at 490 Darby Paoli Rd, Villanova, PA 19085 within The Willows Park owned by Radnor Township. BartonPartners – Architects and Planners will serve as the prime consultant providing community meeting facilitation and architectural services with support from Urban Partners for business planning/ market opportunity services and Rettew for meeting facilitation and site feasibility services (the Consultant Team). Our team is supported by Willows Park Trust - a group of Radnor citizens committed to enhanc- ing The Willows Park, Mansion and Cottage for the benefit of the community. Project Understanding Radnor Township seeks a planning consultant to prepare a business plan for the successful operation of the Willows Mansion located within the Radnor Township-owned Willows Park. This business plan must address a number of competing objectives while recommending a governance plan for the long-term operation of this facility in a fiscally responsible manner. -
Ac 2008-325: an Architectural Walkthrough Using 3D Game Engine
AC 2008-325: AN ARCHITECTURAL WALKTHROUGH USING 3D GAME ENGINE Mohammed Haque, Texas A&M University Dr. Mohammed E. Haque is a professor and holder of the Cecil O. Windsor, Jr. Endowed Professorship in Construction Science at Texas A&M University at College Station, Texas. He has over twenty years of professional experience in analysis, design, and investigation of building, bridges and tunnel structural projects of various city and state governments and private sectors. Dr. Haque is a registered Professional Engineer in the states of New York, Pennsylvania and Michigan, and members of ASEE, ASCE, and ACI. Dr. Haque received a BSCE from Bangladesh University of Engineering and Technology, a MSCE and a Ph.D. in Civil/Structural Engineering from New Jersey Institute of Technology, Newark, New Jersey. His research interests include fracture mechanics of engineering materials, composite materials and advanced construction materials, architectural/construction visualization and animation, computer applications in structural analysis and design, artificial neural network applications, knowledge based expert system developments, application based software developments, and buildings/ infrastructure/ bridges/tunnels inspection and database management systems. Pallab Dasgupta, Texas A&M University Mr. Pallab Dasgupta is a graduate student of the Department of Construction Science, Texas A&M University. Page 13.173.1 Page © American Society for Engineering Education, 2008 An Architectural Walkthrough using 3D Game Engine Abstract Today’s 3D game engines have long been used by game developers to create dazzling worlds with the finest details—allowing users to immerse themselves in the alternate worlds provided. With the availability of the “Unreal Engine” these same 3D engines can now provide a similar experience for those working in the field of architecture. -
Subsymmetry Analysis of Archiectural Designs, Some Examples
Environment and Planning B: Planning and Design 2000, volume 27, pages 121- 136 Sub symmetry analysis of architectural designs: some examples Jin-Ho Park Department of Architecture and Urban Design, University of California, Los Angeles, CA 90095, USA; e-mail: [email protected] Received 1 December 1998; in revised form 28 April 1999 Abstract. An analytic method founded on the mathematical structure of symmetry groups is defined and some applications to the analysis of architectural designs are shown. In earlier work by March and Park, architectural designs were analyzed with respect to a partial ordering of subsymmetries associated with the symmetry of the square and then classified by lattice diagrams of the subsymmetries. The analytic approach dem- onstrates how different subsymmetries may be revealed in each part of the design and how various symmetric transformations combine to achieve the whole design. At first glance, the individual designs seem intricate and without obvious symmetry. However, an analysis of the sub symmetries and symmetric transformations clearly exposes the underlying structure. In this paper, the methodology employed in previous papers is substantially recounted, but new architectural examples have been added. The methodology of subsymmetry analysis In the methodology, various types of symmetry, or subsymmetries, are superimposed in individual designs and illustrate how symmetry may be employed strategically in the design process. An account of the mathematical structure of symmetry groups in analyzing architectural designs has been given over the last ten years by Lionel March in his graduate lectures at UCLA on the Fundamentals of Architectonics: Symmetry (reading materials for this course include Baglivo and Graver, 1976; March, 1995; + March and Steadman, 1971; see also Budden, 1972; Grossman and Magnus, 1964; Griinbaum and Shephard, 1987; Shubnikov and Kopstik, 1974; Weyl, 1952). -
Linking Math with Art Through the Elements of Design
2007 Asilomar Mathematics Conference Linking Math With Art Through The Elements of Design Presented by Renée Goularte Thermalito Union School District • Oroville, California www.share2learn.com [email protected] The Elements of Design ~ An Overview The elements of design are the components which make up any visual design or work or art. They can be isolated and defined, but all works of visual art will contain most, if not all, the elements. Point: A point is essentially a dot. By definition, it has no height or width, but in art a point is a small, dot-like pencil mark or short brush stroke. Line: A line can be made by a series of points, a pencil or brush stroke, or can be implied by the edge of an object. Shape and Form: Shapes are defined by lines or edges. They can be geometric or organic, predictably regular or free-form. Form is an illusion of three- dimensionality given to a flat shape. Texture: Texture can be tactile or visual. Tactile texture is something you can feel; visual texture relies on the eyes to help the viewer imagine how something might feel. Texture is closely related to Pattern. Pattern: Patterns rely on repetition or organization of shapes, colors, or other qualities. The illusion of movement in a composition depends on placement of subject matter. Pattern is closely related to Texture and is not always included in a list of the elements of design. Color and Value: Color, also known as hue, is one of the most powerful elements. It can evoke emotion and mood, enhance texture, and help create the illusion of distance. -
A Resting Place: Notes on Optimism and Shadows
OAC PRESS Working Paper Series #3 How Knowledge Grows An Anthropological Anamorphosis Alberto Corsín Jiménez CSIC, Spain’s National Research Council © 2010 Alberto Corsín Jiménez Open Anthropology Cooperative Press www.openanthcoop.net/press This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ 1 ‘the most admirable operations derive from very weak means’ Galileo Galilei (1968: 109) ‘Not just judgments about analogy but judgments about proportion inform any organization of data.’ Marilyn Strathern (2004 [1991]: 24) ‘A strange thing full of water’ Michel Serres (1995: 122) I open with a myth of origins: All political thought evinces an aesthetic of sorts. Dioptric anamorphosis, for instance, was the ‘science of miracles’ through which Hobbes imagined his Leviathan. An example of the optical wizardry of seventeenth century clerical mathematicians, a dioptric anamorphic device used a mirror or lens to refract an image that had deliberately been distorted and exaggerated back into what a human eye would consider a natural or normal perspective. Many such artefacts played with pictures of the faces of monarchs or aristocrats. Here the viewer would be presented with a panel made up of a multiplicity of images, often emblems representing the patriarch’s genealogical ancestors or the landmarks of his estate. A second look at the panel through the optical glass, however, would recompose the various icons, as if by magical transubstantiation, into the master’s face. Noel Malcolm has exposed the place that the optical trickery of anamorphosis played in Hobbes’ political theory of the state (Malcolm 2002). -
1 Math Action Figures- Human Body Proportion 11-18-14 AO
ARTS IMPACT LESSON PLAN Visual Arts and Math Infused Lesson Lesson One: Math Action Figures: Human Body Proportion Author: Meredith Essex Grade Level: Seventh Enduring Understanding Ratio and proportional relationships can guide accurate portrayal of human figures of any size. Lesson Description (Use for family communication and displaying student art) Students apply understandings of fractions, scale, and ratio to create a human figure in proportion. Head and total height of a human figure is drawn on grid paper based on a 1:8 ratio multiplied by a scale factor. Students then divide the figure horizontally into 8 equal parts and place parts of the figure in those fractional areas guided by a proportion diagram. Last, students use math tools and colorful pens to transform their figure into a “Math Action Figure” character with special math powers. Learning Targets and Assessment Criteria Target: Uses understanding of ratio and scale to map out a human figure. Criteria: Uses ratio of 1:8 (head to body) multiplied by a scale factor to establish proportional head and body height in drawing. Target: Documents proportion calculations. Criteria: Records ratio multiplied by scale factor equation on drawing. Target: Uses understanding of proportion to represent additional parts of a human figure. Criteria: Divides height of figure into 8 equal parts. Sketches head in top 1/8 and sketches parts of figure in other fractional areas guided by diagram and prompts. Target: Creates a math action figure using craftsmanship. Criteria: Defines contour of figure and adds invented geometric elements using pen, grid squares, and straight edge to suggest human and math-inspired characteristics. -
Streetscape Design & Landscape Architectural
Village of Ephraim STREETSCAPE DESIGN & LANDSCAPE ARCHITECTURAL PLAN AGENDA • A Vision for Ephraim • Analysis • Recommendations • Streets and R.O.W. • Parking • Landscaping • Standards Then Now THE VISION A peaceful Village with strong ties to its history, that protects its natural resources, welcomes visitors, and embraces its residents new and old. ANALYSIS STREETS • Walkways/bikeways are not well connected or defined • Crosswalks are poorly placed/missing • Lack of shade PARKING • Unsafe • Over prioritized • Unorganized PUBLIC SPACES • Not consistent/compatible with quality of Civic Buildings • Lack of maintenance • Lack of shade • Low quality/mismatched materials and furnishings SIGNAGE/LIGHTING • Lack of uniformity/legibility • Placement is inconsistent • Sign clutter RECOMMENDATIONS BICYCLE AND PEDESTRIAN FACILITIES • Connect public parks and landmarks • Provide safe accommodations • Link to regional trails and neighboring Towns/Villages • Provide pedestrian connections through underused R.O.W COMPLETE STREETS • Provide accommodation for all modes of travel and all abilities of user along and across the roadway (Complete Streets) • Supported by state law • Opportunity to influence the Highway 42 design EXISTING WATER STREET PROPOSED WATER STREET EXISTING HIGHWAY 42 AT BEACH PROPOSED HIGHWAY 42 AT BEACH EXISTING MORAVIA STREET PROPOSED MORAVIA STREET PARKING • Consolidate parking within the Village core • Provide perimeter parking for visitors/employees/boat trailers with shuttles during peak season/events • Implement a bike sharing -
Leonardo's Vitruvian Man Drawing: a New Interpretation Looking at Leonardo's Geometric Constructions
Nexus Netw J (2015) 17:507–524 DOI 10.1007/s00004-015-0247-7 RESEARCH Leonardo’s Vitruvian Man Drawing: A New Interpretation Looking at Leonardo’s Geometric Constructions Vitor Murtinho1 Published online: 9 April 2015 Ó Kim Williams Books, Turin 2015 Abstract Generally speaking, today’s scientific community considers that the famous figure drawn by Leonardo da Vinci at the end of the fifteenth century was made using the Golden ratio. More specifically, the relationship established between the circle’s diameter and the side of the square is a consequence of the geometric relationship probably discovered by Euclid, but made famous by Luca Pacioli in his De Divina proportione. Aware of the close working relationship between Leonardo and Pacioli, namely in the writing of this last book, the theory that establishes a close relationship between these two figures, making use of this remarkable mathematical relationship, has gained credibility. In fact, the use of the Divina proporzione, despite being a very stimulating construction on an intellectual level, presents too great a margin of error, especially for such a competent geometrician as Leonardo da Vinci was. For that reason, the relationship between these two figures (square and circle) is grounded on a much simpler geometric relationship than the one found at the base of the definition, for instance, of Le Corbusier’s Modulor. Keywords Leonardo da Vinci Á Vitruvian man Á Vesica piscis Á Golden number Á Proportion Introduction No human investigation may claim to be a true science if it has not passed through mathematical demonstrations, and if you say that the sciences that begin and end in the mind exhibit truth, this cannot be allowed, but must be & Vitor Murtinho [email protected] 1 CES-Department of Architecture, University of Coimbra, Colegio das Artes, Largo D. -
ARCHITECTURAL PLAN SUBMISSIONS Department of Planning and Development
ARCHITECTURAL PLAN SUBMISSIONS Department of Planning and Development . 4 South Eagleville Road . Storrs-Mansfield, CT 06268 [email protected] . 860.429.3330 Pursuant to Article 5, Sections A.3 and B.3, the Planning and Zoning Commission may require the submission of other information, including but not limited to: architectural plans of proposed buildings, structures and signs, including exterior elevations, floor plans, perspective drawings, and information on the nature and color of building materials. The following information is provided to assist applicants in better understanding the type of information that may be required. Building Details and Specifications Information that may be required to determine compliance with the Architectural and Design Standards contained in Article 10, Section R of the Zoning Regulations includes but is not limited to the following: Elevation Drawings • Scaled architectural elevations of each building face, with materials labeled • Scaled elevations depicting landscaping plan or screening treatment along public rights-of-way • Perspective view from public rights-of-way, including view of rooftop appurtenances • Perspective view including outdoor display areas, merchandise, vending machines or items along a building that would obscure the building façade • 3-Dimensional Building Massing Study depicting proposed building mass (including articulation) in the context of surrounding buildings Sections and Floor Plans • Scaled sections showing grade changes in relationship to buildings and/or retaining walls • Scaled sections showing average finished grade line and scaled heights, including penthouses • Scaled Floor Plans (including all proposed modifications and alterations to existing buildings) Details and Specifications • Building materials and colors • Fenestration • Lighting • Signs • Rooftop units and enclosures Signs For additional information on regulations related to sign design, please see: Article 10, Section C; Article 10, Section R; and Appendix B of the Zoning Regulations. -
Architectural Plan Review Checklist (Residential)
ARCHITECTURAL PLAN REVIEW CHECKLIST (RESIDENTIAL) The checklist items listed below are the items that are typically reviewed during the plan review process. The list includes specific requirements for architectural drawings submitted for Building Permit, as well as items that are commonly found to be missing, incorrect or incomplete. This list is not all encompassing; therefore, all applicable codes and ordinances should also be reviewed by the Architect prior to submitting plans. No error or omission in either plans or specifications, whether said plans or specifications have been approved by the Building Department or not, shall permit or relieve the applicant from constructing the work in any other manner than that provided for in the Building Codes and requirements of the Village of South Barrington. GENERAL ITEMS □ Drawings must be signed, sealed and certified by an Illinois Licensed Architect. □ Project name, street address, lot number and subdivision must appear on each sheet. □ Review project for setback, zoning and subdivision ‘Codes, Covenants & Restricts’ (CC&R) conflicts. □ Determine the number of ‘bedrooms’ for septic design purposes. □ Compare architectural plans with septic plan for consistency in topography, etc. □ Review septic design for potential problems: 1) Soil Test date, depth and results. 2) Number of bedrooms? 3) Required size of septic field? 4) Fill required (must be completed prior to permit)? 5) New Perc test required? □ If house is intended to be built reversed, a note to that effect must be included on each sheet. □ Review light & vent requirements (10% & 5%). □ Review for any inconsistencies between plans, elevations, sections, details, notes, etc. □ Review for any conflicting dimensions, details, notes, etc.