By Harry Francis Mallgrave
The Architect's mind: Neuroscience, Creativity, and Architecture is the first e-book to think about the connection among the neurosciences and structure, delivering a compelling and provocative examine within the box of architectural concept.
- Explores various moments of architectural proposal during the last 500 years as a cognitive manifestation of philosophical, mental, and physiological concept
Looks at architectural suggestion in the course of the lens of the extraordinary insights of latest neuroscience, relatively as they've got complex in the final decadeContent:
Chapter 1 The Humanist mind (pages 7–25):
Chapter 2 The Enlightened mind (pages 26–40):
Chapter three The Sensational mind (pages 41–52):
Chapter four The Transcendental mind (pages 53–60):
Chapter five The Animate mind (pages 61–75):
Chapter 6 The Empathetic mind (pages 76–84):
Chapter 7 The Gestalt mind (pages 85–97):
Chapter eight The Neurological mind (pages 98–108):
Chapter nine the exceptional mind (pages 109–121):
Chapter 10 Anatomy (pages 123–138):
Chapter eleven Ambiguity (pages 139–158):
Chapter 12 Metaphor (pages 159–187):
Chapter thirteen Hapticity (pages 188–206):
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Extra resources for The Architect's Brain: Neuroscience, Creativity, and Architecture
3 For Descartes this tool implied a more rigorous use of the quantitative methods for science, as well as an open skepticism toward the remnants of the Aristotelian scientific tradition. indd 28 9/29/2009 3:35:43 PM The Enlightened Brain: Perrault, Laugier, and Le Roy 29 cognitans (thinking substance). The former is the material world that operates in a mechanical fashion and is therefore the object of science, whereas the latter – what Descartes also called consciousness – is immaterial, indivisible, and therefore separate from the body.
Once again this was a criticism aimed at the corporeal or sensuous character of the baroque style. There is, however, a fourth – and most important – revolutionary element to this passage, which is the text of Vitruvius to which it refers. 9 The Latin word that Vitruvius used to describe this novel effect was asperitas, which Perrault rendered with the French term aspreté (now âpreté). ” Within its seventeenth-century context, however, Perrault is referring to the ‘lively aspect’ or ‘visual tension’ induced by his colonnade with its deep shadows in relief – that is, by the positive severity of effects it has on the retina of the eye.
16 Again, a long bare wall cannot produce the same effect because the eye has nothing to interrupt its progress along the surface of the wall. This is not to say that a very large wall cannot be sublime – only that in this case its principle emotion must arise from the sensation of infinity, rather than of vastness. The summary principle of Burke’s psycho-physiological aesthetics, which is still quite valid, is that human emotions arise out of the corporeal or neurological processing of perceptions.