The Architect's Brain: Neuroscience, Creativity, and by Harry Francis Mallgrave

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

Sample text

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.

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