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By Michael Leyton

How do constructions shop info and adventure of their form and shape? Michael Leyton has attracted huge consciousness together with his interpretation of geometrical shape as a medium for the garage of data and reminiscence. during this e-book he attracts particular conclusions for the sector of structure and building, attaching basic value to the complicated dating among symmetry and asymmetry.

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Additional resources for Shape as Memory: A Geometric Theory of Architecture

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The internal structure of the regular square, and external actions applied to the object, such as projection, we have remarkable scientific unity across the two domains. 62 We should also note that projection acts to asymmetrize an object. , it is an increased memory store. 7 Regularity in Classical Architecture Classical architecture is dominated by regular objects and regular arrangements. Examples include columns, lines of columns, reflectional sets of windows, etc. Using my new foundations for geometry, I will now give a theory of what regularity means, and then apply it to architecture: THEORY OF REGULARITY (1) The generative actions are structured as an n-fold hierarchy of transfer: G1 T G2 T ..............

For example, Fig. 3 shows that each cross-section is described as a circular action, and the relation between the cross-sections is described by a translational action. Thus, as stated earlier, transfer is a set of actions applied to a set of actions. , transfer is the history of history. For example, the rotational history that produced the cross-section, itself undergoes a translational history. 4 introduced the transfer operation always relates two groups, thus: G1 T . This operation O T G2.

In fact, the main argument of that book is this: Paintings are structured by the rules of memory storage. That is, the rules of artistic composition are the rules of memory storage. The book demonstrates this by giving detailed and lengthy analyses of paintings by Picasso, Modigliani, Gauguin, Holbein, Ingres, Balthus, Raphael, Cezanne, De Kooning, etc. In Fig. 21, the rules for the extraction of history from curvature extrema are applied to Picasso’s Still Life. The reader can see that this gives considerable insight into the composition of the painting.

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