MARC Record from marc_columbia

LEADER: 02877fam a2200373 a 4500
001 1665919
005 20220608205759.0
008 941101t19951995maua b 001 0 eng
010 $a 94042924
020 $a0262050498
035 $a(OCoLC)31607650
035 $a(OCoLC)ocm31607650
035 $9AKT0394CU
035 $a(NNC)1665919
035 $a1665919
040 $aDLC$cDLC$dNNC$dOrLoB
050 00 $aNA2760$b.E93 1995
082 00 $a720/.1$220
100 1 $aEvans, Robin,$d1944-1993.$0http://id.loc.gov/authorities/names/n81107752
245 14 $aThe projective cast :$barchitecture and its three geometries /$cRobin Evans.
260 $aCambridge, Mass. :$bMIT Press,$c[1995], ©1995.
263 $a9505
300 $axxxvii, 413 pages :$billustrations ;$c29 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references and index.
505 0 $aIntroduction: Composition and Projection -- Ch. 1. Perturbed Circles -- Ch. 2. Persistent Breakage -- Ch. 3. Seeing through Paper -- Ch. 4. Piero's Heads -- Ch. 5. Drawn Stone -- Ch. 6. The Trouble with Numbers -- Ch. 7. Comic Lines -- Ch. 8. Forms Lost and Found Again -- Ch. 9. Rumors at the Extremities -- Conclusion: The Projective Cast.
520 $aIn this long-awaited book, completed shortly before his death, Evans recasts the idea of the relationship between geometry and architecture, drawing on mathematics, engineering, art history, and aesthetics to uncover processes in the imagining and realizing of architectural form. He shows that geometry does not always play a stolid and dormant role but, in fact, may be an active agent in the links between thinking and imagination, imagination and drawing, drawing and building.
520 8 $aHe suggests a theory of architecture that is based on the many transactions between architecture and geometry as evidenced in individual buildings, largely in Europe, from the fifteenth to the twentieth century.
520 8 $aFrom the Henry VII Chapel at Westminster Abbey to Le Corbusier's Ronchamp, from Raphael's Sant'Eligio and the work of Piero della Francesca and Philibert Delorme to Guarino Guarini and the painters of cubism, Evans explores the geometries involved, asking whether they are in fact the stable underpinnings of the creative, intuitive, or rhetorical aspects of architecture.
520 8 $aIn particular he concentrates on the history of architectural projection, the geometry of vision that has become an internalized and pervasive pictorial method of construction and that, until now, has played only a small part in the development of architectural theory.
650 0 $aArchitecture$xComposition, proportion, etc.$0http://id.loc.gov/authorities/subjects/sh85006618
650 0 $aGeometry.$0http://id.loc.gov/authorities/subjects/sh85054133
852 80 $bave$hAA2760$iEv15