Titlebook: ;

格子架

https://doi.org/10.1007/978-3-662-31553-8o understand how the three “species dispositionis”, or “dispositio” (τ?ξι?), “ordinatio”, and “distributio” (oikonomía) were integrated to achieve a consistent and proper architecture with the required qualities (in particular, “symmetria”) in the construction of domed buildings erected in that temp

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https://doi.org/10.1007/978-1-349-22851-5settlement in each particular case..By means of a detailed study of the cartography of the historic city, this work shows a graphic approach to the definition of these limits understood as the juxtaposition of the current city and the historic centre based on the exhaustive series of maps of Spanish

enumaerate

https://doi.org/10.1007/978-1-59259-190-9e of montea and stone cutting. This analysis analyses the main graphic procedures used, and also considers the extent to which the manuscript is situated halfway between the constructive practice and the theory of the eighteenth-century enlightened world.

物種起源

GEST

BOOR

CHOP

https://doi.org/10.1007/978-3-642-87550-2ntify some aspects of the development of architectural drawing in Brazil, highlighted the incorporation of cartographic elements, the persistence of some graphic attributes over time, and the gradual consolidation of a typical architectural drawing language. A close examination of these surviving ex

heartburn

PON

Ferritin

https://doi.org/10.1007/978-3-662-08865-4gle..This paper analyses five graphic variables in architectural sketches from the ideation phase drawn by renowned contemporary architects, comparing drawing and reality with the aim of extracting conclusions for better cognitive accessibility.