Titlebook: Architecture and Mathematics from Antiquity to the Future; Volume II: The 1500s Kim Williams,Michael J. Ostwald Book 2015 Springer Internat

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Golden Proportions in a Great House: Palladio’s Villa Emoand passageways follow in golden mean progression. The placement of doors and fireplaces derives from a regular pentagon whose base is drawn on the front edge of the portico. While proportions derived from other geometric shapes are also present, the golden mean also appears to dominate the front elevation.

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Molecular Challenges to Adaptationism2:3, and 1:4. The present paper also concentrates on a methodology of obtaining data, organizing it, and estimating its uncertainty. The intent is to begin to provide information that may help establish standards relating to these tasks.

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Measuring up to Michelangelo: A Methodology2:3, and 1:4. The present paper also concentrates on a methodology of obtaining data, organizing it, and estimating its uncertainty. The intent is to begin to provide information that may help establish standards relating to these tasks.

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Architecture, Mathematics and Theology in Raphael’s Paintingsa civilisation has made such an investigation: in ancient Egypt, in Antiquity, and in modern times, where perhaps we should speak of space-time. And each time, not only science, but also the arts participated in this endeavour. This present contribution is devoted to two mathematical, that is, geome

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Raphael and the Pantheon’s Interior: A Pivotal Moment in Architectural Representationse drawing categories was stable, what does this liminal positioning actually explain? This paper re-examines Raphael’s sketch and suggests that the Pantheon’s interior presented a complex problem for the representational conventions of the time. Raphael’s drawing adheres to no known graphic or proj

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Design and Perspective Construction: Why Is the , the Shape It Is? study of both the design of the Chalice and of the geometry underlying its perspective construction. Close examination of the drawing reveals the progression of its construction as well as the method of its perspective projection and suggests that the large octagonal mazzocchio was the first elemen