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Module Proportion Symmetry, Rhythm

By: Publication details: New York: George Braziller, 1966Description: 233ISBN:
  • 9780807603635
Subject(s): DDC classification:
  • 701.17 KEP
Summary: In many divergent scientific fields, in architecture, industry, and the creative arts, the concept of modu- larity has gained increasing significance in our time. This volume explores the role of the basic unit and its combinatory relationships in contemporary think- ing and creative work. The first four essays reveal "the prodigality of the world" as a "prodigality of combination," the result of the interacting multiplicity of nature's myriad basic building blocks. In the opening essay a physicist reviews the underlying significance of the "brick-like modularity which is the natural order," and illustrates how our modern scientific grasp of this truth has revealed knowledge itself to be modu- lar at base. The following contributions by a gene. ticist, a crystallographer, and a mathematician underscore the orderliness and deep simplicity in the rich variety of our physical world. The second part of the book is devoted to modu- lar concepts in architecture, the plastic arts, and music. Architects review the role of the module in historical building styles, discuss the contemporary reassertion of modular design, and present a case study in the key problem of modular coordination in mass-produced building products. The following essays deal with the role of the basic unit in the plastic arts. In a discussion of their own work, two artists reveal the rich possibilities for structural solu- tions obtainable from the fundamental elements of line, shape, tone, and their rhythmical interplay. The importance of modular concepts in music is discussed by a musicologist who studies Béla Bartók's obedience to the laws of the golden section and by a contemporary musician who makes a personal state- ment on the creative power and use of the module, rhythm, and proportion. The volume is concluded with two essays which treat the crosscurrents of modular concepts in a broad context: in a paper by an aesthetician, the philosophical problem of the total-partial relation- ship is explored as an aesthetic problem in the plastic arts; while the final contribution, by a psychologist of art, treats the modular concept of proportion as a perceptual phenomenon.
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Item type Current library Collection Call number Status Date due Barcode Item holds
Reference Book Reference Book Alliance School of Liberal Arts Alliance School of Design 701.17 KEP (Browse shelf(Opens below)) Not for loan LA03438
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In many divergent scientific fields, in architecture, industry, and the creative arts, the concept of modu- larity has gained increasing significance in our time. This volume explores the role of the basic unit and its combinatory relationships in contemporary think- ing and creative work.

The first four essays reveal "the prodigality of the world" as a "prodigality of combination," the result of the interacting multiplicity of nature's myriad basic building blocks. In the opening essay a physicist reviews the underlying significance of the "brick-like modularity which is the natural order," and illustrates how our modern scientific grasp of this truth has revealed knowledge itself to be modu- lar at base. The following contributions by a gene. ticist, a crystallographer, and a mathematician underscore the orderliness and deep simplicity in the rich variety of our physical world.

The second part of the book is devoted to modu- lar concepts in architecture, the plastic arts, and music. Architects review the role of the module in historical building styles, discuss the contemporary reassertion of modular design, and present a case study in the key problem of modular coordination in mass-produced building products. The following essays deal with the role of the basic unit in the plastic arts. In a discussion of their own work, two artists reveal the rich possibilities for structural solu- tions obtainable from the fundamental elements of line, shape, tone, and their rhythmical interplay. The importance of modular concepts in music is discussed by a musicologist who studies Béla Bartók's obedience to the laws of the golden section and by a contemporary musician who makes a personal state- ment on the creative power and use of the module, rhythm, and proportion.

The volume is concluded with two essays which treat the crosscurrents of modular concepts in a broad context: in a paper by an aesthetician, the philosophical problem of the total-partial relation- ship is explored as an aesthetic problem in the plastic arts; while the final contribution, by a psychologist of art, treats the modular concept of proportion as a perceptual phenomenon.

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