The Art Of The Line For Carpentry Stereotomy Geometry

Art du Trait de CharpenteArt of the Line for CarpentryGerman SchiftenBasic Task ModelsTC - DP Shadow LineCanted Hip & Valley RaftersNet Roof SurfaceFolding Roof Surface PlanesFootprint PlanesNet PlanesSloping RidgesRafter ClawsPurlinsDormersTréteau ? deversCanted TrestlesJoiners TableSawhorsesSaint Andrews' CrossWorldSkills Practice Task ModelTwisted CrossesCanted CrossHexagon Canted CrossPentagon Canted CrossWitches CutWarlock CutMoonWalk LinesRoof Framing GeometryRoof Framing Stereotomy

Geometry is the base of all Trigonometric Functions in roof framing.

Robin 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. Anyone reviewing the history of architectural theory, Robin Evans observes, would have to conclude that architects do not produce geometry, but rather consume it. In this long-awaited book, completed shortly before its author's 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. He 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. From the Henry VII chapel at Westminster Abbey to Le Corbusier's Ronchamp, from Raphael's S. 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. In 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. Evans describes the ambivalent role that pictures play in architecture and urges resistance to the idea that pictures provide all that architects need, suggesting that there is much more within the scope of the architect's vision of a project than what can be drawn. He defines the different fields of projective transmission that concern architecture, and investigates the ambiguities of projection and the interaction of imagination with projection and its metaphors.

This book deals with the general concepts in stereotomy and its connection with descriptive geometry, the social background of its practitioners and theoreticians, the general methods and tools of this technology, and the specific procedures for the members built in hewn stone, including arches, squinches, stairs and vaults, ending with a chapter discussing the open problems in this field. Thus, it can be used as a reference book in the subject, but it can also read as a compelling narrative on this subject, one of the main branches of pre-industrial technology. Construction in hewn stone requires the use of geometrical methods and tools to assure that individual stones, either blocks or voussoirs, fit with one another and conform to the general shape of walls, arches or vaults. During the Late Middle Ages and the Renaissance, such techniques and instruments were developed empirically by masons and architects. Later on, learned mathematicians and engineers introduced refinements in these procedures and this branch of knowledge, known as stereotomy, furnished much material to descriptive geometry, a science born with the French Revolution which provided the foundation for projective geometry.

This book contains the two formal lectures delivered by the authors at the University of Melbourne as part of the 2010 Miegunyah Distinguished Visiting Fellowship Program, and an anthology of essays written during the last ten years. These writings formed the basis for the academic activities undertaken in Australia during the residency at the Melbourne School of Design. CLAUDIO D'AMATO GUERRIERI is full Professor of Architectural Design and the current Dean of the Faculty of Architecture at the Polytechnic of Bari, which he founded and first headed in 1990. Between 2003 and 2009, he was the Director of the Program in Architecture and Industrial Design within the same Faculty. He was previously Chair of Architecture at the University of Reggio Calabria, and taught at the University of Rome. Since the 1980s, he has been part of many government commissions on the transformation of architectural teaching in universities. Professor d'Amato Guerrieri received his Laurea in Architettura in 1971 from La Sapienza University of Rome, where he subsequently obtained a Master degree in Study and Restoration of Monuments in 1974. Since 1978 he is part of the Architects' Professional Register for the jurisdiction of Rome. ATTILIO PETRUCCIOLI holds the Chair in Landscape Architecture at the Polytechnic of Bari, where he is also the Director of the Architecture Department. Between 2003 and 2009, he was the Dean of the Faculty of Architecture. Before his appointment in Italy, Professor Petruccioli was the Aga Khan Professor at the Massachusetts Institute of Technology, Cambridge, and the Director of the Aga Khan Program of Islamic Architecture at Harvard and MIT. He is currently a member of the Italian Inter- University Research Centre on Developing Countries (CIRPS), and sits on the Board of Directors of the American Centre for Maghrib Studies, the Board of the International Seminar on Urban Form, the Committee of Honour of the International Network of Traditional Building Architecture and Urbanism (INTBAU) of the Prince of Wales Foundation in London, and the International Association for the Study of Traditional Environments (IASTE). He is also a research associate at the Centre for Middle Eastern Studies at Harvard University.

This book seeks to explore the history of descriptive geometry in relation to its circulation in the 19th century, which had been favoured by the transfers of the model of the École Polytechnique to other countries. The book also covers the diffusion of its teaching from higher instruction to technical and secondary teaching. In relation to that, there is analysis of the role of the institution – similar but definitely not identical in the different countries – in the field under consideration. The book contains chapters focused on different countries, areas, and institutions, written by specialists of the history of the field. Insights on descriptive geometry are provided in the context of the mathematical aspect, the aspect of teaching in particular to non-mathematicians, and the institutions themselves.

This book describes the complete panorama of supporting structures and their function by describing how loads are sustained and transmitted to the ground. With a minimum of mathematics, the reader is guided through the analysis of some of the world's most famous designs and structures from a civil-engineering perspective. An intuitive approach is taken - the basics of equilibrium analysis are explained by visualizing the internal forces of specific structures with the aid of simple graphical tools. Ideal for anyone who needs an intuitive and practical approach to the design and appropriate sizing of load-bearing structures.