Die Dynamik der architektonischen Form Gestuetzt auf d. 1975 an d. Cooper Union gehaltenen Mary Duke Biddle lectures . DuMont-Dokumente

by Rudolf Arnheim

The power of the visual effects exerted by architecture, in our own time and in the past, has been largely neglected in recent discussion, with its focus on practical utility and other economic and social factors. Such an account of the human needs met by architecture remains sadly incomplete unless the expressive visual qualities of buildings are recognized as among their foremost effects.
A fresh approach is overdue--an attempt to analyze these psychological qualities with the principles of visual perception. Such an attempt is made in this new volume by Rudolf Arnheim, who has been known, since the publication of his Art and Visual Perception, as an authority on the psychological interpretation of the visual arts. As he now turns his experienced eye to the visual aspects of buildings, he amplifies his theories with new features specific to the medium of the architect. Arnheim explores the unexpected perceptual consequences of architecture with his customary clarity and precision. Of particular interest is his thorough analysis of order and disorder in design, the nature of visual symbolism, and the relations between practical function and perceptual expression.
Arheim's ability to deal with theoretical principles in a concrete and easily accessible way assures him the attention of the general reader whose concern with the arts leads to the aesthetic and psychological aspects of the broader environment. At the same time, Arnheim's strikingly original approach will stimulate professionals and students concerned with the theory and practice of modern and historical architecture.

Genres: Architecture, Art, Design

Paperback

First published January 1, 1977

About the author

Rudolf Arnheim (1904–2007) was a German-born author, art and film theorist, and perceptual psychologist. He learned Gestalt psychology from studying under Max Wertheimer and Wolfgang Köhler at the University of Berlin and applied it to art. His magnum opus was his book Art and Visual Perception: A Psychology of the Creative Eye (1954). Other major books by Arnheim have included Visual Thinking (1969), and The Power of the Center: A Study of Composition in the Visual Arts (1982). Art and Visual Perception was revised, enlarged and published as a new version in 1974, and it has been translated into fourteen languages. He lived in Germany, Italy, England, and America. Most notably, Arnheim taught at Sarah Lawrence College, Harvard University, and the University of Michigan. He has greatly influenced art history and psychology in America.

Reviews

[Cellobows · Rating 5 out of 5]

I hugged this book after I finished reading it a second time

[Zachary · Rating 4 out of 5]

Arnheim's work is a wonderful exploration of the ways that architecture impacts the lives, emotions, and experiences of everyday people. Lucidly written and very beautifully illustrated, there are only a few times and chapters where the book veers into overly complicated jargon from engineering or architecture. Most of the time it is actually pretty accessible, and ties philosophical and perceptual ideas back into concrete examples so that even some of the more difficult sections are grasped with some relative ease. Overall, a fun read for anyone interested in art, beauty, or architecture.

[Chris Howard · Rating 4 out of 5]

thoughtful essays on topics rooted in architecture, but applicable to many fields, including technology

[Sandra]

One of the first books I read as student of Architecture. Amazing source for understanding beyond shapes/lines/colors/structures of architecture.

[Alice Wardle · Rating 5 out of 5]

Several months ago, I read J. J. Gibson's 'An Ecological Approach to Visual Perception', which was a relevant text to understand before reading this book. It acts as a precursor, laying the foundations of perceptual geometry and physics, to the knowledge in 'The Dynamics of Architectural Form'. So, if you are interested in reading this book, I would say J. J. Gibson's text is a necessary (or at the very least, incredibly useful) text to understand (even though it was actually published after Arnheim's book, I believe it should be read first).

The book builds on the existing knowledge on perception within an environment, adding levels of complexity more relevant to the field of architecture. Not only is it packed full of examples of historical pieces of architecture doing things right or wrong, but Arnheim has a poetical tone to parts of his writing, which expresses his awe towards some buildings; it really is a beautiful book to read. His analogies, used to explain fairly complex architectural and geometric theories, are unparallelled.

[Tyrol · Rating 5 out of 5]

There is some profound and deep analysis here which deserves a much wider audience amongst architects and designers. Some authors are guilty of staking out a solid thesis and then expanding and universalizing the argument until it becomes tenuous by the end of the book. I'm not going to accuse Arnheim of this, but I was disappointed that towards the end, having been inducted into his perceptual approach, I wasn't able to anticipate what he would write about, say the Cathedral of Cefalu. Obviously the problem is with the student!

I was sold on the "Symbols through Dynamics" and "Expression through Dynamics" which are the final sections. Arnheim has changed my way of thinking about design, talking about design, and seeing design.

The book was published 45 years ago but the insights are timeless.

[Fatimah Almutawa · Rating 2 out of 5]

I do not think it is possible to understand architectural form without adequately understanding the historical context in which such forms emerge. This is one point Arnheim failed to consider in his analysis.

[Tolis Yiannaras · Rating 4 out of 5]

Interesting book that gives a unique perspective of a brilliant theoritician into analyzing form

[Adriana Knapik]

absolutnie nie umiem się na tym skupić, będę próbować jeszcze raz