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Mimarlık Psikolojisine Öndeyişler
Excerpt from Prolegomena zu Einer Psychologie der Inaugural-Dissertation
Vorrede I. Psychologische Grundlagen II. Der Gegenstand der Architektur III. Die Momente der Form IV. Charakteristik der Proportionen V. Charakteristik der horizontalen Gliederung VI. Charakteristik der vertikalen Gliederung VII. Das Ornament VIII. Prinzipien der historischen Beurteilung. Die Idee einer Psychologie als Organons.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Vorrede I. Psychologische Grundlagen II. Der Gegenstand der Architektur III. Die Momente der Form IV. Charakteristik der Proportionen V. Charakteristik der horizontalen Gliederung VI. Charakteristik der vertikalen Gliederung VII. Das Ornament VIII. Prinzipien der historischen Beurteilung. Die Idee einer Psychologie als Organons.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
99 pages, Paperback
First published January 1, 1946
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About the author
Heinrich Wölfflin
156 books20 followersHeinrich Wölfflin was a Swiss art historian, whose objective classifying principles ("painterly" vs. "linear" and the like) were influential in the development of formal analysis in art history in the early 20th century. He taught at Basel, Berlin and Munich in the generation that raised German art history to pre-eminence. His three great books, still consulted, are Renaissance und Barock (1888), Die Klassische Kunst (1898, "Classic Art"), and Kunstgeschichtliche Grundbegriffe (1915, "Principles of Art History").
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Displaying 1 of 1 review
April 13, 2020
According to Fritz Neumayer (Nachdenken über Architektur), in exposing the Kantian ideal construction of a 'tower of pure reason' as a metaphysical construction Nietzsche also aims at a psychology of architecture. Namely, he wonders: why are there certain architectural arrangements that have special effects on our minds, how does architecture teach us 'to marvel'?
To a certain extent a contemporary to Nietzsche, Heinrich Wölfflin seems to have followed this path that the philosopher hinted at. Written towards the end of the 19th century, his dissertation work only outlines, as he himself claims, a possible direction for a psychology of architecture, a subject anyway very much in its infancy at that time. His research questions survey the task of such a psychology of architecture: how can the architectural Form be an 'expression' and how can it leave its 'impression' on us?
Following a growing trend in experimental aesthetics and psychophysics, he draws from the likes of Wilhelm Wundt, Friedrich Vischer, Hermann Lotze, Johannes Volkelt, and Robert Vischer to formulate an account for the possibility of a psychology of architecture. Under the assumption that we assess the perfection of an architectural creation by the same criterion that we use for living creatures, he manages to mark a paradigm shift by devoting the physical effect of the architectural form in relation to our own bodily sensation. At the basis of his line of arguments lies a vast comparative analysis of the gothic versus the antique architectural expression.
Chapters:
1. Psychological Foundation
2. The Subject of Architecture
3. Form and its Aspects
4. Characteristics of Proportions
5. Characteristics of Horizontal Structuring
6. Characteristics of Verticality Structuring
7. Ornament
8. Principles of Historical Judgement
To a certain extent a contemporary to Nietzsche, Heinrich Wölfflin seems to have followed this path that the philosopher hinted at. Written towards the end of the 19th century, his dissertation work only outlines, as he himself claims, a possible direction for a psychology of architecture, a subject anyway very much in its infancy at that time. His research questions survey the task of such a psychology of architecture: how can the architectural Form be an 'expression' and how can it leave its 'impression' on us?
Following a growing trend in experimental aesthetics and psychophysics, he draws from the likes of Wilhelm Wundt, Friedrich Vischer, Hermann Lotze, Johannes Volkelt, and Robert Vischer to formulate an account for the possibility of a psychology of architecture. Under the assumption that we assess the perfection of an architectural creation by the same criterion that we use for living creatures, he manages to mark a paradigm shift by devoting the physical effect of the architectural form in relation to our own bodily sensation. At the basis of his line of arguments lies a vast comparative analysis of the gothic versus the antique architectural expression.
Chapters:
1. Psychological Foundation
2. The Subject of Architecture
3. Form and its Aspects
4. Characteristics of Proportions
5. Characteristics of Horizontal Structuring
6. Characteristics of Verticality Structuring
7. Ornament
8. Principles of Historical Judgement
Displaying 1 of 1 review