拱形面包
发表于 2025-3-26 21:51:58
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.
Permanent
发表于 2025-3-27 04:31:29
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CRACY
发表于 2025-3-27 09:20:18
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摸索
发表于 2025-3-27 10:35:16
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brother
发表于 2025-3-27 15:46:18
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.
saturated-fat
发表于 2025-3-27 17:48:02
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.
FLACK
发表于 2025-3-28 01:11:00
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两栖动物
发表于 2025-3-28 05:56:34
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
Finasteride
发表于 2025-3-28 07:51:23
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
hypotension
发表于 2025-3-28 12:18:25
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