Designer:
Albert Samper
Unitat Predepartamental d'Arquitectura.
Universitat Rovira i Virgili.
Avinguda de la Universitat, 1
43204, Reus, Spain
The rose window on the main façade of Orvieto cathedral is unique because its design is based on a 22–sided polygon. It is well known that the icosikaidigon cannot be constructed using only a compass and a straightedge. This image is the result of the combination of some mathematical and architectonic concepts, developing the most accurate graphical method (geometrically and statistically) to the construction of this rose window.
Designer:
Maryam Doroudian
PhD candidate in Architecture
Department of Architecture
Tarbiat Modares University
Tehran, Iran
Considering the location of the conference 2016, this design was inspired from San Telmo Museum at San Sebastian (Spain). It is worth to mention the description of this museum is: “the building/wall manifests the dualities – nature/artifice, contemporary sensibility/historical record – underlying the project.” From this point of view, I used this building for the Logo design in this conference.
Designer:
Laimute Varkalaite
Lithuania
An idea of logotype design was inspired by Phi 1:1.618 proportion, one of the basic dimensions in architecture. Phi is often detected in nature, in a human body and is widely used as a starting point in many arts. On the other hand, it is a mathematical method which makes it possible to calculate an ideal proportion of objects.
Creating this logo Phi was a basis for starting to design a logotype. Several questions were involved: how to connect mathematics and architecture, how to create an easily recognizable sign, and to keeps its legibility. These tasks are the main ones for a graphic designer when he creates logotypes / signs / pictograms.
The design process:
Designer:
Valeria Croce
Via Marx, 144
56017 San Giuliano Terme (PI), Italy
The idea for the logo originates from the recovery of an illustration by Francesco di Giorgio Martini (Siena, September 1439 - Siena, November 29, 1501, an Italian architect, painter and engineer), contained in his Trattato di Architettura, a large work that comes from the study of mechanics and geometry and the survey of classical monuments, and which in its composition reflects the organization chart of the work of Vitruvius.
Human figure and geometry become harmonious and proportional reference in the work of Francesco di Giorgio Martini: the elementary geometric forms and the human body are used to bring to the proportional study of the architectural order. The drawing below refers to the analysis of the geometric and compositional structure in relation to the author's thought on the ideal geometries, in particular on the triangle shape.
In an initial study phase which precedes the construction, the architect investigates with the drawing tools all possible solutions for designing the shape, drawing from the classical tradition and using a set of geometric, proportional and dimensional rules, in order to harmonize elements.
Designers:
Paolo Croce and Giammarco Montalbano
The view on the particular passage of Carlo Scarpa’s Brion funeral complex represents the perfect combination between architecture and mathematics. It describes, using the pure form of the circle, the contrast between the rationality of the geometry and the irrationality of its mathematical meaning. The present of the transcendental number Pi and the conjunction of the two circles in two vertices of an inscribed square also identifies the irrationality of root-2. Elements that can be attributed to both the materiality of life and the inaccessibility of the human intellect to concepts such as death or infinity. This is a vision pointed to create a correspondence between the tangibility of circle and its irrational understanding, just like life does with death.
Designer:
Eduardo Villela
This is some kind of an extension pattern from one cube/pyramid geometrical-optical-illusional drawing, which is part of a research in ambiguous form in architecture.
Designer:
Antonia Redondo Buitrago
Departamento de Matematicas
I.E.S. Bachiller Sabuco
Albacete, Spain
The logo shows the “N” of Nexus and an outline of one of the sculptures of Peine del viento (Comb of the wind) by Eduardo Chillida, a Basque sculptor known for the architectonic structuring of his works.
This sculpture is one of the emblems of San Sebastian, and its elements suggest the mathematical epsilon letter, also other letters of the word Nexus, like “e” and “x”.
Designer:
Maycon Sedrez
Blumenau, Brazil
The logo is a minimal conceptual design. The stripes represent the many topics, ideas, concepts Nexus participants discuss every edition, and the participants from different parts of Europe and the world. The fractal growing represents the city in its different scales, as it resembles mountains and streets; but also the architecture composition, the architect thinking the project’s details mathematically. The design was made by the iteration of a fractal using visual programming, and converted to a vector.
Designer:
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Bangkok, Thailand
The logo design is based on the concept of interdisciplinary between architecture and mathematics. The design combined 3 mathematical symbols in communicating this key massage. The 3 symbols are (1) The mathematical ceiling symbol stands for the ceiling of architecture, (2) The mathematical floor symbol stands for the floor of architecture. (3) The centre A shape mathematical symbol stands for “A” for architecture and the raise of the power of in architecture with mathematics.
Designer:
Mark A. Reynolds
California, USA
This is a cool way to get to the harmonic mean, even though the units change size. The Mean is 3,4,6, with 6 on the outside, 3 being the little diamond in the center, and 4 being the square that's skewed.
Mark Reynolds was the designer of two previous logos for Nexus:
Nexus 2002
Nexus 2004
More of his work can be seen on his website, www.markareynolds.com.