Architectural Geometry,

This essay tries to appraise how, in recent years, our discipline's problem solving capacity has been advanced, and might be further advanced, through the advancement of its geometric resources. While the design of the building's geometry, in distinction to the building's materiality with its tactile and visual-atmospheric values, does not comprise the whole of the design task, geometry is certainly centrally involved in most of architecture's relevant design decision tasks. Starting with Alberti architectural design has indeed often been identified with geometry – the distribution of lines and angles-in contrast to the builder's concern with material realisation. Le Corbusier is eulogizing geometry on the 1 st page of his 'The City of Tomorrow and its Planning': " Geometry is the Foundation. " When we talk about the " geometry " of a space or building we are talking about (geometric) forms as aspects of the material world. These aspects have been abstracted and prepared for design manipulation via design media like drawings, or computational graphic models, via the mathematical science and technique of " geometry ". We might therefore take account of various geometric repertoires and techniques as design media resources and appraise progress here in terms of the following valued dimensions of architectural problem solving: organisational as well as expressive versatility. The aspect of dimensional control and coordination for construction is something I have usually taken for granted and not thematised in my writings. However, mathematical geometric techniques that enable spatio-morphological conceptions aimed at organisation and articulation must at the same time meet the demand for controlling dimensional coordination for construction. In the context of problem architectural solving-both with respect to technical and social tasks-we must look at drawings and models as simulations that

The building of the Cistercian abbey of Tarouca was initiated in 1152 and the church was consecrated in 1169. In 1834 the monastery was secularised.
The inside quietude and the formal and semantic expression of the church corresponds to the monastic mentality of the first local Cistercians.
The investigations and the profuse recording of measures carried out in the church enable us to identify the use of an orthogonal modular structure as methodological principle for its architectural composition. The unit of linear measure adopted was the old king's foot (“pied du roi”). The fundamental module is 8 king's feet sideways.
As we can verify, the plan of the Tarouca temple yields to the usual proportionateness of the Cistercian churches following the Bernardin model.

En el presente artículo se analizan los principales proyectos paisajistas elaborados por Pablo Palazuelo. Al ocupar el paisaje un espacio central en una obra que interrelacionaba arte y arquitectura, se han tratado de desvelar las distintas etapas de su proceso productivo. Un proceso desplegado desde las bases de su pensamiento contenidas en sus escritos, hasta sus propuestas de una creciente complejidad. Describiendo un recorrido que abarca las incipientes restauraciones ajardinadas para La Peraleda en Galapagar (1950-1965) y el Castillo de Monroy, Cáceres (1970-1985), y concluye con la reordenación urbana de la propuesta para la Avenida de la Ilustración en Madrid (1985-1987). Para este propósito se estudian los escritos y bocetos inéditos de la Fundación Pablo Palazuelo como fundamentos teóricos y gráficos.

This essay aims to analyze the main landscape designs by Spanish artist Pablo Palazuelo. Since the landscape occupies a central space that interrelates art and architecture in his work, this research has tried to unravel the various stages of his production process. A process unfolded from the bases of his thought, contained in his writings, to his increasing complexity designs. It describes a journey that covers emerging garden restorations for La Peraleda in Galapagar (1950-1965) and the Castillo de Monroy, Caceres (1970-1985), and concludes with the urban renewal of the proposal for the Avenida de la Ilustración in Madrid (1985 -1987). A selection of unpublished writings and sketches belonging to the Pablo Palazuelo Foundation are studied as theoretical and graphic foundations for this purpose.
https://papiro.unizar.es/ojs/index.php/zarch/article/view/1527/1753

A euritmia arquitectónica resulta de um desenho assente em factores conjugados de número e medida. As pesquisas efectuadas em diferentes exemplos de antigas construções religiosas no país – catedrais, mosteiros e conventos – testemunham a aplicação atenta e consciente desses preceitos básicos de racionalidade e estética no seu traçado morfológico.
    Como propósito deste colóquio temático, visa-se suscitar o interesse por um saber técnico específico do domínio da Arquitectura, ainda pouco valorizado e explorado em Portugal e a exigir maior debate e aprofundamento críticos. A determinação da métrica adoptada num edifício de outrora é de importância decisiva para o investigador da Construção. Na sua utilidade e imprescindibilidade, o conhecimento e o respeito pelos princípios geométricos essenciais (regularidade, ordem e proporção) possibilitam um acertado juízo da obra e garantem conclusões significativas acerca da integralidade e coerência tridimensional dos espaços gerados. Auxiliam, como ferramentas de trabalho, a fixar os pontos necessários para eventuais e ponderadas intervenções de restauro ou de projectos de reconstrução histórica ou de ampliação contemporânea.
    A análise e a discussão especializadas desta matéria congregam estudiosos de diversas áreas disciplinares, sobretudo arquitectos, engenheiros e historiadores.