Frida Kahlo was a Mexican artist whose lifespan occupied most of the first half of 19th century (1907-1954). Her paintings are figurative and colorful, filled with symbolism and carried out in what seems to have been a deliberately naïve style. In 1925 Kahlo suffered grave injuries to her pelvis, spine, and one of her feet. The effects of her injury and infertility are apparent subjects in many of her paintings. Her image occupies the central picture plane in most of her work, as both a physical and a psychological study of herself. Kahlo`s reputation is intentional, her work the subject of many critical reviews and several books. Beginning with the feminist critics, this paper will show a variety of approaches to Kahlo`s paintings that represent different issues and emphases within the feminist movement.
to by Wertheimer [1938] but with a negative tone because of the unequal and overvalued importance given to him by previous psychological theories, which the gestalt theory was fighting.
In architecture, however, this review of the subject can happen on many levels. In an architectural work, the scale from which we see space is constantly changing because the volume of information is changing. The further we are, we focus our attention on the most basic features of architecture, those with the greatest intensity. But as we get closer, we are revealed more information that can get the most of our attention.
The physical terrain of the route can be parallel to Gestalt rules and how they affect the route. In particular, the behavior according to the other members of the group or the elements of the path affects the objective perception, while the knowledge from previous experiences, the subjective perception.
III. Music in Architecture
III.1. Xenakis: Common Mathematical Models of Architecture – Music
Xenakis was born in 1922 in Braila, Romania. He was very interested in music early on through his parents and especially his mother. Her death, when he was 5 years old, marked the composer. In 1932, he was sent to a boarding school in Spetses, where he studied Solfez and Synthesis and participated in the choir. After graduating in 1938, he moved to Athens where he continued his musical studies next to Aristotle Kountouroff and in 1940, he entered the National Technical University of Athens. [Alessandra Capanna, 2001]
According to Sven Sterken [2007], Xenakis approached architecture and music from a scientific and mathematical point of view. As a consequence, his musical and architectural compositions have a corresponding mathematical orientation. In his later work, the approach was more pragmatic, using space as a means to articulate the complexity of the musical language and to highlight the sound experience.
Le Sacrifice – La Tourette
As he became more experienced in architecture at the Le Corbusier office (1947-1959), Xenakis studied music composition with the French composer Olivier Messien (1908-1992). Messien advised Xenakis to find musical inspiration from his Greek roots, his studies as an engineer and his work as an architect. Applying this advice, he based his first pieces on two basic elements, Modulor and the use of the micrometer paper [Sven Sterken, 2007]
He used Modulor to organize time in a reasonable way. Based on the Fibonacci sequence (1,2,3,5,8,13 …) and the golden section, Modulor is a metric system used by Le Corbusier in 1950 to culminate in a neo-Pythagorean movement in Western European culture.
He applied this logic to the orchestral piece: Le Sacrifice (1953), where he produced the entire ensemble based on eight tones and eight durations whose prices were taken from the Fibonacci scale. [Sven Sterken, 2007]
Xenakis research on rhythmic patterns proved inspired in the design of the well-
