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It explains how compass-drawn modules function as proportional guides, beginning with classical references from Vitruvius and comparing Greek and Roman geometric constructions. The work then develops two related Old Impton modules—the five circle and the daisy wheel—and shows how module intersections generate doorhead patterns and underlying design frameworks through step-by-step geometrical 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Man","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-30","2026-10-29",true,{"@type":102,"interactionType":103,"userInteractionCount":14},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What role do geometrical modules play in the design discussed in the document?","Question",{"text":112,"@type":113},"The document presents modules as compass-drawn proportional guides that structure both the porch’s three-dimensional framework and its two-dimensional surface patterns.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"Which two main modules are used for the Old Impton doorhead constructions?",{"text":117,"@type":113},"It uses a five circle module for the interlaced squares and a seven-circle daisy wheel module for the circle of interlaced arcs.",{"name":119,"@type":110,"acceptedAnswer":120},"How does the document connect classical geometry to the Old Impton carpentry approach?",{"text":121,"@type":113},"It cites Vitruvius and compares Greek and Roman amphitheatre geometries, arguing that these constructions exemplify modules that translate into practical design instructions.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},664805,1793273215,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":14,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":129,"read_time":144},7421720224475,"https://ap-avatar.wpscdn.com/davatar_276721f389ce27ea32af1340a28f341c","A Timber-framed Encyclopaedia of Geometrical Carpentry Design  \nL aur ie S MITH  \nHISTORIC BUILDING GEOME TR Y  \nH I ST OR IC B U I L D ING GEOME TR Y  \nOld Imp ton Photographs Copyright © RCAHMW  \nRoyal Commission on Ancient and Historical Monuments in Wales  \nText Geometry Photographs and book design Copyright © 2016  \nLaurie Smith  \nThis article was first published in Vernacular Architecture, the Journal of the Vernacular Architecture Group, volume 38, 2007 (ISSN 0305-5477) under the longer title A Three Dimensional, Timber Framed Encyclopaedia of Geometrical Carpentry Design.  \nThis eDITION 2016 includes additional new material.  \nA timber framed encyclopaedia of Geometrical Carpentry Design  \nR CA H MW  \nHISTORIC BUILDING GEOME TRY  \nL aur ie S MITH  \nH I ST OR IC B U I L D ING GEOME TR Y  \nH I ST OR IC B U I L D ING GEOME TR Y  \nINDEX  \n1  \nIntroduction  \n2  \nModules  \n4  \nDesigning the porch facade with the five circle module  \n6  \nDesigning the jettied first floor  \n7 Designing the doorhead 9  \nDesigning the jetty bressummer 10  \nDesigning the doorhead surface pattern with the daisy wheel module  \n12  \nDrawing the small central circles 13  \nPlacing the interlaced circles and squares 14 Designing the jetty brackets 18  \nThe carpenter’s tool kit Placing the square and proportioning the tools 20  \nOmmissions  \nScaling up Proportions and dimensions 21  \nCypher, symbol, module  \nAcknowledgements  \n22  \nOld Impton Porch: some further thoughts  \nFigure 1  \nIntroduction  \nThe doorhead of the two storey timber framed porch at Old Impton, built at Norton in Radnorshire in 1542, is carved with a virtuoso array of geometrical symbols and foliage panels, figure 1. The two prominent and visually striking geometrical constructions, the interlaced squareson the left and circle of interlaced arcs on the right, are key to understanding the design of the porch for both are constructed on underlying, compass drawn geometrical modules that function as proportional guides at every stage of the design. This paper commences with the geometrical construction of the modules and then demonstrates how the three dimensional framework of the porch and its two dimensional surface patterns were all designed geometrically using them as reference. Because geometrical design is a practical, hands on process the developments are shown in step by step geometrical drawings.  \nR CA H MW  \nH I ST OR IC B U I L D ING GEOME TR Y  \nH I ST OR IC B U I L D ING GEOME TR Y  \nModules  \nAn early documentary reference to modules used as proportional guides in architectural design can be found in the writing of Vitruvius, the 1st century BC Roman architect and author of The Ten Books on Architecture. Vitruvius states that buildings can be proportioned   in accordance with a certain part selected as [standard . . . to](standard . . . to) the diameter of a column   or even to a module. Describing the design of classical amphitheatres, Vitruvius shows that the Greek design, figure 2, evolves from a core geometrical construction of three superimposed squares within a circle and the Roman design, figure 3, from four superimposed equilateral triangles within a circle, both constructions generating twelve equidistant points around the circle’s circumference. Radii expanding through these points outside the circle determine the alignments of steps within each auditorium.  \nFigure 2 The Greek amphitheatre  \nFigure 3 The Roman amphitheatre  \nThe two amphitheatre geometries are clearly neither a certain partselected as standard nor the diameter of a column but are unmistakeably examples of modules. The module was a conceptual breakthrough, a recognition that the circle could act as a vessel carrying geometrical instructions that could be used to design two dimensional patterns and three dimensional structures, or both. This idea was second nature to the Old Impton carpenter.  \nTwo related compass-drawn modules are used at Old Impton, each underlying one of the doorhead’s two domi","cbCaius6ltu2pT3w","https://ap.wps.com/l/cbCaius6ltu2pT3w","pdf",11011935,28,"English","# Introduction\n## Modules\n## Designing the porch facade with the five circle module\n## Designing the jettied first floor\n## Designing the doorhead\n## Designing the jetty bressummer\n## Designing the doorhead surface pattern with the daisy wheel module\n## Drawing the small central circles\n## Placing the interlaced circles and squares\n## Designing the jetty brackets\n## The carpenter’s tool kit\n## Scaling up\n## Cypher, symbol, module\n## Acknowledgements\n## Old Impton Porch: some further thoughts","[{\"question\":\"What role do geometrical modules play in the design discussed in the document?\",\"answer\":\"The document presents modules as compass-drawn proportional guides that structure both the porch’s three-dimensional framework and its two-dimensional surface patterns.\"},{\"question\":\"Which two main modules are used for the Old Impton doorhead constructions?\",\"answer\":\"It uses a five circle module for the interlaced squares and a seven-circle daisy wheel module for the circle of interlaced arcs.\"},{\"question\":\"How does the document connect classical geometry to the Old Impton carpentry approach?\",\"answer\":\"It cites Vitruvius and compares Greek and Roman amphitheatre geometries, arguing that these constructions exemplify modules that translate into practical design instructions.\"}]","A Timber-framed Encyclopaedia of Geometrical Carpentry Design - Historic Building Geometry - Introduction | PDF",71]