Copper in Architecture a Comprehensive Compilation of Designs, Details and Specifications
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BUILDING CONSTRUCTION NOTES.Pdf
10/21/2014 BUILDING CONSTRUCTION RIO HONDO TRUCK ACADEMY Why do firefighters need to know about Building Construction???? We must understand Building Construction to help us understand the behavior of buildings under fire conditions. Having a fundamental knowledge of buildings is an essential component of the decisiondecision--makingmaking process in successful fireground operations. We have to realize that newer construction methods are not in harmony with fire suppression operations. According to NFPA 1001: Standard for FireFighter Professional Qualifications Firefighter 1 Level ––BasicBasic Construction of doors, windows, and walls and the operation of doors, windows, and locks ––IndicatorsIndicators of potential collapse or roof failure ––EffectsEffects of construction type and elapsed time under fire conditions on structural integrity 1 10/21/2014 NFPA 1001 Firefighter 2 Level ––DangerousDangerous building conditions created by fire and suppression activities ––IndicatorsIndicators of building collapse ––EffectsEffects of fire and suppression activities on wood, masonry, cast iron, steel, reinforced concrete, gypsum wallboard, glass and plaster on lath Money, Money, Money….. Everything comes down to MONEY, including building construction. As John Mittendorf says “ Although certain types of building construction are currently popular with architects, modern practices will be inevitably be replaced by newer, more efficient, more costcost--effectiveeffective methods ”” Considerations include: ––CostCost of Labor ––EquipmentEquipment -
Plumbing Guidelines for ADA Accessibility
Plumbing Guidelines for ADA Accessibility Course No: M01-004 Credit: 1 PDH Steven Liescheidt, P.E., CCS, CCPR Continuing Education and Development, Inc. 9 Greyridge Farm Court Stony Point, NY 10980 P: (877) 322-5800 F: (877) 322-4774 [email protected] Appendix A to Part 1191 - Americans with Disabilities Act (ADA) Accessibility Guidelines for Buildings and Facilities Americans with Disabilities Act (ADA) Accessibility Guidelines for Buildings and Facilities U.S. Architectural and Transportation Barriers Compliance Board (Access Board) 1331 F Street, N.W., Suite 1000 Washington, D.C. 20004-1111 (202) 272-0080 (202) 272-0082 TTY (202) 272-0081 FAX 4.16 Water Closets. mm) that allows a person in a wheelchair to make 4.16.1 General. Accessible water closets shall a parallel approach to the unit (see Fig. 27(c) and comply with 4.16.2 through 4.16.6. (d)). This clear floor space shall comply with 4.2.4. EXCEPTION: Water closets used primarily by children ages 12 and younger shall be permitted 4.16 Water Closets. to comply with 4.16.7. Fig. 27 Drinking Fountains and Water Coolers 45 4.17 Toilet Stalls. 4.16.2 Clear Floor Space. Clear floor space for bar centerline. The grab bar behind the water water closets not in stalls shall comply with Fig. closet shall be 36 in (915 mm) minimum. 28. Clear floor space may be arranged to allow either a left-handed or right-handed approach. EXCEPTION: If administrative authorities require flush controls for flush valves to be located in a 4.16.3* Height. -
Weights and Measures
Schedule of Values Yadkin County 2009 Architectural Terms Apartment hotel a building designed for non-transient residential use, divided into dwelling units similar to an apartment house, but having such hotel apartment hotel accommodations as room furnishings, lounges, public dining room, maid service, etc. Apartment house a multi-family residence containing three or more non-transient residential living units and generally providing them with a number of common facilities and services. Attic An unfinished or semi-finished portion of a building lying between the highest finished story and the roof and wholly within the roof framing. Basement a building story which is wholly or partly below the grade level. Bay (1) a horizontal area division of a building usually defined as the space between columns or division walls. (2) an internal recess formed by causing a wall to project beyond its general line. Bay window a window, or group of continuous windows, projecting from the main wall of a building. Beam a long structural load-bearing member which is placed horizontally or nearly so and which is supported at both ends or, infrequently, at intervals along its length. Beam, spandrel a wall beam supporting the wall, above, as well as the floor. Building any structure partially or wholly above ground which is designed to afford shelter to persons, animals, or goods. See also construction. Building, fireproof a building in which all parts carrying loads or resisting stresses and all exterior and interior walls, floors, and staircases are made of incombustible materials, and in which all metallic structural members are encased in materials which remain rigid at the highest probable temperature in case its contents are burned, or which provide ample insulation from such a temperature. -
American Galvanised Iron Roofing and Cladding from the 1870'S to 1920'S
University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 1988 American Galvanised Iron Roofing and Cladding from the 1870's to 1920's Andrew Benjamin Hall University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Hall, Andrew Benjamin, "American Galvanised Iron Roofing and Cladding from the 1870's to 1920's" (1988). Theses (Historic Preservation). 301. https://repository.upenn.edu/hp_theses/301 Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Hall, Andrew Benjamin (1988). American Galvanised Iron Roofing and Cladding from the 1870's to 1920's. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/301 For more information, please contact [email protected]. American Galvanised Iron Roofing and Cladding from the 1870's to 1920's Disciplines Historic Preservation and Conservation Comments Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Hall, Andrew Benjamin (1988). American Galvanised Iron Roofing and Cladding from the 1870's to 1920's. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This thesis or dissertation is available at ScholarlyCommons: https://repository.upenn.edu/hp_theses/301 UNIVEKSlTYy* PENNSYLVANIA. UBKARIES s AMERICAN GALVANISED IRON ROOFING AND CLADDING FROM THE 1870 's TO 1920' Andrew Benjamin Hall A THESIS The Graduate Program in Historic Preservation Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE 1988 Robert Schuyler, Associate Professor, American Civilization, Advisor Henry Glassie, Professor, Folklore and Folklife, Reader Da\ri#-G. -
Download This Article
Common Threads Structural Issues in Historic Buildings By Craig M. Bennett, Jr., P.E. Charleston, South Carolina is blessed with historic structures. Eighteenth and nineteenth century houses, churches and civic buildings adorn every block. The city has ® interesting challenges for the structural engineer… the east coast’s largest earthquake, hurricanes, city-wide fires and poor soils have put buildings and their designers to the test. Because the primary structural materials found here, soil, masonry, timber and iron, are the same as those used everywhere over the last three centuries, struc- tural issues common to buildings in Charleston are found in historic buildings all over the nation. Buildings move due to consolidation of soils; masonry cracks; lime leaches out of mortar; timber creeps under stress and rots when faced with water intrusion and iron corrodes. The only threat not severe here is a regular freeze- thaw cycle. Copyright A look at a few of these historic structuresCopyright© and a comparison of their behavior with that of other buildings found around the southeast will show the similarities in the Pompion Hill Chapel, Huger, SC - 1763 issues the preservation engineer faces. Replacement of the failed trusses in 1751 - St. Michael’s had settled several inches and had been kind would have been appropriate from Episcopal Church, severely fractured. After 1989’s Hurri- a preservation standpoint, but exact cane Hugo, we had had to straighten the replacement timber members would Charleston, South Carolina top 50 feet, the timber spire. We were have, in time, failed under load like the Construction on the brick masonry for also aware that we had potential lateral original. -
Shiva's Waterfront Temples
Shiva’s Waterfront Temples: Reimagining the Sacred Architecture of India’s Deccan Region Subhashini Kaligotla Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Subhashini Kaligotla All rights reserved ABSTRACT Shiva’s Waterfront Temples: Reimagining the Sacred Architecture of India’s Deccan Region Subhashini Kaligotla This dissertation examines Deccan India’s earliest surviving stone constructions, which were founded during the 6th through the 8th centuries and are known for their unparalleled formal eclecticism. Whereas past scholarship explains their heterogeneous formal character as an organic outcome of the Deccan’s “borderland” location between north India and south India, my study challenges the very conceptualization of the Deccan temple within a binary taxonomy that recognizes only northern and southern temple types. Rejecting the passivity implied by the borderland metaphor, I emphasize the role of human agents—particularly architects and makers—in establishing a dialectic between the north Indian and the south Indian architectural systems in the Deccan’s built worlds and built spaces. Secondly, by adopting the Deccan temple cluster as an analytical category in its own right, the present work contributes to the still developing field of landscape studies of the premodern Deccan. I read traditional art-historical evidence—the built environment, sculpture, and stone and copperplate inscriptions—alongside discursive treatments of landscape cultures and phenomenological and experiential perspectives. As a result, I am able to present hitherto unexamined aspects of the cluster’s spatial arrangement: the interrelationships between structures and the ways those relationships influence ritual and processional movements, as well as the symbolic, locative, and organizing role played by water bodies. -
The Dual Language of Geometry in Gothic Architecture: the Symbolic Message of Euclidian Geometry Versus the Visual Dialogue of Fractal Geometry
Peregrinations: Journal of Medieval Art and Architecture Volume 5 Issue 2 135-172 2015 The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry Nelly Shafik Ramzy Sinai University Follow this and additional works at: https://digital.kenyon.edu/perejournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Ramzy, Nelly Shafik. "The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry." Peregrinations: Journal of Medieval Art and Architecture 5, 2 (2015): 135-172. https://digital.kenyon.edu/perejournal/vol5/iss2/7 This Feature Article is brought to you for free and open access by the Art History at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Peregrinations: Journal of Medieval Art and Architecture by an authorized editor of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. Ramzy The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry By Nelly Shafik Ramzy, Department of Architectural Engineering, Faculty of Engineering Sciences, Sinai University, El Masaeed, El Arish City, Egypt 1. Introduction When performing geometrical analysis of historical buildings, it is important to keep in mind what were the intentions -
Architectural Metal Wall & Roof Systems Product Portfolio
Metal Wall & Roof Systems North America Architectural Metal Wall & Roof Systems Product Portfolio Innovative Single Element Building Envelope Solutions Architectural Metal Wall & Roof Systems Product Portfolio Morin specializes in roll forming of architectural heavier gauge single skin metal wall and roof systems. With over 100 profiles and three manufacturing locations, Morin is well positioned to produce for any size project. 2 Architectural Metal Wall & Roof Systems Product Portfolio Contents 01 Morin Architectural Wall Range Matrix Series® 10 Pulse Series® 12 Integrity Series 14 Concealed Fastener Series 16 Exposed Fastener Series 18 MorZip® Series 20 02 Morin Architectural Roof Range MorZip® Series 20 Symmetry Series 22 SLR Series 24 SWL Series 26 03 Design Options Perforations 28 Primo Soffit Panel 30 Monolith Series 32 KarrierPanel™ 34 Color Options 36 3 Architectural Metal Wall & Roof Systems Product Portfolio Your Global Partner Morin is part of the Kingspan Group plc., founded in Kingscourt Co. Cavan Ireland in 1965, Kingspan is a global leader in the design, development and delivery of advanced building envelope products and solutions. Italy France UK & Ireland Norway Spain Germany Sweden Canada Poland USA Turkey Mexico Middle East Asia South East Brisbane Sydney South America Melbourne 13 159 5.3 15,000+ regional R&D manufacturing billion USD employees centers sites worldwide revenue in 2019 worldwide 4 Architectural Metal Wall & Roof Systems Product Portfolio Kingspan Insulated Panels are pioneering better technologies and methods of building for a low carbon world. Improving building performance, construction methods and ultimately people’s lives – that’s what drives our people across the world. Energy efficiency is at the heart of Kingspan’s innovation, from making the industry’s most thermally efficient core for our insulated panels, to producing the most airtight interfaces, to providing technical and field-service support on how to build optimally. -
How to Clean and Care Your Stainless Steel Sink
How to Clean and Care Your Stainless Steel Sink Our Stainless Steel Sinks are made of the highest quality 304 series stainless steel. This elegant, heavy-duty, 16 or 18 gauge, non-porous material is hygienic, and extremely durable. Our satin- polished finish creates an enduring, easy-to-clean luster. Regardless of whether your sink is made of stainless steel, composite, porcelain, or enamel, the sink will require periodic cleaning to maintain the original finish. 3 Simple Steps in Caring for Your Sink Clean regularly with a mild detergent solution and/or clean water applied with a soft cloth or sponge. Rinse and towel dry after every use to prevent mineral deposits from building up on the surface of the sink. Deep clean once a week with an approved cleanser (be sure to rub in the direction of the finish lines) and a soft cloth or sponge rather than an occasional aggressive single cleaning. Cleaners should state approved or suitable for stainless steel. General Care and Cleaning After every use, rinse thoroughly, then wipe the sink dry with a clean soft cloth. Wiping is key; this will inhibit water spotting and mineral deposits in severe hard water conditions. Bar Keepers Friend, Flitz, Gordon's or Miracle Shine, (follow directions on product) are products available in hardware and grocery stores that can be used every day to protect, polish, and clean your sink. Water Quality Regular routine cleaning can usually prevent lime scale deposits from hard water. Do not allow excessive build up before treating. Soaking in a 25% vinegar solution can treat hard water spots. -
Utrecht Art Supplies What Not to Use As Varnish
Utrecht Art Supplies What Not to Use as Varnish • Removable with light solvents and gentle manipulation (should not require strong solvents or hard scrubbing) • Should not fuse with, soften or dissolve completely dry paint • Resin content should be documented to aid in later cleaning and care Alkyd Alkyd-based painting mediums are great for improving paint flow, imparting gloss, increasing transparency, and promoting a tough, flexible Ask the Expert: "Lately I've been finishing my paint film, but as a top-coat, they aren't oil paintings with a coat of alkyd medium to give reversible with even very harsh solvents. A coat a shiny finish. My friend says this might not be a of alkyd is permanent, for better or worse. Also, good idea. If I can coat an acrylic painting with some alkyd mediums impart harsh glare, making gloss medium, what's the problem with using it difficult to install and light the finished work. alkyd medium on oils?" Wax A: Artists sometimes make the mistake of top- coating a painting with a medium or other Wax is sometimes used as a top-coat over material which gives a good appearance in the paintings, but it has some significant short term, but which causes problems later. shortcomings for this application. Wax remains Alkyd-based painting mediums are great for their soft indefinitely, so it doesn't impart protection intended purpose, but alkyds don't meet the against mechanical damage from handling and requirements of a picture varnish. casual contact. Wax also tends to attract and hold dust. Cold wax medium has an attractive A picture varnish should satisfy these appearance when first applied, especially when functions: buffed to a shine, but can later become • Permanently neutral in color and lackluster. -
Strips and Panels Roofing and Architecture 2 OUR ASPIRATION Durable, Sustainable, Beautiful – It Goes Without Saying
Strips and panels Roofing and architecture 2 OUR ASPIRATION Durable, sustainable, beautiful – it goes without saying. opper is an adaptable material with a long his- colours go so well with other natural substances such C tory. Its characteristic finish makes the material as wood and stone. Copper is conventionally used for a vibrant, distinctive design tool for architects and roof drainage and roofing on historical and contempo- builders which harmonises perfectly with other natural rary religious and prestigious buildings, but it has also building materials. Its familiar oxidised layer which entered into fields of scientific application. Its proven makes it resistant to weather and other harmful factors antimicrobial qualities have led to its use in hospitals, is what makes it last so extraordinarily long. It remains health spas and sanitary facilities. Copper offers much corrosion-resistant not just for years but for centuries more than just stylish design. It is entirely recyclable, – even in sea air. That is what makes roofs, facads, gut- and its durability makes it a symbol of sustainable ters and downpipes made of copper such a sustainable architecture. option. MKM, a long-established company based in Germa- Copper has been popular since time immemorial be- ny, has been a partner to builders worldwide for over cause of its excellent processing properties. Nowadays a century. Tradesmen and architects across the world it cuts a distinctive image in numerous architectural value our products. Today we manufacture strips and projects, in the public and private sectors. Spectacular panels for building on one of the world’s most advance cladding is used for visual orientation within urban and casting and processing plants, the Conti-M®, which we rural landscapes. -
How to Apply Statuary and Patina Finishes
Working With Copper Soldering / Welding / Brazing How to Apply Statuary and Patina Finishes Copper and copper alloys are widely used in architectural applications to take ad- vantage of their inherent range of colors. While these metals may be used in their natural color, as fabricated, it is sometimes desirable to chemically color pure copper (C11000*), commercial bronze (C22000), architectural bronze (C38500) or other alloys referred to as “bronze” in architectural parlance. The most common colors to be produced are referred to as brown or statu- ary fi nishes for bronze and green or patina fi nishes for copper. This data sheet outlines procedures and formulations for producing both. While the chemical solu- tions described are those generally accepted in the metal fi nishing trade, many variations exist. The wide range of colors and shades which may be achieved are largely a matter of craftsmanship and experience. Chemical coloring techniques depend upon time, temperature, surface, preparation, mineral content of the water, humidity and other variables which infl uence the ultimate result. This data sheet presents the technology which underlies the craftsmanship and art involved in producing these colored fi nishes. Brown Statuary Finishes Statuary fi nishes are conversion coatings. In conversion coatings, the metal surface is either converted into a protective fi lm, usually an oxide or sulfi de of the metal involved, or a compound is precipitated which forms a surface fi lm. The use of chemical solutions is generally termed “oxidizing,” although the oldest method and the one which produces the widest range of brown to black stages on copper alloys actually produces not an oxide but a metal sulfi de fi nish by the use of alkaline sulfi de solutions.