Structure and Architecture This Page Intentionally Left Blank Structure and Architecture Angus J
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Making of the Sainsbury Centre the Making of the Sainsbury Centre
The Making of the Sainsbury Centre The Making of the Sainsbury Centre Edited by Jane Pavitt and Abraham Thomas 2 This publication accompanies the exhibition: Unless otherwise stated, all dates of built projects SUPERSTRUCTURES: The New Architecture refer to their date of completion. 1960–1990 Sainsbury Centre for Visual Arts Building credits run in the order of architect followed 24 March–2 September 2018 by structural engineer. First published in Great Britain by Sainsbury Centre for Visual Arts Norwich Research Park University of East Anglia Norwich, NR4 7TJ scva.ac.uk © Sainsbury Centre for Visual Arts, University of East Anglia, 2018 The moral rights of the authors have been asserted. All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher. British Library Cataloguing-in-Publication Data. A catalogue record is available from the British Library. ISBN 978 0946 009732 Exhibition Curators: Jane Pavitt and Abraham Thomas Book Design: Johnson Design Book Project Editor: Rachel Giles Project Curator: Monserrat Pis Marcos Printed and bound in the UK by Pureprint Group First edition 10 9 8 7 6 5 4 3 2 1 Superstructure The Making of the Sainsbury Centre for Visual Arts Contents Foreword David Sainsbury 9 Superstructures: The New Architecture 1960–1990 12 Jane Pavitt and Abraham Thomas Introduction 13 The making of the Sainsbury Centre 16 The idea of High Tech 20 Three early projects 21 The engineering tradition 24 Technology transfer and the ‘Kit of Parts’ 32 Utopias and megastructures 39 The corporate ideal 46 Conclusion 50 Side-slipping the Seventies Jonathan Glancey 57 Under Construction: Building the Sainsbury Centre 72 Bibliography 110 Acknowledgements 111 Photographic credits 112 6 Fo reword David Sainsbury Opposite. -
070 Peters Books.Indb
HUGH WHITEHEAD, THE ORIGINS LARS HESSELGREN Of J PARRISH SMARTGEOMETRY Smartgeometry (SG) was founded in 2001 by former colleagues and friends Hugh Whitehead, Lars Hesselgren and J Parrish as a way to recapture parametric and computational design for architecture. At the time of founding SG they were leaders in the London-based architectural practices Foster + Partners, Kohn Pedersen Fox (KPF) and ArupSport respectively, and were strong proponents of digital design. Each was striving to create architecture through the use of parametric tools and computational methods. Through SG they hoped not only to create new digital tools, but to foster a community that would develop, test and disseminate these ideas of architecture and design to a wider audience. Whitehead founded the Specialist Modelling Group at Foster + Partners in 1998 which has been responsible for a host of innovative buildings and consistently pioneers computational design methods in architectural practice. After years at KPF in London, architect Lars Hesselgren is now the Director of the Computational Design Research Group at PLP Architects. J Parrish is a globally renowned sports stadium designer leading teams to design some of the most iconic stadium projects in the world. After many years at ArupSport, he moved to AECOM where he is currently working on the venues for the Rio Olympic Park. Here each tells their story of the origins of SG, now an international multidisciplinary community of professionals, academics and students in the fields of architecture and engineering.COPYRIGHTED MATERIAL 1 HUGH WHITEHEAD BACK TO THE FUTURE Four people were sitting in a car travelling to a Bentley conference. -
(Jack) Zunz Was Born in Germany on the 25Th of December 1923
Citation for the Degree of Doctor of Science in Engineering, honoris causa, Sir Gerhard Jacob Zunz Gerhard Jacob (Jack) Zunz was born in Germany on the 25th of December 1923. His family returned to South Africa while Jack was a young child and after matriculating at the end of 1941, he attended the University of the Witwatersrand, Johannesburg (Wits). Jack volunteered for military service in World War II, and from 1943, he interrupted his studies at Wits to join a South African artillery regiment, serving in Egypt and Italy. Although he claims not to be a courageous man, he joined because “my conscious would not forgive me if I didn’t”. On demobilisation in 1946, Jack resumed his studies in the Department of Civil Engineering at Wits and completed his BSc in Engineering as one of the illustrious “class of ’48” (They were mostly ex-servicemen). The degree was formally conferred at a ceremony in March 1949. He commenced work in the steel design and fabrication industry, but soon moved to London where he joined Ove Arup and Partners in 1950. The company, now one of the largest multi- disciplinary engineering design firms in the world, was still in its infancy, but the founder, Ove Arup, recognized the potential of young Jack. In 1954, Jack returned to South Africa to start the South African branch of Ove Arup. The firm was awarded the design of the Sentech Tower, commonly known as the Brixton Tower. This iconic structure on the Johannesburg skyline, which required state-of-the-art engineering in its day, is 237 m high and can resist winds of 200 km/hr, deflecting as much as 2 m without damage. -
SCI P172 Castings in Construction, 1996
P172: Castings in Construction Discuss me ... SCI PUBLICATION 172 Castings in Construction Nancy R Baddoo MA, CEng, MICE Published by: The Steel Construction Institute Silwood Park, Ascot Berkshire SL5 7QN Telephone: 01 344 23345 Fax: 01344 22944 Created on 22 July 2009 This material is copyright - all rights reserved. Use of this document subject to the terms and conditions Steelbiz Licence Agreement P172: Castings in Construction Discuss me ... 0 1996 The Steel Construction Institute Apart from any fair dealing for the purposes of research or private study or criticismor review, as permitted under the Copyright Designs and Patents Act, 1988, this publicationmay not be reproduced, stored, or transmitted, in any form or by any means, without the prior permission in writingof the publishers, or in the case of reprographic reproduction only in accordance with the terms of the licences issued by theUK Copyright Licensing Agency, or in accordance with the terms of licences issued by the appropriate Reproduction Rights Organisation outside the m. Enquiries concerning reproduction outside the terms stated here should be sent to the publishers, The Steel Construction Institute, at the address given on the title page. Although care has been taken to ensure, to the bestof our knowledge, that all data and information contained herein are accurate to the extent that they relate to either mattersof fact or accepted practiceor matters of opinion at the time of publication, The Steel Construction Institute, the authors and the reviewers assume no responsibility for any errors in or misinterpretations of such data and/or information or any loss or damage arising from or related to their use. -
La Casa De Norman Y Wendy Foster En Hampstead Tecnología Y Domesticidad Entre Los Años 1960 Y 1980
Universidad Politécnica de Madrid Escuela Técnica Superior de Arquitectura LA CASA DE NORMAN Y WENDY FOSTER EN HAMPSTEAD TECNOLOGÍA Y DOMESTICIDAD ENTRE LOS AÑOS 1960 Y 1980 Tesis Doctoral Carlos Solé Bravo, arquitecto 2016 Departamento de Proyectos Arquitectónicos Escuela Técnica Superior de Arquitectura de Madrid LA CASA DE NORMAN Y WENDY FOSTER EN HAMPSTEAD TECNOLOGÍA Y DOMESTICIDAD ENTRE LOS AÑOS 1960 Y 1980 Carlos Solé Bravo, arquitecto Director: Emilio Tuñón Álvarez, Catedrático de Proyectos Arquitectónicos 2016 RESUMEN Abstract LA CASA DE NORMAN Y WENDY FOSTER EN HAMPSTEAD. THE NORMAN AND WENDY FOSTER RESIDENCE IN HAMPSTEAD. TECHNOLOGY TECNOLOGÍA Y DOMESTICIDAD ENTRE LOS AÑOS 1960 Y 1980 AND DOMESTICITY BETWEEN THE 1960s AND THE 1980s La casa del arquitecto tiene la virtud de descubrirnos An architect’s house has the value of containing his universe: his el universo de su autor: sus referentes, sus pasiones references, his passions and his y sus sueños. Tal vez esto baste para comprender dreams. Perhaps this is reason enough to understand the interest el interés suscitado por la casa que, entre 1978 y inspired by the house designed by 1979, Norman y Wendy Foster proyectaron en el barrio Norman and Wendy Foster in the London neighborhood of Hampstead, londinense de Hampstead. between 1978 and 1979. The choice of site reveals a desire La elección del emplazamiento revela la voluntad de for privacy. Enclosed by high privacidad de sus ocupantes. Flanqueado por altos muros walls that obstruct the view of the house from the street, it is an que impiden la visión de la casa desde la calle, es el ideal setting for an experimental HVFHQDULRLGyQHRSDUDXQDHGL¿FDFLyQH[SHULPHQWDOVLQ building, detached from any context and unconstrained by any concesiones formales a una determinada ubicación ni a neighboring architecture. -
The Arup Journal
THE ARUP JOURNAL 25TH YEAR SPRING 1990 THEARUP Foreword Povl Ahm JOURNAL Chairman Ove Arup Partnership Vol.25 No.1 Spring 1990 Editor: David J. Brown Published by Art Editor: Ove Arup Partnership Desmond Wyeth FCSD 13 Fitzroy Street, Deputy Editor: London W1 P 680 Caroline Lucas Contents Foreword, The Arup Journal is now beginning its 25th year. It is difficult to believe, since by Povl Ahm 2 it seems only yesterday that Peter Dunican wrote his 'personal view' on the occasion of 10 years of the Journal. At least it seems only yesterday to me. Structural engineering: To some of our younger members it may seem like an eternity. some social and political implications, Sadly, Peter is not here to help to celebrate the birthday of what was so by Peter Dunican 3 definitely his baby. His love for communication and his commitment to this publication was essential for the creation of The Arup Journal in the first Stansted Airport Terminal: instance, and for its continued existence and growth over most of its life. the structure, Fortunately, he has not been alone in this effort. Rosemary Devine saw The by Jack Zunz, Martin Manning, Arup Journal through its first difficult years. Then Peter Haggett took over as David Kaye and Chris Jofeh 7 Editor in September 1968 and managed the difficult task of not only Liffey Valley Bridge, maintaining the high standard that had been set from the beginning, but in by Bill Smyth and John Higgins 16 fact developing and improving it through almost 20 years in charge. -
Download Download
Прегледни научни рад Review paper 33| doi 10.7251/STP1813455F ISSN 2566-4484 SARADNJA ARHITEKATA I KONSTRUKTIVNIH INŽENJERA U PROJEKTOVANJU SLOŽENIH ARMIRANO BETONSKIH KROVNIH KONSTRUKCIJA Nađa Kurtović Folić, [email protected], University of Nov Sad, Faculty of technical sciences Radomir Folić, [email protected], University of Novi Sad, Faculty of Technical Sciences Abstract: Istorijat odnosa arhitekata i konstruktivnih inženjera prolazio je kroz niz faza od polovine 19. veka kada je armirani beton počeo da se tehnološki usavršava. Taj odnos je imao svoje uspone i padove, ali je postao posebno važan kada su počeli da se oblikuju veliki natkriveni prostori. I arhitekti i konstruktivni inženjeri teže da armirano betonske krovove učine što atraktivnijim, ali je zato njihovo projektovanje sve kompleksnije. Ta kompleksnost se neposredno odražava na odnos arhitekte i konstruktivnog inženjera, na međusobno razumevanje ideje i mogućnosti da se ona materijalizuje. U radu se detaljnije analizira nekoliko značajnih primera, na osnovu kojih se može izvući zaključak o stanju ovog odnosa u 21. veku i ukazuje na potrebu harmonizacije odnosa arhitekte i konstruktora. Keywords: arhitekta, konstruktivni inženjer, saradnja, AB krovne konstrukcije COOPERATION BETWEEN ARCHITECTS AND STRUCTURAL ENGINEERS IN THE DESIGN OF COMPLEX REINFORCED CONCRETE ROOF STRUCTURES Abstract: The history of the relationship between architects and structural engineers went through a series of phases from the mid-19th century, when reinforced concrete began to be technologically advanced. This relationship had its ups and downs, but it became especially important when large covered spaces were formed. Both architects and structural engineers tend to make the reinforced concrete roofs more attractive, but their design is therefore becoming more and more complex. -
Ove Arup: Philosophy of Design Free Download
OVE ARUP: PHILOSOPHY OF DESIGN FREE DOWNLOAD NIgel Tonks | 224 pages | 15 Dec 2012 | PRESTEL | 9783791347318 | English | Munich, Germany Engineering the World: Ove Arup and the Philosophy of Total Design InOve was approached to construct a concrete, pedestrian bridge across the Ove Arup: Philosophy of Design Wear from Dunelm House to Bow Lane, linking the university with the historic centre of Durham. John's looks for revitalization cash". News - Cyndi Lauper. Technical studies and models for early projects like the Penguin Pool at London Zoo, and a lithograph portrait of Ove Arup by Le Corbusier are on display. This exhibition is made possible with the cooperation of Arup. They have front gardens and, in the case of number 16, a high hedge so you really have to be looking for the Ove Arup: Philosophy of Design. We believe in the power of the arts to inspire creativity worldwide. But Ove was always ready for a challenge and decided to design and oversee the construction of a high re-enforced concrete bridge himself. Ove Arup was the pioneer of a multidisciplinary approach to design that has defined the way engineering is practiced today. Members of the Arup family pictured at his birthplace in That was carried out by the younger partners that had been with him from the early days of the firm in s — Peter Dunican was chairman and future chairmen Jack Zunz who led the Sydney Opera House project from the late s until completion in the Ove Arup: Philosophy of Design s and Povl Ahm were probably the main players. -
Les Cahiers De La Recherche Architecturale Urbaine Et Paysagère, 9|10 | 2020 from Domestic Setting to Display Space: the Evolution of the Foster Associate
Les Cahiers de la recherche architecturale urbaine et paysagère 9|10 | 2020 L’Agence d’architecture (XVIIIe-XXIe siècle) From domestic setting to display space: the evolution of the Foster Associates’ work spaces and methodology Du cadre domestique à l'espace d'exposition: l'évolution des espaces de travail et de la méthodologie de Foster Associates Gabriel Hernández Electronic version URL: http://journals.openedition.org/craup/6137 DOI: 10.4000/craup.6137 ISSN: 2606-7498 Publisher Ministère de la Culture Electronic reference Gabriel Hernández, “From domestic setting to display space: the evolution of the Foster Associates’ work spaces and methodology”, Les Cahiers de la recherche architecturale urbaine et paysagère [Online], 9|10 | 2020, Online since 28 December 2020, connection on 25 January 2021. URL: http:// journals.openedition.org/craup/6137 ; DOI: https://doi.org/10.4000/craup.6137 This text was automatically generated on 25 January 2021. Les Cahiers de la recherche architecturale, urbaine et paysagère sont mis à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale - Pas de Modification 3.0 France. From domestic setting to display space: the evolution of the Foster Associate... 1 From domestic setting to display space: the evolution of the Foster Associates’ work spaces and methodology Du cadre domestique à l'espace d'exposition: l'évolution des espaces de travail et de la méthodologie de Foster Associates Gabriel Hernández Introduction 1 After the dissolution of Team 4 Architects in 1967,1 Norman and Wendy Foster founded Foster Associates later that same year. Unlike their former colleagues, who opted to operate under the name of Su and Richard Rogers Partnership, the Foster couple established themselves as associates. -
PHASE3 Architecture and Design
[email protected] 17 May 2017 BUILDINGS PLACES CITIES [email protected] 17 May 2017 LONDON: DESIGN CAPITAL BUILDINGS / PLACES / CITIES This NLA Insight Study was published by New London Architecture (NLA) in May 2017. It accompanies the NLA exhibition London: Design Capital on display from May–July 2017 and is part of the NLA International Dialogues year-round programme, supporting the exchange of ideas and information across key global markets. New London Architecture (NLA) The Building Centre 26 Store Street London WC1E 7BT Programme Champions www.newlondonarchitecture.org #LDNDesignCapital © New London Architecture (NLA) Programme Supporter ISBN 978-0-9956144-2-0 [email protected] 17 May 2017 2 Contents Forewords 4 Chapter one: London’s global position 6 Chapter two: London’s global solutions 18 Chapter three: London’s global challenges and opportunities 26 Chapter four: London’s global future 32 Project showcase 39 Practice directory 209 Programme champions and supporters 234 References and further reading 239 © Jason Hawkes – jasonhawkes.com [email protected] 17 May 2017 4 5 Creative Capital Global Business As a London based practice with offces based on three continents and London is the world’s global capital for creative design and construction a team of highly creative architects currently engaged in design and skills. Just as the City of London became the fnancial capital of the world, development opportunities around the globe, I welcome the NLA’s latest so London has beneftted from its history, its location, its legal and education insight study and exhibition London: Design Capital for two reasons. -
Annual Report 2019
Annual Report 2019 Projects Finding new ways to make even more of a difference People Solving challenges with energy and ingenuity Excellence 2019 Annual Report Imagination Purpose Projects Finding new ways to make even more of a difference Read now People Solving challenges with energy and ingenuity Read now Highlights Chairman’s statement Governance Awards An ethos we’ve built on 36 04 Excellence through 48 innovation Supporting & inspiring 0 1 4 3 30 2 our0 people 8 2 1 Sustainable to1 the core 2 4 Making ourselves useful Financial summary 1 This year’s Annual Report is told through stories 1 APRIL 2018 — 31 MARCH 2019 about our people and our projects – connected by the themes of excellence, imagination and purpose. Half a century on from the direction Sir Ove Arup gave us, the stories about our people demonstrate what his forward-thinking ideas mean for us IN BRIEF today. They show how constant innovation fuels imagination and underpins excellence, and the 6,931 17,13 8 Clients served Fee earning projects steps we are taking to support and inspire everyone who works with us. They also reflect the central role sustainable development plays in our firm and the focus we place on working with local communities 15,870 14 3 Members Countries where facing difficult challenges. we have worked The project stories show the huge breadth of work we have undertaken for our clients this year – from major cities to rural communities, complex networks to single inspiring experiences. All this work shares FORWARD ORDER BOOK (£BN) a common purpose – the desire to create something 2017 1.05 of clear value, where our skills help to improve 2018 1.31 people’s daily lives, and support sustainable 2019 1.36 growth and prosperity. -
Sydney Opera House
Table of Contents Sydney Opera House Slide/s Part Description 1N/ATitle 2 N/A Table of Contents 3~35 1 The Spirit of Tubowgule 36~151 2 The Competition 152~196 3 The Vikings 197~284 4 The Red Book 285~331 5 The Gold Book 332~381 6 The Platform 382~477 7 The Spherical Solution 478~537 8 Phantom of the Opera House 538~621 9 Shell Game 622~705 10 Fenestration 706~786 11 Problems & Solutions 787~813 12 Making Things Right 814~831 13 Liebestraum 832~879 14 Colors of the Night Splendid Geometry 1 880~900 15 Legacy 2 Part 1 First Fleet The Spirit of Tubowgule 3 4 On January 25th 1788, Captain Arthur Phillip (left) of His Majesty’s Ship (HMS) Supply entered a vast, undiscovered and secure harbor extending inland for many miles. The next day - with the indigenous (Aboriginal) Gadigal people watching intently (from a distance), Captain Phillip went ashore and planted the Union Jack on the new found land claiming it for God, King (George III)and country. Over the next few days, the rest of the First Fleet arrived with its cargo of 730 prisoners, most convicted of petty crimes or as dbtdebtors. UdUnder armed guard, theprisoners commenced unloading provisions, clearing land and building shelters. Though prisoners in a strange, distant land of the southern oceans, the prisoners were relieved that their long sea voyage from England was at its end. A pre-fabricated canvas “Government House” was established and the convicts were housed in an area along the harbor’s shore A period oil painting of Captain Phillip’s First Fleet arriving in Sydney which came to be known as “The Rocks.” By Cove (a.k.a.