Shading Devices

Total Page:16

File Type:pdf, Size:1020Kb

Shading Devices C I T Y O F D U N E D I N , F L O R I D A D U N E D I N S T R E E T S C A P E E L E M E N T S STREETSCAPE PATTERN BOOK SHADING DEVICES DESIRABLE EXAMPLES DESIRABLE EXAMPLES SHADING DEVICES elements such as brackets underneath or Frontage elements that provide shade cables from above. Canopies provide the and protection from the elements are the opportunity to have signage and lighting most critical elements of the streetscape attached or integrated with the design. in Florida’s tropical climate. The most effective shading devices on a building’s Umbrellas frontage are those that are permanently Typically detached from the building and integrated into the building through ap- freestanding, these elements are used to propriate architectural design. These extend the covered space at a storefront. elements are either carved into the mass Primarily used at individual tables, new of the building or attached to it. Less products can cover a considerable area permanent shading devices attached to of sidewalk protecting multiple tables. a building facade, that are both flexible The advantage of these shading devices and feasible, are canopies and awnings. Arcaded loggia w/occupiable interior space above is that they are flexible in location and Canvas/vinyl awnings with metal frames Canvas/vinyl awnings with metal frames; table umbrellas These shading devices oftentimes include can be adapted directionally to the sun’s integrated signage. angle for maximun protection. Umbrel- las can also be closed or removed when Arcades, Colonnades & Loggias not needed. These elements are used to provide protection for storefronts, entries and pedestrians from the elements (sun and rain). Arcades, colonnades and balconies are projections beyond the main building massing, whereas loggias are carved into the building mass. Arcades, colonnades and loggias are typically masonry, where- as, balconies are typically constructed Arcaded loggia on perimeter of corner courtyard Canvas/vinyl awning with metal frame Metal roof canopies (cantilevered) Canvas/vinyl awnings with metal frames of heavy wood members or delicate and ornate metal ironwork. Storefronts Mediterranean Revival storefronts are unique as they often fill in arcades and colonnades with arched tops. With a characteristically low glass-to-wall ratio the amount of storefront windows and doors is limited. In this case, awnings are used for signage and to protect pedestrians from sun. Conventional storefronts and window walls can be used in commercial Metal canopy with top-mounted brackets Wood balconies - pertinent to Anglo Caribbean style Wood balconies and arcaded loggia pertinent to Anglo Caribbean style facades. Since arcades, colonnades and Left: Colonnade - a loggias are common, storefronts often strong architectural have less street exposure. element pertinent to Mediterranean Reviv- ial style. Canopies & Awnings Awnings are a prominent feature of Mediterranean Revival architecture and provide shade and some protection from rain. They are typcially canvas with colorful stripes supported by light Right: A variety of iron frames. Canopies are heavier roof shading devices includ- elements requiring structural supporting ing: balcony, canvas awnings, and arcades. Canvas/vinyl awnings with metal frames Ground floor colonnade w/canvas dome awnings A variety of shading devices including: balcony, canvas awnings, and arcades. COOPER JOHNSON SMITH ARCHITECTS & TOWN PLANNERS (2.14.11) 9.
Recommended publications
  • Single Family Residence Design Guidelines
    ADOPTED BY SANTA BARBARA CITY COUNCIL IN 2007 Available at the Community Development Department, 630 Garden Street, Santa Barbara, California, (805) 564-5470 or www.SantaBarbaraCA.gov 2007 CITY COUNCIL, 2007 ARCHITECTURAL BOARD OF REVIEW, 2007 Marty Blum, Mayor Iya Falcone Mark Wienke Randall Mudge Brian Barnwell Grant House Chris Manson-Hing Dawn Sherry Das Williams Roger Horton Jim Blakeley Clay Aurell Helene Schneider Gary Mosel SINGLE FAMILY DESIGN BOARD, 2010 UPDATE PLANNING COMMISSION, 2007 Paul R. Zink Berni Bernstein Charmaine Jacobs Bruce Bartlett Glen Deisler Erin Carroll George C. Myers Addison Thompson William Mahan Denise Woolery John C. Jostes Harwood A. White, Jr. Gary Mosel Stella Larson PROJECT STAFF STEERING COMMITTEE Paul Casey, Community Development Director Allied Neighborhood Association: Bettie Weiss, City Planner Dianne Channing, Chair & Joe Guzzardi Jaime Limón, Design Review Supervising Planner City Council: Helene Schneider & Brian Barnwell Heather Baker, Project Planner Planning Commission: Charmaine Jacobs & Bill Mahan Jason Smart, Planning Technician Architectural Board of Review: Richard Six & Bruce Bartlett Tony Boughman, Planning Technician (2009 Update) Historic Landmarks Commission: Vadim Hsu GRAPHIC DESIGN, PHOTOS & ILLUSTRATIONS HISTORIC LANDMARKS COMMISSION, 2007 Alison Grube & Erin Dixon, Graphic Design William R. La Voie Susette Naylor Paul Poirier & Michael David Architects, Illustrations Louise Boucher H. Alexander Pujo Bill Mahan, Illustrations Steve Hausz Robert Adams Linda Jaquez & Kodiak Greenwood,
    [Show full text]
  • The Arch and Colonnade of the Manhattan Bridge Approach and the Proposed Designation of the Related Landmark Site (Item No
    Landmarks Preservation Commission November 25, 1975, Number 3 LP-0899 THE ARCH AND COLONNAD E OF THE MANHATTAN BRIDGE APPROACH, Manhattan Bridge Plaza at Canal Street, Borough of Manhattan. Built 1912-15; architects Carr~re & Hastings. Landmark Site: Borough o£Manhattan Tax Map Block 290, Lot 1 in part consisting of the land on which the described improvement is situated. On September 23, 1975, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Arch and Colonnade of the Manhattan Bridge Approach and the proposed designation of the related Landmark Site (Item No . 3). The hearing had been duly ad­ vertised in accordance with . the provisions of law. Two witnesses spoke in favor of designation. There were no speakers in opposition to designation. DESCRIPTION AND ANALYSIS The Manhattan Bridge Approach, a monumental gateway to the bridge, occupies a gently sloping elliptical plaza bounded by Canal, Forsyth and Bayard Streets and the Bowery. Originally designed to accommodate the flow of traffic, it employed traditional forms of arch and colonnade in a monument­ al Beaux-Arts style gateway. The triumphal arch was modeled after the 17th-century Porte St. Denis in Paris and the colonnade was inspired by Bernini's monumental colonnade enframing St. Peter's Square in Rome. Carr~re &Hastings, whose designs for monumental civic architecture include the New York Public Library and Grand Army Plaza, in Manhattan, were the architects of the approaches to the Manhattan Bridge and designed both its Brooklyn and Manhattan approaches. The design of the Manhattan Bridge , the the third bridge to cross the East River, aroused a good deal of controversy.
    [Show full text]
  • Federal Building United States Courthouse in Youngstown, Ohio, Was Designed and Constructed Under the U
    FEDERAL BUILDING UNITED STATES COURTHOUSE FEDERAL BUILDING UNITED STATES COURTHOUSE Youngstown, Ohio Youngstown, Ohio The Federal Building United States Courthouse in Youngstown, Ohio, was designed and constructed under the U.S. General Services Administration’s Design Excellence Program, an initiative to create and preserve a legacy of outstanding public buildings that will be used and enjoyed now and by future generations of Americans. Special thanks to the Honorable William T. Bodoh, Chief Bankruptcy Judge, U.S. District Court for the Northern District of Ohio, for his commitment and dedication to a building of outstanding quality that is a tribute to the role of the judiciary in our democratic society and worthy U.S. General Services Administration U.S. General Services Administration of the American people. Public Buildings Service Office of the Chief Architect Center for Design Excellence and the Arts October 2002 1800 F Street, NW Washington, DC 20405 202­501­1888 FEDERAL BUILDING UNITED STATES COURTHOUSE FEDERAL BUILDING UNITED STATES COURTHOUSE Youngstown, Ohio Youngstown, Ohio The Federal Building United States Courthouse in Youngstown, Ohio, was designed and constructed under the U.S. General Services Administration’s Design Excellence Program, an initiative to create and preserve a legacy of outstanding public buildings that will be used and enjoyed now and by future generations of Americans. Special thanks to the Honorable William T. Bodoh, Chief Bankruptcy Judge, U.S. District Court for the Northern District of Ohio, for his commitment and dedication to a building of outstanding quality that is a tribute to the role of the judiciary in our democratic society and worthy U.S.
    [Show full text]
  • COLONNADE RENOVATION Washington and Lee University, Lexington, Virginia
    CSI Richmond – April Project Spotlight - Glavé & Holmes Architecture COLONNADE RENOVATION Washington and Lee University, Lexington, Virginia Washington and Lee University’s front campus was designated a National Historic District in 1973, described by the Interior as “one of the most dignified and beautiful college campuses in the nation”. In the center stands the Colonnade, comprised of the five most iconic buildings in the historic district: Washington, Payne, Robinson, Newcomb, and Tucker Halls. The phased rehabilitation of the building spanned eight years. The Colonnade is deeply revered, making any change sensitive. However, restoring its vitality was paramount to the University: code deficiencies, inefficient infrastructure, and worn interiors reflected decades of use. Offices were inadequate, spaces for interaction were sparse, technology was an afterthought, and there weren’t even bathrooms on the third floors. Understanding the beloved nature of the buildings, the University established lofty goals for this undertaking. G&HA followed the guidelines from the Secretary of the Interior’s Standards for Rehabilitation to preserve the major character and defining features in each building while upgrading all the MEP and life safety systems throughout. Because of space constraints, a new utility structure was designed and located across Stemmons Plaza to sit below grade. The structure’s green roof and seating areas integrate it into the site and enhance the landscape. The project achieved LEED Silver and historic tax credits. — COLONNADE
    [Show full text]
  • Best Practices Single-Family Residences
    SITE PLANNING best practices single-family residences for aesthetic review by the city of coral gables board of architects 2018 1 SINGLE-FAMILY RESIDENCE BEST PRACTICES July 2018 table of contents 1. Purpose & Uses 2. Site Planning 3. Architecture 4. Checklist Purpose & Uses The purpose of the City of Coral Gables, Florida Zoning Code is to implement the Comprehensive Plan (CP) of the City pursuant to Chapter 163, Florida Statutes for the protection and promotion of the safety, health, comfort, morals, convenience, peace, prosperity, appearance and general welfare of the City and its inhabitants. ~ Zoning Code Section 1-103 Purpose of the City of Coral Gables Zoning Code PURPOSE & USE Single-Family Residential (SFR) District The Single-Family Residential (SFR) District is intended to accommodate low density, single-family dwelling units with adequate yards and open space that characterize the residential neighborhoods of the city. The city is unique not only in South Florida but in the country for its historic and archi- tectural treasures, its leafy canopy, and its well-defined and livable neighborhoods. These residential areas, with tree-lined streets and architecture of harmonious proportion and human scale, provide an oasis of charm and tranquility in the midst of an increasingly built-up metropolitan environment. The intent of the Single-Family Residential code is to protect the distinctive character of the city, while encouraging excellent architectural design that is responsible and responsive to the individual context of the city’s diverse neighborhoods. The single-family regulations, as well as the design and performance standards in the Zoning Code, seek to ensure that the renovation of residences as well as the building of residences is in accord with the civic pride and sense of stewardship felt by the citizens of Coral Gables.
    [Show full text]
  • Lighting and Shading
    Chapter 8 Lighting and Shading When we think that we \see" an object in the real world, we are not actually seeing the object itself. Instead, we are seeing light either emitted from or reflected off of that object. The pattern of the light reaching our eyes allows us to reconstruct, in our minds, the form of the object that we are looking at. Consequently, in order to simulate this image formation process in a computer, we need to be able to model lights, materials and geometry. Lights provide a source of illumination, materials determine how light is reflected off of a surface made of this material, and geometry provides the shape of the surface. 47 48 CHAPTER 8. LIGHTING AND SHADING 8.1 Point and parallel lights In the real world, all lights have a finite size and shape, and a location in space. However, we will see later that modeling the surface area of the light in a lighting algorithm can be difficult. It turns out to be much easier, and generally quite effective, to model lights as either being geometric points or as being infinitely far away. A point light has a single location in 3D space, and radiates light equally in all directions. An infinite light is considered to be so far away that all of its light rays are parallel to each other. Thus, an infinite light has no position, but there is a fixed direction for all of its rays. Such a light is sometimes called a parallel light source. uL xL cL cL Point Light Parallel Light A point light is specified by its position xL, and a parallel light is specified by its light direction vector uL.
    [Show full text]
  • The Magic Lantern Gazette a Journal of Research Volume 26, Number 1 Spring 2014
    ISSN 1059-1249 The Magic Lantern Gazette A Journal of Research Volume 26, Number 1 Spring 2014 The Magic Lantern Society of the United States and Canada www.magiclanternsociety.org 2 Above: Fig. 3 and detail. Right and below: Fig. 5 Color figures (see interior pages for complete captions) Cover Article 3 Outstanding Colorists of American Magic Lantern Slides Terry Borton American Magic-Lantern Theater P.O. Box 44 East Haddam CT 06423-0044 [email protected] They knocked the socks off their audiences, these colorists did. They wowed their critics. They created slides that shimmered like opals. They made a major contribution to the success of the best lantern presentations. Yet they received little notice in their own time, and have received even less in ours. Who were these people? Who created the best color for the commercial lantern slide companies? Who colored the slides that helped make the best lecturers into superstars? What were their secrets—their domestic and foreign inspirations, their hidden artistic techniques—the elements that made them so outstanding? What was the “revolution” in slide coloring, and who followed in the footsteps of the revolutionaries? When we speak of “colorists” we are usually referring to The lantern catalogs offered hundreds of pages of black and those who hand-colored photographic magic lantern slides white images—both photographs and photographed illustra- in the years 1850–1940. Nevertheless, for two hundred tions—to be used by the thousands of small-time showmen years, from the 1650s, when the magic lantern was in- operating in churches and small halls.
    [Show full text]
  • Shading Models
    15-462, Fall 2004 Nancy Pollard Mark Tomczak Shading Shading Concepts Shading Equations Lambertian, Gouraud shading Phong Illumination Model Non-photorealistic rendering [Shirly, Ch. 8] Announcements • Written assignment #2 due Tuesday – Handin at beginning of class • Programming assignment #2 out Tuesday Why Shade? • Human vision uses shading as a cue to form, position, and depth • Total handling of light is very expensive • Shading models can give us a good approximation of what would “really” happen, much less expensively • Average and approximate Outline • Lighting models (OpenGL oriented) – Light styles – Lambertian shading – Gouraud shading • Reflection models (Phong shading) • Non-Photorealistic rendering Common Types of Light Sources • Ambient light: no identifiable source or direction • Point source: given only by point • Distant light: given only by direction • Spotlight: from source in direction – Cut-off angle defines a cone of light – Attenuation function (brighter in center) • Light source described by a luminance – Each color is described separately T – I = [Ir Ig Ib] (I for intensity) – Sometimes calculate generically (applies to r, g, b) Ambient Light • Intensity is the same at all points • This light does not have a direction (or .. it is the same in all directions) Point Source • Given by a point p0 • Light emitted from that point equally in all directions • Intensity decreases with square of distance One Limitation of Point Sources • Shading and shadows inaccurate • Example: penumbra (partial “soft” shadow) Distant
    [Show full text]
  • Gender Dynamics in Renaissance Florence Mary D
    Early Modern Women: An Interdisciplinary Journal Vol. 11, No. 1 • Fall 2016 The Cloister and the Square: Gender Dynamics in Renaissance Florence Mary D. Garrard eminist scholars have effectively unmasked the misogynist messages of the Fstatues that occupy and patrol the main public square of Florence — most conspicuously, Benvenuto Cellini’s Perseus Slaying Medusa and Giovanni da Bologna’s Rape of a Sabine Woman (Figs. 1, 20). In groundbreaking essays on those statues, Yael Even and Margaret Carroll brought to light the absolutist patriarchal control that was expressed through images of sexual violence.1 The purpose of art, in this way of thinking, was to bolster power by demonstrating its effect. Discussing Cellini’s brutal representation of the decapitated Medusa, Even connected the artist’s gratuitous inclusion of the dismembered body with his psychosexual concerns, and the display of Medusa’s gory head with a terrifying female archetype that is now seen to be under masculine control. Indeed, Cellini’s need to restage the patriarchal execution might be said to express a subconscious response to threat from the female, which he met through psychological reversal, by converting the dangerous female chimera into a feminine victim.2 1 Yael Even, “The Loggia dei Lanzi: A Showcase of Female Subjugation,” and Margaret D. Carroll, “The Erotics of Absolutism: Rubens and the Mystification of Sexual Violence,” The Expanding Discourse: Feminism and Art History, ed. Norma Broude and Mary D. Garrard (New York: HarperCollins, 1992), 127–37, 139–59; and Geraldine A. Johnson, “Idol or Ideal? The Power and Potency of Female Public Sculpture,” Picturing Women in Renaissance and Baroque Italy, ed.
    [Show full text]
  • Two-Color Double-Cloth Development in Alignment with Subtractive CMYK Color Theory by Deploying Digital Technology
    Volume 11, Issue 2, 2020 Two-color Double-cloth Development in Alignment with Subtractive CMYK Color Theory by Deploying Digital Technology Ken Ri Kim, Lecturer, Loughborough University Trence Kavanagh, Professor, Loughborough University, United Kingdom ABSTRACT This study aims to introduce new aesthetic values of modern double-cloth by resolving the current restriction in woven textile coloration. Previously, realizing pictorial images on both sides of a fabric was experimented with two weft yarns and further possibility was suggested to extend an applicable number of weft yarns for which a prototype of two-color double-cloth was tested and fabricated by employing four weft yarns. In this study, therefore, reproduction of highly complicated patterns in a two-color shading effect is aimed to further develop the current double- cloth design capability. The core principle lies on weave structure design to interweave two sets of warps and wefts into separate layers whilst two distinctive images are designed in alignment with CMYK color theory to enlarge a feasible weave color scope by using the subtractive primary yarn colors. Details of digital weave pattern design and weave structure development are explained based on empirical experiment results. Keywords: Two-color double-cloth, digital weave pattern design, subtractive color theory, double- cloth weave structure, new color expression Introduction number of color resources in weft is also Digital technology employed in modern constrained (Watson & Grosicki, 1997). As a weaving greatly enhanced production result, the color accuracy level to be able to efficiency and convenience (Ishida, 1994). In correspond to high-quality imagery designs modern digital weaving, however, an has been highly limited.
    [Show full text]
  • Test Trench in the Street of the Great Colonnade
    PALMYRA SYRIA TEST TRENCH IN THE STREET OF THE GREAT COLONNADE Marta ¯uchowska In connection with work in the western The tracing of the street was un- sector of the ruins of ancient Palmyra, a test doubtedly an important urban project. trench was dug in the 2001 and 2002 Not only were preexisting structures seasons in the street of the Great Colon- removed, but also an extensive water nade.1) The trench, which was 3.50 m wide supply and sewage system was put into and 14 m long, cut through the street in one place. Under level I of the street two fresh- of the intercolumnia. A small section of the water pipes were laid (cf. Fig. 2: pipes 2, 6) south portico was cleaned down to the beside a sewer made of small stones with Roman level. The chief objective was to a carved stone trough and a large lime- study the stratigraphy and to verify earlier stone-slab covering (cf. Fig. 2: sewer). ideas about the dating of successive phases The first street surface (level I) was of the main street of the town. In the course made of heterogeneous stone gravel and of two seasons of excavations, a number of clay. It did not survive long as two more layers corresponding to the phases of street water pipes had to be laid soon afterwards development came to light along with (cf. Fig. 2: pipes 3, 4). The new surface of substantial evidence of hydraulic instal- the street corresponded to a time of growth lations constituting part of the ancient and prosperity in this part of the town.
    [Show full text]
  • Dental Lab White Paper.Pdf
    LIGHTING LABS DENTAL INDUSTRY’S SECRET ASSET Dental laboratories place high demands on light quality. The LED luminaire TANEO and the efficient TEVISIO magnifier are ideally suited for the needs of a dental laboratory workplace. High light quality The advanced reflection and light control technology produces a diffused, glare- free, even light, relieving the technician’s eyes from strain and fatigue. Lenses can be customized with a choice of the clear prismatic lens or a more translucent style, according to preference. Custom capabilities Dimming capabilities with memory function allow the light intensity to be adapted to the visual task at hand. TANEO also has a state-of-the-art arm system for user-friendly handling. It is easy to adjust, yet remains firmly in place. The most optimal setting can be locked if required. High-quality LED technology Compared with conventional fluorescents delivering the same light output, TANEO consumes 30% less energy thanks to its technically advanced LED technology and intelligent thermal management. Moreover, the long service life of the LEDs ensures up to 50,000 or more hours of maintenance-free operation. TANEO ensures ideal viewing conditions for the laboratory delivering light output of up to 3600 lux and color temperature of 5000K. With a color rendering index of 90 using the translucent lens, colors can be measured and compared, showing contrasts and shading especially well. 2 TANEO offers a robust aluminum arm system designed for years of trouble-free versatility. The spring-balanced arm can be effortlessly adjusted into any position and offers complete rotation without exposed springs or hardware.
    [Show full text]