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The Solar Updraft Tower : Das Aufwindkraftwerk Motivation and Concept - Text
The Solar Updraft Tower : Das Aufwindkraftwerk Motivation and Concept - Text Joerg Schlaich and Rudolf Bergermann The most significant problems of our time, poverty in the Third World and the climate change are interlinked through energy supply and can be solved, if we only want to! The industrialized countries pollute the worldwide climate with their fossil-fuelled power generation. The poor are poor because they cannot afford sufficient energy supply and the population keeps growing. (Fig. 1) If the billions of people who must do without sufficient energy supply would have to cover their energy needs with coal, oil and gas, the climate could not be saved and the environment would be destroyed. Hence, poverty and climate problems can only be solved with global concepts, mutually and equally beneficial to the poor and to the industrialized countries. The poor countries on the „southern hemisphere“, especially the African, have one advantage over the rich countries in the „northern hemisphere“: Sun + Desert, i.e. intensive solar radiation on agriculturally futile land. (Fig. 2) If these poor countries had large scale affordable solar power plants, - affordable because they were built mainly with their own resources and skills -, and which they did not need to import at exorbitant cost, they would profit twice: by their inexhaustible, affordable power supply and by innumerable new jobs. “The Taliban aren’t fighting for religion but for money. If they had jobs, they would stop fighting!” Sham Sher Khan from TIME, April 20, 2009 As electric energy can be transported over very large distances with surprisingly little loss they could export their solar electricity to the industrialized countries. -
A Huff and a Puff, and It Blew the Chimney Down
A HUFF, AND A PUFF, AND… IT BLEW THE CHIMNEY DOWN Kerry S. Lee, P.E., MBA, M.ASCE 1 Gary S. Dunlap, AIA 2 Daniel M. Killian, P.E., B.S. 3 1 Director of Engineering, Nelson Architectural Engineers, Inc., 2740 Dallas Parkway, Suite 220, Plano, Texas 75093; email: [email protected]; phone: 469-429-9000 2 Assistant Director of Architecture, Nelson Architectural Engineers, Inc., 2740 Dallas Parkway, Suite 220, Plano, Texas 75093; email: [email protected]; phone: 469-429-9000 3 Project Director, Nelson Architectural Engineers, Inc., 2740 Dallas Parkway, Suite 220, Plano, Texas 75093; email: [email protected]; phone: 469-429-9000 Abstract This paper will present case studies and assessment of collapses of tall, free standing residential masonry chimneys resulting from windstorms in North Texas. The case studies will outline the assessment of the causes of the collapses and a discussion of design and/or construction defects. A review of limited and highly lacking documentation on design, construction and code requirements governing the architectural and structural “design” and construction of residential chimneys will be conducted. The paper will provide a discussion of the lack of design standards and poor construction practices used for residential load-bearing masonry chimneys. This paper will illustrate how the lack of design, construction, and code requirements results in chimneys lacking sufficient capacity to resist below design wind loads leading to unsafe conditions. It is only a matter of time before the collapse of one of these elevated masonry chimney “missiles” results in severe injury or death of an inhabitant. Introduction The majority of residential structures being built throughout the country today rely on construction requirements outlined within the International Residential Code (IRC). -
Wind- Chimney
WIND-CHIMNEY Integrating the Principles of a Wind-Catcher and a Solar-Chimney to Provide Natural Ventilation A Thesis presented to the Faculty of California Polytechnic State University, San Luis Obispo In Partial Fulfillment of the Requirements for the Degree Master of Science in Architecture by Fereshteh Tavakolinia December 2011 WIND-CHIMNEY Integrating the Principles of a Wind-Catcher and a Solar-Chimney to Provide Natural Ventilation © 2011 Fereshteh Tavakolinia ALL RIGHTS RESERVED ii COMMITTEE MEMBERSHIP TITLE: WIND-CHIMNEY Integrating the Principles of a Wind-Catcher and a Solar-Chimney to Provide Natural Ventilation AUTHOR: Fereshteh Tavakolinia DATE SUBMITTED: December 2011 COMMITTEE CHAIR: James A. Doerfler, Associate Department Head COMMITTEE MEMBER: Jacob Feldman, Professor iii WIND-CHIMNEY Integrating the principles of a wind-catcher and a solar chimney to provide natural ventilation Fereshteh Tavakolinia Abstract This paper suggests using a wind-catcher integrated with a solar-chimney in a single story building so that the resident might benefit from natural ventilation, a passive cooling system, and heating strategies; it would also help to decrease energy use, CO2 emissions, and pollution. This system is able to remove undesirable interior heat pollution from a building and provide thermal comfort for the occupant. The present study introduces the use of a solar-chimney with an underground air channel combined with a wind-catcher, all as part of one device. Both the wind-catcher and solar chimney concepts used for improving a room’s natural ventilation are individually and analytically studied. This paper shows that the solar-chimney can be completely used to control and improve the underground cooling system during the day without any electricity. -
Artist Archaeologist Gonzalo Fonseca ARTIST ARCHAEOLOGIST GONZALO FONSECA (1922-1997)
PUBLIC ART EXPLORER Artist Archaeologist Gonzalo Fonseca ARTIST ARCHAEOLOGIST GONZALO FONSECA (1922-1997) Sun Boat North Shore Drive Pylon 1965 Underpass 1965 Concrete 1965 Concrete N S D Map #1 Concrete Map #3 Map #2 B Trail N S D B Trail M D Gr Trail W P W M D 3 2 1 Gr Trail N S D S N 2 H C LEARN Who was Gonzalo Fonseca? A Budding Artist He was born and raised in Uruguay in South America. When he was eleven, Fonseca spent six months traveling in Europe with his family. The things he experienced and saw on this trip inspired him to become an artist. When his family returned home he set up an art studio in the basement. A Curious Mind Fonseca was a very curious person. He loved learning about history and languages (he spoke at least six!). Fonseca is often called a polymath*, or someone who knows a lot about many different things. He also traveled to continue his education. On his journeys, Fonseca climbed pyramids in Egypt, helped excavate ancient sites in the Middle East and Africa, and visited ancient Greek and Roman ruins. All of these experiences became a part of his artwork. An Inventive Sculptor Fonseca trained to be a painter but switched to sculpture because he wanted to work in three dimensions. The Lake Anne play sculptures are some of the only public art he ever made. They are molded from the same concrete used in the surrounding buildings. Fonseca was excited to have such big spaces to work with, places like the plaza by the lake and the underpass. -
Reston, a Planned Community in Fairfax County, Virginia Reconnaissance Survey of Selected Individual Historic Resources and Eight Potential Historic Districts
Reston, A Planned Community in Fairfax County, Virginia Reconnaissance Survey of Selected Individual Historic Resources and Eight Potential Historic Districts PREPARED FOR: Virginia Department of Historic Resources AND Fairfax County PREPARED BY: Hanbury Preservation Consulting AND William & Mary Center for Archaeological Research Reston, A Planned Community in Fairfax County, Virginia Reconnaissance Survey of Selected Individual Historic Resources and Eight Potential Historic Districts W&MCAR Project No. 19-16 PREPARED FOR: Virginia Department of Historic Resources 2801 Kensington Avenue Richmond, Virginia 23221 (804) 367-2323 AND Fairfax County Department of Planning and Development 12055 Government Center Parkway Fairfax, VA 22035 (702) 324-1380 PREPARED BY: Hanbury Preservation Consulting P.O. Box 6049 Raleigh, NC 27628 (919) 828-1905 AND William & Mary Center for Archaeological Research P.O. Box 8795 Williamsburg, Virginia 23187-8795 (757) 221-2580 AUTHORS: Mary Ruffin Hanbury David W. Lewes FEBRUARY 8, 2021 CONTENTS Figures .......................................................................................................................................ii Tables ........................................................................................................................................ v Acknowledgments ....................................................................................................................... v 1: Introduction ..............................................................................................................................1 -
Hyperion Volume • V • • • • • Issue • 1 • • • • • May • 2010
Volume • V • • • • • Issue • 1 • • • • • May • 2010 published by the Nietzsche Circle Volume • V • • • • • Issue • 1 • • • • • May • 2010 B o a r d • o f • A d v i s o r s Dr. Christa Davis Acampora Dr. Benjamin Moritz Cem Aydogan Hermann Nitsch Dr. Babette Babich Dr. Kelly Oliver Dr. Nicholas Birns Lance Olsen Dr. Arno Böhler Dr. Graham Parkes Dr. Tony Brinkley Keith Ansell-Pearson Dr. Thomas Brobjer Dr. Philip Pothen Mark Daniel Cohen Dr. Timothy Quigley Dr. Véronique Fóti Prof. Alan Rosenberg Dr. Terri J. Gordon Dr. Ofelia Schutte Dr. Jennifer Anna Gosetti-Ferencei Dr. Gary Shapiro Dr. Susanne Granzer Dr. Walter Sokel Pierre Hadot Dr. Joan Stambaugh Dr. Lawrence Hatab Mark Strand Dr. Horst Hutter Dr. Yunus Tuncel Dr. David Kilpatrick Dr. Gianni Vattimo Joseph Kosuth Paul van Tongeren Donald Kuspit Kim White Dr. Laurence Lampert Colin Wilson Vanessa Lemm Patrick Wotling Linda Lewett Dr. Irvin Yalom Paul S. Loeb John Bell Young Dr. James Luchte Gérard Zuchetto Tali Makell 1 Hyperion Volume • V • • • • • Issue • 1 • • • • • May • 2010 Publisher: Nietzsche Circle, Ltd. Editors: Rainer J. Hanshe and Mark Daniel Cohen PDF Design: Mark Daniel Cohen Logo Design: Liliana Orbach Advertising: Andre Okawara Donations: Katie Creasy (Donations can be made at http://nietzschecircle.com) Nietzsche Circle Web Manager: Tim Syth Nietzsche Circle Website Design: Hasan Yildiz (http://designkillsme.com) Nietzsche Circle Event Poster Design: Doerthe Fitschen-Rath Letters to the editors are welcome and should be emailed to [email protected]. Hyperion is published quarterly by Nietzsche Circle, Ltd. P.O. Box 575, New York, NY 10011, U.S.A. -
The Impact of Air Well Geometry in a Malaysian Single Storey Terraced House
sustainability Article The Impact of Air Well Geometry in a Malaysian Single Storey Terraced House Pau Chung Leng 1, Mohd Hamdan Ahmad 1,*, Dilshan Remaz Ossen 2, Gabriel H.T. Ling 1,* , Samsiah Abdullah 1, Eeydzah Aminudin 3, Wai Loan Liew 4 and Weng Howe Chan 5 1 Faculty of Built Environment and Surveying, Universiti Teknologi Malaysia, Johor 81300, Malaysia; [email protected] (P.C.L.); [email protected] (S.A.) 2 Department of Architecture Engineering, Kingdom University, Riffa 40434, Bahrain; [email protected] 3 School of Civil Engineering, Faculty of Engineering, Universiti Teknologi Malaysia, Johor 81300, Malaysia; [email protected] 4 School of Professional and Continuing Education, Faculty of Engineering, Universiti Teknologi Malaysia, Johor 81300, Malaysia; [email protected] 5 School of Computing, Faculty of Engineering, Universiti Teknologi Malaysia, Johor 81300, Malaysia; [email protected] * Correspondence: [email protected] (M.H.A.); [email protected] (G.H.T.L.); Tel.: +60-19-731-5756 (M.H.A.); +60-14-619-9363 (G.H.T.L.) Received: 3 September 2019; Accepted: 24 September 2019; Published: 16 October 2019 Abstract: In Malaysia, terraced housing hardly provides thermal comfort to the occupants. More often than not, mechanical cooling, which is an energy consuming component, contributes to outdoor heat dissipation that leads to an urban heat island effect. Alternatively, encouraging natural ventilation can eliminate heat from the indoor environment. Unfortunately, with static outdoor air conditioning and lack of windows in terraced houses, the conventional ventilation technique does not work well, even for houses with an air well. Hence, this research investigated ways to maximize natural ventilation in terraced housing by exploring the air well configurations. -
Cecilia De Torres, Ltd. [[email protected]] En Nombre De Cecilia De Torres, Ltd
De: Cecilia de Torres, Ltd. [[email protected]] en nombre de Cecilia de Torres, Ltd. [[email protected]] Enviado el: jueves, 01 de octubre de 2015 12:49 p.m. Para: Alison Graña Asunto: The South was Their North: Artists of the Torres-García Workshop- Now open through January 2016 Cecilia de Torres, Ltd. invites you to The South was Their North: Artists of the Torres-García Workshop, an exhibition of paintings, sculpture, wood assemblages, furniture and ceramics by Julio Alpuy, Gonzalo Fonseca, José Gurvich, Francisco Matto, Manuel Pailós, Augusto Torres, Horacio Torres and Joaquín Torres-García, on view from September 2015 through January 2016. Related to the upcoming retrospective exhibition, Joaquin Torres-García: The Arcadian Modern at the Museum of Modern Art, Cecilia de Torres, Ltd. presents an aspect of the artist's endeavors that is inextricably associated with his personality and his career: the creation of a school of art that would realize “Constructive Universalism,” his theory of a unified aesthetic based on the visual canon he developed. Torres-García’s ambition was to establish an autonomous artistic tradition based on Constructive Universalism that would eventually expand to all the Americas. This utopian undertaking occupied the last fifteen years of his life as an artist and teacher to new generations, leaving a considerable body of work and an indelible mark on South America’s modern art. The works in this exhibition date from 1936 to the 1980s. Our intent is to present work by this group of exceptional artists that is emblematic of their individuality, works of mature achievement as well as of their constructivist origins. -
The New York Studio School of Drawing, Painting and Sculpture NEW YORK, NEW YORK PROJECT OVERVIEW the School’S Entrance Foyer
The New York Studio School of Drawing, Painting and Sculpture NEW YORK, NEW YORK PROJECT OVERVIEW The school’s entrance foyer A BRIEF HISTORY he New York Studio School occupies a group of four mid-nineteenth-century townhouses at 8, 10, 12, and 14 West 8th Street in New York City’s Greenwich Village, each with a carriage house behind it opening Tonto MacDougal Alley. The properties were acquired and combined from 1907 to 1929 by sculptor and art patron Gertrude Vanderbilt Whitney, the eldest surviving daughter of Cornelius Vanderbilt II (1872–1942), as her salon and an artist studio space for herself and numerous fellow artists. Whitney’s first purchase was the carriage house behind #8 in 1907, a three-story building with a stable below and hayloft above, where she established her personal studio. She bought the townhouse in front of it in 1913, followed by #10 in 1923 and #14 in 1925. In 1929, in order to consolidate the complex into a whole and create the Whitney Museum of American Art, she purchased #12 from sculptor Daniel Chester French. French had first introduced her to 8th Street and maintained his own studio next to hers from 1913 on. The Whitney Museum opened in 1931 and operated at the site until 1954. When Whitney bought the townhouse at #8, she retained architect Grosvenor Atterbury to redesign it and connect it to her carriage-house studio. Atterbury built an enclosed stairway from the third floor of the townhouse to the second floor of the studio in the courtyard between the two buildings, added a copper-clad enclosed balcony to the courtyard wall of the studio, and a large north- facing skylight. -
Don't Let Dollars Disappear up Your Chimney!
ENERGY SAVINGTIPS DON’T LET DOLLARS DISAPPEAR UP YOUR CHIMNEY! You wouldn’t leave a window wide open in cold weather. Having a fireplace with an open flue damper is the same as having a window open. That sends precious winter heat and money right up the chimney! Here’s how you can heat your home, and not the neighborhood! KEEP THE FIREPLACE DAMPER CLOSED WHEN THE FIREPLACE IS NOT BEING USED The damper is a flap inside the chimney or flue. It has an open and a closed position. When a fire is burning, the damper should be in the open position to allow smoke to escape up the fireplace flue and out the chimney. When you’re not using the fireplace, the damper should be closed. If you can’t see the handle or chain that opens and closes the damper, use a flashlight and look up inside the chimney flue. The handle could be a lever that moves side to side or back and forth. If a chain operates the damper, you may have to pull both sides to determine which one closes or opens the damper. KEEP YOUR HEAT IN YOUR HOME! Even the most energy efficient homes can fall victim to fireplace air leaks. Your fireplace may be reserved for a handful of special occasions or especially cold nights. When it’s not in use, though, your home loses heat – and costs you money – without you knowing it. Using the heat from your fireplace on a cold winter night may be cozy, but that fire is a very inefficient way to warm up the room. -
Recommended Practices for Masonry Fireplace and Chimney Construction
BALANCING THE VENTILATION TIPS OF SAFE FIREPLACE REFERENCES In order for a fireplace, which utilizes OPERATIONS Published by the New York State Concrete Masonry Association natural draft to function properly, New York State Fire Prevention A fireplace fire, properly laid and fed and Building Code a supply of makeup air must be is easy to tend to and trouble free. Here available to replace the air exhausted is a good method for building a fire. National Fire Protection up the chimney. In older homes there Be sure the damper is open before Association, Quincy, MA is often enough leakage around doors lighting the fire! and windows to provide this air. In International Code Council Use a small amount of paper and newer, tighter homes another source International Building Code of air may need to be provided. Before a moderate number of kindling wood lighting the fire, use incense or a candle pieces to lay down the base. Place International Residential Code to determine if there is an updraft or a three small split logs directly on top. Country Club Hills, Illinois Space the logs to allow air to flow down draft in the chimney. If there is USA - Clay Flue Lining Institute no updraft try cracking open a window freely. National Concrete Masonry or door to provide a source of air to the Use wadded paper wand to light the RECOMMENDED PRACTICES FOR MASONRY room. If any problem persists you may fire. Hold the burning wand at damper Association, Herndon, VA FIREPLACE AND CHIMNEY CONSTRUCTION need to locate other sources of air level to start the draft, then lower it to Brick Industry Association of entering or being exhausted from the the paper/kindling stack. -
Fireplaces & Chimneys
Fireplaces & Chimneys Fireplaces, Accessories & Venting Solutions ® We Make Fire Better. Custom Luxury Fireplaces Extracted from Iceland’s Mt. Hekla volcano, Isokern brand products have been made from the cleanest, purest pumice for over 80 years. Our masonry components cradle the raw power of fire in the safest, most energy-efficient material on earth. Totally customizable, Isokern allows architects and their clients to pursue their most inspired designs, while connecting with the natural beauty of fire. A Name Built on reliability for years. Since 1989, we have proudly provided exceptional products combined with unmatched customer service from our 8 solution centers and dedicated network of over 400 dealers. >> ICELAND Contents. Did You The Standard ..............................................1 know? Specifications........................................................page 2 Our pumice ships directly from The Magnum ....................................................3 the Mount Hekla Volcano in Iceland to our state-of-the-art Specifications.........................................................page 5 automated manufacturing The Magnum+ ..................................................7 facility in Chesapeake, Virginia. Specifications.........................................................page 9 The Maximus ............................................11 “ Specifications.......................................................page 12 The Bvetto ................................................13 Specifications.......................................................page