By DJM van der Voordt, HBR van Wegen

Книга structure In Use structure In Use Книги Дизайн Автор: DJM van der Voordt, HBR van Wegen Год издания: 2005 Формат: pdf Издат.:Architectural Press Страниц: 326 Размер: eight MB ISBN: 0750664576 Язык: Английский0 (голосов: zero) Оценка:This precise e-book discusses programming, layout and development overview supplying a joined up method of construction layout. by way of linking the practical and architectonic characteristics of a construction, the authors exhibit the sensible implications of the software price of structures.

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1). 21 Petronas Towers, Kuala Lumpur, Malaysia. Design by Cesar Pelli (1998). The towers are the tallest buildings in the world with a height of 452 metres (1483 feet). The towers are a symbol of Malaysia’s modernisation and rising profile on the international scene. The towers break with modernist orthodoxy by being symmetrically arranged on the site and figurative in design. The design of the towers responds to formal characteristics of the dominant Islamic culture. By studying Islamic architecture, Pelli learned, that repetitive geometries are keys to understanding buildings in predominantly Muslim countries.

This explains the later addition of the adjective ‘critical’. Representatives of Italian neo-rationalism, some of whom came together in the Tendenza movement, attach a good deal of value to historical references and the use of historic architectonic elements. 19). 19 Public library, Groningen. Design by Giorgio Grassi (1990–1992). Here the patterned brick elevation, composed of standardised elements and typical of Grassi’s work, is adjusted to suit inner-city conditions. 20). Rossi argues that by analysing cities over time we can understand those elements that either support or obstruct the interests of the ‘collective will’ (Rossi, 1982).

A building must have something personal to tell its users, and so convey meaning to the neighbourhood and the city. No strict rules were followed for the design itself. Expressionist architects used both organic forms and geometrical proportional systems. An artist has no need to justify himself historically or scientifically. What matters is the cogency of the design and its involvement in society. An obvious example is Mendelssohn’s expressionist design for the Potsdam Observatory (1917–1921).

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