Following on from Graham Bizley's successful Architecture in Detail, Architecture in Detail II presents 40 case studies of detailing on recent construction projects. We are happy to serve our Customers from Monday to Sunday from 7 furthermore architecture. If you're a fan of triathlon, unlike architecture you'll want a front. Following on from Graham Bizley's successful Architecture in Detail, Architecture in Detail II presents forty case studies of detailing on recent construction.
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Digital Studio at Oxford Brookes School of Architecture, Oxford. 16 Preface. In April Building Design began publishing working details from contem- refurbished grade II listed Broadcasting House and two new buildings. Title: Architecture in Detail II - Graham Bizley. Page number ISSUU Downloader is a free to use tool for downloading any book or publication on ISSUU. Tags: Architecture in Detail II pdf, Architecture in Detail II epub, Architecture in Detail II by Ariana Hunter pdf, Architecture in Detail II by Ariana Hunter epub, read.
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Jan 24, download print version at site. Coffee Break Freebies. Send this to a friend Your email Recipient email Send Cancel. The Seven Lamps of Architecture Author: The Ten Books on Architecture Author: Rural Architecture Author: Allen, Lewis Falley, Release Date: Dec 3, Lectures on Architecture and Painting Author: Historian Alan Powers points to an inherent pragmatism in English culture which is suspicious of intellectual ideas.
We rely on our foreign-born architects for free-forms and expressionism. The idea that architecture should have a theoretical basis or could achieve any political aim has slipped off the agenda, as Alejandro Zaera-Polo pointed out in a recent interview. Openness and accessibility, by-words in the political arena in the new-labour years have found a literal expression in the use of glass and voluminous entrance halls in public buildings.
On its other three sides the building presents unarticulated walls of white render, giving quite the opposite message, suggesting cheapness and alienation. The primary idea is a theatrical gesture rather than a material or constructional idea about the making of the building itself.
Different cladding treatments are used to articulate distinct volumetric elements of the building so it reads as a sculptural assembly of forms with a tension between them. All you can see from outside in either example, however, are the circulation areas and a reception desk. Transparency is used as a metaphor for democracy offering a sense of inclusion while actually establishing a tightly controlled series of barriers. In the 20th Century a crisis arose in the representational image of public buildings because the associations of a classical language no longer represented the mood of a more socially mobile public in a post-colonial age of mass communication, yet the functionalist alternatives often lacked the familiar imagery, spatial drama and crafted detail to inspire civic pride.
Gormley uses the human form, stripped of all identifying features so that it might relate to anyone, and invites a very direct interaction with the work so that the individual can feel a personal relationship with it. The monumentality it achieves through its scale and form is enhanced by the use of a single material, Corten steel, which has a timeless quality in its surface variation and the way it weathers.
A building has much more complicated functional demands upon it so such simple gestures are seldom possible. The building envelope, and more particularly the surface are where much recent architectural innovation has been focused. Bigger elements of the programme were deliberately located at the front of the building so that their large windows could give a civic scale to that elevation, an effect enhanced by an integrated, super-graphic sign at roof level. It achieves a civic presence on the street by its materiality and scale.
Apart from the joints between the panels the detailing of construction is not expressed, emphasising the sense of the building as a whole rather than an assembly of parts.
Long horizontal openings suggest structural daring although no elements of structure are directly visible.
Without a visible structure the fabric can only communicate formal and sculptural articulation. With a design and build contract procured by a public body there is limited room for manoeuvre. The architects, Buschow Henley have understood well that attention has to be focused on a few strong moves that are robust enough to withstand the limitations of the budget.
The Manchester Civil Justice Centre achieves its monumentality through structural and compositional daring without reference to traditional symbols, achieving a presence in the city appropriate to its programme through sheer size.
The programme has been manipulated to exaggerate the proportions of the building using different materials for the vertical elements containing circulation areas and the courtrooms. The glazing support metalwork and the joints between adjacent cladding elements are visible, but the articulation is at such a relatively small scale that it does not distract from the bigger 5 Architecture in Detail II gestures. Holes in the cladding panels and compositions of colour behind the glass introduce further human scale elements that work as patterns on the larger surfaces.
Multi-purpose hall, Aurillac Photo: Brisac Gonzales Architects A building that does achieve a civic identity through a singular gesture is the multi-purpose hall at Aurillac in France. It is clad in a ribbon of precast concrete panels backlit by LED lights. Whereas traditional articulation fails to deal with the scale of such a structure the lights can be programmed to change colour and pattern to create effects that wrap around the entire building. The construction supporting the ribbon is functional and unimportant as it is not visible to observers of the effect it is sustaining.
In the corporate world innovative architecture has frequently been used as a symbol of dynamic and positive thinking to set a company apart from its rivals. What is actually quite a simple, repetitive system has been turned into something more engaging by adding a virtual element to the way it is perceived.
In the ground storey a Doric column base and capital are set into the rustication so that the wall can be read simultaneously as a colonnade or a wall. Higher up, the wall undergoes a number of setbacks and actually tapers back in section. As Lutyens himself pointed out many Modernist buildings did not express their actual structure and were more interested in appearing to tell a clear story even if that story were not actually true.
The issue of honesty in structural expression was an ideal of the Modern movement but no longer appears to be of much concern in the contemporary debate. Of the projects in this book only a few gain their architectural expression from a literal expression of their structure. Southern Cross Station in Melbourne is the clearest example, where every component and connection of the steel roof structure is on view.
As it does not require Thoughts on Construction a lined interior the railway station is one of the few building types suited to exposing the structure in this way. The use of a highly engineered structure as an expression of a belief in progress and technology goes back to the roots of Modernism in the 19th Century engineering structures that inspired the writing of Viollet-le-Duc.
Laying brick or stonework requires skilled labour and is time-consuming as only a certain height can be built in one day. To prevent heat loss insulation is required and a cavity has to be incorporated to prevent water penetration. It is therefore cheaper and quicker to use framed construction. If brick or stone are used it is in a reduced role as an outer cladding to represent security or quality, a thin skin in front of the true structure.
The outer leaf is a whole brick thick, laid in Flemish bond to show its thickness which is a purely aesthetic luxury. The building has the appearance and external detailing of a traditional brick and stone structure but to achieve this effect the overall wall thickness is mm and a concrete beam is hidden in the wall above the arcade to tie the piers together.
The brick is laid in English bond, again to express the thickness of the masonry. Since the time the decision was made energy conservation has become more of an ethical issue and with hindsight perhaps the priorities would have been different.
It is in no way my intention to be negative about these deceptions. The demands on buildings are in most cases far too complex to achieve a pure expression of everything that is going on.
In most buildings a hybrid approach is taken where structure is expressed if it is appropriate to the performance requirements and the architectural intent is to some extent determined on a pragmatic basis. Every building could therefore be said to have a layered construction with various elements or surface treatments carrying out different roles.
As the level of environmental performance of buildings increases building envelopes are likely to become more complex and will have to be built to more exacting standards. If there is a single issue that unites all aspects of the construction industry it is that of reducing the energy demand of buildings, both in the embodied energy of construction and in their energy 7 Architecture in Detail II ARC, Hull Photo: Niall McLaughlin Architects consumption in use.
Designers and contractors alike are having to consider every decision as part of a more holistic understanding of how construction can be made less harmful to the environment. Technology is moving quickly and we cannot be sure how the balance will play out in the long term. A building that has been designed to adapt to such changes is the ARC, a movable pavilion engineered to be carbon neutral by generating the same amount of energy as it uses through renewable sources.
It has a programme of events demonstrating environmental issues and will be relocated to different locations in the Humber region. Architect Niall McLaughlin has committed to a long term relationship with the project.
The east, south and west courtyard elevations of the EMV Social Housing in Vallecas have external balconies with sliding screens which can be moved by each resident to block direct sunlight. In both cases the choices made by different occupiers creates a dynamic pattern that adds interest and human scale to the elevations. Low-technology solutions like these are robust as they do not rely on electronic control or complex maintenance regimes.
Most importantly they allow the individual some control over their environment. As low-energy construction is being adopted more widely, integration of energy-saving measures is becoming more subtle. In terms of saving energy the most effective measures can be invisible. Experimentation in low-energy and low-carbon construction is being led by private home owners who are prepared to use their own money to push the available technology and test new ideas.
The Focus House in north London is built using a solid timber panel system that, rather than causing carbon emissions, has extracted and stored approximately 30 tonnes of carbon from the atmosphere. It has a very high level of air-tightness and uses a mechanical ventilation system with heat recovery to supply fresh air.
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