182 resultados para Wall building technology
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William St building, as seen from across Riverside Expressway off-ramp.
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William St building-Riverside Expressway building junction.
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Detail of precast concrete sunshading panels to freeway (West) elevation.
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As seen from Queens Wharf Road.
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The "Pointe Saint Mathieu" is one of the most westerly continental landmarks of France. The promontory is located at the entrance of the "Goulet de la Rade de Brest", that is the entrance channel of the harbour of Brest in Brittany (France). It marks also the Southern end of the "Chenal du Four" that is the main navigation channel between the islands of Ouessant, Molène and Béniquet, and Brittany. The "Chenal du Four" is reputed for its dangers. The tidal range is greater than 7 m in spring tides, and the mid-tide current may exceed 5 knots. The Saint Mathieu promontory is equipped with a lighthouse and a semaphore. The former is located in the ruins of an old monastery, founded during the 6th century AD by Saint Tanguy. The present ruins are the remnants of buildings from the 11th to 15th centuries. The first lighthouse was installed in 1689, although the monks of the monastery used to maintain a signal light since the 1250s. Completed in 1835, the present "Phare de la Pointe Saint-Mathieu" is 37 m high and it reaches 58.8 m above sea level During World War 2, the Pointe Saint Mathieu was defended by a series of concrete fortifications built by the Germans. Some were based upon some earlier French bunker systems, like the coastal battery at the Rospects which included 4 main gun bunkers (4*150 mm, or 2*150 mm & 2*105 mm), an observation bunker on the Western side close to sea, and several smaller structures. There was also the large Kéringar Blockhaus system, near Lochrist, located about 1 km inland and designed for 4 guns of 280 mm. Its command bunker remains a landmark along the main road. All this area was very-heavily bombed between 1943 and 1944, and particularly during the battle of Brest in August-September 1944 ("L'Enfer de Brest").
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This pilot project at Cotton Tree, Maroochydore, on two adjacent, linear parcels of land has one of the properties privately owned while the other is owned by the public housing authority. Both owners commissioned Lindsay and Kerry Clare to design housing for their separate needs which enabled the two projects to be governed by a single planning and design strategy. This entailed the realignment of the dividing boundary to form two approximately square blocks which made possible the retention of an important stand of mature paperbark trees and gave each block a more useful street frontage. The scheme provides seven two-bedroom units and one single-bedroom unit as the private component, with six single-bedroom units, three two-bedroom units and two three-bedroom units forming the public housing. The dwellings are deployed as an interlaced mat of freestanding blocks, car courts, courtyard gardens, patios and decks. The key distinction between the public and private parts of the scheme is the pooling of the car parking spaces in the public housing to create a shared courtyard. The housing climbs to three storeys on its southern edge and falls to a single storey on the north-western corner. This enables all units and the principal private outdoor spaces to have a northern orientation. The interiors of both the public and private units are skilfully arranged to take full advantage of views, light and breeze.
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This paper concerns a collaborative experiment in architectural design teaching and thinking developed during a workshop held at The University of Queensland in 2000. The programme explored the possibilities and the consequences of relocating location-specific architecture to a different context - a 'Trans-Cultural Trans-Location'. The project involved the careful study by Australia-based students of a house designed for a Japanese family in a dense part of Tokyo by the eminent Japanese architect Tadao Ando, and the subsequent translocation of the ideas that underlay the building to a suburban location in Brisbane, for a theoretical equivalent Australian family. This experimental project examined the universality of architectural concepts, their appreciation and the pedagogical setting. The project raised questions of: - How well do students from one culture comprehend architecture designed specifically for another – which are the areas of misunderstanding and understanding? - How can students transpose architectural ideas from one social and physical context to one that is almost entirely the opposite? - What are the limits of collaboration and exchange in design teaching and how do they reveal similarities, inconsistencies and the unexpected in the aims of the teacher and of the student? These questions suggest that in order to comprehend a design, we must understand the culture within which it originated, and that we must understand the cultures within which we work in order to design. This paper is written in two parts. The first part establishes a framework for discussing the contrast of the cultural settings studied. The second part considers the nature, conduct and results of the Studio Workshop itself.
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View to entrance.
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View to circulation stair from exterior.
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View to entrance.
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Detailed view of venting in brick work. Bricks used were commons, with prevalent dark blue iron staining.
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View to side entrance opening and window detail with sliding timber shutters above, from exterior.
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View to north and east facing wings, along circulation path to the roof feature connection between wings.
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View to elevation with timber sliding shutters, aluminium double hung sash windows and brick venting.
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View across car park to north-west elevation.
