PLAY SOME THOUGHTS AND TIPS HERE-THE-MONTH PERIOD PRIOR TO MAY BE USEFUL FOR THIS FINAL PHASE OF YOUR PROJECT FACADES (ALSO INSIDE) should be expressed PROJECT IDEAS
BUT ALSO need to be built to meet certain requirements:
MATERIALS REGARDING EXPRESSION:
STRENGTH, WEAKNESS
OPACITY-TRANSPARENCY. TRANSLUCENT, glazes, POROUS
STAY-MOBILITY (diversity movements and changes in appearance)
GRAVITY - LIGHTWEIGHT (physical and visual)
TEXTURED - SMOOTH CONTINUOUS
(relatively) - CUT (usually)
SIZE - SCALE
COLOR (ASSESSMENT OF THE SCALE ON THE DIMENSION OF COLOR, TEXTURE AND CUTS)
AS CONSTRUCTION MATERIALS
OF ANY MATERIALS NEEDED TO KNOW:
REGARDING YOUR
NATURE:
Natural or artificial
. Estimated aging actions according to their position at work.
extraction or manufacturing conditions
maximum and minimum dimensions
Dimensions and conditions imposed by and for the transport
Knowledge of its internal structure
elastic-plastic
Deformation instantaneous and delayed
resistance and deformation actions
possibilities cutting, drilling and machining
RESPECT FOR PUTTING IN WORK
. Positional Accuracy: Dimension accurate as fixed reference (in 3 dimensions)
. Dimensional Accuracy: Dimension
exact dimensions
and forecasting clearances for installation and expansion
. Anchoring and fastening system in place (or welding): Plates, Substructure, subframes. Swivel and adjust leveling.
. Sealing systems to water and wind discontinuous materials. * Meetings open or sealed.
. Solution of thermal insulation material in relation to the facade. Location on site.
Idem. for soundproofing
* Meetings open ventilation space systems whose seal is fixed in most inner layers.
Boards sealed with sealing closed entrusted to the outer surface
water when you enter buildings, often seek help from the wind, then you are compensated by cooling the air in summer and warm in winter.
is not mentioned, and obvious, the need for the facade to provide lighting, ventilation and cleaning ability of certain materials.
ALL SUCH FORECASTS ARE REQUIRED AT THE TIME OF DESIGNING AND CONSTRUCTING A BUILDING AND AGREE you should know.
NATURALLY MOST OF THEM ARE NOT REFLECTED IN YOUR PROJECT AT THIS TIME. OS SOME WILL REFLECT ON THE SELECTION OF MATERIALS AND OTHER INFORMATION WILL BE BUILT, LIKE THAT EXPLODED ESOA MATERIALS NEEDED IN FACADE OR INTERIOR
WE TRY TO IMAGINE HOW WOULD OUR BUILDING FROM OUTSIDE OR FROM WITHIN, THE MATERIALS, THE COLOR YOUR textures, CUTS, YOUR AUCTIONS, LOCATE IN PLACE AND ANTICIPATE YOUR INCOME, help of drawings, assembly etc.
search through the numerous examples IF POSTED ON THE BLOG IN THIS COURSE, AND ABOVE, IN EACH CASE RECOGNIZING ALL THESE FEATURES AND CONDITIONS OF THE WALLS AND MATERIALS, I THINK you will learn a lot.
much encouragement. JMS
When we study a project, any project, analysis and understanding of all requirements, conditions and functional requirements, which are in reason (thought and study) and experience (own and others) its main support is of utmost importance to avoid mistakes. Say FITNESS is the component of our work. Others shot with gunpowder and agrees to respond with something useful to those who put their hopes and their money in our hands to solve something that you need and do not know how. It gives meaning and social content of our profession.
But it is clear that this "solution" does not exhaust our work but rather starts from there. The reason "weapon" a functional framework that allows a car to move or a building can be used with comfort and common sense but do not buy a car just because I walk on a permanent basis (we assume that if it is not no use to us) or live a building just to move, sit or to go to the bathroom.
Fortunately we are much more than that. We are beings that feel lovely and we were excited to friendship, companionship and the presence of others and also get excited and feel the natural beauty. Architecture (and engineering in a car on a bridge) placed in our hands the power to perform magic tricks which, besides being useful, are also full of beauty and can get excited. At all times we have been able to do this and you do not need to remember the thousands of wonderful examples of what I'm saying.
built in a city or a landscape, but we do not want, we transform. Depends largely on us that this transformation brings something positive there. To do more beautiful (although there will always be opinions). Excite is not easy. Not many get it but why not try?.
therefore BEAUTY component of our work is also essential for us. Their perception is different for individuals and also changes with the languages \u200b\u200band times although this is also convenient to learn to look and see. I can also move a slave to a piece Miguel Angel Chillida although probably wake up each different corners of my sensibility.
in any project - in any building, that's what we project, there should be a PLASTIC WILL AND CREATION OF BEAUTY in its forms and spaces, our main matter, light, will reveal whether we go into the gaps and handling skills. Within the idea that everyone will therefore intends to pursue all possible components of the solid and the spaces (empty) (Shape, proportion, or movement or both serenity, lightness and gravity, transparency, opacity, materials, textures, color etc.) anything that is able to awaken in us a perception through our senses and ... maybe ... emotions. The aesthetic emotion exists in all the arts and to the extent that we manage these springs a part of our profession is also artistic and creative so.
There
contents of that creativity, the deepest - that are timeless as I said earlier. But we belong to our time. I can move -Do - a text by Shakespeare, but if you would like to say the same thing today we would say not like him. We have the languages \u200b\u200bof our time, changing faster than ever and that we need to know and investigate.
One of the most exciting aspects of the architecture is the relationship between the IDEA to be transmitted and how to be expressed (see Louis Kahn: Idea and Image)), which attempts ; understand the words of their time to develop in all its details.
The Guggenheim Gehry in Bilbao, the Wright in New York and the Foundation Beyeler in Basel Piano are three museums. All three are buildings just concluded but I admire especially the last two this close relationship between the idea and how it is expressed. Bilbao building much - much - its ability to contribute to the urban transformation and value that relationship sculptural and less discussed, because its expression appears to assert equality of the house brand for a playground or a holds.
is clearly not the same school that a store with desks but can be heated, to meet all Technical Codes, take the kids and give them class. Good architecture always tries that some or much more in just notice and enjoy our skills and emotions. Then we want to go there and stay.
As in the School of Siza in Oporto. JMS
