Lars Müller Publishers 2010/2011 Architektur Design Fotografie Kunst

Guy nordenson
PATTerns AnD sTruCTure
selected Writings
Design: Integral Lars Müller
16,5 × 24 cm, 464 Seiten
218 Abbildungen, Softcover
2010, ISBN 978-3-03778-219-4, Englisch
EUR 40.– CHF 65.–
Diese reiche Sammlung an Schriften und Kritiken
des Bauingenieurs und Professors (Princeton
University) Guy Nordenson umfasst Essays aus
den Jahren von 1972 bis 2008, die sich durch
eine grosse thematische Bandbreite auszeichnen :
Fragen zu bautechnischen Verfahren und
Technolo gien und zum erdbebensicheren Bauen
kommen ebenso zur Sprache wie Architekturkritik
und die Zusammenarbeit von Ingenieuren
und Architekten. Auch die Meta phorik hoher
Gebäude, die Gestaltung des Ground Zero nach
demokratischen Prinzipien und die Geschichte
und Theorie der Bautechnik werden behandelt.
« It is rare to see engineers engaging in a
sustained effort to write about their work and
its significance. Those with a distinctive style
are even less common. nordenson possesses
the capacity to convey more than a technical
expertise: a vision of what matters today
and how engineering can engage it. »
Antoine Picon
With Great Joy and Expectations
In his 1968 autobiography Isamu Noguchi quoted Marcel Duchamp’s advice to him:
“ Don’t do anything that pleases you — only do that which you dislike and cannot
help but do. This is the way to find yourself. But it is also true that we cannot ever
be more than we are.” This turns against the grain of desire, but does not deny
desire or passion. It stills and sublimates it.
Buckminster Fuller and Isamu Noguchi met at Romany Marie’s tavern, for which
we are told Bucky designed the décor. Fuller would often stand on a table
and declaim his Homeric account of four-dimensional science and art, of triangles
and tetrahedra and the “ new consciously disciplined relationship of man to
his physical universe.” He enchanted an audience that included Noguchi, Mark
Tobey, Willem de Kooning, The Museum of Modern Art’s Dorothy Miller, the paleontologist
Walter Granger, and even Vilhjálmur Stefánsson, the Arctic explorer, with
epics that were part mathematics, part physics and chemistry, and part neo-Buddhist
mysticism avant-la-lettre, “ what the scientist-artist speaks of as intuition is the
intellect-initiated and synergetically precessional event evolution into conscious
objective anticipatory evolutionary conceptual formulation, realized in thought
described words, mathematical relationship rotation, graphical schematics, threedimensional
static and four-dimensional kinetic modelling.”
In 197 6 I worked as an intern in Noguchi’s Long Island City studio for Fuller and
Shoji Sadao, making tensegrity models with Rob Grip, one of Bucky’s assistants, for
that fall’s inaugural exhibition at the Cooper Hewitt Museum, titled Man Transforms.
Fuller stopped by one day and took me aside for tête-à-tête in his and Sadao’s
drafting office. He sat perched on a table; I took a chair, he turned off his hearing aid
and started off. Unfortunately, I don’t remember what he spoke of, but I do remember
I said nothing, figuring he could not or did not want to hear. Twenty-five years later
I learned from his daughter Allegra Fuller Snyder that he would turn off his hearing aid
at the start of a conversation so that he would not be distracted by ambient noises
and could concentrate, reading lips. I had completely misunderstood.
neu
hAMsun – hOLL – hAMArøy
Literatur, Architektur, Landschaft neu
2. Boiler wall stiffness is neglected and the boiler element masses are
apportioned to each platform or key level on a tributary basis.
3. Typical load paths for boiler inertial loads are:
– element
– boiler wall ( consisting of vertical tubes )
– horizontal buckstay
– bumper
– main structure — columns or horizontal key level truss
– vertical bracing
Considerable attention is given to the design of the boiler wall to bumper
portion of the path, including any stress concentrations in the boiler wall.
4. Vertical bracing is designed by conventional means. A critical factor
is usually the client-specified limit on uplift forces at the column bases.
Current practice has been to mitigate this by locating the bracing between
columns supporting the “ top steel ” plate girders, mobilizing their
large reactions. The necessity for numerous ducts and other penetrations
across these “ inner ” bents, however, sometimes results in awkward configurations.
A review of this practice has identified several drawbacks which this
study has sought to correct:
– The boiler stiffness is in fact large and will influence the dynamic response
of the overall system. This has been recognized in the 1988 Uniform
Building Code (1988 UBC ) provisions for nonbuilding structures, wherein
it is mandated that elements weighing over 25 percent of the total system
weight must be properly represented in the analytical model.
– The horizontal diaphragm structure of two trusses alongside the boiler
cannot be considered rigid overall.
– The interference of ducts and other penetration with the bracing at the
“ inner ” bents is costly and preferably to be avoided.
Literature Review
An exhaustive review of existing literature on both the analysis and actual
earthquake response of SBSs has been done. Selected references are
provided herein. The literature obtained covers a range of topics including
the behavior of boilers in real earthquakes, vibration testing of fullsize
and scale model structures, and dynamic modelling of the boiler and
support structure.
Damage observed in real earthquakes includes buckling of crossbracing,
permanent deformations of the bumpers, damage caused by piping
Tall Building as Metaphor
“ The ‘ tall buildings, ’ which have . . . usurped a glory that affects you as rather
surprised, . . . the multitudinous sky-scrapers standing up to the view, from the
water, like extravagant pins in a cushion already overplanted, and stuck in as
in the dark, anywhere and anyhow, have at least the felicity . . . of taking the sun
and the shade in the manner of towers of marble. They are not all of marble,
I believe, by any means, even if some may be, but they are impudently new and
still more impudently ‘ novel ’ — this in common with so many other terrible things
in America — and they are triumphant payers of dividends; all of which, with flash
of innumerable windows and flicker of subordinate gilt attributions, is like the
flare, . . . of the lamps of some general permanent ‘ celebration.’ ”
After the terrorist attacks on New York and Washington on September 11 , 2001,
it was natural to wonder why the World Trade Center Towers and not the Statue
of Liberty had been the target in New York, why Al Qaeda had chosen a symbol
of commerce over a symbol of freedom. Whatever the answer, there is little doubt
that if it had been attacked, the statue would have been rebuilt ( as was the
Pentagon ) and not replaced ( as the World Trade Center will be ). What is not as
clear is how it would have been rebuilt, and what that would have meant.
Tall buildings, if only by being tall, look to stand out in a crowd. In time they may
become the crowd, but it is always their intention to speak up, to declare, indeed,
even to persuade us of their novelty, their sumptuousness, their responsibility
to social needs and ideals, their outright beauty, and their abstraction. The World
Trade Center Towers were built to revitalize downtown Manhattan and promote
globalization. Like Rockefeller Center, they expressed a unique moment of civic
will. And they became exponents of global commerce in the marketplace of
New York City. After their destruction, the same expression of civic will did not
reemerge; what did emerge was more of our own time.
herausgegeben von erik Fenstad Langdalen,
Aaslaug Vaa, nina Frang høyum und Lars Müller
Mit Fotografien von Iwan Baan
Design: Integral Lars Müller
16,5 × 24 cm, 240 Seiten
186 Abbildungen, Hardcover
2010, ISBN 978-3-03778-213-2, Deutsch
2010, ISBN 978-3-03778-214-9, Englisch
2010, ISBN 978-3-03778-215-6, Norwegisch
EUR 40.– CHF 65.–
Auf Hamarøy, im Norden Norwegens, hat
Steven Holl ein Dokumentationszentrum über
den nor wegischen Schriftsteller Knut Hamsun
(1859 –1952) entworfen und realisiert. Das
eigenwillige Bauwerk reflektiert diese aussergewöhnliche
Persönlichkeit. Das Zentrum in der
kargen Landschaft Hamarøys, in der Hamsun
gelebt und gearbeitet hat, die Stille und Einsamkeit,
fordern auf, sich auf ihn und sein Werk
ein zulassen. Das Buch dokumentiert die Verbindung
zwischen Hamsun, der Architektur und
der Landschaft. Der Fotograf Iwan Baan setzt
die Landschaft und das Gebäude in Beziehung
zueinander. Historische Dokumente veranschaulichen
Hamsuns widerspruchsvolles Leben und
das einflussreiche Werk, u.a. der Roman Hunger
(1891), mit dem Hamsun literarischen Weltruhm
erlangte. 1920 wurde er mit dem Literaturnobelpreis
ausgezeichnet.
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