Lars Müller Publishers 2010/2011 Architecture Design Photography ...

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guy nordenson PATTErnS AnD STruCTurE Selected writings Design: Integral Lars Müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 464 pages 218 illustrations, softcover 2010, ISBN 978-3-03778-219-4, English EUR 40.– GBP 40.– USD / CAD 60.– nEw This rich collection of writings and criticisms by structural engineer and Princeton University professor Guy Nordenson, brings together previously published essays on structural engineering, architecture, design, and seismic research from 1972 to 2008. Decade by decade, Nordenson’s essays provide the unique viewpoint of the struc tural engineer and design collaborator, adding context that relates not only to the history of architecture and engineering, but locates these fields in a larger network of cultural relevance. Nordenson’s writings investigate a wide range of genres: from technical reports on seismicity, methods and technologies in structural engineering, architectural criticisms, the importance of collaboration in design, to the metaphor of tall buildings, design democracy at Ground Zero, and engineering history and theory. “ 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. 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. hAMSun – hOLL – hAMArøy Literature, Architecture, Landscape Edited by Erik fenstad Langdalen, Aaslaug Vaa, nina frang høyum, and Lars Müller With photographs by Iwan Baan Design: Integral Lars Müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 240 pages 186 illustrations, hardcover 2010, ISBN 978-3-03778-214-9, English 2010, ISBN 978-3-03778-215-6, Norwegian 2010, ISBN 978-3-03778-213-2, German EUR 40.– GBP 40.– USD / CAD 60.– Steven Holl has set up a documentation centre for the Norwegian author Knut Hamsun (1859 –1952) on Hamarøy, in northern Norway. This unconventional building reflects the author’s no less unusual personality. The centre in the barren landscape of Hamarøy, where Hamsun lived and worked, the silence and solitude, challenge visitors to involve themselves with him and his work. The book records the connection between Hamsun, the architecture and the landscape. Photographer Iwan Baan relates the landscape and the building to each other. Historical documents illustrate Hamsun’s contradictory life and influential work, et al. the novel Hunger (1890), with which Hamsun achieved his fame. In 1920 the poet was awarded with the Nobel Prize for Literature. 4 Architecture 5 nEw
Antonio foscari AnDrEA PALLADIO – unBuILT VEnICE Design: Integral Lars Müller 15 × 24 cm, 6 ½ × 9 ½ in, 288 pages 230 illustrations, hardcover 2010, ISBN 978-3-03778-219-4, English EUR 40.– GBP 40.– USD / CAD 60.– 33 Giulio Romano, Battaglia di Ponte Milvio ( detail ) 34 Giulio Romano ( and Raffaellino del Colle ? ), The Madonna and Child with Saint John the Baptist ( detail ) 35 Alessandro Buzzaccarini draughtsman, Fioravanti Penuti engraver [from the watercolour by Marino Urbani], Interior of the Arena at Padua ( detail ) 36 Giovanni Valle, Plan of the City of Padua ( edited ), 1784 50 51 nEw Any attempt to sum up Andrea Palladio’s (1508– 1580) creative achievements is invariably distorted by the fact that some of the greatest projects of his mature years were never built. For the most part, these unfinished works were in Venice. They include the patriarchal Church of San Pietro di Castello, the reorganisation of the Rialto district at the commercial and financial heart of the city, a church that would have overlooked the Grand Canal and, lastly, the monumental complex of the monastery for the Lateran Canons, the Convento della Carità. Antonio Foscari has now restored the balance by charting the course of Andrea Palladio’s remarkable life and prodigious oeuvre in a way that sheds new light on all his works while also recognising a number of previously unclassified drawings. ANTONIO FOSCARI is an architect and professor of history of architecture at the university IUAV of Venice since 1971. 15 Demus Dalpozzo, Elevation of Libreria Marciana ( detail ), Venice 16 Detail of the Libreria Marciana, Venice 24 Villini giovanili 44 45 tradition of architectural culture that had developed over the past decades, which until then he been able to explore almost only indirectly or at one step removed. It was in this spirit – without losing sight of his own cultural iden- the palazzo tity or jeopardising his intellectual autonomy – that Palladio was in vicenza for with Giulio when, after Gian Galeazzo Thiene’s death in 1542, his the thiene son Marcantonio Thiene asked the famous “ Roman ” architect to draw up a model for a palace through which he planned to assert his family’s power and authority in the heart of Vicenza. Clearly, inspired by such ambitious motives, Marcantonio Thiene would never have considered entrusting such a challenging task to a young man who had not completed a single work of similar importance, and who for years had been known in the city as the employee of a stonemasons’ workshop. Instead, based on the wealth of experience he had accumulated in Rome and Mantua, Giulio was commissioned. He was the one architect who would have had no problem interpreting Marcantonio Thiene’s self-celebratory requests. Indeed, to satisfy the ambition of this Vicentine nobleman, Giulio Romano conceived such a disruptive design that, had it been completed, would have destroyed the late medieval framework of Vicenza’s urban fabric, right at its centre. This palace, with its square layout like Bramante’s Palazzo dei Tribunali [ 52 ] or the Palazzo Te in Mantua, [ 53 ] was on a scale that dwarfed all other private buildings in the city and it would have stood in isolation ( in isola, forming an entire block, as Palladio 2 would say ), surrounded by four streets. Its autonomy would have been emphasised by four virtual towers that added weight to its corners, also in visual terms; but this was not all. On two sides, it would also have been given perhaps even greater emphasis by setting its façades back from the existing street alignments. A volume jutting out from the main façade of the fabbrica would have confirmed – as if it were a tribunal ( one might say an imperial tribunal ) – the patron’s desire for power. 47 Villa Saraceno ( edited ), Finale ( Vicenza ) 46 Villa Pojana, preliminary studies ( detail ), Pojana ( Vicenza ) 48 Villa Zeno ( edited ), Cessalto ( Treviso ) 49 50 51 ANDREAS FUHRIMANN GABRIELLE HÄCHLER Andreas Fuhrimann Studium der Physik und der Architektur an der ETH Zürich, 1985 Architekturdiplom ETHZ. 1986 Entwurfs- und Planungsarchitekt im Architekturbüro Marbach + Rüegg. Ab 1987 Zusammenarbeit mit Christian Karrer. 1988 Dozent an der Kunstgewerbeschule Zürich. Ab 1995 Zusammenarbeit mit Gabrielle Hächler. 2005 Aufnahme in den BSA.Seit 2009 Dozent an der ETH Zürich Gabrielle Hächler Studium der Kunstgeschichte Universität Zürich, Studium der Architektur ETH Zürich, 1988 Diplom ETHZ. 4 Jahre Assistenz an der ETHZ. Ab 1988 eigenes Architekturbüro. Temporäre Zusammenarbeit mit anderen ArchitektInnen oder KünstlerInnen. Seit 1995 Zusammenarbeit mit Andreas Fuhrimann. 2005 Aufnahme in den BSA. Seit 2009 Dozentin an der ETH Zürich 56 57 whAT AnChOrS A hOuSE TO ITSELf AnDrEAS fuhrIMAnn gABrIELLE häChLEr With contributions by Hubertus Adam, Kurt W. Forster, Gianni Jetzer, Marie Theres Stauffer, and the architects Photographs by Valentin Jeck Design: norm 18.6 × 24.8 cm, 7 ¼ × 9 ¾ in, 216 pages approx. 200 illustrations, hardcover 2010, ISBN 978-3-03778-240-8, English 2010, ISBN 978-3-03778-224-8, German EUR 35.– GBP 35.– USD / CAD 55.– The Zurich architects Fuhrimann Hächler take on the most diverse building commissions. The present volume is devoted in particular to private residences, most of them realized for clients who are at home in the architectural and art scenes. These homes captivate by virtue of the clarity and simplicity of their constructive materials, their economically effective construction, and their haptic, sensual surfaces and flowing spatial transitions. Outstanding examples of their architecture include the Haus Presenhuber in Vnà (2007), the Haus Müller Gritsch in Lenzburg (2007) and their own residence in Zurich (2003). The text contributions take the reader beyond the featured residences while situating these within the overall oeuvres of the architects. 6 Architecture 7 nEw AFGH WHAT ANCHORS A HOUSE TO ITSELF ANDREAS FUHRIMANN GABRIELLE HÄCHLER LARS MÜLLER PUBLISHERS WHAT ANCHORS A HOUSE TO ITSELF INHALT SIEBEN 22 / 174 PAVILLO HAFEN 50 / 182 HAUS IN ZENTRA 84 / 190 HAUS PRESEN 121 SYNTHE UND BR AFGH 000 ZUR PE VON KU ARCHIT Gianni J 000 ÜBER D DER AR Marie-T 000 BAUEN BEWEG Kurt W. 000 ABC Hubertu
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