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Exploring the design of innovative building enclosure systems (or skins) in contemporary architecture and their precedents in earlier twentieth century modern architecture, this book examines the tectonics, the history and the influence of translucency as a defining characteristic in architecture. Highly illustrated throughout with drawings and full colour photographs, the book shows that translucency has been and continues to be a fertile ground for architectural experimentation. Each chapter presents a comparative analysis of two primary buildings: a recent project, paired with a historical precedent, highlighting how architects in different eras have realized the distinctive effects of translucency. The included buildings span a variety of program types, ranging from a single-family residence, to a factory, to a synagogue. Whether it is Pierre Chareau’s glass-lens curtain wall at the Maison de Verre, Frank Lloyd Wright’s wall of stacked glass tubes at the Johnson Wax Research Tower, or Peter Zumthor’s use of acid-etched glass in a double-skin envelope at the Kunsthaus Bregenz, the included projects each offer an exemplary case study of innovations in materiality and fabrication techniques. Today, among many contemporary architects, there is an engagement with new technologies, new material assemblies, and new priorities such as sustainability and energy-efficiency. A resurgent interest in translucency as a defining quality in buildings has been an important part of this recent dialogue and this book makes essential reading for any architect looking to incorporate aspects of translucency into their buildings.
Today the excitement in architecture derives from the tension between the need for privacy and the impulse toward community. This unique survey of buildings and interiors captures the multilayered experience that is engaged whenever we look out of—or into—a work of architecture. Immaterial Worldexamines the built environment as a reflection of the terrors and pleasures of exposure, information overload, and abundance of every sort. Twenty-five projects from around the world by such well-known architects as Diller Scofidio + Renfro, Morphosis, Christian de Portzamparc, Renzo Piano, and many others, are presented. These works range from complete transparency to bunkerlike opacity, depending upon who’s doing the looking and who or what is being seen.
This volume explores the concept of "spatial transparency"; a form of spatial continuity that articulates depth through permeable, layered, or porous three-dimensional organizations where interstitial light is present. Although transparency is a concept largely associated with the modern movement, the use of glazed components, and twentieth-century architectural discourse, spatial transparency is a form of depth awareness through intermediate domains, takes place through the interstitial fabric of a structure, and occurs when several consecutive domains are spatially and visually connected. These immersive environments invite active participation, not as one-way communication but as a series of visual and experiential exchanges, interdependencies, and relationships. Divided into four parts, the book examines spatial transparency in massive opaque constructions, light constructions, glass assemblies, and hybrid systems. It analyzes both the phenomenon of visual connectivity and continuity through intermediate spaces, and spatial transparency’s capacity for promoting and enabling graded, interflowing environmental transactions. Using historical and contemporary examples, it catalogs some of the most common and recurring configurations that manifest these characteristics. Over 20 international case studies from the Americas to Japan are presented to argue that environments exist in porous mediums and that by studying the openings, voids, light, and materials of layered and/or permeable organizations, important insights about space making can be revealed. Written for students and academics, this book explores various expressions of spatial transparency in architecture and helps connect their abstract ideas with significant built works, analytical drawings, and comparison charts.
The current material customer of translucent building materials Translucent materials give architects far more possibilities to exploit the sensual interplay of light and the fascination of interior-exterior interaction than plain glass, a fact proved by their increasing application. Traditionally, stretched paper, finely-cut stone, or stained glass were used to create mood and atmosphere. These are now giving way to a new generation of innovative materials - composite glass, synthetic panels, membranes and perforated metals.
Asian Alterity is an interdisciplinary theoretical analysis that vigorously contests the homogeneity of the mainstream Eurocentric values. Part I argues for the need for an alternate perspective to be introduced so as to understand the diversity of Asia's cultural differences at their varied development stages and to meet the complex challenges of the explosive urban expansion and disruptive changes in traditional cultures and lifestyles.Part II of the book consists of nine case studies of Asian major urban cities by well-established academic writers and urban theorists. Each author presents diverse aspects of urban dynamism. The case studies will collectively demonstrate a broad framework to understand the essentiality of the interdisciplinary mode of Cultural Studies as an important lens towards meeting the challenges in Asian Architecture and Urbanism.Highlights of the book:
In a departure from the realm of pure chromatic design, this surprising new volume in Victionarys bestselling Palette series investigates the use of transparency in design. From crystal clear translucency through a full range of opaque treatments, designers use the latest in materials and printing techniques to create interest and mystery. From the whimsical to the ingenuous, the designs conceal or reveal, incorporating color, pattern and typography in this interplay of layers. Some are interactive, requiring the participation of the consumer or even light itself to produce the desired effect. Other designs quietly demonstrate their visual power, appealing to our innate sense of wonder. Includes a diverse assemblage of examples from the fields of architecture, fashion, print, product, packaging design and more.
Surface is one of the most intensely debated topics in recent arts, humanities and social science scholarship. The changing technologies which manufacture the actual and virtual surfaces of today are radically altering our perception of thresholds and borders. In contrast to the responses to preceding industrial revolutions, contemporary concerns with surface seem preoccupied with its function of mediation or passage, rather than with that of separation or boundary. In Surface and Apparition, each chapter explores a different meaning and function of the material and immaterial qualities of 'surface'. Case studies include various surfaces from computer screens, 'artisanal' engines and glass architecture to gauzy veils, the planetary surface of supply chain capitalism, and spatial embodiment in street markets. International scholars of design, architecture, film, media, fine art, fashion, textiles, silversmithing, woodworking and archival practices account for how the material and the immaterial draw attention to each other in both their everyday and artistic practice. Each chapter addresses particular systems (from the human body to manually operated tools and machines); materials (for instance cloth, wood and light); modes of attention, movement and engagement. 'Surface' therefore functions in this book as a multidisciplinary method for attending to critical issues concerning human creative and technological endeavours.
The paradoxical logic of transparency and mediation Transparency is the metaphor of our time. Whether in government or corporate governance, finance, technology, health or the media – it is ubiquitous today, and there is hardly a current debate that does not call for more transparency. But what does this word actually stand for and what are the consequences for the life of individuals? Can knowledge from the arts, and its play of visibility and invisibility, tell us something about the paradoxical logics of transparency and mediation? This Obscure Thing Called Transparency gathers contributions by international experts who critically assess the promises and perils of transparency today.
Claude-Nicolas Ledoux's engraving Coup d'oeil du théâtre Besançon in which the architect's building is seen reflected in the eye of a viewer, is the center piece in this intellectual archaeology. Rodolphe el-Khoury's close reading of Ledoux's celebrated icon uses it to excavate the foundations of architectural transparency, Modernism's most potent and lasting "invention," which is here traced back to an intellectual milieu that precedes the industrial revolution's glass and steel building technology. The image becomes a site of entry into the culture of the eighteenth century - debates in public health, the political ideas of Rousseau, the philosophy of Condillac, the project of the Encyclopaedie - yielding insights into important philosophical, and architectural issues. The book includes a translation of Ledoux's chapter on the theater from his magnum opus, Considarae Sous le Rapport de l'art, des Moers, et de la Legislation ILLUSTRATIONS: 5 colour & 60 b/w photographs