By Michael Bell
Glass is among the so much ubiquitous and generally researched construction fabrics. regardless of the serious position it has performed inmodern structure within the final century, we have now but to totally understand the cultural and technological results of thiscomplex and complicated construction fabric. Engineered Transparency brings jointly a unprecedented, multidisciplinary workforce of overseas architects, engineers, brands, and critics to jointly re-evaluate glasswithin the context of contemporary engineering and structural achievements. In gentle of those developments, glass hasreemerged as a unique architectural fabric, delivering new and formerly unbelievable modes of visible excitement andspatial adventure.
Engineered Transparency offers a portfolio of initiatives that includes state of the art glass designs by means of todays such a lot leading edge architects, together with SANAA's acclaimed Glass Pavilion on the Toledo Museum of artwork, Yoshio Taniguchi's MoMA enlargement in long island urban, and Steven Holl's Nelson-Atkins Museum in Kansas urban. With contributions through prime thinkers within the box of structure and layout together with historians Kenneth Frampton, Antoine Picon, and DetlefMertins; cultural critics Beatriz Colomina, Joan Ockman, and Reinhold Martin; engineers Werner Sobek, man Nordenson,and Richard Tomasetti; and designers Kazuyo Sejima, Steve Holl, and Elizabeth Diller, Engineered Transparency redefines glass as a twenty first century development fabric and demanding situations our assumptions approximately its aesthetic, structural, and spatial strength.
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Additional resources for Engineered Transparency: The Technical, Visual, and Spatial Effects of Glass
After World War I, Albert Kahn developed the Victory sash, replacing steel (an essential wartime material) with wood, but the building industry and codes often limited the architect’s choices. | figs. 1 + 2 When engineers designed entire buildings, they were able to push the technological potential of materials. For example, Richard Steiff designed a toy factory in Giengen an der Brenz, Germany, using an experimental double-glazed curtain wall that allowed light to permeate the factory floor, which was rare at the time.
Kenneth Frampton 90 Insulated Glazing Units: Fabrication and Memory of Weight and Stress Michael Bell 33 Engineered Transparency Essays Bioconstructivisms Detlef Mertins Notwithstanding the significant changes that have taken place in technology and culture since the early twentieth century, it can be said that glass is, in fact, still glass because it never was just glass. Glass architecture was, and continues to be, both technologically and culturally motivated in the service of aesthetics that have cognitive and socially transformative effects.
The use of such products continued into the early twentieth century, as modern architects employed simplified curtain-wall systems made from off-theshelf parts. Concrete-framed factories, such as the Packard Motor Car Company Plant and the Highland Park Ford Plant designed by Albert Kahn Associates, as well as the Larkin Building, designed by Lockwood and Greene, had wood industrial sashes in multiple groupings to admit light and air to the factory floor. The production of steel window systems, by companies such as Pilkington and Crittall Windows, in England, and Hope’s Windows, in the United States, expanded with the modern movement.