材料與建造過程外文翻譯畢業(yè)設(shè)計（論文）

文章出處：John

P.Cook

P.E

Composite

Construction

Methods,John

Wiley

itself

working

in

compression;

even

the

colors

that

are

put

together

in

a

simple

but

deliberate

manner.

There

is

no

doubt

that

the

simple

act

of

holding

a

stone

in

the

air

can

be

a

matter

of

e*pression.

The

work

that

I

did

the

Wohlen

High

School

in

Aargau,Switzerland,required

me

to

make

a

series

of

interventions

in

some

e*isting

buildings.

I

added

an

entrance,a

central

hall,a

roof

for

the

library,and

another

roof

for

the

great

hall.

In

this

project,I

changed

materials

several

times.

One

part

was

built

in

concrete

and

steel;

another

part,in

steel

and

glass;

another

one,in

wood

and

concrete.

Along

with

the

e*perimentation

with

materials—using

particular

materials

for

particular

solutions—I

also

introduced

another

theme.

I

thought

that

it

would

be

interesting

to

work

with

the

light,controlling

it

differently

for

each

particular

space.

The

idea

of

the

entrance

was

generated

from

the

e*isting

plan

and

its

geometry.

The

plan

was

a

trapezoid,which

I

cut

with

a

diagonal

to

create

a

canopy

that

consists

of

two

cones

attached

by

an

arch.

One

works

in

cross

section

that

provides

torsional

resistance

and

also

holds

the

gutter.

Even

though

the

pipe

has

torsional

stiffness,I

used

it

here

for

the

purpose

of

cresting

a

link

between

the

fa?ade

and

the

canopy,so

that

these

elements

work

together

in

the

same

gesture.

An

ensemble

has

to

become

a

single

thing.

And

of

course,independent

of

the

fact

of

construction,it

is

clear,looking

especially

at

the

elevation,that

there

is

the

idea

of

a

leaf,or

a

palm.

A

very

figurative

idea

was

part

of

the

design.

There

is

certainly

behind

my

very

first

approach—this

free

approach—to

architecture

a

looking

for

inspiration

in

natural

forms.

The

simple

observation

of

things

motivates

me

as

much

as

the

material

aspects

of

architecture

do.

The

second

intervention

at

Wohlen

High

School

is

an

entry

space.

There

I

made

a

circular

cupola

in

wood.

The

shape

was

very

straightforward;

a

circle

was

subdivided

into

radial

segments.

These

segments

were

made

using

a

v

that

I

cut,opening

the

interior.

I

replaced

the

portion

of

the

crease

that

was

removed

with

a

linear

element

that

signifies

the

compression

in

this

element.

I

separated

the

different

components

of

the

cupola’s

support

in

order

to

make

visible

all

the

different

types

of

support

and

to

create

a

free

ring

around

the

periphery.

This

tension

ring

is

floating.

The

idea

of

defying

gravity

is

e*pressed

in

showing

this

ring—making

it

visible

but

not

structurally

significant—and

then

pushing

back

the

corner

supports

of

the

v

segments,which

are

the

real

supports

of

the

cupola.

The

light

comes

in

from

behind

the

cupola,at

its

base

and

through

the

creases

of

its

triangular

segments.

The

surfaces

behind

the

cupola

disappear

in

this

light,so

that

you

get

the

impression

that

the

whole

thing

is

floating

in

the

interior

space.

It

is

clear,when

you

see

all

those

shapes

together,that

they

can

be

associated

with

petals.

In

a

library,the

control

of

the

light

and

the

relationship

of

the

light

to

the

space

is

even

more

important.

I

thought

it

necessary

to

liberate

the

walls

and

to

create

tangential

light,as

Louis

Kahn

might

do.

I

decided

to

make

the

roof

an

the

center

of

the

space

seem

to

float.

Its

main

support

is

a

column

toward

which

the

roof

inclines

and

through

which

rain

water

is

channeled.

The

roof

is

a

shell

composed

of

several

shells.

The

corners

are

held

in

place

so

that

the

roof

will

not

move

laterally,but

all

the

weight

is

supported

through

the

center

column.

Then

light

descends

along

the

walls,tangentially.

For

the

genesis

of

the

idea

I

started

thinking

about

a

book

an

open

book.

Again,as

in

several

other

cases,the

idea

of

the

roof

as

floating

came

to

mind.

This

is

a

theme

in

which

the

idea

of

lightness

is

embedded,and

lightness

is

often

created

because

of

the

contraposition

of

materials

or

of

static

systems.

If

the

roof

is

heavy

and

the

spindle

is

light,this

contraposition

of

two

materials

combined

with

the

light

coning

from

the

sides

will

make

the

whole

roof

seem

to

fly.

The

basis

for

the

form

of

the

shell

was

not

the

usual

hyperboloid

or

paraboloid;

it

was

a

book—an

open

book.

At

the

same

time,the

shell

also

wanted

to

become

a

bird.

It

is

a

kind

of

superposition

of

concepts.

You

can

also

see

a

leaf

in

it,held

in

the

spindle

support.

With

the

design

of

the

great

hall,or

auditorium,what

I

wanted

to

achieve

was

quite

simple.

I

proposed

making

the

roof

emerge

by

creating

a

parabolic

arch

on

the

interior

that

supports

a

raised

shell

that

is

independent

of

the

walls.

At

each

side

of

the

shell

is

a

gutter

and

a

longitudinal

window

that

brings

light

to

the

interior,very

softly

emphasizing

the

underside

of

the

shell

and

bringing

transparency

to

the

repetitive,oblique

elements

that

are

transferring

the

weight

of

the

roof

to

the

arch.

These

oblique

elements

are

all

standardized

pieces

of

wood

appro*imately

three

inches

by

three

inches.

The

parabolic

arch

and

an

upper

arch

supporting

the

shell

are

of

laminated

wood.

The

space

is

very

intimate,partially

because

of

the

decision

to

use

wood.

The

contrast

between

light

and

pattern

on

the

interior

also

contributes

to

this

intimacy.

As

in

the

entrance

canopy,there

is

the

idea

of

a

palm

tree.

Also—and

this

may

be

very

figurative—I

was

trying

to

e*press

the

idea

of

the

force

of

the

parabolic

arch

transferring

to

the

column.

Many

people

think

the

column

top

is

a

reminiscence

of

an

Ionic

capital,which

is

not

the

case.

It

is

more

like

the

head

of

a

ram.

The

columns

were

pre-cast

in

concrete.

I

like

very

much

brute

concrete—concrete

done

on

site—but

ore-casting

can

be

very

interesting

because

of

the

comple*ity

and

freedom

of

forms

that

you

can

achieve.

In

Valencia,in

my

mother

language,we

used

too

say

FORMIGO.

FORMIGN

comes

from

FORMA.

In

Spanish,concrete

is

BORMIGON

with

“h”

replacing

the

“f”

of

FORMIGO.

FORMIGO

means

material

to

which

you

can

give

form.

This

is

a

good

definition

of

concrete.

With

pre-cast

concrete

you

are

very

free

to

choose

the

shape,the

texture,and

many

other

characteristics

of

the

material.

We

cast

the

columns

for

the

great

hall

in

the

most

economical

way.

We

cut

the

column

in

two

and

cast

each

half

horizontally

and

then

glued

them

together.

This

has

another

advantage

in

that

all

the

e*posed

surfaces

in

the

end

are

finished

surfaces;

you

do

not

see

any

of

the

places

in

which

you

have

been

casting

the

concrete.

Ernsting’s

Warehouse

in

Coesfeld,Germany,is

also

an

early

work.

It

wan

an

e*ercise

in

how

to

clad

an

e*isting

warehouse

and

give

it

new

signification.

The

first

decision

I

needed

to

made

was

about

the

materials,which

had

to

be

very

economical.

So

we

decided

to

use

concrete

and

crude

aluminum

that

you

can

get

very

easily.

You

can

purchase

it

corrugated

or

flat

you

can

get

it

in

many

ways—and

it

is

easy

to

work

with.

We

investigated

how

to

transform

this

building,not

only

materially,but

also

thematically.

The

limitation

of

the

material

created

a

significant

restriction;

the

idea

of

working

with

a

theme—here,the

“pintoresque”—allowed

us

a

certain

freedom.

By

“pintoresque”

I

mean

like

a

paining;

each

fa?ade

should

appear

like

a

different

painting

e*ecuted

in

the

same

two

materials.

The

material

creates

a

unity,and

the

treatment

of

the

material

makes

each

fa?ade

different

from

the

others.

The

south

fa?ade

was

done

using

corrugated

aluminum,made

into

a

sinusoidal

curve.

This

gives

the

fa?ade

a

double

rigidity,because

the

conve*

segments

of

the

curve

are

held

at

the

inside

with

transversal

connections.

This

curve

gives

one

level

of

rigidity

and

the

corrugation

of

the

metal

itself

provides

a

second

rigidity,permitting

us

to

make

quite

a

tall

fa?ade.

In

order

to

emphasize

the

movement

of

the

curve,we

cut

the

fa?ade

at

the

top

and

bottom

on

an

oblique

angle,so

that

looking

from

the

front,in

elevation,the

section

of

the

sinusoid

is

even

more

accentuated.

Looking

up

to

the

top

of

the

fa?ade,the

curve

is

clear

and

readable.

The

client

said

that

for

safety

reasons

he

needed

a

lot

of

light

on

the

exterior,so

we

put

lamps

on

the

fa?ade

so

that

the

shadows

of

the

lamps

follow

the

curve.

They

create

drawings

on

the

fa?ade,and

this

is

quite

a

plastic

relationship.

This

is

the

south

fa?ade,which

means

that

the

movement

of

the

sun

during

the

day

makes

a

very

significant

change

in

the

fa?ade

itself.

In

the

curve

you

see

shadows

of

the

light

and

also

the

reflection

of

the

sun.

Vertical

vibrations

are

produced

by

the

reflection

of

the

sun

in

the

corrugations

of

the

aluminum.

The

fa?ade

is

extremely

sensitive,changing

with

the

hours

of

the

day—with

horizontal

light,with

vertical

light.

The

oblique

cut

at

the

base

makes

the

fa?ade

seem

to

float

and

move

over

the

concrete

structure.

On

the

north

fa?ade,the

problem

was

different,because

it

has

just

zenith

light—a

very

diffused

light,ambient

light.

So

how

do

you

emphasize

the

plasticity

of

the

fa?ade

in

zenith

light?

I

proposed

using

an

s

profile

placed

horizontally

on

the

fa?ade

in

very

long

pieces—as

long

as

possible,which

means

maybe

ten

meters,or

thirty

feet,long.

In

this

profile,the

center

section,on

the

diagonal,will

generate

quite

a

reflection.

At

the

top

edge

where

the

two

profiles

overlap

you

will

get

shadow.

Then

again,less

reflection

at

the

bottom

of

the

profile,until

it

breaks

in

shadow

again,This

makes

a

linear

structure

but

one

that

is

sensitized

to

the

zenith

light.

On

the

east

fa?ade

we

used

corrugated

plates

seventeen

meters

high.

The

problem

here

was

to

put

them

on

in

one

piece

and

to

hold

them

in

place

with

small

elements

at

the

bottom

and

the

top.

The

east

side

is

very

flat,confronting

the

horizontal

light

of

the

morning

sun.

There

was

an

elevator

body

on

this

side

that

needed

to

be

clad.

In

order

to

distinguish

it

from

the

rest

of

the

fa?ade

we

used

scales—like

those

of

a

fish—but

very

big

ones,made

of

aluminum,that

fold

at

the

corners

and

into

the

top.

So

again,each

one

of

these

facades

is

conceived

as

a

separate

picture.

I

spoke

before

of

the

“pintoresque,”

meaning

like

a

painting.

But

how

do

you

link

these

different

paintings,these

facades?

From

the

very

beginning,was

like

a

foreign

body.

The

west

fa?ade

has

almost

the

same

light

conditions

as

the

east

fa?ade,the

sun

setting

versus

the

sun

rising.

It

was

also

done

using

those

very

large

panels

of

corrugated

aluminum.

It

incorporates

three

large

gates

for

the

lorries

that

come

in

and

go

out

everyday.

There

are

a

lot

of

them.

Many

lorries

wait

at

the

door.

The

gates

open

and

the

lorries

go

in

or

out.

If

you

look

at

these

doors,at

the

building’s

scales,and

at

other

things,the

building

somewhat

resembles

a

whale.

And

with

the

lorries

going

in

and

out,it

is

like

the

story

of

Jonas,or

like

the

elephant

and

the

snake

of

St.

E*upery.

There

is

here

a

theme

of

swallowing.

You

see,it

is

also

very

important,this

kind

of

game.

The

sculpture

I

showed

at

the

beginning

of

the

lecture

was

made

with

toys.

It

was

an

e*ercise

for