Download PDF by Hisham Elkadi: Cultures of glass architecture
By Hisham Elkadi
Whilst designing, architects are responding to and making a courting among id, tradition and architectural sort. This publication discusses even if the level of using glass facades has elevated, or certainly improved, the construction of significant place-making, thereby making a cultural identification of 'place'. the advance of perceptions of glass facades in numerous cultures, it exhibits how modernist 'glass' structures are perceived as an expression of technical success, as symbols of world fiscal good fortune and as atmosphere a impartial platform for multi-cultural societies - all of that are tricky for city builders and coverage makers to withstand in our period of globalization. Drawing on a couple of sleek and background layout initiatives from Europe, the united states, the center East and South East Asia, the booklet stories efforts of a few local cities and native areas to maneuver up the commercial ladder by way of adopting a extra 'global' aesthetic.
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In this sense, we are back to the true meanings of techne as described by Protagoras, meaning the complexity of craft, art or science. In other words, techne can be, with this description, a synonym for culture. Nussbaum explained the qualitative and plural nature of techne and described how the arts activities themselves constitute the end (Nessbaum 1989: 99). The technical qualities of glass façades, with their universality, precision, learnability and explanatory characteristics, should be considered means of achieving the aesthetic qualities of glass façades; neutrality, purity, dynamicity and transparency.
The display of the physical nature in this interplay will lead to and influence the transformation of the cultural construct of our built environment. The emerging new environmentally responsive glass façade is one in which the visible and invisible, nature and culture, chora2 and form, female and male, natural and man-made, and 2 A chaotic mix of perceptions, feelings and needs. Green Glass in Architecture 27 design and technology come together in this theatrical zone of a building face. It is this merge between opposites that characterizes the development of an environmentally responsive architecture design, where design and technology are truly merged.
Here, we need to differentiate between the natural products and the natural processes. The former would follow the organic approach in the work of, say, Eisemann and Ghuery, while the latter would emphasize the importance of simulating the natural processes and creating complex systems that can learn, grow, adapt and evolve. Calatrava demonstrates the difference, denying the following of the anatomical analogy of the animal skeleton while confirming his interest on how the structural forces work.
Cultures of glass architecture by Hisham Elkadi