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材料与建造过程外文翻译 本文简介：毕业设计（论文）文章出处：JohnP.CookP.ECompositeConstructionMethods,JohnWileyitselfworkingincompression;eventhecolorsthatareputtogetherinasimplebutdeliberatemanner
材料与建造过程外文翻译 本文内容：
毕业设计（论文）
文章出处：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
expression.
The
work
that
I
did
the
Wohlen
High
School
in
Aargau,Switzerland,required
me
to
make
a
series
of
interventions
in
some
existing
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
experimentation
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
existing
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
expressed
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
approximately
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
express
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
complexity
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
exposed
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
exercise
in
how
to
clad
an
existing
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
executed
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
convex
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.
Exupery.
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
exercise
for
me
to
take
my
children’s
toys
and
the
things
in
my
house—pencils,the
cord
that
hangs
the
curtains,whatever
I
found—and
make
the
sculpture.
The
elementality
of
the
exercise,or
of
the
thought,takes
absolutely
nothing
away
from
the
complexity
spontaneous
and
simple,I
want
to
walk.
Where
am
o
going?
That
is
the
question.
But,you
know,to
walk
is
just
a
very
natural
thing,a
very
simple
thing.
A
very
long
trip
needs
to
be
started
with
a
small
step.
These
thoughts
of
the
whale
are,in
my
opinion,an
effort
to
pass
from
the
“pintoresque”
to
the
textual
and
to
give
the
whole
thing
a
life.
In
the
warehouse
doors,the
module
is
a
continuation
of
the
module
of
the
fa?ade.
The
pieces
of
the
fa?ade
are
all
very
repetitive;
only
the
length
of
each
has
changed.
In
this
there
is
a
very
beautiful
idea.
It
is
the
idea
that
a
fa?ade
can
be
transformed.
The
idea
of
transformation,of
metamorphosis,is
a
mother
of
evolution
in
architecture—an
unbelievable
mother!
It
is
not
only
because
we
can
deploy
mechanical
and
physical
elements
to
create
new
architectures
based
on
the
idea
of
metamorphosis
but
also
because
we