Cultures of Glass ArchitectureWhen designing, architects are responding to and creating a relationship between identity, culture and architectural style. This book discusses whether the extent of the use of glass facades has increased, or indeed enhanced, the creation of meaningful place-making, thereby creating a cultural identity of 'place'. Looking at the development of perceptions of glass facades in different cultures, it shows how modernist 'glass' buildings are perceived as an expression of technical achievement, as symbols of global economic success and as setting a neutral platform for multi-cultural societies - all of which are difficult for urban developers and policy makers to resist in our era of globalization. Drawing on a number of modern and heritage design projects from Europe, the USA, the Middle East and South East Asia, the book reviews efforts of some regional towns and local places to move up the economic ladder by adopting a more 'global' aesthetic. |
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Page 11
... Figure 1.10 ) . Jencks ( 1997 ) explained that it was a combination of the need of machine efficiency and a fresh spirit and clarity in this new Europe that led on to the International style ( Figures 1.11 and 1.12 ) . In the same era ...
... Figure 1.10 ) . Jencks ( 1997 ) explained that it was a combination of the need of machine efficiency and a fresh spirit and clarity in this new Europe that led on to the International style ( Figures 1.11 and 1.12 ) . In the same era ...
Page 36
... ( Figure 2.3 ) . Pawley ( 1988 ) regards the new skyscrapers in the East , a completely different cultural context from the West , as symbols of a transfer of economic supremacy from the declining West to the rising East . The race to ...
... ( Figure 2.3 ) . Pawley ( 1988 ) regards the new skyscrapers in the East , a completely different cultural context from the West , as symbols of a transfer of economic supremacy from the declining West to the rising East . The race to ...
Page 42
... ( Figure 3.8 ) . Franz von Sengenschmid designed the private conservatory , built in 1880 , in collaboration with the structural engineer Sigmund Wagner . Once again , the separation between the walls and the façade of the building , as ...
... ( Figure 3.8 ) . Franz von Sengenschmid designed the private conservatory , built in 1880 , in collaboration with the structural engineer Sigmund Wagner . Once again , the separation between the walls and the façade of the building , as ...
Contents
The History of Glass and its Architectural Identity | 1 |
Environmental Perspectives on Using Glass in Architecture | 17 |
Constructing Place Identity | 33 |
Copyright | |
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achieved aesthetics allow applied approach architects architecture buildings built environment cent century changes Chapter characteristics clear climates coatings coefficient colour combination construction contemporary context continued cooling create cultural daylight described direct double Dubai early economic electric electrochromic elements energy environment environmental example experience explained factor Figure films forces gain glass façades glazing green groups heat heritage House human identity important increase industry infrared inside insulation integrated interesting layers levels light transmittance low-e major materials nature panes performance political positive presented processes production properties qualities radiation reduce reference reflect representation represents response result role selective sense separate shading shows skin social solar solar heat Source space spectrally structure surface sustainable thermal thermal transmittance tinted tradition transformation transmission transparent types unit urban values visible light visual Wigginton
References to this book
Victorian Glassworlds : Glass Culture and the Imagination 1830-1880: Glass ... Isobel Armstrong No preview available - 2008 |