Dr : farooq mufti
HOME WORK NO : 1 Name : AbdulrahmanHatemTayeb NO : 1010314
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AR 321
المكتبة الرقمية أو المكتبة اإللكترونية المكتبة الرقمية أو المكتبة اإللكترونية هي مجموعة من المواد (نصوص وصور وفيديو وغيرها) مخزنة بصيغة رقمية ويمكن الوصول إليها عبر عدة وسائط .أهم وسائل الوصول لمحتويات المكتبة الرقمية هي الشبكات الحاسوبية وبصفة خاصة اإلنترنت ال ينحصر محتوى المكتبة الرقمية على الكتب الرقمية فقط بل يتعداه إلى غيرها من الوسائط .وبذلك تكون مواقع والفيديو لـ Flickrوغيرها مكتبات رقمية أيضا (ولو أنها متخصصة ،فالصور لـ YouTubeو Flickrمثل حتى إن البعض ال يتوانى في وصف اإلنترنت بأنها المكتبة الرقمية العالميةYouTube). تتتميز المكتبات الرقمية بأهدافها (تجارية ،ثقافية..إلخ) ،وحسب مواضيع مضامينها التي تركز عليها (دينية ،أدبية ،علمية، )تقنية...إلخ) وحسب شكل المضامين (مستندات ،صور ،فيديو ،صوت...إلخ
مشروع غوتنبرغ من أقدم المكتبات الرقمية مشروع غوتنبرغ .لم يكن الربح التجاري هدف الشاب مايكل هارت في عام 1791عندما قام بإنشاء أول مكتبة رقمية ،واختار اسم غوتنبرغ على اسم مخترع الطباعة في القرن الخامس عشر ،الذي فتح أفقا جديدا إلصدار الكتب مؤذنا ببدء عصر التنوير في أوروبا وتمكين المواطن األوروبي العادي من اقتناء وقراءة الكتب
واجهة المكتبة وموقعها ضمن طراز المباني المجاورة
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مسقط أفقي للدور األول
مسقط أفقي للدور األرضي
منظور داخلي للمكتبة يبين طرازالمكتبة وترتيب عناصرها
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Kimbell Art Museum
The south wing of the museum showing a portico and five vaulted galleries. The tree-lined entry courtyard is at the far left.
The Kimbell Art Museum in Fort Worth, Texas, hosts a small but excellent art collection as well as traveling art exhibitions, educational programs and an extensive research library. Its initial artwork came from the private collection of Kay and Velma Kimbell, who also provided funds for a new building to house it.
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One of the porticos at the front of the museum. This shell, like all the others, is supported only at its four corners, minimizing obstruction at floor level.
True vaults, such as the Roman vaults that Kahn admired, will collapse if not supported along the entire lengths of each side. Not fully understanding the capabilities of modern concrete shells, Kahn initially planned to include many more support columns than were necessary for the gallery roofs.[12]:185 Komendant was able to use post-tensioned concrete that was only five inches thick to create gallery "vaults" that need support columns only at their four corners.The Geren firm, which had been asked to look for ways to keep costs low, objected that the cycloid vaults would be too expensive and urged a flat roof instead. Kahn, however, insisted on a vaulted roof, which would enable him to create galleries with a comforting, room-like atmosphere yet with minimal need for columns or other internal structures that would reduce the museum's flexibility. Eventually a deal was struck whereby Geren would be responsible for the foundation and basement while Komendant would be responsible for the upper floors and cycloid shells.[4]:218 Kahn placed one of these shells at the front of each of the three wings as a porch or portico to illustrate how the building was constructed. The effect was, in his words, "like a piece of sculpture outside the building
Skylights
Reflectors spread sunlight across the gallery ceilings. Kahn showed that the curved ceiling shells are supported only at their corners by allowing a thin strip of outside light to enter along the tops of the long gallery walls and a thicker arc of light to enter at the end of each gallery.
David Brownlee and David DeLong, authors of Louis I. Kahn: In The Realm of Architecture, declare that "in Fort Worth, Kahn created a skylight system
Elevation Drawing Elevation Drawing Lower Plan Drawing
Upper Plan Drawing Section Drawing Site Plan Drawing
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Elevation Drawing
Abraham Lincoln (1920)
Abraham Lincoln
is a colossal seated figure of U.S. President Abraham Lincoln (1809–1865) sculpted by Daniel Chester French (1850–1931) and carved by the Piccirilli Brothers. It is situated in the Lincoln Memorial (constructed 1914–22), on the National Mall, Washington, D.C., USA, and was unveiled in 1922. Stylistically, the work follows in the Beaux Arts and American Renaissance traditions.
Description
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The 170-ton statue is composed of 28 blocks of white Georgia marble (Murphy Marble)[1] and rises 30 feet (9.1 m) from the floor, including the 19-foot (5.8 m) seated figure (with armchair and footrest) upon an 11-foot (3.4 m) high pedestal. The figure of Lincoln gazes directly ahead and slightly down with an expression of gravity and solemnity. His frock coat is unbuttoned and a large flag is draped over the chair back and sides. French paid special attention to Lincoln’s expressive hands, which rest on the enormous arms of a circular, ceremonial chair, the fronts of which bear fasces, emblems of authority from Roman antiquity. French used casts of his own fingers to achieve the correct placement.
Artist
Daniel Chester French
Year
1920
Type
Side view of Abraham Lincoln
Georgia marble (Murphy Marble)
Jean Prouvé Jean Prouvé (8 April 1901 - 23 March 1984) was a French metal worker, self-taught architect and designer. His main achievement was transferring manufacturing technology from industry to architecture, without losing aesthetic qualities. His design skills were not limited to one discipline. During his career Jean Prouvé was involved in architectural design, industrial design, structural design and furniture design
Jean Prouvé c.1955, In front of his house in Nancy, France
The project s :
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Prefabricated petrol station by Jean Prouvé Chairs by Jean Prouvé
Evian Pump Room, interior during Architects: Eugéne Beaudouin and Marcel Lods
Maison du Peuple YEAR, Clichy, View of building with curtain wall façade
Interior entrance grill 1927, Villa Reifenberg, Paris (Architect: R. Mallet-Stevens)
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Caféteria Chair (No.300) 1950, Sketch of assembly detail, 1965 CB22 (No.301) 1950, André Le Stang demonstrating the assembly of the collapsible wooden chair in Jean Prouvé’s office at Maxéville Cité Armchair 193132, sketch by Jean Prouvé
Façade developed for the CCC competition 1963 Belmont, Périllier and Silvy Mame printing works 19 50, Tours, Assembly of the roof
Sir James Frazer Stirling
James Stirling (right) at the Staatsgalerie Stuttgart
Neue Staatsgalerie Commentary "The main entrance to the museum is marked by a tall, blue and red painted, centrally placed steel pavilion. It is approached to front right by a staircase and to the left by a ramp dominated by oversized coloured hand-rails. A car park is situated below the main reception area which is itself dominated by a bright green rubber floor, and this reflects in all the surrounding glazed surfaces. Glimpsed through small windows in this area, the central, scalped stone-faced rotunda can be seen. In it classical references abound. On the first floor lie the 15 top-lit and rather traditional rooms that serve as the galleries and contain some splendid examples of German and foreign art."
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Luis Barragán Architect (1902-1988)
LUIS BARRAGAN (1902-1988) was one of Mexico’s most influential 20th century architects. Famed for his mastery of space and light, he reinvented the International Style as a colourful, sensuous genre of Mexican modernism.
Luis Barragán, 1960s © Ursula Bernath/Barragán Foundation, Switzerland
Barragán’s home at Calle Ramírez, Mexico City Luis Barragan © Armando Salas Portugal/Barragán Foundation, Switzerland
Although not quite down-and-out, Luis Barragán (1902-1988) had certainly hit a rough patch when a letter arrived at his Mexico City studio in 1975 asking if the Museum of Modern Art in New York could stage a retrospective of his career. Then 73, Barragán had built nothing outside his native Mexico, and was virtually forgotten there. He was so hard-up that he occasionally sold letters, sketches and books from his archive to make ends meet. But the beauty and orginality of Barragán's buildings - like the Tlálpan Convent and Torri Satélite in Mexico City - had made him a legend among his fellow architects, and they lobbied hard for his MoMA exhibition. A few years later, Luis Barragán was awarded the Pritzker Prize, architecture's answer to the Nobel. Barragán is now regarded as one of the most important architects of the 20th century. His buildings are renowned for their mastery of space and light, but Barragán was equally influential as a landscape architect and urban planner. Cited as an inspiration by a succession of other Pritzker winners - from Tadao Ando and Frank Gehry, to Rem Koolhaas - he is one of the handful of architects who succeeded in creating their own version of modernism by imbuing it with the warmth and vibrance of his native Mexico. The son of wealthy, conservative parents, Barragán was born in Guadalajara, Mexico's "second city" in 1902, and brought up on the family's sprawling estate in the southern state of Jalisco. As an engineering student in Guadalajara, he became fascinated by architecture. Mexico's artists and intellectuals were then searching for a new national identity after centuries of colonial rule. When Barragán's wealthy family treated him to a trip to Europe, he set off in search of ideas to modernise Mexican architecture.
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Fuente de los Amantes, Los Clubes, 1966 Luis Barragan © Armando Salas Portugal/Barragán Foundation, Switzerland
During his trip, Barragán visited the 1925 Exposition des ArtsDécoratifs in Paris, an event which popularised Art Déco and introduced the public to the glacial, industrially-produced International Style designs of Le Corbusier and Charlotte Perriand. Barragán was impressed by their work, but the houses he designed after his return to Guadalajara in 1927 were fairly traditional in style. It was only after another foreign trip in the early 1930s - when he befriended the exiled Mexican muralist, José Clemente Orozco, in New York before meeting Le Corbusier and the landscape architect, Ferdinand Bac, in Paris - that Barragán settled in Mexico City and developed his own take on modernism. Barragán transformed the International Style into a vibrant, sensuous Mexican aesthetic by adding vivid colours and textural contrasts and accentuating his buildings' natural surroundings. He once said that light and water were his favourite themes, and soon became skilled at
manipulating them both in buildings like the 1966 Folke Egerstrom House and Stables built around a brightly coloured, sculptural sequence of horse pools (Barragán loved horse riding) and the 1975-77 Francisco Gilardi House framing an indoor pool. As a landscape architect, Barragán was heavily influenced by Ferdinand Bac's writing. Much of his work in Mexico City during the 1940s involved garden design. Like Roberto Burle Marx, the famed Brazilian landscape architect, Barragán developed a distinctive approach to working within a modernist vocabulary while enhancing the local foliage and terrain of Mexico. Cuadra San Cristobál, Los Clubes, 1966-68 Luis Barragan © Armando Salas Portugal/Barragán Foundation, Switzerland
By 1945, Barragán felt confident enough as a designer of buildings and landscape to buy a large plot of land - a post-volcanic lavascape - at El Pedegral on the outskirts of Mexico City. He designed and planned an ambitious development there of elegant family homes and gardens. Architecturally, El Pedegral is regarded as a triumph, but commercially it was a failure and Barragán struggled for years with its financial difficulties. In 1952, Barragán returned to Guadalajara to work there for the first time since his move to Mexico City - on a house for a friend, Dr Arriola. Two years later, he was commissioned to build a convent at Tlálpan, a market town on the suburban fringe of Mexico City. It is a beautiful building where the serenity of convent life is gently enlivened by sculpturally positioned shafts of light.
Torres Satélite, Mexico City, 1957 Luis Barragan © Armando Salas Portugal/Barragán Foundation, Switzerland
Another triumph was the 1957 Torri Satélite, the cluster of brightly coloured towers that Barragán designed for a frenzied traffic interchange in Mexico City. Designed to be viewed from a moving car rather than by foot, like traditional monuments, it is an inspired way of enlivening a traffic-choked city. Barragán's ideas were crystallised in the house and studio he built for himself on calle Francisco Ramirez in Mexico City, and then rebuilt to test out ideas. Often a solitary figure, Barragán spent most of his time there. His working day began with a 7.30am breakfast with his assistants, and ended at 4pm when they left the studio and he then moved to the house to spend his evening buried in art and architecture books. Barragán mulled over new projects for weeks, sometimes months, before making a rough sketch and refining the details while working with an artist on the architectural model.
Thanks to the MoMA exhibition and the Pritzker Prize, Barragán Roof terrace of Barragán’s home at Calle enjoyed a few years of the admiration and attention he deserved before his death in Mexico City in 1988. Yet for an architect of his gifts, he left Ramírez, Mexico City a disappointingly small body of work. Luis Barragan © Armando Salas Portugal/Barragán Foundation, Switzerland
Yutaka Saito, Luis Barragán, Noriega Editions, 1995
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Bruno Zevi, Luis Barragán, Canal & Stamperia, 1999 Keith L. Eggener, Luis Barragán's Gardens of El Pedregal, Princeton Architectural Press, 2001
Adolf Loos
Tribune Tower The Tribune Tower is a neo-Gothic building located at 435 North Michigan Avenue in Chicago, Illinois, USA. It is the home of the Chicago Tribune and Tribune Company. WGN Radio (720 kHz) broadcasts from the building, with ground-level studios overlooking nearby Pioneer Court and Michigan Avenue. CNN's Chicago bureau is located in the building. It is listed as a Chicago Landmark and is a contributing property to the Michigan–Wacker Historic District.
Adolf Franz Karl Viktor Maria Loos Born
10 December 1870 BrĂźnn (Brno), Austria-Hungary
Died
23 August 1933 (aged 62) Vienna, Austria
Tribune Tower
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Buildings
The Gothic Revival Tribune Tower in Chicago
Steiner House, Goldman & Salatsch Building (Looshaus)
Unité d'Habitation
The roof level with the children's paddling pool, atelier and ventilation stack visible.
The flat roof is designed as a communal terrace with sculptural ventilation stacks, a running track, and a shallow paddling pool for children. There is also a children's art school in the atelier. The roof, where a number of theatrical performances have taken place, underwent renovation in 2010. It has unobstructed views of the Mediterranean and Marseille and can be accessed by the public.
Other buildings and influences Le Corbusier's Berlin Unité In the block's planning, the architect drew on his study of the Soviet Communal housing project, the Narkomfin Building. Le Corbusier's utopian city living design was repeated in four more buildings with this name and a very similar design. The other Unités were built in Nantes-Rezé 1955, BerlinWestend 1957, Briey 1963 and Firminy 1965. Photo, exterior, end
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The replacement material (béton brut) influenced the Brutalist movement, and the building inspired several housing complexes including the Alton West estate in Roehampton, London, and Park Hill in Sheffield.
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Elevation Drawing