Week 8 assignment: essay – interrelationships reflection apa format | Applied Sciences homework help
- A Chinese architect in Shanghai commented to one of the authors, “In our big cities we build high for practical purposes, just as in the West. But the culture of China is much more traditional than the culture of the West, especially in its arts. With painting, for example, it often takes an expert to identify a twentieth- or twenty-first-century work from earlier centuries. The painter begins by imitating a style and then evolves a style that never loses its roots. Likewise, the Chinese architect tends to be very sensitive to the styles of the past, and that past is more reverent to the earth than to the sky.” Is this comment relevant to the toppings of many of the Asian high-rises?
PERCEPTION KEY The Turning Torso 1. Is the building sky-oriented? 2. Is it earth-oriented? 3. Is it a combination? It seems to the authors that the Turning Torso is a combination of sky- and earth- orientation. The horizontal gaps that divide the building disect powerful sweeping verti- cal edges. The top of the building, unlike the Kuala Lumpur example, has no earthlike structures. Surely this building, especially with its spatial isolation, is sky-oriented. And yet the aptly named Turning Torso seems to be twisting fantastically on the earth as one walks around it. Or from the perspective of our photograph, the building seems to be striding toward the right. Whatever the view, the Turning Torso is horizontally kinetic, totally unlike the static Seagram Building. The Turning Torso is an extraordinary example, we think, of a combination of sky-orientation and earth-domination, unlike the Hong Kong examples, which are sky-oriented and earth-resting. Study the photograph of Norman Foster’s Hearst Tower at Eighth Avenue and Fifty-Seventh Street, New York City (Figure 6-32) . Check the Internet for different FIGURE 6-31 Santiago Calatrava, “Turning Torso,” high-rise, Malmö, Sweden. 1999–2000. The twisting design derived from one of Calatrava’s own sculptures. ©Johan Furusjo/Alamy The high-rise in Malmö, Sweden (Figure 6-31)—often described as the “Turning Torso”—by the Spanish architect Santiago Calatrava, provides splendid views for most of the 147 apartments. At the core of the building, stairs and elevators pro- vide internal communication. The service rooms—kitchen, bath, and utilities—are grouped around that core, freeing the living-room spaces for the outside world. The tallest building in Scandinavia, the Turning Torso is bound by struts forming trian- gles, reducing the use of steel by about 20 percent compared to the conventional box structure such as the Seagram Building. jac16871_ch06_121-162.indd 153 12/11/17 11:50 AM 154
CHAPTER 6
FIGURE 6-32 Norman Foster, Hearst Tower, New York City. 2006. The project was to build on top of a seventy-eight- year-old limestone building whose interior was essentially gutted to accommodate the tower, which rises sharply and suddenly above the conventional lower section. ©Chuck Choi/Arcaid/Getty Images PERCEPTION KEY Hearst Tower 1. Does the tower strike you as more or less interesting than the two adjoining sky- scrapers? Why? 2. Would you describe the building as earth-rooted, earth-dominating, sky-oriented, or some combination? As you think about this, notice how the great triangular panels of glass reflect the sky (at night, of course, there is the reflection of lights).