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WELCOME TO THE MILITARY ARTCHITECT EXPO BLOG
DO BEST WHEN YOU CAN BE A BESTدرباره من
(قال رسول الله - صلی الله علیه و آله - : نِعمَتانِ مَکفُورَتانِ الأمنُ والعافِیَةُ<==>رسول خدا - صلی الله علیه و آله - فرمود: دو نعمت است که شکر آنها گزارده نمی شود: امنیّت و سلامتی.).....این وبلاگ صرفا برای آموزش های نظامی و ورزش های رزمی و نرمشی ایجاد شده است. لطفا نظرات خودتان را برای ما با ارسال نظر در پست ها بیان کنید تا در اسرع وقت بررسی قرار گیرد. با تشکر مدیریت وبلاگ ارتش ایرانیان (تابع قوانین جمهوری اسلامی ایران هستیم.)
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Dubai Water Discus hotel will allow guests to sleep underwater
By Randolph Jonsson
14:37 May 4, 2012
It seems the construction boom in bustling Dubai is far from over – already home to several world record-holding projects, including the tallest building (for just a little while longer), the largest shopping mall and biggest man-made island, plans are now afoot to construct what will likely be the world's largest underwater luxury hotel, the Water Discus. Several years ago, we reported on another such ambitious project, Hydropolis, which sadly never got past the blueprint stage. If Polish company Deep Ocean Technology's (DOT) plans come to fruition, however, guests could one day find themselves asleep beneath the waters of the Persian Gulf.
To bring this fantasy complex into being, DOT, with the help of Swiss firm BIG InvestConsult AG, turned to local shipyard Drydocks World, which will be tasked with constructing the futuristic disc-shaped hotel. The underwater portion, with about 11,000 square feet (1,000 square meters) of usable area, will house 21 two-guest rooms, and sit about 33 feet (10 m) below the waves. Plans also call for a diving center complete with decompression chamber and air locks, a spa, a spacious garden, open terraces above the waterline, and even a helipad atop one of the surface discs for guests who wish to arrive by air.
To address the unpredictability that often comes with projects involving the sea, the entire structure can be moved should environmental (or economic) conditions change. For added safety, surface discs will be buoyant and detachable from the main structure to act as lifeboats should disaster strike. A large central shaft connects the submerged and surface discs and contains both an elevator and stairs for easy access between levels. Three adjustable columns add further support to the above-surface portion of the structure , the various discs of which are themselves interchangeable.
Bogdan Gutkowski, President of BIG, imagines the project will have an impact on numerous areas besides the region's tourism. “Water Discus Hotel project opens many new fields of development for the hotel and tourism sector, housing and city sector in the coastal off-shore areas, as well as new opportunities for ecology support by creation of new underwater ecosystems and activities on underwater world protection," he told World Architecture News. "Additionally we would like to create here in the UAE the International Environmental Program and Center of the Underwater World Protection – with Water Discus Hotel as a laboratory tool for oceans and seas environment protection and research.”
Grand plans, indeed.
While the idea of staying underwater is far from new, technology has greatly improved to meet the formidable challenges of sub-marine construction, so the likelihood of this and similar projects actually getting built is sure to increase. Famed explorer Jacques Cousteau once envisioned numerous manned underwater colonies to facilitate exploration and though that didn't come to pass, for fans of underwater living, projects like the Water Discus may prove to be the next best thing.
Source: Deep Ocean Technology via WAN
Coop Himmelb(l)au
Coop Himmelb(l)au
Akron Art Museum
Akron, Ohio
The concept of museums has changed radically since the miracle chamber ("Wunderkammer") of
Rudolf II and Ferdinand II in the 16th century.
The museum of today is no longer conceived only as an institution for the storage and display of
knowledge, it is an urban concept. The museum of the future is a three-dimensional sign in the
city which exhibits the content of our visual world. Museums are no longer only exhibition spaces
to display diverse forms of digital and analog visual information, but they also function as spaces
that cater to urban experiences.
The building is broken up into 3 parts: the Crystal, the Gallery Box, and the Roof Cloud.
The Crystal serves as the main entry and operates as an orientation and connection space serving
both the new and old buildings. It is a grand, flexible space that can also be used for banquets,
arts festivals, and events hosted by outside organizations. The traditional idea of a banquet hall as
an enclosed isolated event space dissolves away into a visible, public experience.
The energy necessary for lighting, heating and cooling the Crystal is minimized by strategic
building massing and extensive daylighting. The mass and location of the Gallery Box and High
Roof protect the southern oriented Crystal glazing from direct sunlight. At the same time the
reflectivity of the façade material raises natural light levels in the Crystal and reduces the need to
power artificial light sources.
The Crystal utilizes microclimate zones as a heating and cooling concept. These different zones are
determined by analyzing the type and anticipated length of occupancy in various areas of the
crystal and are conditioned through optimization of active and passive means. By eliminating the
need to condition the entire air volume in the Crystal, and by focusing the energy used to
condition the space in the areas where people are located, operating costs and energy use are
significantly reduced.
The interior of the Gallery Box is an expansive space which has very few columns and is therefore
extremely flexible for varying exhibition requirements. A large freight elevator brings oversized
works to and from the storage areas and serves as a link between the loading dock and Gallery
Box. Natural light is eliminated in the galleries so that it can be strictly controlled and damage
from sunlight can be eliminated.
The floors of the Gallery Box and Crystal are composed of poured in place concrete slabs with
water filled tubes that supply heating and cooling by changing temperature state of the massive
floor slab. This radiant floor system is more efficient than simple forced air systems because it
uses the mass of the concrete as a storage device which delivers a stable continuous source of
heating and cooling. Forced air systems are much less efficient than radiant systems because of
the extra work required by the system when occupancy loads suddenly change and create a far
higher burden of use of non-renewable resources.
The Roof Cloud, which hovers above the building, creates a blurred envelope for the museum
because of its sheer mass and materiality. It encloses interior space , provides shade for exterior
spaces, and operates as a horizontal landmark in the city
Akron Art Museum
Akron, Ohio
The concept of museums has changed radically since the miracle chamber ("Wunderkammer") of
Rudolf II and Ferdinand II in the 16th century.
The museum of today is no longer conceived only as an institution for the storage and display of
knowledge, it is an urban concept. The museum of the future is a three-dimensional sign in the
city which exhibits the content of our visual world. Museums are no longer only exhibition spaces
to display diverse forms of digital and analog visual information, but they also function as spaces
that cater to urban experiences.
The building is broken up into 3 parts: the Crystal, the Gallery Box, and the Roof Cloud.
The Crystal serves as the main entry and operates as an orientation and connection space serving
both the new and old buildings. It is a grand, flexible space that can also be used for banquets,
arts festivals, and events hosted by outside organizations. The traditional idea of a banquet hall as
an enclosed isolated event space dissolves away into a visible, public experience.
The energy necessary for lighting, heating and cooling the Crystal is minimized by strategic
building massing and extensive daylighting. The mass and location of the Gallery Box and High
Roof protect the southern oriented Crystal glazing from direct sunlight. At the same time the
reflectivity of the façade material raises natural light levels in the Crystal and reduces the need to
power artificial light sources.
The Crystal utilizes microclimate zones as a heating and cooling concept. These different zones are
determined by analyzing the type and anticipated length of occupancy in various areas of the
crystal and are conditioned through optimization of active and passive means. By eliminating the
need to condition the entire air volume in the Crystal, and by focusing the energy used to
condition the space in the areas where people are located, operating costs and energy use are
significantly reduced.
The interior of the Gallery Box is an expansive space which has very few columns and is therefore
extremely flexible for varying exhibition requirements. A large freight elevator brings oversized
works to and from the storage areas and serves as a link between the loading dock and Gallery
Box. Natural light is eliminated in the galleries so that it can be strictly controlled and damage
from sunlight can be eliminated.
The floors of the Gallery Box and Crystal are composed of poured in place concrete slabs with
water filled tubes that supply heating and cooling by changing temperature state of the massive
floor slab. This radiant floor system is more efficient than simple forced air systems because it
uses the mass of the concrete as a storage device which delivers a stable continuous source of
heating and cooling. Forced air systems are much less efficient than radiant systems because of
the extra work required by the system when occupancy loads suddenly change and create a far
higher burden of use of non-renewable resources.
The Roof Cloud, which hovers above the building, creates a blurred envelope for the museum
because of its sheer mass and materiality. It encloses interior space , provides shade for exterior
spaces, and operates as a horizontal landmark in the city
Performance Puzzle
Museum design teams juggle the sometimes-competing demands for preservation of collections, human comfort, and energy conservation
A Museum is inherently an energy hog. Prolonging the life of artwork and cultural artifacts requires a consistent interior environment–generally one maintained at 70 degrees Fahrenheit with 50 percent relative humidity–regardless of the season or weather. These requirements result in large energy loads, especially for humidifying and dehumidifying outdoor air.
Designing
a high-performing museum requires state-of-the-art HVAC equipment, to
be sure, but passive strategies such as building orientation and a
thermally efficient envelope, detailed and well-executed, are at least
as important. "It isn't about configuring the right mechanical
system, but about designing the right building," says Adam
Trojanowski, principal at Altieri Sebor Wieber. Trojanowski's firm is
mechanical engineer to Tod Williams Billie Tsien Architects for the
Barnes Collection–the museum set to open in downtown Philadelphia in
May that will house the highly regarded collection of Impressionist
and early-Modern paintings amassed by the late Dr. Albert C. Barnes.
Until last summer, the collection had been on display on the Barnes
estate in Merion, a Philadelphia suburb.
The
new 93,000-square-foot Barnes includes a shoebox-shaped permanent
exhibition pavilion, as well as an L-shaped wing for conservation
labs, offices, and visitor amenities like a gift shop and café.
Together, the two volumes define an interior court, topped with an
etched-glass canopy, or "lightbox," that allows controlled and diffuse
daylight into adjacent spaces.
On
track for LEED-Platinum certification, the museum is designed to
exceed the performance of the 2007 version of the energy standard
ASHRAE 90.1 by an impressive 43 percent. Some of the strategies that
contribute to these savings include ventilation-air heat recovery,
demand-control ventilation, and rooftop photovoltaic panels that are
expected to supply more than 7 percent of the building's electricity.
But more than half of the anticipated energy savings can be attributed
to the thermal properties of the envelope, along with the inclusion
of overhangs and other shading devices that help control heat gain,
says Trojanowski. At the Barnes, the galleries' exterior walls have a
limestone rainscreen-skin with bronze fins and stainless-steel
reveals, rigid insulation with an adhered air-and-vapor barrier, and a
grout-filled block wall. The whole assembly, including a plywood and
sheetrock interior stud wall, is as thick as 40 inches in some
locations. The windows are set back from the limestone skin–a detail
that helps limit direct-sunlight penetration and emphasizes the
facade's "beefiness" and "heft," giving the building a sense of
permanence, says Williams/Tsien senior associate Philip Ryan. But the
assembly's depth and composition also provide sound thermal
performance, with an R-value of 15. (The R-value is a measure of a
material's ability to retard or resist heat transfer.)
Lightbox: At the new Philadelphia home for the Barnes Collection, a court (bottom) covered with an etched-glass canopy is defined by a shoeboxlike gallery pavilion and an L-shaped wing (top). The configuration allows designers to take advantage of indirect daylight for gallery illumination
Lightbox: At the new Philadelphia home for the Barnes Collection, a court (bottom) covered with an etched-glass canopy is defined by a shoeboxlike gallery pavilion and an L-shaped wing (top). The configuration allows designers to take advantage of indirect daylight for gallery illumination
Lighting within Limits
Tightening energy codes and standards, along with new technology, present lighting designers with opportunities and challenges
Lighting designers can help assure that a project is adequately illuminated, set the tone of a space or a room, or emphasize architectural form. But their role is growing increasingly complex, in part because lighting-related technology is evolving at a breakneck pace, but also because energy codes are becoming progressively more stringent.
One illustration is the standard
developed jointly by the American Society of Heating, Refrigerating and
Air-Conditioning Engineers (ASHRAE) and the Illuminating Engineering
Society (IES): 90.1, Energy Standard for Buildings Except Low-Rise Residential Buildings.
The document, updated every three years, is often referred to in
shorthand simply as "90.1." Most state energy codes are based on 90.1 or
the International Energy Conservation Code (IECC) published by the
International Code Council.
The
latest version of 90.1, released in November 2010, is much more
rigorous than its predecessor, says the U.S. Department of Energy (DOE).
When comparing 90.1-2010 to 90.1-2007, DOE found an impressive 18.5
percent savings of site energy (the amount of heat or electricity
consumed by a building as reflected in utility bills). In contrast,
buildings that comply with 90.1-2007 are expected to save about 4.6
percent of site energy when compared with those designed to the 2004
version.
The savings achieved by the
latest iteration of the standard can be attributed to several factors,
including requirements for more efficient mechanical systems and for
better-performing envelopes. However, tougher standards for energy
consumption associated with lighting are also a major contributor.
THE QUALITY ISSUE
The
90.1 sets new limits on the amount of lighting that can be installed
in buildings. For example, the whole building lighting power density
(LPD) allowance for a library in 90.1-2010 is 1.18 watts per square
foot, down from 1.3 in 2007, and from 1.5 in 2004. For an office, the
limit in the most recent standard is 0.90 W/square foot, reduced from
1.0 in 2007, and 1.3 in 2004. With these guidelines in mind, many
prescient lighting-design and daylight consultants aim for the lowest
numbers possible.
For instance, Washington,
D.C.-based MCLA used 90.1-2007 to plan the illumination scheme for the
city's Watha T. Daniel - Shaw Neighborhood Library. But the building is
below the LPD set by the 2010 standard. And for the research areas of
Princeton's Frick Chemistry Laboratory, lighting designers from Arup
devised a scheme with densities well under code limits
Architect: Davis Brody Bond
Project: Watha T. Daniel – Shaw Neighborhood Library
Location: Washington, D.C.
Architect: Hopkins Architects with Payette Associates
Projcet: Frick Chemistry Laboratory
Location: Princeton, New Jersey
Architect: Davis Brody Bond
Project: Watha T. Daniel – Shaw Neighborhood Library
Location: Washington, D.C.
Architect: Hopkins Architects with Payette Associates
Projcet: Frick Chemistry Laboratory
Location: Princeton, New Jersey