Model BIM na poziomie

Z projektowaniem budowli z wykorzystaniem technologii BIM wiąże się kilka zagadnień, które nie występowały w projektowaniu z wykorzystaniem rysunków płaskich. Jednym z nich jest poziom zaawansowania modelu (ang. Level of Development). Skuteczne wykorzystanie technologii BIM wymaga jego znajomości, a decyzja o użyciu podczas modelowania wybranego poziomu wpływa na możliwość wykorzystania modelu w poszczególnych zadaniach procesów budowlanych. Przedmiotem artykułu jest wpływ różnic w modelach budynku, wynikających z modelowania na wybranym poziomie zaawansowania, na dokładność automatycznie wykonywanego przez oprogramowanie przedmiaru materiałowego. Różnice zostały omówione na zasadzie porównania modeli o różnych stopniach zaawansowania. W artykule omówione zostały również poziomy zaawansowania modelu określone przez American Institute of Architects.

Maki, Fumihiko [槇文彦] (1928--)

Fumihiko Maki was born in Tokyo in 1928. After studying at the University of Tokyo and graduating with a bachelor’s in architecture (BS Arch) in 1952, he undertook further studies in the USA, at the Cranbrook Academy of Art, Michigan, and at the Graduate School of Design (GSD), Harvard University, obtaining a Master of Architecture from each in 1953 and 1954, respectively. Afterwards, Maki worked for Skidmore, Owings & Merrill in New York, and for Sert, Jackson & Associates in Cambridge, Massachusetts. In 1956 he became an assistant professor of architecture at Washington University, St. Louis. Steinberg Hall, the university’s on-campus arts center, was Maki’s first design commission. Maki served as associate professor at Harvard’s GSD from 1962 to 1965, returning to Japan afterwards to establish his own firm, namely Maki and Associates. He held a professorship at the University of Tokyo from 1979 to 1989. Maki’s architectural oeuvre straddles Asia, North and South America, Europe, and the Middle East, encompassing a breadth of projects including art museums and performing arts venues, educational, research, and administrative institutions, conference, media, sports, and community centers, and residential projects, among others. His practice has earned him innumerable awards including the Wolf Prize (1988), the Thomas Jefferson Medal in Architecture (1990), the UIA Gold Medal (1993), the Pritzker Architecture Prize (1993), Japan Arts Association Praemium Imperiale (1999), and the American Institute of Architects (AIA) Gold Medal (2011).

Conversando con... Frank D.K. Ching

Frank (Francis D. K.) Ching es un reconocido autor de más de una docena de libros relativos a la enseñanza de la arquitectura y su análisis a través del dibujo. Fue docente en diversas Universidades en Estados Unidos desde 1972, así como en Japón (1990) y Hong Kong (1993). Actualmente posee el título de Profesor Emérito en la Universidad de Washington.<br />Fue galardonado con premios de prestigiosas entidades como el American Institute of Architects o los Cooper-Hewitt National Design Awards. Más recientemente, en el 2013, recibió la medalla de oro del UID, en Matera, donde tuvimos el placer de conocerlo personalmente e invitarlo a esta entrevista ahora publicada.<br />En Matera, rodeado de sus estudiantes, el Profesor, dibujaba los sassi, concretando delante de nuestros ojos, lo que desde décadas lleva haciendo: la divulgación del dibujo como herramienta cognitiva y creativa. Sus conceptos para abordar el dibujo arquitectónico, han sido una referencia para distintas generaciones de docentes del dibujo de arquitectura y actualmente sigue compartiendo regularmente en su página web personal, nuevos dibujos que nosotros continuamos asimilando y disfrutando.

Ground Zero – the socio-political minefield of symbolic architecture

Daniel Libeskind is today one of the architecture profession’s media elite. He took up his position in the list of ‘super star architects’ twenty ago and has remained in the spotlight of the press ever since. He has projects across the globe and has been awarded prizes by Time Magazine , The Goethe Institute , the American Institute of Architects and the RIBA . He was also appointed the first Cultural Ambassador for Architecture by the State Department of the United States in 2004. He has been both critically lauded and sardonically ridiculed. Tom Dyckhoff of the London Times refers to him as a ‘global brand’. His most high profile project to date has been The Jewish Museum of Berlin which, after various years of partial completion, was finally opened in full on September 11 2001. The opening day of Libeskind’s commemoration of the twentieth century’s act of horror par excellence then, was also the day of the twenty-first century’s most iconic terrorist act. The macabre irony was not lost on Libeskind himself but the competition that led to him being appointed master planner and architect of the Ground Zero project, turned out to be a dirty, personalised and publically aired media circus. It was a story of political infighting, tawdry economic deals and architectural brinkmanship. It culminated ten years ago this month with Libeskind’s ‘victory.’ In this interview Daniel Libeskind looks back over a decade of working on this project and muses on one of the most high profile, emotive and polemic architectural projects of recent times.

Breaking the Taboo: Architects and Advertising in Depression and War

Breaking the Taboo: Architects and Advertising in Depression and War chronicles the fall of a professional interdiction in architecture, precipitated by the Second World War. For much of the history of their profession in the United States, architects——unlike builders and engineers, their main competition——faced censure from the American Institute of Architects if they advertised their services. Architects established models of professional behavior intended to hold them apart from the commercial realm. Andrew M. Shanken explores how the Great Depression and the Second World War strained this outdated model of practice, placing architects within consumer culture in more conspicuous ways, redefining the architect's role in society and making public relations an essential part of presenting the profession to the public. Only with the unification of the AIA after the war would architects conduct a modern public relations campaign, but the taboo had begun to erode in the 1930s and early 1940s, setting the stage for the emergence of the modern profession.