Journal articles on the topic 'Light gauge cold-formed steel frame structures'

The cold formed steel section are increasingly used as a structural elements in low rise buildings in recent times, due to the advantages like economic production, easy transportation, low labor cost and high strength to weight ratio. In the current work a G+3 storied building frame is studied for seismic and wind load using Staad-pro software. Light gauge section is taken for beam and slab elements. The seismic analysis is carried out by Equivalent static method. After analysis the results such as story displacement, story drift, Base shear and time period are compared for different models. The building frame is also analyzed for wind load. In the current work cross bracing using Light gauge element used as a retrofitting technique. The retrofitted building frame is analyzed for wind and seismic loads and results obtained for time period, storey displacement, storey drift and base shear values are compared with the corresponding values of base frame. The results of retrofitted frame showed shortening in time period, storey displacement and story drift values in X&Z directions indicating the increased ductility, Stiffness and strength of structure. Hence the proposed retrofitting technique could be believed to achieve success results in increased strength and ductility values required by wind and seismic loading.

Building structural systems with light gauge steel framing technology are steadily gaining popularity due to their huge advantages over traditional technical solutions. As a result of the competitiveness inherent in LGSF technology, its application is gradually increasing in the manufacture of both bearing and nonbearing structures. At the same time, the actual absence of national standards for seismic design requires the development of programs and the implementation of research and development work to study the behavior of LGSF buildings in the conditions of seismic impact. The article touches upon the main problems of antiseismic construction of LGSF buildings and presents the results of domestic and foreign research.

Abstract One of the major advantages of light gauge steel structures made of cold-formed steel sections is their low weight so the production of typical single-storey steel structures of this kind of profiles is still rising. The well known profiles, e.o. Z-sections, C-sections and the so called hat-sections studied and described in the literature, are used mainly as purlins or truss components. A new profile GEB was patented for the use for primary load-bearing member in fabricated steel frames. According to the code [1] every novel cross section should be tested to assign the deformation shape and bearing capacity. The paper deals with the numerical and experimental research of bearing capacity of cold formed GEB profiles. The deformation shape and limit load was obtained from bending tests. The GEB cross section bearing capacity was also determined according to codes [1, 2].

One approach to making modern structures more economically and environmentally sustainable is designing and constructing them to be adaptable to rapidly changing markets and building occupancies. At the same time, these structures are required to be resilient to seismic events. As a step towards meeting these goals, a lightweight, two-way, rapidly constructible and reconfigurable modular steel floor (RCRMSF) system has been developed. The system is fabricated from light-gauge steel plates sandwiching a grillage of orthogonally arranged cold formed Z-purlins, can span 9.1 m x 12.2 m, requires only girder supports, and fits within current steel construction framework. This study investigates the seismic behavior of the RCRMSF diaphragm through the use of high fidelity nonlinear finite element (FE) models. Six full-scale cantilever diaphragm models have been developed to study the effect of varying RCRMSF configurations and end support details. Both monotonic and cyclic loading protocols are used to determine the stiffness, strength, energy dissipation capacity, and general hysteretic behavior of the diaphragms. Based on the FE models, the behavior of the RCRMSF diaphragm is influenced primarily by the plate thickness and perimeter connection detail to the supporting steel frame. Overall, the RCRMSF has adequate diaphragm stiffness and strength, and shows favorable energy dissipation capacity due to its post-peak inelastic behavior. This observation implies that the RCRMSF can serve as an alternative solution to current seismic design and construction practices.

Cold-formed steel (CFS) storage rack structures are extensively used in various industries to store products in safe and secure warehouses before distribution to the market. Thin-walled open profiles that are typically used in storage rack structures are prone to loss of stability due to different buckling modes such as local, distortional, torsional and flexural, or any interaction between these modes. In this paper, an efficient way of increasing ultimate capacity of upright frames under compression load is proposed using bolts and spacers which are added externally to the section with certain pitches along the height. Hereinto, experimental tests on 81 upright frames with different thicknesses and different heights were conducted, and the effect of employing reinforcement strategies was examined through the failure mode and ultimate load results. Non-linear finite element analyses were also performed to investigate the effect of different reinforcement spacing on the upright performance. The results showed that the reinforcement method could restrain upright flange and consequently increase the distortional strength of the upright profiles. This method can also be effective for any other light gauged steel open section with perforation. It was also observed that the reinforcement approach is much more useful for short length upright frames compared to the taller frames.

Many alternative structural systems have recently been proposed in South Africa in an attempt to reduce costs of lightweight steel structures. Most of these comprise premanufactured components which are bolted together on site. Large industrial type structures are usually constructed with hot-rolled steel profiles, so that, apart from the architect, a structural engineer, manufacturer and contractor would be required. As an alternative to these existing practices, this article proposes design and construction techniques that may reduce the cost of the structure and at the same time create employment for emerging contractors. The proposed construction method consists of the welding together of lightweight profiles on site. For the structure the following is proposed: short pile footings to provide partial fixidity to the structure, effective and lightweight compositions of cold-formed thin-walled profiles for structural elements, and stressed skin diaphragm design wherein the cladding, purlins and structural elements work together as one unit. Alternative portal frame configurations were analysed and designed to form larger structures, which indicates the versatility of the proposed construction concept. The article further illustrates that the utilization of the proposed construction method results in more economical structures and discusses applications of the principles on a number of real structures.

Cocoon System AG's light steel thin-walled structures have proven their worth in numerous superstructures, extensions, exterior wall and ceiling systems, as well as complex projects by internationally renowned architects. As part of the implementation and development of lightweight construction methods, this company has developed the Cocoon "Transformer" system, represented by prefabricated wall and floor structures with varying degrees of completeness and enlargement, registered as ETA - 11/0105. The Cocoon "Transformer" system is a frame-sheathing self-supporting or load-bearing, external or internal structure, the components of which are steel thin-walled cold-formed profiles, plate materials (cladding), insulating materials and fasteners. ETA-11/0105 suggests an optimization of this structural system. The European project ELISSA was created to improve the construction of walls, floors, roofs and volumetric modules of the Cocoon "Transformer" system with improved thermal, acoustic, vibration / seismic and fire resistance characteristics, as well as to develop industrially safe methods for their application. The use of high-performance airgel thermal insulation strips in this project minimized the effect of thermal bridging in the exterior wall structure and brought the heat transfer coefficient closer to the requirements of a passive house. The new prefabricated lightweight elements ELISSA, which demonstrate a high level of energy efficiency, provide the possibility of using insulated vacuum panels (VIP) with increased strength. The increased strength of Super Insulated VIP Panels is due to the use of foils with better endurance and also encapsulated in polyurethane. However, the version of the ELISSA system using VIP panels significantly increases the cost of the wall structure, which may hinder its widespread use in Ukraine. The creation of standard economic solutions with a sufficient level of energy efficiency according to the Cocoon "Transformer" construction concept will allow, to a certain extent, to reduce the costs of restoring the housing stock of Ukraine, damaged as a result of hostilities, and solve the problem of rapid new construction to replace completely destroyed housing.

Cold-formed Light gauge Steel Frame (LSF) wall systems are increasingly used in low-rise and multi-storey buildings and hence their fire safety has become important in the design of buildings. A composite LSF wall panel system was developed recently, where a thin insulation was sandwiched between two plasterboards to improve the fire performance of LSF walls. Many experimental and numerical studies have been undertaken to investigate the fire performance of non-load bearing LSF wall under standard conditions. However, only limited research has been undertaken to investigate the fire performance of load bearing LSF walls under standard and realistic design fire conditions. Therefore in this research, finite element thermal models of both the conventional load bearing LSF wall panels with cavity insulation and the innovative LSF composite wall panel were developed to simulate their thermal behaviour under standard and realistic design fire conditions. Suitable thermal properties were proposed for plasterboards and insulations based on laboratory tests and available literature. The developed models were then validated by comparing their results with available fire test results of load bearing LSF wall. This paper presents the details of the developed finite element models of load bearing LSF wall panels and the thermal analysis results. It shows that finite element models can be used to simulate the thermal behaviour of load bearing LSF walls with varying configurations of insulations and plasterboards. Failure times of load bearing LSF walls were also predicted based on the results from finite element thermal analyses. Finite element analysis results show that the use of cavity insulation was detrimental to the fire rating of LSF walls while the use of external insulation offered superior thermal protection to them. Effects of realistic design fire conditions are also presented in this paper.

Light Gauge steel structures are auxiliary items that are made by framing plane sheets of steel at an encompassing temperature into various shapes that can be utilized to fulfill basic and utilitarian prerequisites. As of late, the interest for high quality materials for wide scope of auxiliary applications has been instrumental for more improvements in cool shaped steel areas when contrasted with the hot moved steel segments. Along these lines, the comprehension of cold shaped steel execution turns into a significant issue to be examined. This paper holds three works. In the first place, it audits a presentation on cool shaped steel structures. Second, it abridges exceptional structure criteria and nearby clasping and post clasping quality of cold framed steel developments. At long last, it offers an end on the requirement for creative sectional profiles over the traditional areas for cold shaped steel

Review to hot-rolled steel structures, cold-formed steel structures are susceptible to extreme winds because of the light weight of the building and its components. Many modern cold-formed steel structures have sustained significant structural damage ranging from loss of cladding to complete collapse in recent cyclones. This article first provides Review some real damage cases for light steel structures induced by the high winds. After that, the paper reviews research on the damage analysis and evaluation of light steel structures caused by strong winds, which include connection failure, fatigue failure, purlin buckling, and primary frame component instability problems. Moreover, this review will mention some applications of structure damage assessment methods in this area, such as vulnerability analysis and performance-based theory, etc.

Structural steel has many advantages over other construction materials by its high strength and ductility. It has a higher strength to cost ratio in tension and a slightly lower strength to cost ratio in compression when compared with concrete. This paper is intended to evaluate the beam column rolled and cold formed steel connection experimentally by moment resistant connection such as stiffened, un stiffened and splices connection. At the present, in most of the countries, the use of light gauge cold formed steel section has been developed for economical and best seismic performance by different shape of cross sectional area and various types of connections are used. These results to study the seismic performance of cold form steel sections area using various moment resistance connections. Finally the report result the splice connection has best moment resistance connection, seismic resistant of structures, load carrying capacity is high and minimum weight compare with other types of connections. The splice connection has load carrying capacity is high, so we can reduced the size of section and prevent the base shear due to reduced the weight of structures.

PurposeMost of the industrial buildings which are designed to moderate loads are constructed using light gauge cold-formed steel (CFS) sections. Residual mechanical properties of CFS sections exposed to elevated temperature need to be investigated as it is necessary to predict the deterioration of elements to avoid failure of the structure or its elements. Also, it would be helpful to decide whether the structural elements need to be replaced or reused. The use of fire-resistant coatings in steel structures significantly reduces the cost of repairing structural elements and also the probability of collapse. This study investigates the effect of fire-resistant coating on post-fire residual mechanical properties of E350 steel grade.Design/methodology/approachIn this study, an attempt has been made to evaluate the residual mechanical properties of E350 steel. A tensile coupon test was performed for the extracted specimens from the exposed CFS section to determine the mechanical properties. Four different fire-resistant coatings were selected and the sections were coated and heated as per ISO 834 fire temperature curve in the transient state for time durations of 30 minutes (821°C), 60 minutes (925°C), 90 minutes (986°C), and 120 minutes (1,029°C). After the exposure, all the coupon specimens were cooled by either ambient conditions (natural air) or water spraying before conducting the tension test on these specimens.FindingsAt 30 min exposure, the reduction in yield and ultimate strength of heated specimens was about 20 and 25% for air and water-cooled specimens compared with reference specimens. Specimens coated with vermiculite and perlite exhibited higher residual mechanical property up to 60 minutes than other coated specimens for both cooling conditions. Generally, water-cooled specimens had shown higher strength loss than air-cooled specimens. Specimens coated with vermiculite and perlite showed an excellent performance than other specimens coated with zinc and gypsum for all heating durations.Originality/valueAs CFS structures are widely used in construction practices, it is crucial to study the mechanical properties of CFS under post-fire conditions. This investigation provides detailed information about the physical and mechanical characteristics of E350 steel coated with different types of fire protection materials after exposure to elevated temperatures. An attempt has been made to improve the residual properties of CFS using the appropriate coatings. The outcome of the present study may enable the practicing engineers to select the appropriate coating for protecting and enhancing the service life of CFS structures under extreme fire conditions.

Introduction: Brutal?The word “brutal” has associations with cruelty, inhumanity, and aggression. Within the field of architecture, however, the term “Brutalism” refers to a post-World War II Modernist style, deriving from the French phrase betón brut, which means raw concrete (Clement 18). Core traits of Brutalism include functionalist design, daring geometry, overbearing scale, and the blatant exposure of structural materials, chiefly concrete and steel (Meades 1).The emergence of Brutalism coincided with chronic housing shortages in European countries ravaged by World War II (Power 5) and government-sponsored slum clearance in the UK (Power 190; Baker). Brutalism’s promise to accommodate an astonishing number of civilians within a minimal area through high-rise configurations and elevated walkways was alluring to architects and city planners (High Rise Dreams). Concrete was the material of choice due to its affordability, durability, and versatility; it also allowed buildings to be erected quickly (Allen and Iano 622).The Brutalist style was used for cultural centres, such as the Perth Concert Hall in Western Australia, educational institutions such as the Yale School of Architecture, and government buildings such as the Secretariat Building in Chandigarh, India. However, as pioneering Brutalist architect Alison Smithson explained, the style achieved full expression by “thinking on a much bigger scale somehow than if you only got [sic] one house to do” (Smithson and Smithson, Conversation 40). Brutalism, therefore, lent itself to the design of large residential complexes. It was consequently used worldwide for public housing developments, that is, residences built by a government authority with the aim of providing affordable housing. Notable examples include the Western City Gate in Belgrade, Serbia, and Habitat 67 in Montreal, Canada.Brutalist architecture polarised opinion and continues to do so to this day. On the one hand, protected cultural heritage status has been awarded to some Brutalist buildings (Carter; Glancey) and the style remains extremely influential, for example in the recent award-winning work of architect Zaha Hadid (Niesewand). On the other hand, the public housing projects associated with Brutalism are widely perceived as failures (The Great British Housing Disaster). Many Brutalist objects currently at risk of demolition are social housing estates, such as the Smithsons’ Robin Hood Gardens in London, UK. Whether the blame for the demise of such housing developments lies with architects, inhabitants, or local government has been widely debated. In the UK and USA, local authorities had relocated families of predominantly lower socio-economic status into the newly completed developments, but were unable or unwilling to finance subsequent maintenance and security costs (Hanley 115; R. Carroll; The Pruitt-Igoe Myth). Consequently, the residents became fearful of criminal activity in staircases and corridors that lacked “defensible space” (Newman 9), which undermined a vision of “streets in the sky” (Moran 615).In spite of its later problems, Brutalism’s architects had intended to develop a style that expressed 1950s contemporary living in an authentic manner. To them, this meant exposing building materials in their “raw” state and creating an aesthetic for an age of science, machine mass production, and consumerism (Stadler 264; 267; Smithson and Smithson, But Today 44). Corporeal sensations did not feature in this “machine” aesthetic (Dalrymple). Exceptionally, acclaimed Brutalist architect Ernö Goldfinger discussed how “visual sensation,” “sound and touch with smell,” and “the physical touch of the walls of a narrow passage” contributed to “sensations of space” within architecture (Goldfinger 48). However, the effects of residing within Brutalist objects may not have quite conformed to predictions, since Goldfinger moved out of his Brutalist construction, Balfron Tower, after two months, to live in a terraced house (Hanley 112).An abstract perspective that favours theorisation over subjective experiences characterises discourse on Brutalist social housing developments to this day (Singh). There are limited data on the everyday lived experience of residents of Brutalist social housing estates, both then and now (for exceptions, see Hanley; The Pruitt-Igoe Myth; Cooper et al.).Yet, our bodily interaction with the objects around us shapes our lived experience. On a broader physical scale, this includes the structures within which we live and work. The importance of the interaction between architecture and embodied being is increasingly recognised. Today, architecture is described in corporeal terms—for example, as a “skin” that surrounds and protects its human inhabitants (Manan and Smith 37; Armstrong 77). Biological processes are also inspiring new architectural approaches, such as synthetic building materials with life-like biochemical properties (Armstrong 79), and structures that exhibit emergent behaviour in response to human presence, like a living system (Biloria 76).In this article, we employ an autoethnographic perspective to explore the corporeal effects of Brutalist buildings, thereby revealing a new dimension to the anthropological significance of these controversial structures. We trace how they shape the physicality of the bodies interacting within them. Our approach is one step towards considering the historically under-appreciated subjective, corporeal experience elicited in interaction with Brutalist objects.Method: An Autoethnographic ApproachAutoethnography is a form of self-narrative research that connects the researcher’s personal experience to wider cultural understandings (Ellis 31; Johnson). It can be analytical (Anderson 374) or emotionally evocative (Denzin 426).We investigated two Brutalist residential estates in London, UK:(i) The Barbican Estate: This was devised to redevelop London’s severely bombed post-WWII Cripplegate area, combining private residences for middle class professionals with an assortment of amenities including a concert hall, library, conservatory, and school. It was designed by architects Chamberlin, Powell, and Bon. Opened in 1982, the Estate polarised opinion on its aesthetic qualities but has enjoyed success with residents and visitors. The development now comprises extremely expensive housing (Brophy). It was Grade II-listed in 2001 (Glancey), indicating a status of architectural preservation that restricts alterations to significant buildings.(ii) Trellick Tower: This was built to replace dilapidated 19th-century housing in the North Kensington area. It was designed by Hungarian-born architect Ernő Goldfinger to be a social housing development and was completed in 1972. During the 1980s and 1990s, it became known as the “Tower of Terror” due to its high level of crime (Hanley 113). Nevertheless, Trellick Tower was granted Grade II listed status in 1998 (Carter), and subsequent improvements have increased its desirability as a residence (R. Carroll).We explored the grounds, communal spaces, and one dwelling within each structure, independently recording our corporeal impressions and sensations in detailed notes, which formed the basis of longhand journals written afterwards. Our analysis was developed through co-constructed autoethnographic reflection (emerald and Carpenter 748).For reasons of space, one full journal entry is presented for each Brutalist structure, with an excerpt from each remaining journal presented in the subsequent analysis. To identify quotations from our journals, we use the codes R- and N- to refer to RB’s and NC’s journals, respectively; we use -B and -T to refer to the Barbican Estate and Trellick Tower, respectively.The Barbican Estate: Autoethnographic JournalAn intricate concrete world emerges almost without warning from the throng of glass office blocks and commercial buildings that make up the City of London's Square Mile. The Barbican Estate comprises a multitude of low-rise buildings, a glass conservatory, and three enormous high-rise towers. Each modular building component is finished in the same coarse concrete with burnished brick underfoot, whilst the entire structure is elevated above ground level by enormous concrete stilts. Plants hang from residential balconies over glimmering pools in a manner evocative of concrete Hanging Gardens of Babylon.Figure 1. Barbican Estate Figure 2. Cromwell Tower from below, Barbican Estate. Figure 3: The stairwell, Cromwell Tower, Barbican Estate. Figure 4. Lift button pods, Cromwell Tower, Barbican Estate.R’s journalMy first footsteps upon the Barbican Estate are elevated two storeys above the street below, and already an eerie calm settles on me. The noise of traffic and the bustle of pedestrians have seemingly been left far behind, and a path of polished brown brick has replaced the paving slabs of the city's pavement. I am made more aware of the sound of my shoes upon the ground as I take each step through the serenity.Running my hands along the walkway's concrete sides as we proceed further into the estate I feel its coarseness, and look up to imagine the same sensation touching the uppermost balcony of the towers. As we travel, the cold nature and relentless employ of concrete takes over and quickly becomes the norm.Our route takes us through the Barbican's central Arts building and into the Conservatory, a space full of plant-life and water features. The noise of rushing water comes as a shock, and I'm reminded just how hauntingly peaceful the atmosphere of the outside estate has been. As we leave the conservatory, the hush returns and we follow another walkway, this time allowing a balcony-like view over the edge of the estate. I'm quickly absorbed by a sensation I can liken only to peering down at the ground from a concrete cloud as we observe the pedestrians and traffic below.Turning back, we follow the walkways and begin our approach to Cromwell Tower, a jagged structure scraping the sky ahead of us and growing menacingly larger with every step. The estate has up till now seemed devoid of wind, but even so a cold begins to prickle my neck and I increase my speed toward the door.A high-ceilinged foyer greets us as we enter and continue to the lifts. As we push the button and wait, I am suddenly aware that carpet has replaced bricks beneath my feet. A homely sensation spreads, my breathing slows, and for a brief moment I begin to relax.We travel at heart-racing speed upwards to the 32nd floor to observe the view from the Tower's fire escape stairwell. A brief glance over the stair's railing as we enter reveals over 30 storeys of stair casing in a hard-edged, triangular configuration. My mind reels, I take a second glance and fail once again to achieve focus on the speck of ground at the bottom far below. After appreciating the eastward view from the adjacent window that encompasses almost the entirety of Central London, we make our way to a 23rd floor apartment.Entering the dwelling, we explore from room to room before reaching the balcony of the apartment's main living space. Looking sheepishly from the ledge, nothing short of a genuine concrete fortress stretches out beneath us in all directions. The spirit and commotion of London as I know it seems yet more distant as we gaze at the now miniaturized buildings. An impression of self-satisfied confidence dawns on me. The fortress where we stand offers security, elevation, sanctuary and I'm furnished with the power to view London's chaos at such a distance that it's almost silent.As we leave the apartment, I am shadowed by the same inherent air of tranquillity, pressing yet another futuristic lift access button, plummeting silently back towards the ground, and padding across the foyer's soft carpet to pursue our exit route through the estate's sky-suspended walkways, back to the bustle of regular London civilization.Trellick Tower: Autoethnographic JournalThe concrete majesty of Trellick Tower is visible from Westbourne Park, the nearest Tube station. The Tower dominates the skyline, soaring above its neighbouring estate, cafes, and shops. As one nears the Tower, the south face becomes visible, revealing the suspended corridors that join the service tower to the main body of flats. Light of all shades and colours pours from its tightly stacked dwellings, which stretch up into the sky. Figure 5. Trellick Tower, South face. Figure 6. Balcony in a 27th-floor flat, Trellick Tower.N’s journalOutside the tower, I sense danger and experience a heightened sense of awareness. A thorny frame of metal poles holds up the tower’s facade, each pole poised as if to slip down and impale me as I enter the building.At first, the tower is too big for comprehension; the scale is unnatural, gigantic. I feel small and quite squashable in comparison. Swathes of unmarked concrete surround the tower, walls that are just too high to see over. Who or what are they hiding? I feel uncertain about what is around me.It takes some time to reach the 27th floor, even though the lift only stops on every 3rd floor. I feel the forces of acceleration exert their pressure on me as we rise. The lift is very quiet.Looking through the windows on the 27th-floor walkway that connects the lift tower to the main building, I realise how high up I am. I can see fog. The city moves and modulates beneath me. It is so far away, and I can’t reach it. I’m suspended, isolated, cut off in the air, as if floating in space.The buildings underneath appear tiny in comparison to me, but I know I’m tiny compared to this building. It’s a dichotomy, an internal tension, and feels quite unreal.The sound of the wind in the corridors is a constant whine.In the flat, the large kitchen window above the sink opens directly onto the narrow, low-ceilinged corridor, on the other side of which, through a second window, I again see London far beneath. People pass by here to reach their front doors, moving so close to the kitchen window that you could touch them while you’re washing up, if it weren’t for the glass. Eye contact is possible with a neighbour, or a stranger. I am close to that which I’m normally separated from, but at the same time I’m far from what I could normally access.On the balcony, I have a strong sensation of vertigo. We are so high up that we cannot be seen by the city and we cannot see others. I feel physically cut off from the world and realise that I’m dependent on the lift or endlessly spiralling stairs to reach it again.Materials: sharp edges, rough concrete, is abrasive to my skin, not warm or welcoming. Sharp little stones are embedded in some places. I mind not to brush close against them.Behind the tower is a mysterious dark maze of sharp turns that I can’t see around, and dark, narrow walkways that confine me to straight movements on sloping ramps.“Relentless Employ of Concrete:” Body versus Stone and HeightThe “relentless employ of concrete” (R-B) in the Barbican Estate and Trellick Tower determined our physical interactions with these Brutalist objects. Our attention was first directed towards texture: rough, abrasive, sharp, frictive. Raw concrete’s potential to damage skin, should one fall or brush too hard against it, made our bodies vulnerable. Simultaneously, the ubiquitous grey colour and the constant cold anaesthetised our senses.As we continued to explore, the constant presence of concrete, metal gratings, wire, and reinforced glass affected our real and imagined corporeal potentialities. Bodies are powerless against these materials, such that, in these buildings, you can only go where you are allowed to go by design, and there are no other options.Conversely, the strength of concrete also has a corporeal manifestation through a sense of increased physical security. To R, standing within the “concrete fortress” of the Barbican Estate, the object offered “security, elevation, sanctuary,” and even “power” (R-B).The heights of the Barbican’s towers (123 metres) and Trellick Tower (93 metres) were physically overwhelming when first encountered. We both felt that these menacing, jagged towers dominated our bodies.Excerpt from R’s journal (Trellick Tower)Gaining access to the apartment, we begin to explore from room to room. As we proceed through to the main living area we spot the balcony and I am suddenly aware that, in a short space of time, I had abandoned the knowledge that some 26 floors lay below me. My balance is again shaken and I dig my heels into the laminate flooring, as if to achieve some imaginary extra purchase.What are the consequences of extreme height on the body? Certainly, there is the possibility of a lethal fall and those with vertigo or who fear heights would feel uncomfortable. We discovered that height also affects physical instantiation in many other ways, both empowering and destabilising.Distance from ground-level bustle contributed to a profound silence and sense of calm. Areas of intermediate height, such as elevated communal walkways, enhanced our sensory abilities by granting the advantage of observation from above.Extreme heights, however, limited our ability to sense the outside world, placing objects beyond our range of visual focus, and setting up a “bizarre segregation” (R-T) between our physical presence and that of the rest of the world. Height also limited potentialities of movement: no longer self-sufficient, we depended on a working lift to regain access to the ground and the rest of the city. In the lift itself, our bodies passively endured a cycle of opposing forces as we plummeted up or down numerous storeys in mere seconds.At both locations, N noticed how extreme height altered her relative body size: for example, “London looks really small. I have become huge compared to the tiny city” (N-B). As such, the building’s lift could be likened to a cake or potion from Lewis Carroll’s Alice in Wonderland. This illustrates how the heuristics that we use to discern visual perspective and object size, which are determined by the environment in which we live (Segall et al.), can be undermined by the unusual scales and distances found in Brutalist structures.Excerpt from N’s journal (Barbican Estate)Warning: These buildings give you AFTER-EFFECTS. On the way home, the size of other buildings seems tiny, perspectives feel strange; all the scales seem to have been re-scaled. I had to become re-used to the sensation of travelling on public trains, after travelling in the tower lifts.We both experienced perceptual after-effects from the disproportional perspectives of Brutalist spaces. Brutalist structures thus have the power to affect physical sensations even when the body is no longer in direct interaction with them!“Challenge to Privacy:” Intersubjective Ideals in Brutalist DesignAs embodied beings, our corporeal manifestations are the primary transducers of our interactions with other people, who in turn contribute to our own body schema construction (Joas). Architects of Brutalist habitats aimed to create residential utopias, but we found that the impact of their designs on intersubjective corporeality were often incoherent and contradictory. Brutalist structures positioned us at two extremes in relation to the bodies of others, forcing either an uncomfortable intersection of personal space or, conversely, excessive separation.The confined spaces of the lifts, and ubiquitous narrow, low-ceilinged corridors produced uncomfortable overlaps in the personal space of the individuals present. We were fascinated by the design of the flat in Trellick Tower, where the large kitchen window opened out directly onto the narrow 27th-floor corridor, as described in N’s journal. This enforced a physical “challenge to privacy” (R-T), although the original aim may have been to promote a sense of community in the “streets in the sky” (Moran 615). The inter-slotting of hundreds of flats in Trellick Tower led to “a multitude of different cooking aromas from neighbouring flats” (R-T) and hence a direct sensing of the closeness of other people’s corporeal activities, such as eating.By contrast, enormous heights and scales constantly placed other people out of sight, out of hearing, and out of reach. Sharp-angled walkways and blind alleys rendered other bodies invisible even when they were near. In the Barbican Estate, huge concrete columns, behind which one could hide, instilled a sense of unease.We also considered the intersubjective interaction between the Brutalist architect-designer and the inhabitant. The elements of futuristic design—such as the “spaceship”-like pods for lift buttons in Cromwell Tower (N-B)—reconstruct the inhabitant’s physicality as alien relative to the Brutalist building, and by extension, to the city that commissioned it.ReflectionsThe strength of the autoethnographic approach is also its limitation (Chang 54); it is an individual’s subjective perspective, and as such we cannot experience or represent the full range of corporeal effects of Brutalist designs. Corporeal experience is informed by myriad factors, including age, body size, and ability or disability. Since we only visited these structures, rather than lived in them, we could have experienced heightened sensations that would become normalised through familiarity over time. Class dynamics, including previous residences and, importantly, the amount of choice that one has over where one lives, would also affect this experience. For a full perspective, further data on the everyday lived experiences of residents from a range of different backgrounds are necessary.R’s reflectionDespite researching Brutalist architecture for years, I was unprepared for the true corporeal experience of exploring these buildings. Reading back through my journals, I'm struck by an evident conflict between stylistic admiration and physical uneasiness. I feel I have gained a sympathetic perspective on the notion of residing in the structures day-to-day.Nevertheless, analysing Brutalist objects through a corporeal perspective helped to further our understanding of the experience of living within them in a way that abstract thought could never have done. Our reflections also emphasise the tension between the physical and the psychological, whereby corporeal struggle intertwines with an abstract, aesthetic admiration of the Brutalist objects.N’s reflectionIt was a wonderful experience to explore these extraordinary buildings with an inward focus on my own physical sensations and an outward focus on my body’s interaction with others. On re-reading my journals, I was surprised by the negativity that pervaded my descriptions. How does physical discomfort and alienation translate into cognitive pleasure, or delight?ConclusionBrutalist objects shape corporeality in fundamental and sometimes contradictory ways. The range of visual and somatosensory experiences is narrowed by the ubiquitous use of raw concrete and metal. Materials that damage skin combine with lethal heights to emphasise corporeal vulnerability. The body’s movements and sensations of the external world are alternately limited or extended by extreme heights and scales, which also dominate the human frame and undermine normal heuristics of perception. Simultaneously, the structures endow a sense of physical stability, security, and even power. By positioning multiple corporealities in extremes of overlap or segregation, Brutalist objects constitute a unique challenge to both physical privacy and intersubjective potentiality.Recognising these effects on embodied being enhances our current understanding of the impact of Brutalist residences on corporeal sensation. This can inform the future design of residential estates. Our autoethnographic findings are also in line with the suggestion that Brutalist structures can be “appreciated as challenging, enlivening environments” exactly because they demand “physical and perceptual exertion” (Sroat). 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