Literatura científica selecionada sobre o tema "City halls – Designs and plans"

Purpose Adaptive reuse of heritage stock has several advantages: retention of culturally and socially significant buildings, as well as the opportunity to consider embodied energy, energy efficiency retrofit measures and other environmental upgrades. The purpose of this paper is to identify the technical issues faced in the adaptive reuse of Australian heritage listed city halls and discuss sustainable strategies to enable further adaptations to be more energy efficient. Design/methodology/approach Adaptive reuse of a heritage building provides an opportunity to retain embodied energy, improve energy efficiency and enhance durability, which are important aspects of the technical lifecycle of a building. Using a case study methodology and a qualitative approach, this paper evaluates adaptations and the technical issues faced in three heritage city halls in Queensland, Australia. Findings The analysis shows that enhancing energy efficiency enables heritage buildings to reduce their climate change impacts. However, the installation of equipment for energy efficiency can pose technical issues for heritage buildings. The ownership of heritage building and interest of the local community affects the solutions that are viable. Solutions and further sustainable strategies are proposed through analysis of case studies. Originality/value City halls globally adopt different and varied architectural designs, features and scales. They are often heritage listed and locally significant landmarks that have undergone various adaptations; however, they have been overlooked in much adaptive reuse research, particularly in Australia. City halls differ from other heritage buildings in their collective sense of ownership which is important in regard to proposed changes, as citizens have an interest and hold opinions which may affect measures adopted. This paper contributes to the body of knowledge related to energy efficient technical adaptive reuse of city halls.

How good the e-government services of local governments are is usually ascertained through their success in attracting users. This paper looks at the other part of the equation. Our research aims to find out how successful the implementation of e-government services in Romanian local government is in the eyes of those tasked with rolling out these services. As such, we surveyed heads of IT departments in the largest city halls in Romania (the county seats and the capital, Bucharest) to see how their IT professionals implemented e-government services and what their opinion was on E-government progress at a national level. We found that eService development was not a priority for Romanian city halls and that, with one exception, e-government did not appear prominently in their strategic development plans.

AbstractOur ideas of what 17th century Dutch interiors looked like have been conditioned by the hundreds of paintings of interiors by Dutch genre painters. Even restorations and reconstructions in our own time (fig. 1) are influenced significantly by them. It is therefore of vital importance to our knowledge of the history of Dutch interior decoration to realise what we can or cannot believe, and to compare these genre interiors with other sources such as probate inventories, building specifications, plans, conditions of sale, contemporary descriptions such as travellers' reports, etc. It is the combination of these different types of information that enables them to supplement and correct each other. Since the fixed interior fittings are not usually mentioned in probate inventories, it is even more important to weigh all the available evidence by critical analysis. The scope of this article allows me to discuss only a few of the many features; I shall therefore restrict my comments to the fixed decorations and closely associated features. This discourse is therefore in part a comment on Peter Thornton's book Seventeenth Century Interior Decoration in England, France and Holland, who made extensive use of Dutch genre paintings but, unfortunately, could not compare them with inventories of Dutch burghers (other than with the published inventories of the princes of the House of Orange) or with other written Dutch sources. The main starting point is a well-known picture by Emanuel de Witte in the Museum Boijmans Van Beuningcn in Rotterdam, of which a second version is kept in Montreal (fig. 2-3); hardly any other genre interior has been so consistently used as a prototype for a Dutch 17th century interior. The room in the foreground shows a woman sitting at a virginal, a common feature in Dutch houses of the period, while on the left a man is sleeping in a bed; during this period, wealthier people were only just starting to differentiate between living-rooms and bedchambers, and a combination of the two functions was still quite common. The ceiling, however, shows that the tie-beams do not run parallel to the façade as they ought to, but perpendicular to it. This is clearly an instance of artistic licence, so that the horizontal lines of the beams can close off the composition at the top. Behind this room is the entrance hall, with two more rooms behind. An enfilade of this kind is out of the question in a Dutch house at that time, even in a country house. Here the artist has allowed the emphasis on the perspective view and spatial relationships within the painting to prevail over reality, a common feature in most other Dutch genre interiors (fig. 4). Floors with intricate patterns of contrasting marble slabs are a predominant element in these perspective paintings. They can be seen in most genre pictures from the middle and third quarter of the 17th century. However, very few such floors actually survive. There is a rare example, dating from 1661, in the museum 'Our Good Lord in the Attic' at Amsterdam (fig. 6). At that time Amsterdam was a port of transit for marble and stone from Italy and other countries. Travellers reported seeing patterned marble floors in Amsterdam, although most floors of this kind arc likely to have been in official or public buildings. Their prevalence in the residences of burghers is open to question. Only a few building specifications describe them, while explicit references to expensive wooden floors in rich houses have been found. For instance, in one of the most luxurious Amsterdam residences, the mansion of the Bartolotti family, only two such floors were added between 1649 and 1664, in which latter year the rooms in question were particularised in the inventory as 'stone' chambers. This specific indication is in itself proof of how rare marble floors were, for such designations occur only sporadically in inventories of the period (e.g. of the Trippenhuis). In the elaborate descriptions of his important commissions between 1637 and 1670 (fig. 7) the architect Philips Vingboons always mentions marble floors when there are any: altogether, he describes 'Italian' floors four times. They are however quite plain, consisting solely of white slabs; only in two instances was the white marble relieved by blue or red strips specially cut for this use. The fact that this prominent architect dwells so proudly on this feature demonstrates how exceptional it was; elsewhere he invariably speaks of Prussian deals. Several designs by the architect Pieter Post for interiors of burgher houses survive, some even with patterns for marble floors. Again, though, they are very simplc (fig. 8-9), the more elaborate ones being meant for an entrance hall (fig. 10). And we know from the records that wooden floors were preferred for a house which Post built in Dordrecht, even in the reception rooms. Similarly, a third well-known architect, Adriaen Dortsman, designed stone and marble floors only for the basement and corridors of the house he built for Jan Six in 1666 (fig. 11) - not, however, for the main rooms. Examples like these, moreover, apply to the houses of the absolute upper class in Amsterdam, the richest city in Holland. Marble and stone floors were in fact largely confined to halls and corridors, as in the palace Huis ten Bosch built by Pieter Post (fig. 12-13). Of the other palaces belonging to the Prince of Orange, only Rijswijk was famous for its marble floors in most of the rooms (fig. 14). The rooms in the two earliest 17th-century dolls houses, dating from the 1670s, do not have marble floors either, except for the entrance hall (fig. 15); a slightly later one has a marble floor in the hall and the best kitchen, but also in the lying-in chamber (fig. 16). These Amsterdam dolls houses again clearly indicate a preference for wooden floors in reception and living rooms. The rarity of marble floors in living rooms is understandable, since they struck cold and were uncomfortable to dwell on. In the front halls, where marble or stone floors were much more common, there was usually a wooden platform (called a zoldertje) for people to sit on (fig. 19). All this is borne out by one quantitative source: a series of the conditions of sale pertain ing to houses in the city of Haarlem over a period of sixty years. Although they concern the second half of the 18th century, a considerable number of 17th-century interior features were still preserved. No fewer than approximately 5000 different houses are described in this source: by then nearly all larger houses had marble entrance halls and corridors, most of them dating from the 18th century; however, a total of no more than nine living rooms arc mentioned as having marble or stone floors! All these considerations lead to the conclusion that, although marble floors did exist in the houses of Dutch burghers, they were

Abstract The architect who plans and designs our living environment in town and country can neither think exclusively technologically nor act completely independently. Rather, his designs and actions are always in moral relation to the environment, i. e. to nature and landscape as well as to the city/town or the people who live daily with and within the built space and thus have a kind of effective group affiliation. But to what extent does architecture – in the sense of Hegel’s phrase the “sensuous in the meaningful” – already possess ethical implications?

Located at the foothills of the Sivalik Mountains, Chandigarh was the dream city of independent India’s first Prime Minister Jawaharlal Nehru. In 1952, Nehru commissioned the Swiss-French architect Le Corbusier to design Chandigarh. Scholars often locate in Corbusier’s plans an urban modernity that required a break with the past. Moving away from such scholarship, this article will argue that Chandigarh marked a climactic moment in Le Corbusier’s career when he tried to weave together modern architecture with tradition, and through it, human beings with nature. A careful study of the cosmic iconography of Chandigarh clearly reveals that nature for Le Corbusier was more than a vast expanse of greenery: it was organized in symbolic ways, as a cosmic form emblematic of Hindu mythologies. I will argue that in addition to local conditions – economic and cultural – that impacted the actual execution of Le Corbusier’s plans, cosmic iconography shaped a modernism profoundly reliant on Hindu traditions. This iconography also inspired a new generation of Indian architects like Balkrishna Vithaldas Doshi (1927 – present). Doshi played a key role in authoring the postcolonial architectural discourse in India. Following Le Corbusier, he advocated an architectural modernism anchored in sacred Hindu traditions.

Workshop on Creating Lesson Plans and Making Learning Media for Teachers at 34 Elementary Schools in Pontianak City Teachers still have difficulty in making learning tools with the conditions of students in the class, and teachers have limitations in making learning media. The purpose of this program was to increase teacher knowledge about creating lesson plans and learning media. The method was training and mentoring held for two months from planning to evaluation. Fourteen elementary school teachers attended the training as participants. Pre-test and post-test were done to evaluate teacher knowledge about lesson plans. This community service was useful, and it can be concluded that this activity increased teacher knowledge about making learning tools. The teacher's knowledge score during the pre-test, ie, before training, was 57,87 points. The score at the post-test increased to 73,61. The teacher was skilled at making learning media materials so that they were available to students at affordable prices and attractive designs.

Utopian cities from social reform literature from the seventeenth and nineteenth centuries were a serious attempt to improve living and working conditions of their time. Some of this literature included a design for a city that would be complimentary to and enhance the political philosophy of the respective authors. Four of the most famous works which include a plan of a city are, Tommaso Campanella’s Civitas Solis (City of the Sun) (1602), Johann Valentin Andreae’s Christianopolis (1619), Robert Owen’s Villages of Co-operation (1817 & 1830) and James Silk Buckingham’s Victoria (1849). These works are frequently featured in literature on utopian cities. However, no consideration is given to whether these ‘utopian’ cities have any value as urban plans or whether they incorporate any desirable urban features. These urban designs of the city are significant to political philosophies because the cities are presented as being integral to such philosophies. This paper considers the following questions: ‘Do the main principles behind the initial political philosophies and their coinciding plan endure within the design of these cities?’ ‘Does a modern audience perceive in these cities the features that made them utopian in the centuries in which they were planned?’

Urban green spaces are essential to ensure the quality of life and the fulfillment of town-dwellers. The objective of this research is to assess the richness of public green spaces in the great Nokoué cities (AbomeyCalavi, Cotonou, Ouidah, Porto-Novo and Sèmè-Podji). The itinerary method was used to find the greens spaces whose list was obtained in the town halls. For each public green space found, the geo-referencing (tracking), the determination of the area of the public places and the measurement of the length of the tracks were made. The results revealed that the great Nokoué cities have 114 public green spaces which can be classified in four types (green Spaces of Tribes 4,39 %, Green Spaces of Pathways 13,16 %, Parks and Squares 26,32 % and Public Roads Alignment Trees 58,77 %). Cotonou is the city of the great Nokoué richest in public green spaces (61,95 %) whereas Ouidah has the highest ratio of public green spaces per inhabitant (Ouidah, 0.27 m2 /hbt, Porto-Novo, 0.18 m2 /hbt , Cotonou, 0.12 m2 /hbt Abomey-Calavi 0,06 m2 /hbt and Sèmè -Podji, 0,06 m2 /hbt ). No city of the great Nokoué has reached the ratio of 10 m2 of public green space per inhabitant as recommended by OMS. It is therefore important that urban authoritys give far greater attention to public green spaces (gardens, parks, squares, etc.) in future development plans.

This thesis grew from a curiosity to understand monumentality, form, and design in a project that is rooted in constructional development. The program is a city hall in Rockville, Maryland, in the spirit of a basilica. A city hall should act as a room for the city. This is a place for public matters to be debated, people to meet others, events to be celebrated, and ideas to be discussed.
Master of Architecture

Between 1945 and 1949 a series of modernist plans were developed for Berlin. In this time of political turmoil, planners and politicians projected a broad range of meanings onto the plans. After the founding of the East German state, Lothar Bolz orchestrated the adoption of socialist realism as state policy, requiring a return to traditional urban design. This theory included a range of tenets guiding planning, but Walter Ulbricht intervened to assure that planning would be dominated by a concern for parade routes leading to an immense square in the city center. In response to West Berlin’s international building exhibition, the German Democratic Republic held their own design competition for a “socialist” city center in 1958. The recent introduction of industrialized building, along with uncertainty and debate over the nature of “socialist” architecture, was evident in designs with a range of influences, including international modernism, midcentury modernism, and socialist realism.

The variety and role of the mosques and the evolution of materials and design are discussed with surveys and photographs beginning with mosques with traditional plans in the town and fort, including the Auḥadī Jāmi‘, to the impact of the Lodī Jāmi‘ of Sikandra where a massive domed structure in the Delhi style, with a shrine included in the courtyard to give it a special status, displays Delhi’s new dominance. Small three-bayed mosques and their patrons, where known, are studied, as is the emergence of a new mosque plan. In these the prayer hall extrudes into the walled courtyard, explained through the surveys of the Tāletī Masjid, the ‘Īdgāh Masjid and two mosques at Sikandra. This plan, first seen in Bayana, was adopted on a grand scale by the Mughal Emperors, exemplified in the Mosque of Shaikh Salīm Chishtī at Fathpūr Sikrī, the Jāmiʿ of Shāhjahānābād at Delhi and the Bādshāhī (Pādshāhī) Masjid at Lahore. Minarets as landmarks and symbols of power, beginning with that of Dāwūd Khān in the Fort followed by the unfinished Ukhā Minār, planned by Niẓām Khān to tower over the city, are also surveyed, along with a third unfinished minaret in the Fort.

Plum Creek begins in drainage from farms on the west side of the city of Oberlin, Ohio, and flows eastward through a city golf course, a college arboretum, and the downtown area. East of the city, the stream receives the effluent from the city sewer facility before it joins with the Black River, which flows north through two rust-belt cities, Elyria and Lorain, before emptying into Lake Erie 25 miles west of Cleveland. Plum Creek shows all of the signs of 150 years of human use and abuse. As late as 1850 the stream ran clear even in times of flood, but now it is murky brown year-round. Because of pollution, sediments, and the lack of aquatic life, the U.S. Environmental Protection Agency considers it to be a “nonattainment” stream. Yet it survives, more or less. To most residents of Oberlin, Plum Creek is little more than a drain and sewer useful for moving water off the land as rapidly as possible. Few regard it as an aesthetic asset or ecological resource. The character of Plum Creek changes quickly as it flows eastward into downtown Oberlin. Runoff from city streets enters the stream where the creek runs under the intersection of Morgan and Professor Streets. One block to the east, a larger volume of runoff polluted by oil and grease from city streets enters the creek as it flows under Main Street, past a Midas Muffler shop, a NAPA Auto Parts Store, and City Hall, located in the flood plain. Where Plum Creek flows under Main Street, an increased volume of storm water and consequently increased stream velocity have widened the banks and cut the channel from several feet to a depth of 10 feet or more. The city has attempted to stabilize the stream by lining the banks with concrete or by riprapping with large chunks of broken concrete. The aquatic life that exists upstream mostly disappears as Plum Creek flows through the downtown. Bending to the northeast, the creek passes through suburban backyards, past the municipal wastewater plant, a Browning Ferris Industries landfill, and on toward the west fork of the Black River and Lake Erie.

This chapter is concerned with the ways in which functional models of community and sociability were being framed spatially in post-war Britain, focusing on the design and provision of housing on post-war housing estates like Manchester’s famous Wythenshawe estate as well as on Hull’s less famous examples. It argues that concerns about the nature of society were bound up in the designs and promotion of new housing schemes. The study of housing and community design functions as a lens through which historiographical concerns about modernity, consumerism and town planning might be analysed. The chapter examines the design of shopping centres to shed light upon the mechanisms of sociability and interaction that were being programmed into the design of housing, concluding that a combination of consumer habits, retailer opposition and planning naivety worked to reduce the effectiveness of the plans in producing functional estates.

Since the affirmation, in the Sixties, of urban survey as a discipline in the field of drawing disciplines, it aimed to represent on a plan a set of three-dimensional data. Digital revolution allows representing urban tissues by 3D models that can collect a lot of information related to the buildings, becoming real data base. Today, these models fulfill the need for update representations of urban settings, aimed both to critical studies on historical city and to manage the ongoing transformations. Moreover, these representations could become the urban scenarios for simulations and checks of master plans and architectural designs in their relationships with the built environment. Several new tools of urban procedural modeling, BIM modeling and web resources allow generating urban 3D models. The authors of this proposal will compare the knowledge and informative capabilities of different new technologies for urban modeling, through an overview of international researches, case studies, and also some experiences personally conducted.

Midcentury electronic studios drove the development of high art music, but also fed back into the cultural sphere in many ways, proving consequential in scientific, architectural, and popular music domains. The phonetics–music collaborations, for instance, were carried even further in continuing phonetic, linguistic, and cognitive research in Cologne and beyond. The integrated serial designs of the WDR composers, and especially their optimistic utopian dreams, inspired architectural plans for a rebuilt German city that would coalesce around art-making spaces. In popular music spheres such as film sound and rock music, the avant-garde music of the WDR composers, as well as new electronic synthesizers, had significant impacts. These rich cross-pollinations are due in large part to the heterogeneous, laboratory-like structure of the WDR studio, a structure that was replicated in the electronic studios that sprung up in the United States, Asia, and Latin America. In summary, the WDR studio had far-reaching consequences that were both structural and aesthetic. Cultural wounds were exposed and salved as electronic music began to make progress in reclaiming wartime spaces, ideas, and technologies. The impacts of midcentury electronic music continue to reverberate today.

In that aspect, buildings role, no matter their architectural qualities, is to shape that void and give it character. If one asks people about their remembrances of cities they have visited, they usually mention places and the activities that took place there. Architecture, great or bad is the referente of Architects. Only some monuments –Eiffel Tower or Sidney´s Opera- which act as the city´s image are worth recalling. The failure of CIAM´s urbanism was not its lack of quality, even vition, as some of Le Corbusier designs clearly demostrate, but its disregard of public space, merely a left over spread between isolated building blocks and highways. A good instrument to understand this fact are the Figure/ Ground plans, in which the basic shape of buildings and voids are drawn in black and white. In the tradicional city renders, the public spaces have a clear definition, a presence of its own. In any CIAM project –mostly- or construction, the public realm is the shapless space left over by buildings, with no hint about use or limits. A clear demonstration is the no-space around the Philarmonic, the National Library and the Art Gallery in Berlin. This knowlege is sufficiently incorporated into the practice of most Western Designers, but two perverse conditions are part of the everyday´s life of entire populations in the World: In poor Countries there is an urgent need to incorporate slums to the city structure, culture and services.In Asian Cities, mainly in China, inmense areas are demolished overnight and its tradicional fabric replaced by endless rows of anonymous high rise blocks amid a maze of transport elevated structures, with no place left for pedestrians. An old text advices not to let the urgent erase the important. In today´culture both conditions are unfortunately simultaneous.

Abstract A senior design team from the Milwaukee School of Engineering assisted the Milwaukee Harbor District with a trash collecting solution for the Kinnickinnic River. The design objectives were: the use of solar panels to generate charge for the continuous operation of the trash solution, an innovative and cost-efficient way to clear debris blockages from the conveyor, low cost, and a design that can operate as autonomously as possible to require the least amount of human intervention. The Kinnickinnic River experiences a reverse flow and a substantial rise in water level during and after storms. The need for a trash solution in the section of the river that passes underneath Becker St. in downtown Milwaukee is due to the extreme pollution that has collected over the years. The city of Milwaukee, through the Harbor District and other non-profit organizations, have made plans to beautify the areas that have suffered from the residual pollution and simultaneously launch a promotional campaign to raise environmental awareness. Through school programs and the reality of the team’s trash solution in the river, the Kinnickinnic River will once again flourish in both flora and fauna. The team has created a design that will fit the river’s needs taking into consideration the solar energy available and various flow simulations. A full design solution with design details and specifications for manufacturing will be submitted to the Harbor District of Milwaukee for their review. The current design makes use of a floating platform base, 24 solar panels, eight lead acid batteries, a DC motor to run a conveyor belt to pull trash out of the water and to run a rake system to aid in pushing trash onto the conveyor, a gearbox to produce the necessary torque, a boom and cable system to catch trash further in the river, and a dumpster located on a dock in front of the trash collector. Finite Element Analysis and Computational Fluid Dynamics simulations were run to test the designs developed for the conveyor mechanism and the raking system and to test the amount of force placed on the trash collector by the water and air velocities. Further simulations may be run to test more components of the trash collector as needed. A prototype of the conveyor and rake system was produced to simulate the functionality of the design. Additionally, the selected solar panels for the design were tested using a data collector and analyzed to ensure power to the design would be enough.