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DETAIL BOOK شایان اعتمادی 39928460202147 part 1 20-26 - Coggle Diagram
DETAIL BOOK
شایان اعتمادی
39928460202147
part 1 20-26
Sawai JaiSing II (1688-1743), Rajah of Amber, pos-sessed metal astronomical instruments fromEurope, but found them too easily damagedand too small in scale for precision work.
The largest and best preserved of these is inthe seat of government he planned anderected in Jaipur in 1727. The rajah regardedhimself as a successor of Ayodhya's sundynasty,
The two central squares, as the tra-ditional seat of the sun, were therefore re-served for the palace district, where the ob-servatories were also situated.
This is, in principle, an equatorial sun-dial in which the usual pointer or gnomon isreplaced by a 2.70-metre-thick triangular wallstructure crowned by an observation pavilion.
The shadow it casts falls on the northface of a circular scale that also curves up atthe two ends with a radius of 15.19 m. Theindividual planes of the scale are set parallelto the equator.
Staircases on both sides of the scale and upthe raking flank of the triangular wall permitmore precise measurements to be taken.
Recent measurements made with the GreatSamrat Yantra confirm that a higher degree ofaccuracy was indeed achieved with this in-strument.
The observatories were not used by his suc-cessors and fell into decay.
Around 1900, theBritish undertook extensive restoration workand replaced the weathered lime-plasterscales with marble.
Only brickwork seems to have be-come somewhat old-fashioned, with anelaborate hand-laying procedure that makesit an expensive form of construction.
On closer examination, however, the situationOn closer examination, however, the situation
Archi-tects have shown increased sensitivity for avthat reflect their innate characteristics.
"Concrete à la Tadao Ando", as MaxBächer formulated it, is a case in point.
Others might thinkof Peter Behrens'IG Farben works in Hoechst,with its cascades of coloured brickwork - inwhich one may recognize an early example ofdesigned corporate identity.
How can one convinceclients that brick construction cannot rivalmodern skeleton frame structures; that thewall is a wall and can tolerate windows onlyin a certain relationship to its area;
in a let-ter to Mies, he commented scomfully on theexcessive use of steel I-beams and the ar-chitect's absurd assumptions relating to load-ing.
Mies struggled for a long time with thetectonics of brickwork, giving precise instruc-tions on the bond to be used at the corners.His layouts and external works also play with
Louis Kahn, responded to these problems ina different way. He did not regard the materi-al as an adversary that had to be overcomeFor him, it was a benign, almost anthropomor-phic partner.
A building had to reveal how itwas constructed and what it was meant to be.In other words, it had to be an expression ofstructural and constructional functions incombination with the properties of the materi-als and their appropriate application.
His stu-dent buildings at the Indian Institute of Man-agement in Ahmedabad are an eloquent ex-ample of this idea.
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