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Ocelová konstrukce průmyslové budovy / Steel structure of an industrial buildingKopecký, Ladislav January 2016 (has links)
Industrial hall with storage outbuilding. The length of the hall is 72 meters and width of 30 meters. The main hall has a span 24 meters and the outbuilding has a span 6m. The distance between primary steel frame is 6 meters. The height of the main hall is 10.7 meters and a height of outbuilding is 13.0 metres. The roof is flat with roof slope of 3.5% the main hall and 8.75% outbuilding. The structural system of the hall's bar structure. Primary steel frame is designed as a steel frame rafter with eaves haunch. In the roof structure are designed purlins. The stability of the structure is secured by roof braces and longitudinal braces. The hall is pin-supported on the foundation pad. The hall is clad wall and roof panels PUR. Main hall is equipped with a bridge crane with capacity of 8 tons.
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George Tsutakawa's fountain sculptures of the 1960s: fluidity and balance in postwar public art.Cuthbert, Nancy Marie 20 August 2012 (has links)
Between 1960 and 1992, American artist George Tsutakawa (1910 – 1997) created more than sixty fountain sculptures for publicly accessible sites in the U.S., Canada, and Japan. The vast majority were made by shaping sheet bronze into geometric and organically inspired abstract forms, often arranged around a vertical axis. Though postwar modernist artistic production and the issues it raises have been widely interrogated since the 1970s, and public art has been a major area of study since about 1980, Tsutakawa's fountains present a major intervention in North America's urban fabric that is not well-documented and remains almost completely untheorized. In addition to playing a key role in Seattle's development as an internationally recognized leader in public art, my dissertation argues that these works provide early evidence of a linked concern with nature and spirituality that has come to be understood as characteristic of the Pacific Northwest. Tsutakawa was born in Seattle, but raised and educated primarily in Japan prior to training as an artist at the University of Washington, then teaching in UW's Schools of Art and Architecture. His complicated personal history, which in World War II included being drafted into the U.S. army, while family members were interned and their property confiscated, led art historian Gervais Reed to declare that Tsutakawa was aligned with neither Japan nor America – that he and his art existed somewhere in-between. There is much truth in Reed's statement; however, artistically, such dualistic assessments deny the rich interplay of cultural allusions in Tsutakawa's fountains. Major inspirations included the Cubist sculpture of Alexander Archipenko, Himalayan stone cairns, Japanese heraldic emblems, First Nations carvings, and Bauhaus theory. Focusing on the early commissions, completed during the 1960s, my study examines the artist's debts to intercultural networks of artistic exchange – between North America, Asia, and Europe – operative in the early and mid-twentieth century, and in some cases before. I argue that, with his fountain sculptures, this Japanese American artist sought to integrate and balance such binaries as nature/culture, intuition/reason, and spiritual/material, which have long served to support the construction of East and West as opposed conceptual categories. / Graduate
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