Definition of Structural Art Defined in the Tower and the Bridge

Certain works of structural engineering pattern are also works of structural art. Such works can be classified as structural art when they attain excellence in the three areas of efficiency, economy, and elegance, as defined past Prof. David P. Billington of Princeton University.^{[1] [2]} A key role of the concept of structural art is that the structural engineer making the blueprint must exercise his or her creativity and playfulness to create an elegant structure within the constraints imposed by applied science requirements. These constraints include the condom and serviceability of the construction. Therefore, a structure cannot exist a successful piece of work of structural fine art without too being a successful work of structural technology blueprint, yet many works of structural engineering design that are safe and serviceable exercise not rise to the level of structural art because they fail to exist economical, efficient, or elegant. Structural art is a topic of agile scholarly enquiry at several universities in the United States, including Princeton University, Tufts University, Bucknell University, University of Massachusetts Amherst, the Massachusetts Institute of Engineering, and Roger Williams Academy, and in other parts of the world such as Espana (Universitat Politécnica de València) and Federal republic of germany (HCU Hamburg). While structural artists oft collaborate with architects, the subject field of structural fine art is based upon applied science rather than architectural design. A contempo summary about this topic can be found in a review newspaper ^[iii]

Origin of the concept [edit]

The idea of structural fine art as a creative subdiscipline of structural engineering originates from the scholarship of Prof. David P. Billington of Princeton University. The term appears to have been coined in his 1983 book The Belfry and the Bridge, and arose out of scholarly study of great works of structural design fabricated by engineers starting in the late 18th century with the beginning of the wide availability of iron equally a structural material. Much of the impetus for the idea came from the personal and professional person writings of engineers such as Thomas Telford, John Roebling, and Robert Maillart, among others, who wrote of the conscious way they attempted to create aesthetically pleasing, imaginative, and elegant structures, while meeting condom and serviceability requirements. A theme uniting many of the foundational structural artists is that they either were builders themselves (John Roebling) or had a builder'southward mentality (Fazlur Khan). Other scholars of structural applied science blueprint accept published works that can be considered function of the body of knowledge on structural fine art. Notable among these is Alan Holgate ^[iv]

The 3 S's and E's [edit]

Information technology is also said that a work of structural art should be interpreted in terms of the 'Three S'south'; the scientific, social, and symbolic meaning:

• Scientific: How is the structure designed to safely transmit loads to the ground? What materials are used, and how much is used?
• Social: What were the short and long term costs of the structure to society? What part does the structure play in the functioning of society?
• Symbolic: What feelings does the structure inspire? What meaning does the structure conduct for its users?

An example of three specific ideas related to the 3 Southward's are the '3 E'due south'. A piece of work of structural fine art must excel in efficiency, economy, and elegance, often referred to as the 'Three East'south':

• Efficiency: The use of the minimum amount of material needed to ensure that the structure safely performs its function.
• Economy: Abstention of excessive monetary price in the design, construction, operating and decommissioning costs of a structure. Economy should be evaluated in terms of the life-cycle cost of the construction whenever possible.
• Elegance: The structural form should be aesthetically pleasing, but should be defined and driven by engineering considerations. Thus, an elegant pattern is not simply one that is pleasing, but one that arises from engineering science creativity, satisfies the requirements of efficiency and economy, and is likewise pleasing.

Professor Billington has besides put forth in his lectures that works of structural art involve imagination, inspiration, and innovation - though this categorization is non found in his formal writings.

Structural artists and great works [edit]

Some of the structural artists who essentially divers the art form by their own works include: Thomas Telford, Gustav Eiffel, John Roebling, Othmar Ammann, Robert Maillart, Christian Menn, Heinz Isler, Fazlur Khan, Felix Candela, Pier Luigi Nervi, Eduardo Torroja, Eladio Dieste. Some of the cracking works of structural art include: Menai Straits Span, Craigellachie Bridge, Eiffel Tower, Brooklyn Bridge, George Washington Bridge, Verrazano Narrows Bridge, Salginatobel Bridge, Ganter Bridge, Sicli Company Edifice, John Hancock Center, Los Manantiales Eatery at Xochimilco, Picayune Sports Palace.

Dissimilarity with architecture [edit]

Structural art is distinct from architecture primarily in that the constraints nether which structural artists practice are very different from those under which architects practice. Structural artists, while seeking elegance, must satisfy safety and serviceability, efficiency and economic system, and usage needs. Architects are somewhat freer in making designs, constrained primarily by usage needs.

Eero Saarinen'due south Gateway Arch and the Eiffel Belfry provide a dissimilarity that illustrates the departure between structural art and architecture. The Gateway arch is widely thought to exist a highly successful piece of work of architecture, and the Eiffel Tower is recognized every bit a work of structural art. Both structures must primarily resist air current loads yet have very unlike forms. The Eiffel Belfry has been shown to be the near optimal class for resisting current of air loads,^[5] and therefore is more in line with the ideals of structural art than architecture. The Gateway Arch succeeds as a piece of work of architecture and does not come across the ideals of efficiency and economy.

Criticism and differing views of structural pattern [edit]

Contemporary scholarly argue regarding the definition of structural fine art continues to develop and advance the concept. Two areas in which such debate is occurring are the inclusion of a temporal aspect in the evaluation of structural art, and inclusion of the sustainability of a design. Regarding the temporal attribute, it has been argued that the time-dependent concept of a design process is missing from the conventional definition of structural art.^[vi] This feature of a design can arise specially regarding construction, when economic system of time is an of import consideration. Though sustainability of a design is not explicitly included in the electric current definition of structural art, information technology can exist argued that a design that succeeds in efficiency, economic system, and elegance will be sustainable, provided that evaluations of the 'Three E's' consider life-cycle performance of the structure.

Probably the nigh elaborated critique on structural art was given in^[7] where co-ordinate to Mentor Llunji, the author of the volume, widely accepted definition of structural art is considered counterproductive considering imposes piddling limitations on developing the real structural applied science artistry.

References [edit]

1. ^ Billington, David (1983). The Tower and the Bridge. New York: Basic Books.
2. ^ Billington, David (1984). "Bridges and the new art of structural engineering". American Scientist. 72 (1): 22–31.
3. ^ Hu, Nan; Feng, Peng; Dai, Gong-Lian (November 2014). "Structural art: Past, present and future". Engineering Structures. 79: 407–416. doi:ten.1016/j.engstruct.2014.08.040.
4. ^ Holgate, Alan (1986). The Art in Structural Design. Oxford: Oxford Academy Press.
5. ^ Gallant, J (2002). "The shape of the Eiffel Belfry". American Journal of Physics. 70 (two): 160–162. doi:10.1119/1.1417530.
6. ^ Peters, Tom (1996). Building the Nineteenth Century. Cambridge, Mass.: MIT Press.
7. ^ Llunji, Mentor (2018). Towards A New Technology. MSPROJECT.

External links [edit]

• Structurae, the online database of structures
• Princeton University Art Museum exhibit on Swiss structural art
• Princeton University Art Museum exhibit on Felix Candela
• Princeton University showroom on Fazlur Khan
• Timeline of the Structural Art containing the chief names and works of the Structural Fine art tradition and their Structurae links

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Source: https://sawadee.wiki/wiki/Structural_art

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