By D. St John, A. Poole, I. Sims
Within the moment a part of the e-book, the chemical, the mineralogical composition and the microfabrics of concretes and similar fabrics are mentioned. An illustrated consultant to the positive aspects that may be saw and pointed out utilizing a petrological microscope is given. there's an intensive assessment of the defects, deterioration and screw ups that can happen in concrete including the observations and petrographic proof when it comes to them. huge use has been made up of illustrative examples in color which including acceptable dialogue will help the engineer in addition to either the trainee and skilled petrographer in realizing the character of the facts that is simple to petrographic research. an intensive word list of optical and different houses of minerals present in concretes completes this functional guide.
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Extra info for Concrete Petrography: A Handbook of Investigative Techniques
I have never been very interested in building even a reasonable approximation of an extreme idea, to build up experience through failure, which is the most normal way one becomes expert at something. I don’t see why craft has to suffer in the experimental process. GPB: Like I tried and that’s enough … How do you do that? How do you literally do that? Because you get to this high level of sophistication but you don’t necessarily have the fabricator across the street, you don’t necessarily have the hundred buildings that you don’t tell anybody about and then you pop out with one that has finally resolved all of these kinds of issues.
Would you not want that? Would it be a positive thing? Or would you just be ambivalent, and suddenly the kind of parameters change but the agenda can still work with it? To me, the High Line Project in a way feels like it sets that up. I feel like when you presented that there were so many kinds of constraints that just came out of the condition, both programmatic and economic in this funky site with all of the contextual stuff you have to deal with and the realities of the structural envelope and the innate complexity, it feels like you were almost given all of this weight and you have to embrace it somehow.
In that group of work you begin to see a more complex intent to still produce a relationship between the viewer and the building, but to do that now using some level of thinness. In that way it is about surface, and about the tradition of façades and the communicating qualities. GPB: There is a really large discourse, it seems like that surrounds that idea of skin and pattern and even ornament, and I don’t mean that in a derogatory way, but what is intriguing to me about your work is that it adds on to that earlier agenda that is effectual, experiential, and spatial but other people aren’t talking about it that way.