Journal articles on the topic 'Glass-steel façades'

This paper presents a numerical analysis of a steel double-arm connector, according to the authors’ solution, designed for fixation of glass façades. The analysis was carried out in order to obtain a distribution of stresses and displacements, on the basis of which global displacements and maximum stresses were determined. An additional element of the solution was the use of the M8 bolt, as a linking element of the steel walls of both arms. The numerical simulation was performed using the ADINA program, which is based on the finite element method (FEM). The dynamic effect of wind gusts on the glass façade was assumed, taking into account both wind pressure and suction. The adoption of a rectangular element of the glass façade causes an unfavorable load distribution at the connection point. The conducted research allowed to determine displacements and stresses in a steel connector made of S355JR steel. The applicability of the proposed solution for glass façades with a height of up to 100 m has been demonstrated.

Prismatic glass, which was a highly successful building material in the United States between the turn of the century and the 1920s, promised to refract daylight from the façades deep into a building and thus would help to save energy, create healthier working environments, and contribute to the development of a new modern architecture. The Luxfer Prism Companies were the inventors and most prominent producers of this material. The article examines selected examples of the firms' commissions in the U. S. and abroad to show the influence that both a product's real or assumed qualities and the promoting skills of its producers could have on the formal and structural decisions of architects. These projects present the architect less as the dominating force in the design process than as a participant in a complex dialogue among different partners. Luxfer contributed to the contemporary architectural debate by promoting the small-scale pattern of its glass installations as a competing vision of architectural modernity to that of the emerging aesthetic of steel and glass façades. In the early 1930s prismatic glass finally lost the competition with electrical lighting and new structural daylighting devices such as hollow glass blocks.

This study assesses changes since 1980 in the maintenance cost of the façades of the historical 17th to 19th century buildings of the Oslo Quadrature, Norway, due to atmospheric chemical wear, including the influence of air pollution. Bottom up estimations by exposure–response functions for an SO2 dominated situation reported in the literature for 1979 and 1995 were compared with calculations for the present (2002–2014) multi-pollutant situation. The present maintenance cost, relative to the total façade area, due to atmospheric wear and soiling was found to be about 1.6 Euro/m2 per year. The exposure to local air pollution, mainly particulate matter and NOx gases, contributed to 0.6 Euro/m2 (38%), of which the cost due to wear of renderings was about 0.4 Euro/m2 (22%), that due to the cleaning of glass was 0.2 Euro/m2 (11%), and that due to wear of other façade materials was 0.07 Euro/m2 (5%). The maintenance cost due to the atmospheric wear was found to be about 3.5%, and that due to the local air pollution about 1.1% of the total municipal building maintenance costs. The present (2002–2014) maintenance costs, relative to the areas of the specific materials, due to atmospheric wear are probably the highest for painted steel surfaces, about 8–10 Euro/m2, then about 2 Euro/m2 for façade cleaning and the maintenance of rendering, and down to 0.3 Euro/m2 for the maintenance of copper roofs. These costs should be adjusted with the importance of the wear relative to other reasons for the façade maintenance.

the main and most impressive elevations of the building. It also focuses on some issues related to high requirements placed on façade systems in terms of insulation from environmental conditions and comfort of the future users of the building. Due to the fact that there are many materials that can be used for the main structural elements (columns, spandrel beams and ribs) of load-bearing façade structures, the authors of the article attempted to do a multi-criteria comparative analysis of three different materials (safety glass, glulam and rolled steel) of a 6-meter-long reference column. The set of criteria, consisting of twelve elements, was adopted for comparative analysis. A combination of two methods was selected for performing the multi-criteria analysis: a geometric method of spider’s network and a mathematical method of the adjusted index of summation.

In the last 30 years, façade-panels made of steel-reinforced concrete have become less attractive for architects and clients. Due to the metallic reinforcement, the insufficient concrete covers of former design code generations and hence the material-dependent corrosion, many cases of damage occurred. Using technical textiles for a new composite material, Textile Reinforced Concrete (TRC), it is possible to produce concrete structures which are not vulnerable to corrosion. The presented ventilated large-sized façade elements and self-supporting sandwich panels exemplify the capability of TRC. In the paper, applied materials are characterized and the production process of tailor-made textile reinforcements as well as the load-bearing behavior of the members is described.

Glass curtain walls are used in modern buildings as envelopes for wide surfaces due to a multitude of aspects. In glass curtain walls, tensile brittle panels are connected - through mechanical or adhesive joints - with steel frameworks or aluminum bracing systems, and due to the interaction of several structural components, the behaviour of the so assembled system is complex to predict, especially under exceptional loading conditions such as explosive events. In the paper, glazing curtain walls are investigated by means of Finite-Element (FE) numerical simulations, under the effect of air blast pressures of variable intensity. Their typical dynamic behaviour and criticalities under high-strain impact loads are first analyzed. By means of extended nonlinear dynamic FE parametric studies, innovative devices are applied to traditional curtain walls, at their support points, in order to improve their expected dynamic response. Two possible solutions, namely consisting of viscoelastic (VE) or elasto-plastic (PL) dampers, are proposed as passive control systems for the mitigation of maximum effects in the façade components deriving from the incoming blast pressures. As shown, although characterized by specific intrinsic mechanical behaviours, either VE or PL dampers can offer beneficial structural effects. In the first case, major advantages for the façade components derive from the additional flexibility and damping capacities of VE devices. In the latter case, PL dampers introduce additional plastic energy dissipation in the traditional curtain wall assembly, hence allowing preventing severe damage in the glazing components. It is thus expected that the current outcomes could represent a valid background for further experimental validation as well as detailed assessment and optimization of the proposed design concept.

In the middle of the cranescape around Potsdamer Platz, one of the most questionable building projects of the reunified Berlin can currently be viewed. If one walks in an easterly direction along Potsdamerstrasse, on the left, just behind the Kammermusiksaal and the Philharmonie, one sees the scaffolding of Helmut Jahn's eleven-storey Sony Centre, which, in its triangular form, extends to the Potsdamer Platz. As can be gathered from the models and computer simulations found in the scarlet infobox on the adjoining Leipziger Platz, the Chicago architect is planning to construct a complex consisting of a forum, the Sony Europa Centre, an office tower and two office blocks. In conjunction with the Centre and the tower as the tallest element, these two office blocks—one pointing east toward Bellevuestrasse and the other pointing west toward the Philharmonie—form a triangle that circumscribes an oval forum. The office blocks, as well as the Centre and the tower, are steel and glass constructions whose rooms at the back will offer a view of the forum from floor to ceiling. The approximately 100-metre high office tower will assume dynamism and elegance by virtue of a glass façade that will extend sideways above and beyond the semicircular building.

The current paper deals with an overview on façade industry with the purpose to be useful for the engineers involved in the structural and architectural design of curtain walls.The research activity has been based on both the structural calculation and the experimental test on the Le Boulevard skylight in Doha (Qatar), measuring 36m by 18m in plan, located at a height of about 42 m and subjected to a wind load of 1.7 KPa. The skylight, composed of steel rectangular curved tubes, glass and aluminium sandwich panels, is designed for a basic wind speed of 25 m/s as per Qatar Construction Standards. Two types of steel frames have been designed, one to support both the glazing and aluminium sandwich panel, and another to transfer all the loads to the main structure. Subsequently, a performance testing on a specimen extracted from the skylight has been performed. The test was carried out by Aluminium Technology Auxilliary Ind. (ALUTEC) on a specimen having length and width of 6.625 m and 3.315 m, respectively. The assessment procedures have been carried out following the “ASTM E283”, “ASTM E331” and “ASTM E330” standards. The results of the test have been found within the acceptable limits for the skylight components specified by the standards and required by the project specification.

The use of a double-skin façade (DSF) is a quite new approach in the building renovation process, complementing conventional renovation strategies. A double-skin façade is an envelope wall construction that consists of two transparent surfaces separated by a cavity and can essentially improve the thermal and acoustic resistance of the building envelope. The main double-skin wall components are usually composed of a hardened external single glazing pane and a double or triple thermal insulating internal glass pane, which are connected to the frame structure. Recently, many studies have analysed the thermal and acoustic performance of DSF elements, but almost none in terms of structural behaviour, especially in terms of determining the racking resistance of such wall elements. Moreover, with a view to reduce the global warming potential, an eco-friendly timber frame instead of a commonly used steel, aluminium or plastic frame is studied in this analysis. However, structurally combining timber and glass to develop an appropriate load-bearing structural element is a very complex process involving a combination of two materials with different material properties, where the type of bonding can be selected as a crucial parameter affecting the racking resistance range. Since the costs of experiments performed on such full-scale DSF elements are very high and such experiments are time-consuming, it is crucial to develop special mathematical models for analysing the influence of the most important parameters. Therefore, the main goal of this paper is to develop the finite element mathematical model of the studied DSF structural elements with a highly ecological solution by using a timber frame. In the second step, the developed model is further implemented in the numerical analysis of racking stiffness and followed by a comprehensive parametric numerical study on different parameters influencing the horizontal load-bearing capacity of such DSF timber elements. The obtained results indicate that the new approach of the developed load-bearing prefabricated timber DSF elements can essentially improve racking resistance and stiffness compared with the widely studied timber-glass single-skin wall elements and can thus be fully recommended especially in the structural renovation process of old buildings.

Nieuwe Bouwen Architecture came and involved in Indonesia is carried by the young Dutch architects, also influenced Dutch colonial building in Indonesia to include Medan city. This study aims to determine what kind of Nieuwe Bouwen that control Dutch colonial buildings in Medan and find the form of the authority. This study used the qualitative method. There are 6 (six) aspects studied in this research that is the dynamic form; expressive ornaments; the building has a tower; nonstructural elements; glass, steel, and concrete materials; elements of air, light, and space. Analysis results show that PD Pasar Office Medan, Paradiso Swimming Pool, and Mandiri KC Medan City Hall Bank are influenced by Nieuwe Bouwen expressionism. Besides that, the form of expressionism on PD Pasar office Medan are of the curved shape of the building, unique, the expressive ventilation has the ornament and decorative element on its facade. As well as Paradiso swimming pool has curved shape, decoration and decorative element on its façade and tower. While at Mandiri KC Medan Cityhall bank, there is the geometric decoration, decorative element, and balcony also tower have expressive shape.

La investigación determinó la posibilidad de elaborar un sistema de doble fachada a partir de acero, aluminio y vidrio para edificios con criterio autosustentable, y éstos materiales en conjunto pueden ofrecer una propuesta de calidad dentro de un contexto edificatorio del centro de la ciudad de Guayaquil. El sistema a su vez ha sido evaluado desde que el confort térmico, energético y acústico, en esta investigación. Con esta síntesis se cumple la hipótesis que indica la posibilidad de elaborar un prototipo capaz de funcionar como segunda piel de una edificación, y se determina su capacidad de optimizar las fachadas con superficies acristaladas simples. En el cumplimiento de los objetivos específicos, en primer lugar, se evaluó el mecanismo usual para dobles fachadas, que pueda ser aplicable en la ciudad de Guayaquil que contempla un clima cálido muy caloroso, definiendo la utilidad de la técnica de fachada suministradora. Además, se interpretó coincidencias de usuarios para conformar la propuesta, que definieron un prototipo que mejorara el aspecto estético, la optimización energética y el confort térmico. Se estableció también las dimensiones de un sistema de doble fachada mediante el análisis de especificaciones técnicas de los materiales para un diseño adaptable en edificios céntricos de Guayaquil.AbstractThe research determined the possibility of developing a double façade system from steel, aluminum and glass for buildings with self-sustaining criteria, and these materials together can offer a quality proposal within a building context in the center of the city of Guayaquil. The system in turn has been evaluated since the thermal, energetic and acoustic comfort, in this investigation. With this synthesis, the hypothesis that indicates the possibility of developing a prototype capable of functioning as a second skin of a building is fulfilled, and its ability to optimize facades with simple glazed surfaces is determined.In the fulfillment of the specific objectives, in the first place, the usual mechanism for double facades was evaluated, which may be applicable in the city of Guayaquil that contemplates a very hot warm climate, defining the utility of the supplying facade technique. In addition, user coincidences were interpreted to form the proposal, which defined a prototype that would improve the aesthetic aspect, energy optimization and thermal comfort. The dimensions of a double façade system were also established by analyzing the technical specifications of the materials for an adaptable design in downtown buildings in Guayaquil.

Autonomous smart natural ventilation systems (SVS) attached to the glass façade of living quarters and office buildings can help reducing the carbon footprint of city buildings in the future, especially during warm seasons and can represent an alternative to the conventional mechanical ventilation systems. The work performed in this manuscript focuses on the investigation of bacteria trapping and killing efficiency of stainless steel grids coated with a mixed layer of Cu-Ag. These grids are to be employed as decontamination filters for a smart natural ventilation prototype that we are currently building in our laboratory. The tested grids were coated with a mixed Cu-Ag layer using thermionic vacuum arc plasma processing technology. The fixed deposition geometry allowed the variation of Cu and Ag atomic concentration in coated layers as a function of substrate position in relation to plasma sources. The test conducted with air contaminated with a pathogen strain of staphylococcus aureus indicated that the filtering efficiency is influenced by two parameters: the pore size dimension and the coating layer composition. The results show that the highest filtering efficiency of 100% was obtained for fine pore (0.5 × 0.5 mm) grids coated with a mixed metallic layer composed of 65 at% Cu and 35 at% Ag. The second test performed only on reference grids and Cu-Ag (65–35 at%) under working conditions, confirm a similar filtering efficiency for the relevant microbiological markers. This particular sample was investigated from morphological, structural, and compositional point of view. The results show that the layer has a high surface roughness with good wear resistance and adhesion to the substrate. The depth profiles presented a uniform composition of Cu and Ag in the layer with small variations caused by changes in deposition rates during the coating process. Identification of the two metallic phases of the Cu and Ag in the layers evidences their crystalline nature. The calculated grain size of the nanocrystalline was in the range 14–21 nm.

Febriartha Dwi Wahyu Safitra1, Ni Kadek Yuni Utami 2, Ni Wayan Ardiarani Utami3 1,2,2Sekolah Tinggi Desain Bali, Denpasar,Bali - Indonesia e-mail: febrisafitra97@gmail.com1 A B S T R A C T Movie theater is one of public entertainment designed to give a good quality audio-visual and services to people who would like to spend their time to watch a movie. The purpose of this redesign is to increasing the quality of services provided into movie theater, also to attracting public interest of Indonesian movie world by serving a good facilities and accommodation of watching movie activities. The process of collecting information data by doing an observation to site location at the movie theater, and do an interviewed with one of the staff, also one of customer at the movie theater. The result of those observation will be analyzed using qualitative analyses method and glass box method by listing what people’s demand as for services and facilities should be provide at movie theater, to figuring what rooms that needed, as well as theme and concept for the design. The conclusion is Futuristic Entertainment applied as theme and concept at theater’s interior redesign has a hope will become the new face of the Movie Theater as of facing high business competition among movie theater industry also to calibrate the Industry 4.0 era where internet based at most of life aspect, nowadays. Key words : movie theater, movie, watching, services, public, Futuristic, Entertainment, redesign, interior A B S T R A K Bioskop merupakan salah satu tempat sarana hiburan untuk menonton film yang dirancang memberikan kualitas audio-visual yang baik dan kegiatan pelayanan dalam meningkatkan kenyamanan dalam menonton film. Tujuan dari redesain interior ini untuk dapat meningkatkan kualitas pelayanan pada bioskop, serta meningkatkan minat masyarakat untuk menghargai perfilman di Indonesia dengan memberikan fasilitas dan sarana yang baik dalam kegiatan menonton film. Proses pengumpulan data dilakukan dengan observasi ke lokasi site bioskop tersebut dan melakukan wawancara pada salah satu pegawai bioskop, serta salah satu pengunjung dari bioskop. Hasil dari observasi tersebut kemudian di analisa menggunakan metode analisa kualitatif dan metode desain glass box, dengan mendata pelayanan yang harus disediakan pada area bioskop, untuk mengetahui kebutuhan ruang, serta tema dan konsep dalam redesain interior. Simpulan redesain pada interior bioskop menggunakan tema dan konsep Futuristic Entertainment, yang mana dari tema dan konsep tersebut akan memberikan wajah baru untuk menghadapi persaingan bisnis bioskop yang semakin tinggi dan sekaligus menyesuaikan era Industry 4.0 sekarang, dimana Internet based pada hampir segala aspek kehidupan. Kata Kunci: bioskop, film, menonton, pelayanan, masyarakat, Futuristic, Entertainment, redesain, interior. PENDAHULUAN Di digital era seperti sekarang ini, menonton film menjadi salah satu pilihan sarana hiburan bagi masyarakat untuk melepas penat maupun kebosanan akan rutinitas sehari-hari. Cerita-cerita dalam film dapat diadaptasi dari novel, dokumentasi ilmiah, autobiografi, sejarah dari sebuah peristiwa, maupun dari kisah nyata seseorang yang menarik untuk diangkat ke dalam sebuah film, sehingga sebuah film pun juga dapat menjadi media visual informasi bagi masyarakat luas. Sekarang ini bioskop sebagai tempat pemutaran film-film sudah banyak tersebar di seluruh wilayah Indonesia. Hal ini dilihat dari jumlah layar bioskop yang semakin bertambah, sekaligus berpengaruh pada pertambahan jumlah penonton Indonesia. Menurut data GPBSI (Gabungan Pengusaha Bioskop Indonesia), jumlah layar bioskop di Indonesia terus bertambah dalam dekade terakhir, pada tahun 2008 tercatat ada 574 layar, kemudian terus bertambah menjadi 1518 layar pada 2017, bertambah lagi menjadi 1774 pada 2018, dan hingga pada per 13 Mei 2019, bertambah 87 layar, sehingga total jumlah menjadi 1861 layar bioskop. Di Kota Madiun sendiri terdapat 2 bioskop yang beroperasi yaitu New Star Cineplex (NSC) Timbul Jaya Plaza dan CGV*Blitz, dari kedua bioskop terdapat perbedaan dari segi fasilitas, jumlah pengunjung bioskop, dan juga desain yang diterapkan. Berdasarkan data survey pengunjung pada Goggle Trend yang diambil dari bulan September – November 2019, menunjukkan perbedaan signifikan jumlah pengunjung antara bioskop NSC Timbul Jaya Plaza Madiun dengan bioskop CGV*Blitz, dimana jumlah pengunjung di bioskop NSC Timbul Jaya Plaza cenderung lebih rendah dari bioskop CGV*Blitz. Gambar 1. Data perbadingan jumlah pengunjung bioskop [Sumber : Google Trend, 2019] Kurang nya pembaharuan dari segi fasilitas dan desain pada interior bioskop NSC Timbul Jaya Plaza Madiun juga menjadi salah satu faktor sepinya pengunjung pada bioskop. Gambar 2. Keadaan eksisting bioskop NSC Timbul Jaya Plaza Madiun [Sumber : dokumentasi pribadi, 2020] Maka dari itu di dalam makalah ini akan dibahas redesain interior dari bioskop dengan menggunakan tema dan konsep Futuristic Entertainment yang bertujuan memberikan suasana baru pada bioskop untuk menghadapi persaingan bisnis bioskop yang semakin ketat seiring pertumbuhan jumlah layar bioskop yang semakin meningkat setiap bulannya dan era Industry 4.0 yang semakin canggih, selain itu pembaharuan dari segi desain dan hiburan dapat menarik perhatian pengunjung untuk datang ke bioskop NSC ini. METODE PENELITIAN 2.1 Metode Pengumpulan Data Terdapat dua data pada metode ini, yaitu Data Primer dengan dilakukan pengumpulan informasi-informasi melalui wawancara pada salah satu staff bioskop dan salah satu pengunjung bioskop. Data Sekunder dengan mengumpulkan data informasi dari berbagai sumber referensi akurat. Metode ini diyakini dapat memberikan data yang akurat, dan dapat memberikan gambaran jelas permasalahan pada bioskop. 2.2 Metode Analisa Data Metode Analisa Data pada redesain ini menggunakan metode kualitatif. Metode dengan pendekatan kualitatif merupakan metode penelitian yang di gunakan untuk meneliti pada populasi atau sampel tertentu, pengumpulan data menggunakan instrument penelitian, analisis data bersifat deskripsi. Metode penelitian kualitatif sering disebut metode penelitian naturalistik karena penelitianya di lakukan pada kondisi yang alamiah (natural setting). Dimana untuk hasil desainnya lebih bersifat umum, fleksibel serta berkembang dan muncul dalam proses penelitian. Kesimpulannya desain hanya digunakan sebagai asumsi untuk melakukan penelitian sehingga desain harus bersifat fleksibel dan terbuka. 2.3 Metode Desain Metode yang digunakan pada redesain ini yaitu metode glass box, dimana metode yang menggunakan parameter yang terukur, sesuai dengan fakta dan telah dianalisisa secara mendalam serta sistematis. Sehingga metode desain menggunakan sistem ini hasilnya diharapkan mampu rasional sehingga memenuhi standar kenyamanan. HASIL DAN PEMBAHASAN 3.1 Lokasi Site Bioskop ini berlokasi di Jalan Pahlawan Kav. 46 – 48, Mangu Harjo, Kota Madiun. Untuk akses ke bioskop tersebut sangatlah mudah, karena bangunan Timbul Jaya Plaza sendiri berada tepat dipinggir jalan raya dan berada di tengah kota Madiun sebagai pusat perekonomian kota tersebut sehingga mudah untuk ditemukan. Dari lokasi tersebut dapat dihasilkan data berupa eksisting dari bioskop tersebut. 3.2 Tema dan Konsep Menentukan tema dan konsep merupakan langkah awal dalam meredesain suatu interior. Hal ini akan memberikan gambaran yang jelas suatu ruangan dari segi bentuk, warna, dan material yang akan digunakan, sehingga memiliki visual yang menarik. Tema yang diaplikasikan pada redesain ini adalah Futuristic, Futuristik sendiri merupakan tema desain yang berorientasi pada masa depan, dengan banyak menggunakan bentukan yang tidak lazim, dan jarang diterapkan pada furniture pada umumnya. Dalam tema futuristik yang akan diterapkan pada redesain ini memiliki karakteristik dan ciri-ciri tersendiri, seperti tampilan artistik namun memiliki bentuk sederhana, elegant modern, dan dengan nuansa ruangan yang penuh dengan permainan lampu. (a) (b) Gambar 3. (a) Ruangan tema futuristic (b) aksen garis lampu pada garis pada furniture futuristic [Sumber : pinterest, 2020] Konsep yang diplikasikan pada redesain ini adalah Entertainment. Konsep ini mengambil elemen dari bioskop ini sendiri yaitu sebagai tempat hiburan yang sekaligus memberikan kesan dan pengalaman terbaik untuk menonton film bagi pengunjungnya. Dari tema dan konsep akan muncul suatu skema warna yang akan banyak diterapkan pada interior, yaitu cyan, hitam dan putih. Untuk material, banyak akan diterapkan menggunakan bahan stainless steel, aluminium, dan kaca tempered glass. 3.3 Scheme Color Dalam setiap konsep desain ruangan, terdapat warna-warna yang akan secara dominan muncul dalam pengaplikasiannya. Pada tema ini akan memiliki skema warna : Gambar 4. Scheme Color Redesain Bioskop New Star Cineplex Timbul Jaya Plaza Madiun [Sumber : dokumentasi pribadi, 2020] 3.4 Visualisasi tema dan konsep Tema dan konsep yang akan diterapkan pada interior adalah Futuristic Entertainment pada bagian lantai, dinding, ceiling/plafond, furniture, ruangan, dan fasilitas pada bioskop. Lantai Area lantai bioskop yang akan diterapkan adalah lobby bioskop dan area ruang teater. a) Lobby Gambar 5. Lantai Karpet [Sumber : dokumentasi pribadi, 2020] Pada bagian lobby bioskop, diaplikasikan karpet sebagai lapisan penutup lantai, dan aksen garis lampu untuk futuristic look yang mengelilingi area ruangan lobby, selain sebagai aksen, penggunaan garis ini berfungsi sebagai garis emergency ketika keadaan darurat terjadi, yang akan menyala untuk menuntun pengunjung ke arah pintu keluar. b) Ruang Teater Gambar 6. Lantai Ruang Teater [Sumber : dokumentasi pribadi, 2020] Area ruang teater diberikan lapisan karpet tile, dengan hidden lamp pada bagian tangga teater. Hidden lamp pada tangga selain berfungsi sebagai penunjuk jalan bagi penonton, sekaligus sebagai lampu emergency, penunjuk jalan ketika dalam keadaan darurat. Dinding Area yang akan diterapkan yaitu pada dinding lobby, ruang tunggu dan ruang teater. a) Lobby Gambar 7. Dinding Lobby [Sumber : dokumentasi pribadi, 2020] Dinding lobby menggunakan bentuk yang simetris, asimetris dan banyak menggunakan permainan hidden lamp untuk menyesuaikan konsep futuristik pada ruangan. b) Ruang Tunggu Gambar 8. Dinding Ruang Tunggu [Sumber : dokumentasi pribadi, 2020] Pada area dinding ini di aplikasikan bentuk simetris organic berbentuk honeycomb, bentuk ini menjadi focal point di salah satu sudut area ruang tunggu sebagai futuristic look. c) Ruang Teater Gambar 9. Dinding Ruang Teater [Sumber : dokumentasi pribadi, 2020] Dinding pada ruang teater, diterapkan backdrop untuk menambah kesan futuristik dalam ruangan, dan sebagai menambah pencahayaan ruangan. Ceiling/Plafond Area yang diterapkan yaitu pada lobby, ruang teater, dan lorong Exit Ruang Teater 2. a) Lobby Gambar 10. Plafond Ruang Lobby [Sumber : dokumentasi pribadi, 2020] Pada area lobby menggunakan drop ceiling yang terdapat hidden lamp di dalamnya mengelilingi lampu gantung. Penggunaan ceiling ini untuk memberikan tambahan pencahayaan dan menambah estetika futuristik pada ruangan. b) Ruang Teater Gambar 11. Plafond Ruang Teater [Sumber : dokumentasi pribadi, 2020] Ceiling pada area bioskop terdapat lampu pada setiap garis nya untuk memberikan futuristic look pada ruangan. Selain itu ceiling pada area ini sedikit diberikan bentuk lengkungan sebagai pengatur akustik audio ruangan. c) Lorong Exit Teater 2 Gambar 12. Plafond area lorong exit teater 2 [Sumber : dokumentasi pribadi, 2020] Area lorong exit diaplikasikan plafon kaca dengan ceiling yang tinggi, ukuran ruang lorong yang sempit, tidak ingin memberikan kesan claustrophobic pada pengunjung sehingga penggunaan plafond kaca memberikan kesan ruang yang lebih lapang, dan banyak penggunaan permainan lampu untuk memberikan daya tarik pada pengunjung. Furniture Gambar 13. Bentuk Desain [sumber : dokumentasi pribadi, 2020] Furniture pada area lobby memiliki bentuk yang berbeda dan memiliki bentukan yang simple. Furniture pada konsep ini banyak menggunakan LED strip yang mengikuti garis bentuknya, selain sebagai penambahan pencahayaan pada ruangan, sekaligus menambah estetika pada ruangan. Ruangan Bioskop Salah satu ruangan yang diterapkan tema dan konsep ini yaitu area lorong exit teater 2. Gambar 14. Area Lorong Exit Teater 2 [sumber : dokumentasi pribadi, 2020] Permainan lampu dan penempatan permainan cermin pada ruangan, untuk memberikan suasana fun dan eye catching pada para pengunjung, sehingga menjadi daya tarik tersendiri bagi pengunjung. Fasilitas Bioskop Fasilitas ini sebagai pelayanan yang diberikan oleh bioskop kepada pengunjung yang datang. a) Penggunaan teknologi terbaru pada bioskop. (Proyektor NEC NC3200S) Pengaplikasian proyektor versi ini akan memberikan kualitas gambar video 2K – 4K dan kontras warna yang jernih, sehingga akan memanjakan mata para penonton film. b) Audio berkualitas Dolby Atmos Pengaplikasian audio berkualitas Dolby Atmos akan memberikan kualitas suara yang lebih jernih, dan tampak realistis, sehingga memberikan pengalaman menonton yang menyenangkan. c) Fasilitas pendukung yang berbasis Smart Technology Pengaplikasian fasilitas yang telah mendukung Smart Technology selain mempermudah aktivitas agar lebih efisien, juga akan menarik pengunjung untuk datang, mencoba fasilitas baru yang belum pernah mereka coba. d) Online Based and Self-Service activity Pada era industry 4.0 sekarang ini, hampir segala aspek kegiatan sehari-hari barbasis pada internet, dan online dimana hal ini dimaksudkan untuk mempermudah kegiatan masyarakat agar lebih efisien. Dari keunggulan tersebut juga dapat diterapkan pada fasilitas hiburan publik seperti pada bioskop. Pemesanan tiket film tidak perlu lagi harus datang mengantri ke bioskop, cukup memesan tiketnya via online. Jika pun tidak sempat memesan tiket online bisa langsung memesan tiket on the spot, dengan self-service pada ticket box, yang telah disediakan layanan pemesanan tiket. Selain pelayanan pemesanan tiket film, kegiatan ini juga akan diterapkan pada pemesanan makanan di cinema café. Pengunjung dapat memesan makanan secara online melalui aplikasi sebelum menonton, ataupun on the spot. Sistem pembelian on the spot memiliki 2 cara, yaitu memesan sebelum menonton, atau ketika sedang menonton film. Pesan makanan sebelum menonton dapat dilakukan di cinema café dengan sistem self-service, pemesanan ketika sedang menonton dapat dilakukan melalui layanan customer service yang di install pada setiap kursi penonton, layanan ini terhubung langsung pada cinema café yang nantinya akan dibawakan makanan/minuman nya ke dalam ruang teater oleh pegawai cinema café. Material Bahan Material yang digunakan disesuaikan dengan tema dan konsep yang akan diterapkan pada bioskop. Penggunaan material logam seperti stainless steel, aluminum, dan besi banyak digunakan pada ruang interior, hal ini untuk memberikan kesan glossy pada ruangan. (a) (b) (c) Gambar 15. (a) Aluminum (b) Stainless Steel (c) Besi [Sumber : google, 2020] Selain itu penggunaan bahan kaca tempered glass dan cermin untuk memberikan reflective, bersih, sederhana, dan elegan. (a) (b) Gambar 16. (a) Kaca Tempered Glass (b) Kaca Cermin [Sumber : google, 2020] Lalu adanya penambahan material akustik, seperti rockwool dan gypsum digunakan pada area ruang teater sebagai pengaturan akustik pada ruangan. (a) (b) Gambar 17. (a) Kaca Tempered Glass (b) Kaca Cermin [Sumber : google, 2020] 3.5 Branding Branding pada New Star Cineplex ini bertujuan untuk mengenalkan desain logo baru pada bioskop ini, dengan tampilan yang berbeda dengan dengan sebelumnya menyesuaikan dengan konsep baru pada bioskop. Logo (a) (b) Gambar 18. (a) Logo Before (b) Logo After [Sumber : dokumentasi pribadi, 2020] Desain dari logo baru ini menyesuaikan dengan tema yang diterapkan pada ruang bioskop, yaitu futuristik dengan skema warna hitam, putih dan cyan. Font pada “New Star” dan “Cineplex” dirubah untuk mendukung tema menjadi lebih modern. Bentuk bintang dari logo sebelumnya masih tetap dipertahankan dan sedikit diberikan pembaharuan dari segi warna logo, untuk identitas diri dari bioskop tersebut. Tiket Film Gambar 19. Desain tiket bioskop [Sumber : dokumentasi pribadi, 2020] Desain tiket film ini terinspirasi oleh desain tiket film yang ada di Korea Selatan. Setiap tiket film terdapat gambar poster dari film yang ingin ditonton, bertujuan sebagai kenang-kenangan dan menambah daya tarik pecinta film bioskop yang gemar mengoleksi tiket film yang sudah ditonton. Interface pada aplikasi online Gambar 20. Interface pada aplikasi online [Sumber : dokumentasi pribadi, 2020] Pada desain aplikasi bioskop ini menyesuaikan dengan tema pada bioskop, sehingga dibuat simple agar mudah pengoperasian nya oleh masyarakat. 3.6 Hasil Desain Berikut beberapa hasil desain penerapan dari tema dan konsep pada bioskop Façade Gambar 21. Façade bioskop [Sumber : dokumentasi pribadi, 2020] Lobby Gambar 22. Lobby bioskop [Sumber : dokumentasi pribadi, 2020] Ruang Teater Gambar 23. Ruang Teater [Sumber : dokumentasi pribadi, 2020] Lorong Exit Teater 2 Gambar 24. Ruang Teater [Sumber : dokumentasi pribadi, 2020] SIMPULAN Bioskop New Star Cineplex (NSC) Timbul Jaya Plaza kota Madiun, bioskop ini berada di area pusat perbelanjaan (mall), dimana NSC merupakan salah satu tenant yang menjadi pendukung perputaran ekonomi pada area mall tersebut. Sayang, kurangnya minat pengunjung untuk datang ke bioskop, sedikit menghambat perputaran tersebut. Persaingan akan bisnis tempat pemutaran film semakin ketat, dimana setiap bulannya jumlah bioskop semakin bertambah dan hal ini menjadi tantangan bagi pengusaha bisnis bioskop untuk tetap mempertahankan usahanya. Maka dari itu, dari pihak pengelola harus tetap terus melakukan inovasi, perawatan, dan peningkatan fasilitas yang terdapat pada bioskop. Selain itu penerapan konsep Futuristic Entertainment ini bertujuan memberikan fasilitas hiburan yang bernuansa masa depan, sehingga dapat mengimbangi persaingan bisnis tempat bioskop yang semakin berkembang setiap bulannya. Apalagi di era Industry 4.0 sekarang ini dimana segala aspek didasari oleh teknologi internet dan online harus dapat diterapkan dalam segala hal, termasuk pada bioskop sebagai media hiburan masyarakat untuk memperluas jangkauan nya. DAFTAR PUSTAKA A. Wicaksono, D. Kharisma, dan S. Sastra. Ragam Desain Interior Modern. Cibubur, Jakarta Timur: Griya Kreasi (Penebar Swadaya Grup). 2014. A. Wicaksono, dan E. Tisnawati. Teori Interior. Cibubur, Jakarta Timur: Griya Kreasi (Penebar Swadaya Grup). 2014. P. Satwiko. Fisika Bangunan 1. Yogyakarta: CV Andi Offset. 2004. L. Doelle. 1972. Environmental Acoustics. New York, NY: Reprinted with permission from McGraw-Hill Book Company. 1972. W. Swasty. A-Z Warna Interior: Rumah Tinggal. Cibubur, Jakarta Timur: Griya Kreasi (Penebar Swadaya Grup). 2010. V. Leiwakabessy. 2013. “LANDASAN KONSEPTUAL PERENCANAAN DAN PERANCANGAN CINEMA AND FILM LIBRARY DI YOGYAKARTA, no. 3, http://e-journal.uajy.ac.id/3395/3/2TA13281.pdf, (Diakses pada 11 Desember 2019) Tim CNN Indonesia. 2019. “Jumlah Layar Bioskop Indonesia Mulai Kejar Korea Selatan”, Jakarta, 16 Mei. https://www.cnnindonesia.com/hiburan/20190516152929-220-395469/jumlah-layar-bioskop-indonesia-mulai-kejar-korea-selatan, Diakses pada 11 Desember 2019) Dekoruma, Kania. 2018. “8 Ciri Desain Futuristik, Gaya Desain Interior Masa Depan” Jakarta, 27 April. https://www.dekoruma.com/artikel/66939/gaya-desain-futuristik, (Diakses pada 11 Desember 2019) D. Agasbrama. 2014. “Konsep Desain Interior Futuristik” Jakarta, 15 Mei, https://interiorudayana14.wordpress.com/2014/05/15/konsep-desain-interior-futuristik/, (Diakses pada 11 Desember 2019) N. Khmairah, S. Wahyuning. 2017. “KAJIAN KARAKTERISTIK PENCAHAYAAN BUATAN PADA BIOSKOP (STUDI KASUS : CINEMACITRA XXI,MALL CIPUTRA,KOTA SEMARANG)” MODUL 17, no. 1(2017): 75-77. http://dx.doi.org/10.14710/mdl.17.2.2017.75-77, (Diakses pada 11 Januari 2020

Mies van der Rohe´s approach to architecture through a poetic structural skeleton, abstractly refined to become a universal prototype of the essence of form and spiritualization of space, can be best seen at the Neue Nationalgalerie in Berlin. This unique modern temple recently under refurbishment by the subtle pencil of David Chipperfield [1] will soon have to be prepared to receive the extra additional space designed by the winner competition office leaded by Herzog & De Meuron [2]. Despite the rebirth of the building´s prestige there is still a gap of knowledge on the construction philosophy pursued by Mies van der Rohe, who conceived the Galeria Project as a phenomenological duality of lightness and heaviness in within a constant game of oppositions, exquisitely intended to intensify human emotions. Far beyond a mere construction, the magnificent museum became a place where the Silesia stone terrace seemed to detain the historical time meanwhile the biotite grey steel structure was encapsulating a flexible space embracing the dynamic elapse of life. The investigation undertaken by this author on the building´s original working drawings at the MvdR Archive in New York revealed unknown details which are helping nowadays to achieve a deeper understanding on the design and construction process of the iconic miesian museum. The underground ventilation channels running beneath the monolithic concrete plinth refreshing the interior volume with perfumed air from the garden´s lindens, altogether with the heroic columns and the freestanding glass membranes of the façades, resume today´s dilemma of the global high-tech city within the natural realm.

This research is architectural space in blast-resistant buildings Aims to determine status and its effective indicators. Explosion-proof structures are necessary to protect personnel from construction hazards created when personnel work in potentially explosive areas. Blast-proof buildings usually precast cast-in-place concrete or Constructed of steel frosted steel frames are permanent structures. Suitable types of window glass and provides specific recommendations on contraindications. Incorporating blast-resistant glazing into its framing and It mentions the considerations involved in linking. Most notably, laminated glass and made of laminated glass Based on traditional window glass design methods for insulating glass Authors relatively to simplify the design of explosion-resistant glazing them offer a simple approach. Weighted Production Method (WPM) is less important than TOPSIS method and a more stringent method for penalizing computationally cheaper alternatives. It is dimensionless and the rank abnormality problem is not applicable to WPM. Option code of each alternative independent of other alternatives, More acceptable One can set the limit for the option code. Hence, for dynamic decision-making situations we recommend WPM as a better alternative than TOPSIS. Blast resistant building is alternatives are reconstruction capability (C1), implementation costs (C2), access to material supply (C3), maintenance costs (C4), environmental footprint (C5) and reduction of energy loss (C6). Evaluation Parameter is Brick Façade (A1), Stone Façade (A2), Coatings Cement Façade (A3) and Composite Façade (A4). In this type of analysis, WPM methods determine for the best solution to settlement, As a result, access to material supply (C3) is got the first rank whereas is reconstruction capability (C1) is having the lowest rank.

Designed by Neutelings & Riedijk and Bureau Bouwtechniek, the Heldentoren (Eng. Hero tower) is a 67 m high residential tower situated in Knokke-Heist at the Belgian coast. On floor level +2, +7, +12 and +17, the curtain wall façade spans two floors and is partially curved with a bending radius of 2.3 m for which 88.2(ANG, PVB)/15(Ar)/88.2(ANG, PVB) hot bent insulated glass units are used. Considering viscoelastic material behaviour of the interlayers, implementing the curved shape of the glazing and performing geometrically nonlinear analyses, however, will structurally result in more economical glass compositions. The structural design of this duplex façade faced some challenges: high aesthetical requirements by using slim profiles, the curvature resulting in horizontal in-plane reaction forces on the anchors and anchorages combined with large eccentricities, and the impossibility to apply traditional curtain wall design principles leading to the need of structural calculations on system level taking into account the stiffness of the connections between mullions and transoms. The node stiffness was obtained by designing stainless steel stiffeners. Glass bearers transferring the glazing’s self-weight directly to the mullions avoided torsion in the curved transoms. The adopted design method led to a reduction with a factor 4.2 for the bending moments and deflections of the mullions compared to traditional design principles. A mock-up of the duplex façade allowed the identification and solution of technical issues and installation-related difficulties by the façade builder. Potential consequences of these interventions with respect to the structural performance of the façade could be revised as well.

Different materials such as glass and composite cladding panels are common in the façade industry due to their architectural appearance. The direct sun rays enter the building and might produce discomfort to the occupants, especially in office and institutional buildings. Nowadays, perforated panels are widely used in facades and becoming more popular in the middle east. These panels are a formal exploration inspired by the Islamic patterns used in traditional Mashrabiya. This paper provides an overview of the application of Mashrabiya "perforated panels" and present structural assessment using software codes such as Robot and SAP2000 for vertical and horizontal installed cases. These panels are fabricated in different sizes with different thicknesses depends on their applications and uses. In this paper, rectangular, square fixed at the roof and vertically fixed panels are assessed. These are usually supported by steel or aluminium tubes designed for a wind load specified by project specifications. The cases presented here for the perforated panels arechecked for the induced stresses and deflections obtained from the numerical model using shell elements. The adopted framing systems and fixing detailing has been found satisfactory according to different acceptance criterion. The paper gives helpful design tools for the façade engineers.

What is a machine? As part of his answer to this, historian and philosopher of technology Lewis Mumford cites a classic definition: "a machine is a combination of resistant bodies so arranged that by their means the mechanical forces of nature can be compelled to do work accompanied by certain determinant motions" (Reuleaux [1876], qtd. in Mumford, Technics and Civilisation 9). Mumford's own definition is focussed on machines as part of a technological continuum between human body and automaton: Machines have developed out of a complex of non-organic agents for converting energy, for performing work, for enlarging the mechanical or sensory capacities of the human body, or for reducing to a mensurable order and regularity the processes of life. The automaton is the last step in a process that began with the use of one part or another of the human body as a tool. (9-10) The tool and the machine can be distinguished along this technological continuum, with the tool more dependent on "the skill and motive power of the operator", subject to "manipulation", and potentially more flexible in its uses, whereas the machine lends itself more to "automatic action" of a specialised kind. However, it is difficult to ultimately separate them, since the embodied skill of the tool-user becomes more mechanical and reflexive with practice (Technics and Civilisation 10), while the machine also evolves along increasingly organic lines (367), and there are common examples of hybrid machine-tools like the lathe or drill, which combine "the accuracy of the finest machine ... with the skilled attendance of the workman" (10). A powerfully attractive feature of the computer is that it is an effective hybrid of machine and tool: like a machine it performs many specialised functions at super-human speed and accuracy on command, but like a tool it is flexible and adaptable (through add-on software and plug-in peripherals) to a seemingly endless variety of users and uses. Fascinating Assemblages The automatic machine ... involves the notion of an external source of power, a more or less complicated inter-relation of parts, and a limited kind of activity. From the beginning the machine was a sort of minor organism, designed to perform a single set of functions. (Mumford, Technics and Civilisation 11) The autonomy of the machine is perhaps its most fascinating aspect. That the machine is an assemblage of parts and restricted functions -- a "minor organism" as Mumford puts it -- suggests to us a body. There is something ineluctably erotic about scenes of lubricated pistons moving in and out of cylinders, or greased gear wheels moving around each other, and a masturbatory energy seems to be involved in the machine that repetitively and by itself performs the same limited actions over and over and over. While there are parallels between masculine masturbation and machinic repetition, there are also associations with femininity. As Andreas Huyssen pointed out, the modern machine became associated with a dangerous female sexuality and took the place of the early moderns' untamed Mother Nature as the principal representative of non-human forces with autonomy and agency that could evade human control. But arguably, expressed fears of machinic autonomy are the flip side of a wish for it, arising from masculine reproductive fantasies that have been played out in technoscience by generations of fictional and real-life Frankensteins fanatically seeking to create artificial life in the form of technoscientific brainchildren (who are nevertheless often neglected and left to run wild at birth). At a conscious level, machines express what may be interpreted as anal-sadistic desires for order, regularity and control, but unconsciously there is an element of masochistic pleasure in being passive, in yielding up control to the machine, in letting it set the scene and determine the actions and roles for the humans as well as non-humans (Sofia, "Contested Zones", and "Mythic Machine" 44-8). Machinic Zeal What is the use of conquering nature if we fall a prey to nature in the form of unbridled men? What is the use of equipping mankind with mighty powers to move and build and communicate, if the final result of this secure food supply and this excellent organisation is to enthrone the morbid impulses of a thwarted humanity? (Mumford, Technics and Civilisation 366) With his emphasis on the social context and drives towards technology, Mumford (Technics and Civilisation 364-5) suggests that while some kinds of machines have existed for thousands of years, what we have come to think of as the mechanical age only arose with the widespread adoption of the machine as a way of securing order, regularity and calculability of physical and human resources, coupled with the ideological shift which made the machine into "a goal of desire" and an object of almost obsessive veneration from the mid-18th century to the early 20th century. Now, he said (writing first in the early 1930s) faith in the machine has been somewhat shaken, and it is no longer seen as "the paragon of progress" but as "merely a series of instruments" to be used when useful; yet despite this loss of faith the machine in capitalist contexts continues to be "over-worked, over-enlarged, over-exploited because of the possibility of making money out of it" (Technics and Civilisation 367). Almost seventy years after Mumford was writing, the obsessive zeal for the machine still has not completely disappeared, but has been displaced from giant smoke-puffing steel assemblages, whirling cogs and gearwheels, or the motors driving trains, cars and planes, and onto the silicon, plastic and light of computers (whose machineries of production and assembly are largely hidden off-shore to the bulk of users, thereby producing the illusion of "post-industrial" societies). The computer is now the paragon of progress and has become the "defining technology" of our age (Bolter), its place reinforced by an actively boosterist popular press (e.g. popular computing magazines; regular computer supplements in newspapers). Sociotechnical Not Posthuman Mumford continually makes the point that questions posed by/in technology are never answerable only technologically. It always comes down to human choices, and even when the results of these "are uncontrollable they are not external" to human culture: Choice manifests itself in society in small increments and moment-to-moment decisions as well as in loud dramatic struggles; and he who does not see choice in the development of the machine merely betrays his incapacity to observe cumulative effects until they are bunched together so closely that they seem completely external and impersonal. (Mumford, Technics and Civilisation 6) In a certain way Mumford's perspective anticipates actor-network theory, which looks at artefacts -- including machines -- as parts of sociotechnical networks that involve human decisions, including about the distribution of agency to non-humans. Even in the most automated machine, Mumford argues "there must intervene somewhere, at the beginning and end of the process ... the conscious participation of a human agent" (10). Actor-network studies of the development of scientific and technological artefacts aim in part to critique the sense of the external, impersonal or inevitable in scientific and technical 'progress' by insisting that "things might have been otherwise" (Bijker & Law 3), not just at the beginning and end, but all the way through the process of an artefact's development and use. The artefact is studied as a particular outcome of a set of decisions and performances made in the midst of contingencies affecting human and non-human actors with conflicting goals and contested powers within a dynamic sociotechnical network. Although actor-network theory is very interested in non-human agents, it does not, as do some recent participants in and theorists of cyberculture, celebrate the so-called post-human. There can be no agentic machines without there having been human competencies downloaded into them; there can be no technical order that is not also social and cultural. As Latour argues, the modernist work of purification has tried vainly to impose a separation between the social and technical, denying their mutual inextricability. From this Latourian perspective, the notion of the "post-human" is not, as it appears to be, post modern, but thoroughly modern. It carries through the quintessentially modernist project of denying after the fact the human agency and capacities that have been invested in producing hybrid artefacts which are then proclaimed as extra-human; it denies the cumulative effects of sociotechnical choices and instead represents the machinic imperative as somehow impersonal and external to human affairs. The notion of the posthuman can readily reinforce the pervasive popular cultural myths of technological inevitability and dominance, conveniently for those humans and corporations who actually do profit from decisions they make about developing and marketing machines of increasing autonomy, intelligence and subtlety. Machines and Provision The role of the machine has been overemphasised in histories of technology, according to Mumford. For aside from tools and machines which perform dynamic actions, there are technologies of containment and supply, which he categorizes as utensils (like baskets or pots), apparatus (such as dye vats, brick kilns), utilities (reservoirs, aqueducts, roads, buildings) and the modern power utility (railroad tracks, electric transmission lines). Some of the most effective adaptations of the environment came, not from the invention of machines, but from the equally admirable invention of utensils, apparatus, and utilities. ... But since people's attention is directed most easily to the noisier and more active parts of the environment, the role of the utility and the apparatus has been neglected ... both [tool and utensil] have played an enormous part in the development of the modern environment and at no stage in history can the two means of adaptation be split apart. Every technological complex includes both: not least our modern one. (Technics and Civilisation, 11-2). The development of various utensils and apparatus for storage (urns, granaries) and flow (irrigation, aqueducts) was essential for the emergence of settled agricultural communities in the neolithic period (Mumford, Technics and Human Development 140-1). As I explore in a related article (Sofia, "Container"), Mumford finds a prudish sexism in the relative neglect of technologies evocative of the female organs of storage, nutrition and transformation, compared with the overemphasis on technologies that are extensions of the muscular masculine body (Technics and Human Development, 140). However, the contrast between dynamic, noisy, active and autonomous machines, and passive, quiet, backgrounded containers cannot be sustained. For one the utensil even in its most basic form, has something machinic about it: a container can perform its function autonomously, without needing manipulation like a tool. Further, it is arguable that holding or containing is not simply a property of a shaped space, but a form of action in itself. Moreover in practice there are many hybrids of machine and utensil or utility, for example in domestic technologies like the food processor, a container with a machine-driven blade, or the washing machine, featuring a tub with mechanical agitation and rotary motion. Although Mumford is primarily interested in the machine, he observes that as modern "neotechnics" proceeds to develop ever more sophisticated machinery, so does it evolve more complex technologies of containment, as described in this passage which depicts both machines and utilities as active agents: Behind the façade [of the crisp lines of steel and glass that define the modern built environment] are rows and rows of machines, weaving cotton, transporting coal ... [etc.], machines with steel fingers and lean muscular arms, with perfect reflexes, sometimes even with electric eyes. Alongside them are the new utilities -- the coke oven, the transformer, the dye vats -- chemically cooperating with these mechanical processes, assembling new qualities in chemical compounds and materials. Every effective part in this whole environment represents an effort of the collective mind to widen the province of order and control and provision. (Technics and Civilisation, 356) Another way of getting the over-emphasised machine back into proportion is to look more closely at what it is used for, what purposes it serves. Mumford writes of the machine as part of the effort to produce "order and regularity" into the processes of life (10); to "widen the province of order and control and provision" (356) or to produce a "secure food supply and ... excellent organisation" (366). In other words, the machine is serving the goals typically associated with utensils, utilities and apparatus: smoothing out fluctuations in supply and distributing resources more evenly. Likewise Mumford suggests that in the back of developments of machine and tool is the effort to adapt by extending the body's powers and/or by altering the environment, so that, for example, instead of a physiological adaptation to cold through hair growth or hibernation, "there is an environmental adaptation, such as that made possible by the use of clothes and the erection of shelters" (10). These technologies are not machines, but container technologies, in the province of what philosopher of technology Don Ihde would call "background technics". We can think of the shift in emphasis here in relation to the example of road works. The large machines for bulldozing a path and laying down layers of road surface are very impressive in their size, power and technical capacity. But the road surface could not be laid down without there being technologies (including hybrids of machine and container, like the pick-up truck) for transporting, storing and mixing the materials used. And when it is done, the big machines lumber off elsewhere, and what we have before us is a road, a utility which facilitates orderly communication, transport and the supply of people and materials. In other words, these machines have served the goal of provisioning. The machine can enthral us with its autonomy, its alterity, its thingness, but as Heidegger has claimed, even such a powerful and seemingly stand-alone machine as a plane on a runway ready for take-off is ultimately just a "completely unautonomous" element when considered as part of a global system ordered "to ensure the possibility of transportation" (17). Like other modern machines, its own objectness and machinic resistance is dissolved as it becomes part of the "standing reserve", which can be understood as a macro-technology of provisioning through a matrix of mobilisable human and non-human resources. In the broader project of which this piece is a fragment, I want to investigate more closely the role and relative importance of machines compared to other kinds of equipment, especially for containment, supply or provisioning in contemporary technoculture, on the suspicion that it is apparatus and utilities rather than machines that define our contemporary lifeworld. References Bijker, Wiebe E., and John Law. General Introduction. Shaping Technology/Building Society: Studies in Sociotechnical Change. Eds. Bijker and Law. Cambridge, Mass.: MIT P, 1992. Bolter, Jay David. "The Computer as a Defining Technology." Computers in the Human Context: Information Technology, Production, and People. Ed. Tom Forester. Oxford: Basil Blackwell, 1989. Heidegger, Martin. "The Question Concerning Technology." The Question Concerning Technology and Other Essays. Trans. William Lovitt. New York: Harper & Row, 1977. Andreas Huyssen. "The Vamp and the Machine: Technology and Sexuality in Fritz Lang's Metropolis." New German Critique 24-25 (1982), 221-37. Also in Huyssen. After the Great Divide. Bloomington: Indiana UP, 1986. Ihde, Don. Technology and the Lifeworld: From Garden to Earth. Bloomington: Indiana UP, 1990. Latour, Bruno. We Have Never Been Modern. Trans. Catherine Porter. Cambridge, Mass.: Harvard UP, 1993. Mumford, Lewis. Technics and Civilisation. New York: Harcourt Brace Jovanovich, 1962 [1934]. ---. Technics and Human Development. New York: Harcourt Brace & World, 1966. Sofia, Zoë. "Container Technologies." Hypatia, Spring 2000 (forthcoming). ---. "Contested Zones: Futurity and Technological Art." Leonardo: Journal of the International Society for the Arts, Sciences, and Technology 29.1 (1996): 59-66. ---. "The Mythic Machine: Gendered Irrationalities and Computer Culture." Education/Technology/Power: Educational Computing as a Social Practice. Eds. Hank Bromley and Michael W. Apple. Albany NY: SUNY, 1998. Citation reference for this article MLA style: Zoë Sofoulis. "Machinic Musings with Mumford." M/C: A Journal of Media and Culture 2.6 (1999). [your date of access] <http://www.uq.edu.au/mc/9909/mumford.php>. Chicago style: Zoë Sofoulis, "Machinic Musings with Mumford," M/C: A Journal of Media and Culture 2, no. 6 (1999), <http://www.uq.edu.au/mc/9909/mumford.php> ([your date of access]). APA style: Zoë Sofoulis. (1999) Machinic musings with Mumford. M/C: A Journal of Media and Culture 2(6). <http://www.uq.edu.au/mc/9909/mumford.php> ([your date of access]).