Prize winner Pritzker Norman Foster is the owner of the rising buildings of a dubious project, processing, or associations to the pantheon of architectural images. Hearst Tower in Manhattan, which he designed in collaboration with the architects of Adamson Associates and Gensler, is a new example of this return to life. 42 -story glass – and a tower with metal skin is characterized by a large diagonal mesh, emphasized, vertically alternating located and designing multi -storey corner triangles. The tower is sitting on a six -story building of a throw stone developed by Joseph Urban for Hearst headquarters, completed in 1928. The tower, which was opened in October 2006 to direct recognition, remains true for the problems of the project that mixes the architectural articulation with the technical efficiency that contribute to, began to explore 1967 when he opened his first office. According to the reception + partners, the tower was built using 85 percent redesigned steel and developed to spend 26 percent less energy than its ordinary neighbors. This is the first new busy building of the New York office, which was given by the LEED-gold assessment of the American Green Council of Buildings. The building in development in 1988 The original six-story building determined a significant section of New York. The building was more architectural madness, or grotesque than an example of a good city project. This was an increase, riveted supports from scale, crowned with urns in the corners and flank inputs. The building accurately reflected the reputation of Urban’s as a designer of scenery and props and theaters. City pollution ultimately grazed the golden stone of the throw, and the cut figures became indistinguishable. Previously, the reception was authorized, the building became a squat, stupid building of the depressing appearance. Most historians agree that William Randolph Hearst chose this site on the western side of the eighth Avenue, between the 56th and 57th streets, several blocks south of the Circle of Columbus, because he believed that the theater region would ultimately extend from the time , They coordinate this distant north and that it would be in some later date to build a higher building on this six -story basis. Great depression may have completed such plans for expansion. Although the theater district never expanded this distant north, the Circle of Columbus had a famous, recent restoration with the construction of the towers developed for Time Warner David Childs Som. With the addition of a steel and glass tower, the original occurrence of a throw stone was restored by the Hearst building. The stone once again has a golden hue, when the light hits it, and the numbers and other oversized decorative details are again clearly visible. But with the meaningless gaze of a temporary white, hardening on the windows (unrelated at this letter), the first floor shops, combined with a light stone, the eyes move quickly past the original base to an attractive metal grid, which is very reflexive in the sunlight, current along the streets and between the buildings of a high -rise building. From appearance, the six -story building is not a simple basis for the tower, having neither stylistic nor material relations to the high -altitude above. The dialogue or disagreement disconnects this, questioned the statement of Foster’s that, “repeating the approach developed in the Reichstag and the Great Court in the British Museum, the problem in the design of such a tower is deleted at about 70 years, had to establish a creative dialogue between the old and new.”Some historical defenders could condemn the decision of Foster’s in the Hearst tower as” facade-ectomy “, in which a sharply new and different structure was created behind the historical outer wall, leaving it as generally an unstructural, free element. In the Hearst tower, you can see from the outside that, where one day there were the upper floors of the office of the original building, there is now an extensive, brilliantly lit, open space. I find that this is a successful, Architecturally excitement if a decisive revision. In the reception tradition in the Reichstag, Fosteer designed a glass dome that not only the flooded building with light, but also created a new architectural symbol from the building, previously associated with the advent of Hitler and the Nazi party. In the Great Court, the attention of the reception of re -focused visitors to a large place, freeing this from cluttered rooms and again exceeding the building with a beautifully clearly formulated glass canopy.
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