View allAll Photos Tagged Prefabrication
The mill was constructed from a prefabrication kit by two German immigrants in 1872 on a 10-acre site in what is now Lombard, IL. It was used to grind grain and corn. It was sold to Colonel George Fabyan in 1914 and more recently extensively renovated to be part of the attractions at the forest preserve.
The mill was constructed from a prefabrication kit by two German immigrants in 1872 on a 10-acre site in what is now Lombard, IL. It was used to grind grain and corn. It was sold to Colonel George Fabyan in 1914 and more recently extensively renovated to be part of the attractions at the forest preserve.
For me , the best exhibition of the International Photography2018 in Arles ! It isn’t an exhibition but a spiritual travel full of serenity through magic captures .
Both an art event and a spiritual exploration, CONTEMPLATION is a one-of-a-kind collaboration between the photographer and Buddhist monk Matthieu Ricard and the Columbian architect Simón Vélez.
This multidisciplinary artistic undertaking combines photography, architecture, music and meditation and aims to use art as a window upon fundamental values of our time: serenity, altruisme, respect for life…
CONTEMPLATION is a sober and monumental setting for Matthieu Ricard’s photography. The exhibit takes place in a central room which is surrounded by an outside corridor that creates and allows the contemplation movement. Taking place on the banks of the Rhône, facing the old city of Arles, the Pavilion respects Simón Vélez’s approach which mixes and balances materials and structures with natural elements. The structure can accommodate simultaneously 100 visitors. It is almost exclusively composed of the Colombian Guadua bamboo and of other local materials such as the La Crau pebbles, or the reeds of the Camargue for its roof.
The Pavilion is the first to prefabrication project made by the two architects. It opened up new possibilities for construction and architecture: it can be disassembled, transported and reassembled wherever CONTEMPLATION may go.
The Deer Isle Bridge is a suspension bridge spanning Eggemoggin Reach in the state of Maine. The bridge is the only vehicular connection from the Maine mainland to Little Deer Isle, one of the segments that make up the island. The span was completed in March 1939 with a main span of 1,088 feet (332 m). The bridge was designed by Holton Duncan Robinson and David Bernard Steinman. It encountered wind stability problems that were similar to those of the Whitestone Bridge and the original Tacoma Narrows Bridge, which collapsed shortly after it opened. The problems led to modifications which included numerous cable stays connecting cables to the tower and tower to the deck. The span today carries two narrow lanes of State Route 15.
The Deer Isle-Sedgwick Bridge, named for the two townships it connects, was the first bridge built between Deer Isle and the mainland, replacing an inadequate ferry crossing system and effectively opening the island to tourism opportunities. It is notable for the innovation of its designers and contractors in creating a durable, long-span, high-level structure across a navigable arm of the Atlantic at minimal cost. Unprecedented use of prefabricated and previously used materials simplified construction and minimized costs, and much of the outdoor work was completed under poor weather conditions.
The challenges facing David B. Steinman, his firm, and their contractors were numerous. The popularity of Eggemoggin Reach as a yachting area called for a 200-foot-wide (61 m) channel at midspan with a minimum 85-foot (26 m) underclearance, placing the roadway at 98.7 feet (30.1 m) above mean water level. At the same time, the depth required for foundations at this location called for minimizing the length of the approach spans. This height problem was solved by employing steep 6.5-percent approach grades and a fairly short 400-foot (120 m) vertical curve at the center of the main span. In this manner, the needed height was attained and the approach viaducts were kept to a minimum length.
The project was also complicated by its required early-summer completion date, meaning that much of the work had to be done during the winter and early spring months when weather conditions posed a significant challenge. Robinson and Steinman and their contractors solved this difficulty by prefabricating many of the components offsite and completing the bulk of the assembly quickly, working between high tides. Site-specific innovations in prefabrication and construction methods minimized outdoor work at the site and departed from conventional bridge-building practice. This careful consideration and planning resulted in a project completed on schedule and at low cost, despite the extreme conditions.
The substructure, in particular, employed prefabrication at an unprecedented level. Instead of assembling the steel sheet-pile cofferdams and the metal forms for the main tower pedestals on site, Merritt-Chapman & Scott had them prefabricated at their yard on Staten Island and brought to Maine by barge. Their use of secondhand steel materials for the dams, along with the prefabrication and careful timing of the construction schedule, saved a great deal of money. The prefabricated dams were assembled for use on barges near the work site. After mud was removed from the bottom and the rock foundation carefully sounded, the dam bases were torch-cut to fit the profile of the irregular bedrock on which they were to be set. Finally, the dams were filled with concrete.
On the superstructure, pre-stressed twisted-strand cables invented by the designer were used to advantage on both the main strands and the suspenders, meaning the time-consuming and expensive field adjustments were unnecessary. These cables debuted in the U.S. in 1931 on Steinman and Robinson's Waldo-Hancock Bridge near Bucksport, Maine, and their St. Johns Bridge in Portland, Oregon. A new connection method, which used sleeve nuts to connect each main strand socket to its anchorage rod, was also used. These connections, invented by Robinson and first used on the Thousand Islands Bridge the previous year, made small adjustments to the main strands very easy.
Before the bridge was finished, unexpected wind-induced motion in the relatively lightweight deck indicated the need for greater stability. Diagonal stays running from the main cables to the stiffening girders on both towers were added to stabilize the bridge. However, the bridge's motion during unusually severe storms in the winter of 1942–1943 caused extensive damage and destroyed some of the stays. With the recent collapse of the Tacoma Narrows Bridge in everyone's mind, stronger and more extensive longitudinal and transverse diagonal stays were added.
Dome house, Kaga, Ishikawa Prefecture, Japan. Dome houses are assembled from prefabricated components.
In this devided image I managed to capture the work of two of my favorite architects in a single shot. The splitting line was drawn afterwards, to show that I originally wanted to create two separate compositions as a mark of respect for these masters of reinforced concrete, but on second thoughts, the connection between the two of them is more than valuable.
The white "Volcano", with a theatre inside, on the left, was created by the Brasilian architect Oscar Niemeyer and on the right a hallmark is shown, from the French city designer and architect Auguste Perret.
Located on the English Channel in Normandy, the city of Le Havre was severely bombed by the Allies during the Second World War. The destroyed area was rebuilt between 1945 and 1964 according to the plan of a team of architects and town planners headed by Auguste Perret. The site forms the administrative, commercial and cultural centre of Le Havre. Among the many reconstructed cities, Le Havre is exceptional for its unity and integrity, associating a reflection of the earlier pattern of the city and its extant historic structures with the new ideas of town planning and construction technology. It is an outstanding post-war example of urban planning and architecture, based on the unity of methodology and the use of prefabrication, the systematic utilization of a modular grid and the innovative exploitation of the potential of concrete.
Auguste Perret wanted Place Gambetta (shown in the image) to be once more the artistic and cultural centre of the city.
Oscar Niemeyer was the one to fulfill Perret’s ambition, between 1978 and 1982. Therefore the two architects show each other off: the free and fluid lines of Oscar Niemeyer echo the majestic and orthogonal ones of Auguste Perret in admirable fashion.
Part of the album Oscar Niemeyer:
www.flickr.com/photos/fransvanhoogstraten/albums/72177720...
Architekturbüro: COOP HIMMELB(L)AU
The Customer Information Centre and Event Forum PANEUM - Wunderkammer des Brotes - for the company Backaldrin in Asten consists of two elements: a box shaped plinth building with foyer and event rooms plus the “Wunderkammer des Brotes”, a two storey freeform exhibition area floating on top. The chosen materials augment the contrast of these two elements: The square base building shows a cast-in-place concrete façade while the rounded wood structure of the museum is clad with stainless steel shingles.
The base building houses the event rooms and the adjoining rooms. This area can be used for a variety of events as presentations, receptions or workshops for up to 120 visitors.
The design of the exhibition area is based on the idea of a cabinet of curiosities, a concept for collections originating in the Baroque period. This concept is especially appropriate for the unusual and small-scale objects in the collection related to the topic “bread” which are presented in the exhibition area. For the exhibition concept and design Gruppe Gut from Bozen was responsible.
The centre of the “Wunderkammer des Brotes” is formed by a circular atrium, in which selected items from the collection are individually suspended from the top, as in a differentiated crystal chandelier. The atrium is enclosed by a spiral stair where visitors can look at the exhibited items from various perspectives. The stair provides access to the two exhibition levels, where the objects are presented with the help of walls, tables and cabinets that are integrated into the architecture. Additionally, all floors can be accessed by elevators. The atrium is naturally illuminated from above while the exhibition spaces have artificial light.
The self-supporting wood shell of the exhibition structure is visible in the interior. It is composed of layered circles of cross laminated timber. This method of construction enables the realization of the free form. The high degree of prefabrication with 3D CNC technology (Computerized Numerical Control) lead to a short building time. Leaving the precisely shaped wood timber exposed on the interior, with just a layer of paint, made additional interior finishes unnecessary.
CONTEMPORARY WUNDERKAMMER
Across the railway line southwest of the Tiwanaku site, we saw the excavation site of Puma Punku. In this temple area megaliths weighing more than 130 tons have been discovered. Like Kalasasaya and Akapana, there is evidence that Puma Punku was begun with one type of material and finished with another; part was constructed of enormous sandstone blocks and, during a later phase of construction, notched and jointed basalt blocks were added.
Note also, in the distance of the site’s northern boundary, the sukakollo, a highly sophisticated system of terraced irrigation.
***
In assembling the walls of Pumapunku, each stone was finely cut to interlock with the surrounding stones. The blocks were fit together like a puzzle, forming load-bearing joints without the use of mortar. One common engineering technique involves cutting the top of the lower stone at a certain angle, and placing another stone on top of it which was cut at the same angle. The precision with which these angles have been used to create flush joints is indicative of a highly sophisticated knowledge of stone-cutting and a thorough understanding of descriptive geometry. Many of the joints are so precise that not even a razor blade will fit between the stones. Much of the masonry is characterized by accurately cut rectilinear blocks of such uniformity that they could be interchanged for one another while maintaining a level surface and even joints. However, the blocks do not have the same dimensions, although they are close. The blocks were so precisely cut as to suggest the possibility of prefabrication and mass production, technologies far in advance of the Tiwanaku’s Inca successors hundreds of years later. Some of the stones are in an unfinished state, showing some of the techniques used to shape them. They were initially pounded by stone hammers, which can still be found in numbers on local andesite quarries, creating depressions, and then slowly ground and polished with flat stones and sand.
Tiwanaku engineers were also adept at developing a civic infrastructure at this complex, constructing functional irrigation systems, hydraulic mechanisms, and waterproof sewage lines.
The city of Le Havre, on the English Channel in Normandy, was severely bombed during the Second World War. The destroyed area was rebuilt according to the plan of a team headed by Auguste Perret, from 1945 to 1964. The site forms the administrative, commercial and cultural centre of Le Havre. Le Havre is exceptional among many reconstructed cities for its unity and integrity. It combines a reflection of the earlier pattern of the town and its extant historic structures with the new ideas of town planning and construction technology. It is an outstanding post-war example of urban planning and architecture based on the unity of methodology and the use of prefabrication, the systematic utilization of a modular grid, and the innovative exploitation of the potential of concrete.
View from the Main Road
Just before you turn inside the Inigo Jones car park.
This water wheel was used from 1861 to the 1960's.
Inigo Jones was founded in 1861 to produce school writing slates. Today the company prefabricates architectural, memorial, craft and landscape items from Welsh slate. There is a self guided tour of the works which includes a video and audio guide presentation. There is a craft showroom, gift shop and cafe on site, also open all year.
"Porsche Pavilion in Wolfsburg
A visit to the Autostadt Wolfsburg is not only worthwhile for vehicle lovers - since the completion of the spectacular Porsche Pavilion in 2012, architecture enthusiasts have also got their money's worth. The building planned by Henn architects from Munich was built opposite the Volkswagen pavilion on the approximately 28 hectare exhibition site in the middle of the artificial lagoon landscape. It is the first new building since the Autostadt opened in 2000.
The architects derived the rapidly curved shape of the building from the striking silhouette of the sports car. From the outside it is completely encased in matt stainless steel, which changes its appearance depending on the time of day and the incidence of light. Its external dimensions are 75 x 80 meters and the exhibition space is a good 400 square meters. On the entrance side, the pavilion juts out like a large wave 25 meters above the surface of the artificial lake. The asymmetrically shaped roof encloses a 290 square meter protected outdoor space, which is designed with staircase-shaped rows of seats as an event location for several hundred visitors. At the sides, the seating steps extend far beyond the roof and fit seamlessly into the outdoor facilities planned by WES landscape architects. [...]
Roof
The construction of the pavilion is based on the monocoque lightweight construction (French: single shell), as is common in ship, aircraft and automobile construction. With this technology of the "surface-active structure", the roof construction supports itself as a space-forming shell. It consists of 620 sheets of steel blasted with stainless steel granulate in thicknesses of 10 to 30 millimeters, which were welded with stiffening frames and transverse bulkheads in a shipyard in Stralsund and then mounted on site. It is 2,550 square meters in size and has a total weight of 425 tons. [...]
The material steel was chosen after the structural engineers had worked out different variants for the roof structure. A concrete shell was found to be too heavy, a shell made of aluminum and carbon was not possible due to German fire protection regulations and a grid shell with triangular meshes made of steel had too many joints in the outer skin. The lightweight monocoque construction in steel, on the other hand, enabled a smooth, jointless appearance with low weight, which looks like concrete from a distance and, thanks to a high degree of prefabrication, could be implemented comparatively inexpensively and quickly."
(Translated from www.baunetzwissen.de)
photo in Explore 04.03.2021
Slate Clock on the top of outside building
Inigo Jones was founded in 1861 to produce school writing slates. Today the company prefabricates architectural, memorial, craft and landscape items from Welsh slate. There is a self guided tour of the works which includes a video and audio guide presentation. There is a craft showroom, gift shop and cafe on site, also open all year.
This is the main entrance via the gift shop.
The tour begins with a film about the history
of slate etc, then you start your self guided tour with an audio
Guide to explain all the different area's to enter within the workshop's.
It was founded in 1861
primarily to prefabricate school writing slates and when replaced with paper they diverted to other new products.
The owner at the time started expanding to
electrical panels in slate.
Sourcing it's slate from the whole of North Wales.
Inigo Jones was founded in 1861 to produce school writing slates. Today the company prefabricates architectural, memorial, craft and landscape items from Welsh slate. There is a self guided tour of the works which includes a video and audio guide presentation. There is a craft showroom, gift shop and cafe on site, also open all year.
Office building Salamanca, designed by Rietveld Architects of New York, is a light and transparent structure with striking, geometric forms. The front facade of the office block is about 2,5 meter forward of the vertical. To this end, the row of columns on this side is also inclined forward, some 0,5 meter per floor. By combining casting and prefabrication, it was possible to avoid having to scaffold the entire structure and to gradually build at an angle from floor to floor.The main entrance hall leads to a glass space that has a void over the full height of the building. Each floor joins this void in an open connection. The sloping facade gives an exciting feeling when you reach down and look over the glass balustrade.
Yugo North Terrace,
An apartment building in Adelaide designed for global student accommodation provider Yugo
Architect Rothlowman has utilised prefabrication, 3D printing, and passive sustainability in the design.
Adelaide city centre, South Australia, Australia
The new building was designed by the British architect Norman, Lord Foster and civil & structural engineers Ove Arup & Partners with service design by J. Roger Preston & Partners, and was constructed by Wimpey International. From the concept to completion, it took seven years (1978–1985). The building is 180 metres high with 47 storeys and four basement levels. The building has a modular design consisting of five steel modules prefabricated in the UK by Scott Lithgow Shipbuilders near Glasgow, and shipped to Hong Kong. About 30,000 tons of steel and 4,500 tons of aluminium were used.
The original design was heavily inspired by the Douglas Gilling designed Qantas International Centre in Sydney (currently known as Suncorp Place).
The new Lobby and its 2-part Asian Story Wall were designed by Greg Pearce, of One Space Limited. Pearce was also the Principal Architect of the Hong Kong Airport Express (MTR) station. Conceived as a minimalist glass envelope, the new lobby is designed to be deferential to Foster's structure and appears almost to be part of the original.
The building is also one of the few to not have elevators as the primary carrier of building traffic. Instead, elevators only stop every few floors, and floors are interconnected by escalators.
The main characteristic of HSBC Hong Kong headquarters is its absence of internal supporting structure.
Another notable feature is that natural sunlight is the major source of lighting inside the building. There is a bank of giant mirrors at the top of the atrium, which can reflect natural sunlight into the atrium and hence down into the plaza. Through the use of natural sunlight, this design helps to conserve energy. Additionally, sun shades are provided on the external facades to block direct sunlight going into the building and to reduce heat gain. Instead of fresh water, sea water is used as coolant for the air-conditioning system.
All flooring is made from lightweight movable panels, under which lies a comprehensive network of power, telecommunication, and air-conditioning systems. This design was to allow equipment such as computer terminals to be installed quickly and easily.
Because of the urgency to finish the project, the construction of the building relied heavily on off-site prefabrication; components were manufactured all over the world. For example, the structural steel came from Britain; the glass, aluminium cladding and flooring came from the United States while the service modules came from Japan.
The inverted 'va' segments of the suspension trusses spanning the construction at double-height levels is the most obvious characteristic of the building. It consists of eight groups of four aluminium-clad steel columns which ascend from the foundations up through the core structure, and five levels of triangular suspension trusses which are locked into these masts.
Source: Wikipedia
La Maison tropicale, dont les concrétisations en Afrique se limitent à la seule fonction de construction témoin, est un symbole de la production industrielle contrariée de Jean Prouvé et de la maturation continue de sa pensée sur la standardisation et la préfabrication. Métal contre métal, un dialogue s’établit entre la Maison tropicale et la structure de l’atelier.
The Tropical House, whose concretizations in Africa are limited to the sole function of control construction, is a symbol of Jean Prouvé's thwarted industrial production and the continuous maturation of his thought on standardization and prefabrication. Metal against metal, a dialogue is established between the Tropical House and the structure of the workshop.
Gravesend Marina, at low tide...
The Marina is tidal as it is fed by the River Thames; its entrance/exit is out of view on the left.
Just beyond the boat on the right, a canal used to allow navigation all the way to Strood on the River Medway, through the countryside and a tunnel to the River Medway. The canal opened in 1824 but was never commercially successful and in 1845 it was shared with the then new railway line: the railway took over the tunnel entirely in 1846, meaning the canal only went as far as Higham and closed in 1934. It's largely disused although the railway runs alongside it and you can walk along a maintained path (I did, many times...).
Now, the canal basin is Gravesend Marina and occupied by a good number of houseboats, some of them seen here...
The warehouses in the rear are, as far as I'm aware, are still in use, although not high tech glass and prefabrication...
[DSC_4919a]
3B. Former tracery and prefabrication hall. The building is currently occupied by a private shipbuilding company. Gdansk, Poland, 2020.
3B. Dawna trasernia i hala montażowa. Obecnie budynek zajmuje prywatna stocznia. Gdańsk, 2020.
© Maciej Leszczynski - All Rights Reserved
teglværkshavnen housing, copenhagen denmark, 2003-2008.
architects: tegnestuen vandkunsten.
its back to work after paternity leave.
winter building site of an almost completed housing project in copenhagen's south habour.
north facades.
the mountain: housing, parking, and office space, ørestaden, copenhagen 2005-2008.
architects: project begun by PLOT, completed by jds architects and BIG.
concrete ramps and columns of the parking house interior. piranesian to say the least.
the diagonal elevator, known from archigram and others, is a copenhagen first.
teglværkshavnen housing, copenhagen denmark, 2003-2008.
architects: tegnestuen vandkunsten.
escape stair on north facade of housing block put together from the cheapest profiles in the catalogue.
Adelaida, AUSTRÀLIA 2023
The erection of St Luke's Church was based on similar circumstances to Holy Trinity as both churches were initially proposed to be built of prefabricated materials. The need for immediate accommodation was pressing, given the expansion of Anglicanism in the city. In neither case was the prefabricated church fully erected, although some of the imported materials were incorporated into the earliest parts of them. Prefabrication was important to the expansion and consolidation of British colonial outposts and St Luke's, although a late example of prefabricated building construction, is historically significant as it represents this important tool of colonisation used by the Anglican Church. The need for a church in the south-western corner of the city was recognised by 1853. During Reverend James Pollitt's term it was decided to erect a church to seat 450 persons on the present site which was provided by the Society for the Propagation of the Gospel in Foreign Parts. The Bishop of Adelaide, Dr Short, then in England, purchased an iron church on behalf of the Building Committee. However, when the committee was notified that the cost would be £2000 it was decided to erect a cheaper stone structure designed by Edmund Wright. In the meantime, however, the bishop had ordered an iron church to be fabricated and forwarded to South Australia. In September 1854 it was stated that an iron church '. . . expected soon to arrive' had been purchased for £750 which, with the cost of erection and other disbursements, would effectively double that figure.
St Luke's Church served a parish that was mainly residential and working class. In the 1920s and 1930s when the economic depression created much hardship the church involved itself in local missionary work, as did St. Mary Magdalene's Church on the western fringes of the Young Ward which was built as a mission church. Mission work at St Luke's continued after the Depression in the form of various social services. One of the early services was the setting up of Grey Ward Boys' Institute by the Reverend DJ. Knox. Now privately owned, the former rectory has been a night shelter for homeless youths for ten years and is shortly to become a boarding house.
An old sugar-cane cutter (machetero) drinks rum in front of the apartment block in Bahía, a public housing suburb of Havana, Cuba. The Cuban economic transformation (after the revolution in 1959) has changed the housing status in Cuba from a consumer commodity into a social right. In 1970s, to overcome the serious housing shortage, the Cuban state took over the Soviet Union concept of social housing. Using prefabricated panel factories, donated to Cuba by Soviets, huge public housing complexes have risen in the outskirts of Cuban towns. Although these mass housing settlements provided habitation to many families, they often lack infrastructure, culture, shops, services and well-maintained public spaces. Many local residents have no feeling of belonging and inspite of living on a tropical island, they claim to be “living in Siberia”. © Jan Sochor Photography
If you're a person who is chronically ill, you may have experienced some version of what I'm trying to portray here: the bad pain day. I mentioned a while back when I got covid that I had already been a chronically ill person beforehand, and that I had been wanting to do more portrayals of that. I had to get a couple spinal MRIs today and the concept for this image was running through my head while I was in the machine being vibrated. How could I portray what it can really feel like to be a person with an ongoing illness?
My health has not been great for a while, but has gotten more complicated recently. I'm as okay as I can be, it's all being worked on by the relevant medical parties (so no need for medical advice).. but it means lots of ice packs for pain, meds to try to manage symptoms, sometimes cold showers/baths to calm down nerves that are working overtime, and many phone calls setting up medical appointments and talking to my insurance company. I am tired and uncomfortable to say the least, but I have good days and bad days.
Some elements of my life that are not illness-related have been shifted out of focus for now, so they are portrayed that way in this image. I'm a visual artist in real life, and I used to work in kitchens as well until I couldn't. So elements of those lives are shown here, sunken to the bottom, with the focus being on the medications and the ice. My face is also somewhat out of focus for the same reason.
I do hope this image will be taken as it was intended -- a visualization of a bad day for a chronically ill person. I'm aware it could potentially be perceived as a substance abuse thing, so I wanted to be sure to include some info on my perspective and experience here. Just a bad day. I hope you can't relate, but if you can..... this is for you.
Wearing:
Head: Lelutka Halle
Body: Maitreya Lara
Hair: no.match - NO_CHEESE - Pack of BLACKS
Hospital gown: Sloppy Seconds - Women's Hospital Gown
^the mp listing for this did not say if it was rigged for mesh bodies but a reviewer said theirs worked well on Maitreya so I took a shot. It does in fact *not* work for *my* Maitreya body, and this took much editing to make it look like it does lol. So, just be aware, this is standard/system/XS-S-M-L sizing. But it was the only hospital gown I could find that actually looked like a hospital gown.
Mask: *Strela* - Medicine mask simple Blue
The build:
Room/background: ANTINATURAL[+] - Hospital for Souls - Hydrotherapy room
Bath tub: Schultz Bros. - Cast Iron Bathtub - Stone
Orange & white pill bottles: LD Mesh
Ice cubes: cYo - icecubes
Pepto: Grim Factory Outlet - Pepto bottle
Zanny bars: National Prefabrication - Xanax Tablet
Blue pills: Coffee Stains - Oxycodone M30
Camera: Apocolypse Zombie - Old Camera 124G
Hour glasses: Muniick - Llewellyn Desk Hourglass
Mic: MoYne - Stage microphone
Knife: Angry - Kitchen knife
Pavilion Le Corbusier Zürich, Switzerland - Publications from 1967 in some architectural magazines.
Project credits:
•Client: Heidi Weber
•Architect: Le Corbusier
•Construction management 1961–66: Willy Boesiger
•Execution 1966–67: Alain Tavès and Robert Rebutato
•Steel structure engineer: Louis Fruitet
•Façade studies engineer: Jean Prouvé
•Renovation 2017–19: Silvio Schmed and Arthur Rüegg on behalf of the city of Zurich
Iconic for its floating steel roof and brightly colored panels, the Pavilion Le Corbusier is the last building Le Corbusier designed before his death in 1965. Completed in 1967, the building stands as a testament to Corbusier’s renaissance genius as an architect, painter, and sculptor. It does so both intentionally, as it is an exhibition space for his life’s work, and naturally, as it is a building masterfully designed. Interestingly, the building diverges in some ways from the style responsible for his renown – concrete, stone, uniform repetition, etc. It celebrates the use of steel, with which he explored prefabrication and assembly, and a freedom through modularity, in which the plan is completely open but infinitely adaptable.
Heidi Weber, a successful interior designer and so called ‘great patron’ of Corbusier, commissioned the building in 1960 to be both a small home for herself, and a building to house Le Corbusier’s artwork, which she had already spent years patronizing. The project, then, was to be a ‘complete work of art,’ or a ‘Gesamtkunstwerk’ as it were, where Corbusier would design a building for the sake of his own art. This was a fitting task for Corbusier as, according to Sigfried Giedion, “It is essentially the synthesis of the arts that was expressed so strongly in everything he created.”
The building is composed of two major volumetric elements: a floating parasol roof-structure and beneath it, a two-story rectilinear volume sitting on a concrete pavilion floor. Modular steel frame cubes with a standard dimension of 2,26 x 2,26 x 2,26 m make up the structural framework of the base volume. Two sets of these cubes are stacked on top of one another to achieve the two-story height of the building. All necessary elements, including walls, windows, doors, etc., are bolted into these frames. The nature of these prefabricated cubes make for a completely open ground plan that can be divided at will, a convenience well attuned for a hybrid exhibition/dwelling space. In this way, Le Corbusier used standardized parts to create individual forms instead of uniform repetitions.
The roof structure, which stands on four rectangular supports, consists of two 12 x 12 m square elements made of welded steel sheets. Each square is in the shape of a parasol, one facing up and the other down. The entire structure is prefabricated: produced by the steel manufacture, brought to the site in the biggest possible pieces, assembled to its final state on the ground, and finally lifted into place. The two parasols provided cover from sun and rain during construction and continue to provide cover for the entire pavilion, while also acting as a dominant aesthetic element of the building.
Enamel panels in primary colors and glass envelope the main volume of the building. In the language of the rest of the building, the panels are of a standard dimension, one-third the size of the steel cubes. The panels and their respective colors are distributed throughout the building’s exterior with a perceptible rhythm.
Despite what seems to be a major focus towards the building itself, the pavilion does not neglect its site. Pivoting doors and windows that open to the outside help to blur the boundary between outside and inside; and a roof garden beneath the parasol structure allows for appreciation of its beautiful site, which includes a small pond adjacent to the pavilion.
It is important to note that the first design for the project, which he delivered to Weber in 1961, called for an entirely concrete building. This type of museum building was realized in Chandigarh, India. See my pictures in :
www.flickr.com/photos/durr-architect/3288234067/in/album-...
www.flickr.com/photos/durr-architect/albums/7215761497057...
It wasn’t until 1962 that Corbusier changed the design for Switzerland to be predominantly in steel. In its final form, however, he did choose to use some concrete, but only for the vertical circulation. This consists of only two structures: the interior staircase in the two-story studio space, and the exterior ramp, both of which go from the ground to the roof garden.
After a 50-year lease from Zurich council on the land it sits on ran out in 2014, the pavilion – a heritage listed building – reverted to being property of the city. In 2019 Pavilion Le Corbusier has reopened to the public in Zurich after architects Silvio Schmed and Arthur Rüegg restored the art museum to its original state.
Buildings here (and one part of our house as well) are from the most fruitful period of Soviet architecture – 1920-30s. It's clear lines, brave design and an airy feeling is bright even after 90 years. Brave architects with new ideas built this the factory-kitchen as well.
The factory-kitchens were the unique idea to free women from kitchen slavery. Family had a freedom to eat fresh and nice food for the lowest price three-five times a day without any necessity to cook at home. They all, young and old, came here to eat. That's why the factory-kitchen had to be well organised, well equipped, well designed. More about it here en.wikipedia.org/wiki/Factory-kitchen
This particular building is no longer a factory-kitchen with an eating area. It offers take-away and prefabrication.
Vertical Forest Eindhoven, Netherlands Stefano Boeri Architects - 2017 - 2021
In the context of Stefano Boeri Architetti‘s vision for a new architecture of biodiversity, Trudo Vertical Forest applies the Vertical Forest model to social housing for the first time. Designed to accommodate mainly low-income users – such as young professionals and students – the tower in Eindhoven houses flats with low rents but high living quality. The complex vision of “living” coexistence between man and other species is thus amplified in the project into a dual challenge: the possibility of combining the great challenge of the environmental crisis with the urgent need for affordable housing in contemporary cities.
The Trudo Vertical Forest, part of the urban renewal plan for ‘Strijp-S’ – a recovery and development plan involving the area formerly belonging to the Philips electronics company, a crucial identity presence in the area, once completely closed to the city but now becoming a new creative hub in Eindhoven – generates a new green habitat for the development of biodiversity within the metropolitan environment, a true ecosystem nourished by the coexistence of more than 70 different plant species, capable of combating atmospheric pollution, absorbing CO2 and fine dust particles, developing the model first experimented in Milan and now in the Netherlands into an expression of a new design paradigm, in which vegetation and living nature are considered as constituent – and no longer merely ornamental – elements of architectural language.
The building designed by Stefano Boeri Architetti accommodates 125 social housing units on 19 floors, flexible to meet future needs and capable of defining new housing standards for the sector. Each flat has a limited surface area calibrated to the type of users for whom it is intended (less than 50 square metres), while having the spatial extension offered by terraces of more than 4 square metres and the natural micro-environment formed by the presence on each of 1 tree and 20 bushes. All in all, the Trudo Vertical Forest residential tower houses no less than 135 trees of various species on its four façades, spread over an elevation of 75 metres, to which is added about 5.200 smaller shrubs and plants and other vegetation, for a total of about 8.500 plants. The building’s green facades provide an impactful solution to the heat island effect. The water system is also circular: rainwater is collected and stored in four 20.000-litre tanks under the building and reused for irrigating the various pots.
The design choices introduced in the Trudo Vertical Forest are mainly aimed at lowering construction and maintenance costs, meeting the needs of the social housing typology, thanks to the use of prefabrication construction technologies and more generally the optimisation of resources related to the design and construction of the building. In particular, the main structure is made up of prefabricated concrete modules and in-situ machined elements, while the design of the green façade exploits the combination of six types of pots, different in size and shape, specifically designed to house different plants, which allow for a great variety in design, as well as a significant reduction in costs and construction time.
The Trudo Vertical Forest succeeds in guaranteeing high quality, due to the flexibility of the interior spaces and their relationship to open spaces, in a building with a significantly reduced construction cost. The project does not only modify the urban landscape, but aims to define new housing standards for social housing and thus respond to environmental and housing issues.
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[A set of 7 photos} Located in Blairstown, Warren County, New Jersey, the Blairstown Diner is a pleasurable example of Americana--the old-fashioned community diner still in operation. With a mix of straight and curved lines, this Art Moderne structure oddly blends in with more traditional architecture of the town. Its shiny metallic appearance combines the silver of stainless steel and significant amounts of red. Interesting reflections of the red appear in rosy tints to the silver panels. Manufactured by The Paramount Dining Car Company of Halden, New Jersey, the 1949 structure rests on a concrete block foundation. It has six prominent planes--
(1) a possibly parapeted roof with 5 areas divided by elements of 5 red lines on the front facade and by 4 on the side facades
(2) a dominating red roof element, curved at the corners, consisting of 10 sections separated by slender steel strips on the front facade and by 9 divisions on the sides
(3) a cornice which provides the point of greatest length and width
(4) a wide band of ornamentation displaying 8 panels of a sunburst motif on front and side facades--the asymmetrically placed front entrance partially obscures one of the front panels
(5) a large band for windows of different sizes and quantity for the front and sides; between the side windows are more panels displaying a streamlined geometric pattern
(6) 7 horizontal areas of alternating silver and red metal bands at the base
The dominant horizontal planes on the front facade are relieved by curving corners of glass block and panels of continuous narrow sharp-pointed triangles.
There are cinematic connections with this diner. It was featured in the 1980 movie "Friday the 13th" and a later film entitled "Plasterhead". Every Friday the 13th people descend on the diner in a sort of homage to the film. The structure has changed some as it appeared in the movie. The diner's website provides its menu www.blairstowndiner.com/
Also refurbishing of the interior has taken place since these photos were taken. I did not have time to check out the diner's interior.
Some internet pages of interest:
jerseybites.com/2019/10/one-diner-marks-70-years-one-says...
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
The ancient city of Teohtiuacan, in the central Mexican State of Mexico is a huge archeological site and place of an old prehispanic civilization that came to being before the Aztecs reign in the country.
The pyramid of the Sun seen from the top of the pyramid of the Moon.
Pyramids from the ancient cultures of México, the prehispanic era, differ from the Egyptian pyramids in several aspects, the most important is its function. Where Egyptian pyramids were used as burial signals or monuments, the Mexican ones were mostly used as ceremonial sacred places and many times as temples often tagged to a certain deity, in the case of Teohtihuacán its complicated because of the enourmous quantity of temples, ceremonial places, plazas and of course pyramids where each one is assigned to a different deity in a polyteist society, As you can see they have stair systems to climb to the very top. It is supposed by archeoligists that the pyramid of the sun was assigned to the God of rain "Tlaloc" and the pyramid of the moon to the Goddess of rain "Chalchiutlicue"
Another difference is the building methods and materials. While most of the Egyptian pyramids are made of huge stone blocks from queries not far from the river Nile, put in place through an intricate system of rollers, hand made cranes, ramps and lifts, it is believed they covered it with layers of moulded material so in the end it shoul've have an even and smooth surface. This finish in principle is the same as the Mexican pyramids where they also painted this smooth surface with colorful designs. And their building methods differ where they often used a method of prefabrication and an intricate method of reinforcement made of raw concrete to make the construction to withstand earthqùakes and pouring everlasting rain from the tropics and jungle.
The Mexican pyramids were part of a city layout and were part of a "total design" which according to the famous architect Frank Lloyd Wright was amazing because the urban design and main image was preserved throughout many generations.
DSC_0409PSXcSq
St. Mark's Cathedral, Arica
en.wikipedia.org/wiki/St._Mark%27s_Cathedral,_Arica
"His reputation as an architect and civil engineer got him more projects and he established his own workshop in 1866 and undertook projects in different countries. One such project was all-metal construction of the church of San Marcos in Arica, Chile. Various parts of the project were manufactured in France and shipped to the site to be assembled there. His technical innovations were path breaking (specially prefabrication of cantilever constructions)."
www.thefamouspeople.com/profiles/gustave-eiffel-6809.php
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Don't use or reproduce this image on Websites/Blog or any other media without my explicit permission.
© All Rights Reserved - Jim Goodyear 2018.
Large pre-Columbian archaeological site in the Santa Cruz Xoxocotlán Municipality in the southern Mexican state of Oaxaca. It was built as a sacred ceremonial center by the Zapotec civilization.
Pyramids from the ancient cultures of México, the prehispanic era, differ from the Egyptian pyramids in several aspects, the most important is its function. Where Egyptian pyramids were used as burial signals or monuments, the Mexican ones were mostly used as ceremonial sacred places and many times as temples often with a dedication to a certain deity,
Another difference is the building methods and materials. While most of the Egyptian pyramids are made of huge stone blocks from queries not far from the river Nile, put in place through an intricate system of rollers, hande made cranes, ramps and lifts, it is believed they covered it with layers of moulded material so in the end it shoul've have a complete even and smooth surface. This finish in principle is the same as the Mexican pyramids where they also painted this smooth surface with colorful designs. And their building methods differ where they often used a method of prefabrication and an intricate method of reinforcement made of raw concrete to make the construction to withstand earthqùakes and pouring everlasting rain from the tropics and jungle.
This photo was taken with a Pentax Super A analog camera using dias color film. The diapositive was then scannet with a Nikon dias scanner.
Equipment Prefabrication Hall. Built 1914.
Hala Prefabrykacji Wyposażenia i Ślusarnia z 1914r.
Gdansk, 2020
© Maciej Leszczynski - All Rights Reserved
Maya Civilization "Temple of the Inscriptions" at the Archeological site of Palenque, in the southern Mexican State of Chiapas.
Pyramids from the ancient cultures of México, the prehispanic era, differ from the Egyptian pyramids in seveal aspects, the most important is its function. Where Egyptian pyramids were used as burial signals or monuments, the Mexican ones were mostly used as ceremonial sacred places and many times as temples often with a dedication to a certain deity,
Another difference is the building methods and materials. While most of the Egyptian pyramids are made of huge stone blocks from queries not far from the river Nile, put in place through an intricate system of rollers, hande made cranes, ramps and lifts, it is believed they covered it with layers of moulded material so in the end it shoul've have a complete even and smooth surface. This finish in principle is the same as the Mexican pyramids where they also painted this smooth surface with colorful designs. And their building methods differ where they often used a method of prefabrication and an intricate method of reinforcement made of raw concrete to make the construction to withstand earthqùakes and pouring everlasting rain from the tropics and jungle.
Phoenix, AZ
6/14/16
While in Arizona, I had the opportunity to visit the DaDee Manufacturing facility. I met Refuse Arizona the week before at Waste Expo and we were able to arrange a tour at the DaDee Manufacturing facility. On my way to their facility I saw The Scorpion FE Mack LR from Waste Expo pull into the Mack dealership in Phoenix, it was neat seeing that truck twice in one week in two different states. Once I arrived at DaDee Manufacturing Refuse Arizona gave me a tour that started at prefabrication and went all the way to final assembly. I had a great time learning more about the DaDee products and seeing them in person.
Big thank you to everyone at DaDee Manufacturing, they are truly an innovative company with products of the highest quality. And a special thank you to Refuse Arizona for the amazing tour, it was an honor meeting you and Waste Expo and talking about the Waste Industry.
The 1988 South Australian Bicentennial Conservatory. Built to the design of celebrated local architect Guy Maron.
State Heritage Place: 20996
Approved by the SA Heritage Council on 12 December 2014.
The seventh Gardens Director, Brian Morley (1981–2000) was responsible for the development of a new tropical conservatory – the Bicentennial Conservatory.
In 1985 the State Government offered the Gardens a narrow parcel of redundant Municipal Tramways Trust land to the east of the gardens. This land became the site for the conservatory. Raffen Maron Architects were engaged to design the conservatory.
The Conservatory is the largest single span conservatory in the southern hemisphere and is 100 metres long, 47 metres wide and 27 metres high. The building is steel framed in construction, incorporates 2434 m2 of toughened glass and is clad with insulated aluminium panels at its base.
The curved segmental form evolved from the requirements to need to standardise and prefabricate glazing and framing to suit timing constraints and quality control.
Ref: South Australian Heritage Council
A young Cuban boy climbs a palm tree in front of the large concrete apartment blocks in Alamar, a huge public housing complex in the Eastern Havana, Cuba. The Cuban economic transformation (after the revolution in 1959) has changed the housing status in Cuba from a consumer commodity into a social right. In 1970s, to overcome the serious housing shortage, the Cuban state took over the Soviet Union concept of social housing. Using prefabricated panel factories, donated to Cuba by Soviets, huge public housing complexes have risen in the outskirts of Cuban towns. Although these mass housing settlements provided habitation to many families, they often lack infrastructure, culture, shops, services and well-maintained public spaces. Many local residents have no feeling of belonging and inspite of living on a tropical island, they claim to be “living in Siberia”. © Jan Sochor Photography
I had mentioned in previous posts of VO Tower that controlled the signals over the B&O diamond. Here it is, in plain glory of prefabrication. The tower was opened in July 1956 and most likely typical of construction at the time. PRR was famous for the use of brick quoins as seen here with the cement block and brick construction of the first floor. Aesthetics may not have been a big hit with this tower, but it did have its own little charm.
It has the distinction of being the last tower in operation on what would have been the old PRR Conemaugh Division. It way outlasted the towers that used to populate the Conemaugh mainline, lasted longer than it probably should have due to the fact of Chessie-B&O paying part of the bills here.
A Conrail blue and white VO sign sits where a PRR Keystone VO sign was located.
The B&LE mainline is on the black overhead bridge in the background.
This view dates 7-20-1982.
Entrance Road to Botany Bay Heritage Plantation & Wildlife Management Area
Charleston County, Lowcountry South Carolina
Accessed via South Carolina Highway 174
Date taken: April 07, 2013
This is a built environment, as strange as that might sound given how wild this place appears. Botany Bay Road is and was a place shaped and created by people to facilitate some human purpose. The road was cut and is maintained; the primary trees were planted in rows when this was a plantation property. However, the experience of this particular road is far different than a modern highway or even the secondary paved roads that are traveled to reach this particular location. I've been studying and working within the built environment for over a decade now, and currently am working towards a terminal degree in Planning, Design, and the Built Environment at Clemson University. Much talk revolves around the loss of regional character in architecture and built environments in general.
To some degree, if this was what people really wanted, this is what we would see more of. It could be said that as unique and fantastic as this extremely short stretch of road is to travel, it is plenty enough, and returning to the smoother asphalt with modern safety paints, reflectors, drainage crowns, uniform and orderly signs, street lamps, insect (mosquito and otherwise) controls, and so forth is more realistic for everyday life and desires. Put in another way, Botany Bay is a magnet for photographers and tourists alike, but they wouldn't necessarily want to live here or think of their loved ones traveling this road daily to and from life's many chores. The standardization of many built environments that many call for as being the fault of market forces or lazy built environment professionals is really just the result of overall desires for safer, cleaner, more efficient services. And for the business entities, the standardization and generalization of prefabrication and/or modularization drives reduced risk and increased profits. Thus, the market seems poised to go the route of standardization with our built environment as both sides realize real benefits. Certainly, craft and character have to lose to some degree in this model. It makes you wonder what we could do as designers, builders, planners, and real estate folks if the market truly did reject the current model and instead called for more developments and built environments in general that provided alternate and arguably richer experiences for those who passed through and lived within them. Obviously this is not applicable to every situation; but it remains that Botany Bay Road is a built environment of sorts, and we're capable of envisioning and creating more like it--the question is largely one of desire.
This like so many of my photographs is a direct result of Dave Allen--both learning of the location and of the gear necessary to deliver the product you see. Much appreciation to him and his wife, Jennifer for letting me tag along on a trip down to this location several years ago. I'm finally returning to many of these places and doing so with a relatively greater photographic knowledge base and some relatively better gear. However, the roots are back in those initial scouting trips and the folks who facilitated them.
The ancient city of Teohtiuacan, in the central Mexican State of Mexico is a huge archeological site and place of an old prehispanic civilization that came to being before the Aztecs reign in the country.
The pyramid of the Sun seen from the top of the pyramid of the Moon.
Pyramids from the ancient cultures of México, the prehispanic era, differ from the Egyptian pyramids in seveal aspects, the most important is its function. Where Egyptian pyramids were used as burial signals or monuments, the Mexican ones were mostly used as ceremonial sacred places and many times as temples often with a dedication to a certain deity, in the case of Teohtihuacán its complicated because of its enourmous quantity of temples, ceremonials places, plazas and of course pyramids where each one is dedi ated to adifferent deity in a polyteist society. It is supposed by archeoligists that the pyramid of the sun was dedicated to the God of rain "Tlaloc" and the pyramid of the moon was dedicated to rthe Goddess of rain "Chalchiutlicue"
Another difference is the building methods and materials. While most of the Egyptian pyramids are made of huge stone blocks from queries not far from the river Nile, put in place through an intricate system of rollers, hande made cranes, ramps and lifts, it is believed they covered it with layers of moulded material so in the end it shoul've have a complete even and smooth surface. This finish in principle is the same as the Mexican pyramids where they also painted this smooth surface with colorful designs. And their building methods differ where they often used a method of prefabrication and an intricate method of reinforcement made of raw concrete to make the construction to withstand earthqùakes and pouring everlasting rain from the tropics and jungle.
This photo was taken with a Pentax Super A analog camera using dias color film. The dia positive was then scanned with a Nikon dias scanner.
A young Cuban man rides a bicycle in front of the huge apartment blocks in Alamar, a public housing periphery of Havana, Cuba. The Cuban economic transformation (after the revolution in 1959) has changed the housing status in Cuba from a consumer commodity into a social right. In 1970s, to overcome the serious housing shortage, the Cuban state took over the Soviet Union concept of social housing. Using prefabricated panel factories, donated to Cuba by Soviets, huge public housing complexes have risen in the outskirts of Cuban towns. Although these mass housing settlements provided habitation to many families, they often lack infrastructure, culture, shops, services and well-maintained public spaces. Many local residents have no feeling of belonging and inspite of living on a tropical island, they claim to be “living in Siberia”. © Jan Sochor Photography
Phoenix, AZ
6/14/16
While in Arizona, I had the opportunity to visit the DaDee Manufacturing facility. I met Refuse Arizona the week before at Waste Expo and we were able to arrange a tour at the DaDee Manufacturing facility. On my way to their facility I saw The Scorpion FE Mack LR from Waste Expo pull into the Mack dealership in Phoenix, it was neat seeing that truck twice in one week in two different states. Once I arrived at DaDee Manufacturing Refuse Arizona gave me a tour that started at prefabrication and went all the way to final assembly. I had a great time learning more about the DaDee products and seeing them in person.
Big thank you to everyone at DaDee Manufacturing, they are truly an innovative company with products of the highest quality. And a special thank you to Refuse Arizona for the amazing tour, it was an honor meeting you and Waste Expo and talking about the Waste Industry.
bagsværd kirke - bagsvaerd church, copenhagen, denmark 1967-1976.
architect: jørn utzon, 1918-2008.
don't copy texts and comments. respect the photos that are marked all rights reserved. for photos with a CC license, please name photographer "SEIER+SEIER".
the great vaults and hidden skylight, looking north in the main space. the two colours of light, blue and orange, work together perfectly.
more utzon here
Phoenix, AZ
6/14/16
While in Arizona, I had the opportunity to visit the DaDee Manufacturing facility. I met Refuse Arizona the week before at Waste Expo and we were able to arrange a tour at the DaDee Manufacturing facility. On my way to their facility I saw The Scorpion FE Mack LR from Waste Expo pull into the Mack dealership in Phoenix, it was neat seeing that truck twice in one week in two different states. Once I arrived at DaDee Manufacturing Refuse Arizona gave me a tour that started at prefabrication and went all the way to final assembly. I had a great time learning more about the DaDee products and seeing them in person.
Big thank you to everyone at DaDee Manufacturing, they are truly an innovative company with products of the highest quality. And a special thank you to Refuse Arizona for the amazing tour, it was an honor meeting you and Waste Expo and talking about the Waste Industry.
Phoenix, AZ
6/14/16
While in Arizona, I had the opportunity to visit the DaDee Manufacturing facility. I met Refuse Arizona the week before at Waste Expo and we were able to arrange a tour at the DaDee Manufacturing facility. On my way to their facility I saw The Scorpion FE Mack LR from Waste Expo pull into the Mack dealership in Phoenix, it was neat seeing that truck twice in one week in two different states. Once I arrived at DaDee Manufacturing Refuse Arizona gave me a tour that started at prefabrication and went all the way to final assembly. I had a great time learning more about the DaDee products and seeing them in person.
Big thank you to everyone at DaDee Manufacturing, they are truly an innovative company with products of the highest quality. And a special thank you to Refuse Arizona for the amazing tour, it was an honor meeting you and Waste Expo and talking about the Waste Industry.
Phoenix, AZ
6/14/16
While in Arizona, I had the opportunity to visit the DaDee Manufacturing facility. I met Refuse Arizona the week before at Waste Expo and we were able to arrange a tour at the DaDee Manufacturing facility. On my way to their facility I saw The Scorpion FE Mack LR from Waste Expo pull into the Mack dealership in Phoenix, it was neat seeing that truck twice in one week in two different states. Once I arrived at DaDee Manufacturing Refuse Arizona gave me a tour that started at prefabrication and went all the way to final assembly. I had a great time learning more about the DaDee products and seeing them in person.
Big thank you to everyone at DaDee Manufacturing, they are truly an innovative company with products of the highest quality. And a special thank you to Refuse Arizona for the amazing tour, it was an honor meeting you and Waste Expo and talking about the Waste Industry.